1. MM 350: Intellectual Property Law and New Media Introduction to Copyright Fall, 2015 Day 4 © 2013, 2014, 2015 Ed Lamoureux/Steve Baron

2. European copyright law features which perspective? A.First to fix in form rules. B.First to register wins. C.Natural rights rule. D.The rule of administrative law leads.

3. The copyright term for works for hire: A.life of the author plus 70 years. B.120 years from creation. C.life of the author plus 90 years. D.70 years after publication

4. In legal terms, originality is established: A.When fixing ideas to form. B.If a work has not been previously protected. C.When the fixed idea is the first to be thought of. D.If the work was not previously in the public domain.

5. Rights owners who have been infringed may receive injunctive relief, damages, and costs if/when A.they fix a work, display the proper symbolization/identification /dating, and register the work. B.they fix a work, display the proper symbolization/identification /dating. C.they file the proper DMCA- mandated take-down paperwork. D.they can prove that infringers have profited from the rights violations.

6. According the mechanics of the “compulsory license” system for music, once an artists has composed and recorded a song, others may A.copy, perform, and distribute that song without permission as long as they pay a royalty to the rights holder. B.perform that song in public without permission as long as they issue proper attribution to the rights holder. C.record that song without permission as long as they pay a royalty, based on sales of the new recording, to the rights holder. D.not copy, perform, or record that song without permission from the rights holder.

7. Who may issue a legally binding cease and desist order? A.Judges/courts. B.Rights holder’s lawyer(s). C.ISPs and web-site operators. D.Entities executing DMCA take-down procedures.

8. What was the MOST significant change brought by the DMCA? A.Digital files were allowed to contain rights management code/technology. B.Users could be guilty of infringement without doing any actual copying. C.ISPs and web-services operators received procedures for Safe Harbor from defamation. D.Terms of service (TOS) and end- user license agreements (EULA) became the controlling factors in using digital files.

9. Notes on the reading, esp. the opening examples There are forces in the content industries who do NOT concur with the idea that you can move even non-protected material, like the music on a CD, onto another platform, like an iPod, without violating copyright. Since fair use defenses don’t follow a fixed calculus, the most one can say is “usually” or “probably.” so we wrote “usually” legal or not legal. There are learned people who produce MUCH MORE EXTREME examples (as plausible hypotheticals). For example, Tehranian, in Infringement Nation writes about the copyrights inherent in email and singing in the shower, activities we usually treat as “legal/ok” based on fair use.Infringement Nation

10. Introduction to Copyright Basics In order to be copyrighted –The work must be “original” “originality” can be very complex. In general for the purpose of legal proceedings, originality means that the work has not been previously copyright protected. –In earlier historic stages, originality might have had more direct reference to “first to think of it and put it down.”

11. Introduction to Copyright Basics –In order to be copyrighted The work must “fixed” In fact, it is the expression of the idea that is copyrighted, not the idea itself, so the work has to “come out.” However, “publication” is not limited to “professional distribution.” –The “new” nature of electronic/digital means of production and distribution makes this really problematic as “everyone” is now a potential producer and distributor.

12. Equivocation over web posting and publication Lack of clarity Lack of case law Much of what we have is based on whether making media files available “counts” as distribution (so violates the distribution right) –Nimmer Changes His Tune: “Making Available” is DistributionNimmer Changes His Tune: “Making Available” is Distribution (at least if/when the distribution is giving something to a peer-to-peer network that then infringes a lot)

13. Equivocation over web posting and publication In general, one can say that fixing in form (even on the internet) does establish the basic right –Online terms of use/service can and do limit/determine rights. –REGISTRATION IS CRUCIAL FOR RIGHTS PROTECTION!

14. Level One: You put the work to form. Level Two: You use proper symbolization. Level Three: You register the work (and display the proper symbolization). Protecting Your Copyright: Three Levels of Protection

15. Protecting Your Copyright Level One: You put the work to form Once “fixed”: “THIS IS MINE AND YOU ARE INFRINGING” ! You cannot get into court with this.

16. Protecting Your Copyright Level Two: You use proper symbolization/notification. Copyright and Fair Use: Protecting and Sharing Your Work and Classroom © Edward Lee Lamoureux, 2015 Maybe you can get an injunction … maybe not. But now the accused is willfully informed.

17. Protecting Your Copyright Level Three: You register the work (and have displayed the symbolization) http://copyright.gov/ If online, $35.00 per item. After registration takes effect, you can SUE infringers for an injunction AND damages AND fees. BUT… only for infringements that happen AFTER your registration.

18. Who owns/controls the copyright? The author (you). Multiple authors of “the whole” or of “parts” –Get a contract! Others: Authors may assign rights.

