Post on 23-Dec-2015
transcript
COPYRIGHT BASICS
L I B R A R Y WO
R K S H OP S P R I N
G 2 0 1 2
Linda Sharp Marsha Stevenson
WHAT IS COPYRIGHT?
• Copyright is a form of protection grounded in the U.S. Constitution; Article 1, Section 8 empowers Congress to “Promote the Progress of Science and Useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries”.
• Copyright protection is provided for by law (title 17, US Code). It applies to original works of authorship fixed in a tangible medium of expression. Both published and unpublished works are protected.
• Copyright law was originally intended to provide a short term “monopoly” for authors for the purpose of encouraging creativity (14 years plus 14 years renewable).
• Our current copyright law confers upon copyright holders certain exclusive rights.
ORIGINAL WORKS ELIG
IBLE FOR COPYRIGHT
PROTECTION
Literary worksMusical works with accompanying wordsDramatic works with accompanying musicPictorial, graphical, and sculptural worksMotion pictures and other audiovisual
worksChoreographic worksSound and digital recordingsArchitectural worksSoftware
WHO CAN BE AN AUTHOR?
A writer
A musician or artist
A photographer
A student or professor
A company or organization
An unknown entity
But who controls the rights????
WHAT ARE THE EXCLUSIVE RIGHTS GIVEN TO
COPYRIGHT HOLDERS ?
• To prepare derivative works based upon the work; Only the owner of copyright in a work has the right to prepare, or to authorize someone else to create, a new version of that work.
• To reproduce the work• To distribute copies of the work to the
public• To perform the work publicly• To display the copyrighted work
publicly• to perform the work publicly by means
of a digital audio transmission
HOW LONG DOES COPYRIGHT PROTECTIO
N LAST?
Copyright Act of 1790 - established U.S. copyright with term of 14 years with 14-year renewal
Copyright Act of 1831 - extended the term to 28 years with 14-year renewal
Copyright Act of 1909 - extended term to 28 years with 28-year renewal
Copyright Act of 1976 - extended term to either 75 years or life of author plus 50 years
Copyright Renewal Act of 1992 - removed the requirement for renewal
Copyright Term Extension Act of 1998 - extended terms to 95/120 years or life plus 70 years
Digital Millennium Copyright Act of 1998 - criminalized some cases of copyright infringement
source: http://techliberation.com/2009/08/06/copyright-duration-and-the-mickey-mouse-curve/
WHAT CAN I USE W
ITHOUT GETTING PERMISSION????
Works you create yourself
Work not protected by federal law
Works in the Public Domain
Works governed by Creative Commons License
Works which would be considered Fair Use
FAIR USE
W O R K S I N F A V O R
• Teaching
• Research
• Scholarship
• Nonprofit educational institution
• Criticism
• Comment
• News reporting
• Transformative use
• Restricted access
• Parody
W O R K S A G A I N S T
• Commercial activity
• Profiting from use
• Entertainment
• Bad faith behavior
• Denying credit to original author
COPYRIGHT AND MUSIC
Copyright law as it pertains to music is both simple and complex. It is simple because
• the eligibility standard for copyright protection is the same for music as for other creative works, i.e., "…original works of authorship fixed in any tangible medium of expression."
• a songwriter/composer receives the same bundle of exclusive rights as creators of other original works, which is the right to reproduce, distribute, create derivative works, perform publicly, and display their work publicly.
• duration of copyright protection for original musical compositions is also standard.
It is complex because
• Multiple copyrights“I Will Always Love You”
• Multiple formats and usesSheet music, CD, mp3; Soundtrack, Live Public Performance, Digital Audio Transmission
• Different permissions and licensing for different formats and uses
• Stakes are high; money is big
THE “YOU THOUGHT I WAS EXAGGERATING” SLIDE
US COPYRIGHT OFFICE SURVEY
http://www.surveymonkey.com/s/copyright_branding
MEDIA COPYRIGHTDigital Millennium Copyright Act
(1998) brought copyright into the digital age
“DRM” – Digital Rights Managementmakes it illegal to circumvent DVD encryption
Media industry is aggressive in asserting rights and prosecuting violators
MEDIA FORMAT CONVERSIONS
Easy, but illegal, to reformat works still in copyright
Legally considered “obsolete” only when playback equipment “is no longer manufactured or … reasonably available in the marketplace”
• LP to CD/MP3 converters• VHS – an “obsolete” format?