19. Employers (usually) Work output is usually assigned to the employer as part of the contractual terms of employment. BU negates this by specifying faculty rights, but student rights are ambiguous and undefined. Work for hire? Special project and pay, by contract. Rights to employer, unless specified in the contract. Grant-supported/externally funded work. Rights to the funding agency, unless specified in the contract. Who owns/controls the copyright?

20. A wide range of rights are protected 1.Reproduction Right: all copying 2.Modification Right: the derivative works right to modify the work to create a new work. a.The derivative right is HOTLY contested b.Courts have often recognized transformative fair use that compromises/trumps derivative rights. 4.Distribution Right: sale, rental, lease, or lend. 5.Public Performance Right 6.Public Display Right

21. Duration Life of the author plus 70 years. Corporate or “works for hire”: 95 years from “publication” or 120 years from creation, whichever expires first. No registration renewal in the US now –There used to be Is it in the public domain? (copyright expiration) http://copyright.cornell.edu/resources/publicdom ain.cfm

22. Exceptions Ideas Federal (and some state) materials. –Subcontractors might retain rights over portions of their work. Facts cannot be copyrighted--unique ways they are arrayed can be. Independent/Same-time creation. Timely registration is key and can trump independent creation.

23. First Sale Doctrine (before digital and about non-digital material): once I buy it, I can rent it, display it, resell it. (could NOT copy it for distribution) First sale is largely overturned in digital content and by the DMCA and by TOS and EULAs. Copying for licensed broadcast/transmission. Fair Use (we shall return to Fair Use in Chapter two) More Exceptions

24. Want to “share”? Believe in open publishing? Want to participate in the “cut and paste” culture. Creative Commons enables the rights owner to indicate which uses are allowed and with what (if any) required remunerations/considerations/notifications. Copyrights (and laws) stay in place: You just make a contractual indication of exceptions. There are a wide variety of CC licenses, found here: https://creativecommons.org/choose/

25. Infringement and Punishment After (claimed) infringement: –Only courts can issue valid Cease and Desist orders (injunctions). –Copyright holders with claims can issue C&D threats These joined to proper symbolization make the infringement “willful” and raise the penalties. –Courts can issue C&D orders (injunctions), levy fines, recover damages, impound illegal copies, imprison violators.

26. DMCA Take Downs and Safe Harbor Procedures, external to courts (initially) for infringements on WWW. Rights owner files proper paperwork with ISP/host. Site operator MUST take the material down (for up to 10 days) while the matter is adjudicated. The poster can complain; the ISP decides. Then litigation might occur.

27. If one accepts 3 rd party content, one has to designate and train a DMCA agent and follow the take down protocols or there’s no DMCA “safe harbor.” Under the safe harbor, if the protocols are followed, ISPs/web services providers are not liable for infringements by 3 rd parties (those posters might still be liable). DMCA Take Downs and Safe Harbor

28. Liabilities for Infringement –Penalties could include: Fines not less than $750 or more than $30,000 for each infringement (checked your iPod lately?). Fines up to $150,000 for willful infringement (checked your kid’s iPod lately?). Actual damages and any profits made by infringement.

29. An Alternative System: Compulsory Licensing for Music Music combines copyright and a licensing/royalty systems –All copying requires permission and (usually) royalty. –Recording (a cover song) doesn’t require permission Once creator records/performs it, others may also record or perform it, eventually paying royalties based on sales. Notification required. –“Public” performances require royalties, usually paid by venues.

30. –Generally personal/private (in the shower, car, at home or in a private office) performances don’t require payment or permission. However, seemingly trivial performances can (as a waiter in a restaurant, for example). –Inclusion in mediated instances requires special clearances and royalties. –There are multiple rights: licenses must be obtained for EACH of the rights used. An Alternative System: Compulsory Licensing for Music

31. –Public Performing Right –Reproduction Right –Mechanical License: On top of the right to copy the record the right to reproduce and distribute a specific composition at an agreed upon fee per unit manufactured and sold. –Digital Performance Right in Sound Recordings Act of 1995: authorized a compensatory system for digital sound recordings.

32. Compulsory Licensing for Music Let’s be EXTRA careful with this part: –Synchronization License: Music Publishers issue licenses as copyright owner or his agent, usually to a producer, granting the right to synchronize the musical composition in timed relation with audio-visual images on film or videotape. There is NO blanket sync license agency/agent/process. A place may have one or the other sort of “blanket” license. For example, BU pays so that the band can play songs on the quad or at a game or graduation, teachers can play songs in class, the clarion can toll, etc. But the license that allows all that does NOT allow putting a song to a video and posting it to the web or putting a song into a video game, movie, or TV show, even if the song is covered under the blanket license. Snyc licenses are sold in one way: From/by the publisher, per use. (with one exception)

33. The one major exception to Sync. License restrictions/arrangements “Media Libraries” –Media professionals have them for production. –We have collections in library, ITMS, GCC labs, etc. TOS specify acceptable uses. Students need to remember that just because one employer/school paid a blanket fee or acquired rights to a media library, the next one might not have---free/unlimited use might be curtailed. Don’t use material until you are sure what you have and what rights you’ve acquired.

34. Some legislative trends in the development of IP laws

35. Who are the parties interested in the development of copyright legislation? Not quite everyone, but….. Print publishers; news organizations; film/recording/radio/television industries; content licensing organizations; educators/schools/school districts/higher education; libraries, museums, conservatories; performance venues of all types; trade/industry groups: restaurants, taverns/bars, hotel/motel/resort; mall associations; channel/network providers: phone, cable, satellite, wireless; IP legal groups; equipment manufacturers and importers; government agencies: FCC/FTC/ICC/Justice/FBI/CIA; artists unions across all categories; non-profits; computer companies including digital content producers; everyman who wants to creative new or use existing content.

36. The general pattern Technology changes, bringing about the need for new law. Legislative action begins and either fails or stalls. An advisory committee is formed. The group is made up of representatives from the current players (and their lawyers).

37. The general pattern, pt. 2 Neither new technologies nor the public are represented on the committee. The recommendations strengthen the positions of in-place technologies and players After passage, subsequent refinements are handled via side agreements and set-asides. If a legislator comes up with a proposal that doesn’t follow this pattern or that compromises in-place statutes, private/industry stakeholders unite to block the legislation.

38. Basic problems with the pattern Almost inevitably, this procedure is enacted looking backwards... It accounts for old media at the expense of new. New media get a very hostile reception at the hands of the old guys. Neither new technologies nor the public are represented on the committee. No affected party is going to support legislation that leaves it worse off than it is under the status quo. Those who get to the table are there to protect (and increase the value of) their own interests, not to make great new laws. The resultant bills come from a lot of “horse- trading” among the players at the table.

39. Problems, pt. 2 Subsequent “issues” are resolved by making specific set-asides rather than by actually re- writing the laws. The law gets more complicated, inconsistent and ad hoc. In-place laws (and those who break them) are lorded over (oft-times using technology as a tool) by those advantaged by the law... Their remedy for new situations/violations is to sue rather than to enact remedial legislation. It takes years to bang out these bills. By the time they are done, they are out of date and excessively complex.

40. Problems, pt. 3 The work is done, mostly, by IP lawyers (representing “old” media). After all, no one else can understand the complexities. But IP lawyers don’t make any effort to simplify the laws; after all, they make their living based on the need to hire them in order to understand legal complexities. Really, no one represents “the people” in this process. Some groups (like library associations) have interests closer to citizens than corporations. But in general, users have always been left out. That might have been ok when all the business was between corporations. It’s no longer ok, now that the laws have to apply to every-person.

41. Problems with a new Wrinkle: Using trade negotiations and agreements to further domestic legislative goals DMCA is a prime example that set the template for this ACTA is another exampleAnti-Counterfeiting Trade AgreementAnti-Counterfeiting Trade Agreement European Parliament passes anti-ACTA declaration –An interesting feature of this: to date, our legislators have taken NO action –Don’t be fooled by the recent action that stopped SOPA and PIPA. Neither legislators nor the people took effective action there. Large new media companies did. They probably won’t have similar motivations over ACTA and laws that “protect their interests”

42. Emerging Trends: Questions? (1) expiration of the term extension in 2018, (2) potential widening of the “copyright termination” practice begun over popular music (3) conflicts between the derivative right of copyright holders and the fair use exemption based on transformative use (4) continued reliance on international trade negotiations as leverage for domestic lawmaking (5) relief from the DMCA’s anti-circumvention limitations in situations of private use (6) relationships between copyright and copies “in the cloud”—that is— how will the various ways to manage files in cloud storage relate to copyright law (7) relationships among Internet service and copyright enforcement (X strikes and you are disconnected) (8) struggles over the differences between the initial intentions for the safe harbor compared to the realities of how those protections often manifest (9) scraping and aggregating content (10) the consequences of Google’s court victories over, and moving forward with, the Google Books/Search/Universal Library project.

43. If we have time Good Copy, Bad Copy –https://www.youtube.com/watch?v=WEKl5I_Q 044https://www.youtube.com/watch?v=WEKl5I_Q 044