MEDIA IN AN EDUCATIONAL
SETTING
Possible to do many things in educational setting that are prohibited elsewhere
TEACH Act (2002)• Allows media use “as an
integral part of a class session”• Must be limited to students
enrolled in the class• Requires use of technology to
prevent copying
VIDEO SCREENINGS
“Education exemption” allows screenings in classrooms
“Public Performance Rights”• Viewing rights must be
purchased to legally show a film “outside of a normal circle of family and its social acquaintance”
MOTION PICTURE ASSOCIATION
OF AMERICA “No additional license is required to privately view a movie or other copyrighted work with a few friends and family ... However, bars, restaurants, private clubs, prisons, lodges, factories, summer camps, public libraries, daycare facilities, parks and recreation departments, churches and non-classroom use at schools and universities are all examples of situations where a public performance license must be obtained.”
http://www.m
paa.org/contentprotecti
on/public-
perform
ance-law
THE NFL AND CHURCHES
Church wanted to show 2007 Colts-Bears Super Bowl game to youth group
Planned to charge admission to cover food and show the game on a big screen ( >55” )
NFL threatened legal actionSparked Senate bill in 2008NFL compromised, for church
groups not charging admission
Example: F
all Creek Baptist
Church, In
dianapolis, 2007
IMAGES
Assume that all on the web are in copyright unless there is an explicit statement to the contrary (“Terms of Use”)
Scanning and posting online is “reproduction” and “distribution”
Each work has its own copyrightTwo possible holders: • The artist/designer• The photographer
CNN PHOTOGRAPH, COMMENCEMENT 2009
“ORPHAN” W
ORKS• When the copyright holder
can’t be identified• When the copyright holder
can’t be found
Still not legal to use freelyIf choosing to use, document
(and retain) diligent efforts to locate/contact
PHOTOGRAPHS Photographers generally hold copyrightPrivacy Rights• State laws vary• If individuals are identifiable,
should get their permissionPublicity rights• Commercial value of celebrity’s
name/image/voice• Need their consent to use
commercially
CREATIVE COMMONS
CC licenses have four major concepts:
• Attribution (giving credit)• Derivatives (whether
modifications are allowed)• Commercial or
noncommercial• Share alike (if re-using,
retain the same license)
“ … a sim
ple, standardize
d way to
grant copyrig
ht perm
issions …
”
THE PUBLIC DOMAIN
• May have expired• May never have been in
copyright (e.g., government employees’ works)
• Copyright holder may have made a work publicly available
When copyrig
ht doesn
’t apply
Dorothea Lange, photographer
“Migrant Mother”1936
US GOVERNMENT EMPLOYEE
“DERIVATIVE” V
S.
“TRANSFORMATIVE”
“Derivative” closely based on an existing creative work
“Transformative” based on an existing work, but modifying it significantly
Judgment call about when work is an “infringing derivative”
Judgment call
FAIR USE? INFRINGING DERIVATIVE?
M A N N Y G A R C I A , A P S H E P A R D F A I R E Y
WORK-FOR-HIRE DOCTRINE
Employers are considered copyright owners of works created by their employees within the scope of their employment
Independent contractors’ status is less clear
Should be a written contract specifying who owns copyright
NOTRE DAME’S INTELLE
CTUAL
PROPERTY POLICY
“The University will ordinarily waive its rights to intellectual property created by student creators …”
“The University owns all rights to all copyrightable materials … that are works made for hire …”
“… the University does not normally claim ownership of works such as textbooks, articles, papers, scholarly monographs, or artistic works.”
http://or.n
d.edu/tech
nology-transfe
r/for-f
aculty
/intelle
ctual-p
roperty-polic
y/
TED DRAKE - OBITUARY
“Ted Drake, an artist and illustrator who created Notre Dame’s trademark leprechaun logo, died here on Thursday …”
“Mr. Drake’s best-known creations were Notre Dame’s bearded leprechaun and the symbol of the Chicago Bulls …”
“[H]e worked as a designer at Wilson Sporting Goods in Chicago. That was where he created the logo for the University of Notre Dame in 1964.”
New York Tim
es, May 30, 2
000
NOTRE DAME LEPRECHAUN
“Mr. Drake earned a mere $50 for the logo, which was later copyrighted by the university.”
Drake obituary, New York Times, May 30, 2000