copyrightx+lecture+9:+ fair+use+jus:ce+blackmun,+dissen:ng+...
TRANSCRIPT
CopyrightX Lecture 9: Fair Use
Selected Illustra:ons
William Fisher March 2013
The following images appear in the background of ninth lecture in the CopyrightX lecture series. A recording of the lecture itself is available at hKp://copyx.org/lectures/. Removed from their original context, the images will not make much sense. The func:on of this collec:on of images is to enable persons who have already watched the lecture to review the material it contains. The terms on which these materials may be used or modified are available at hKp://copyx.org/permission/.
Fair Use Factors
Fair Unfair Fair
Green = favors fairness; Red = disfavors fairness
Sony Harper & Row
Campbell
1. Purpose and character of defendant’s use
! ! !
2. Nature of copyrighted work
! !
3. Amount of copying !
4. Impact on potential market
! ! !
neutral neutral
Novelist
Actors
Screenwriters
Director
Record Company
Producer
“Work for Hire” agreements
Synchroniza
:on and
performance l
icenses
Theatres
Video Stores
TV Networks
HBO, Airlines
Record company
Merchandise manufacturer
Cable company
Studio
Distribu:on agreement
Sales
AdverEser
Music Publisher
“LocaEon” owners
Composer Movies
March 28, 2015
Studio
TV Networks
Compensa:on System for Network Broadcasts of Films
Adver:sers
Viewers
Sony
cost of VCRs
adver:sing fees
product purchases
VCRs
free programming (with embedded ads)
Holdings of Sony
1) Manufacturer of a device that can be used to violate the copyright laws is liable for contributory copyright infringement if and only if the device is not capable of substan:al noninfringing uses
2) Timeshi`ing copyrighted programs is a fair use
Jus:ce Blackmun, dissen:ng “The situa:ons in which fair use is most commonly recognized are listed in sec:on 107 itself; fair use may be found when a work is used ‘for purposes such as cri:cism, comment, news repor:ng, teaching, . . . scholarship, or research.’ … Each of these uses … reflects a common theme: each is a produc*ve use, resul:ng in some added benefit to the public beyond that produced by the first author’s work. The fair use doctrine, in other words, permits works to be used for ‘socially laudable purposes.’ I am aware of no case in which the reproduc:on of a copyrighted work for the sole benefit of the user has been held to be fair use.”
March 28, 2015
Jus:ce Blackmun, dissen:ng “The requirement that a puta:vely infringing use of a copyrighted work, to be ‘fair,’ must not impair a ‘poten:al’ market for the work has two implica:ons. First, an infringer cannot prevail merely by demonstra:ng that the copyright holder suffered no net harm from the infringer's ac:on. Indeed, even a showing that the infringement has resulted in a net benefit to the copyright holder will not suffice. Rather, the infringer must demonstrate that he had not impaired the copyright holder's ability to demand compensa:on from (or to deny access to) any group who would otherwise be willing to pay to see or hear the copyrighted work. Second, the fact that a given market for a copyrighted work would not be available to the copyright holder were it not for the infringer's ac:vi:es does not permit the infringer to exploit that market without compensa:ng the copyright holder.”
March 28, 2015
CONSUMER HOME VIDEO AND THEATER SPENDING
Theater spending Home video spending
+7% +6% Theater +14% +27% Home video
1999-‐‑2003 1980-‐‑2003
Compound annual growth rates
$millions
Harper & Row Ford & ghost writer
Harper & Row
Time Magazine
The Na:on
copyright payment
license part payment
“purloined” copy
Public
Ar:cle with 300-‐400 copied words
$
Cancel contract
Infringement suit
“The first factor in a fair use enquiry is ‘the purpose and character of the use.’… The central purpose of this inves:ga:on is to see, in Jus:ce Story's words, whether the new work merely ‘supersede[s] the objects’ of the original crea:on, or instead adds something new, with a further purpose or different character, altering the first with new expression, meaning, or message; it asks, in other words, whether and to what extent the new work is ‘transforma:ve.’ Although such transforma:ve use is not absolutely necessary for a finding of fair use, Sony, [464 U.S.] at 455, n. 40, the goal of copyright, to promote science and the arts, is generally furthered by the crea:on of transforma:ve works. Such works thus lie at the heart of the fair use doctrine's guarantee of breathing space within the confines of copyright, see, e. g., Sony, supra, at 478-‐480 (Blackmun, J., dissen:ng), and the more transforma:ve the new work, the less will be the significance of other factors, like commercialism, that may weigh against a finding of fair use.”
Campbell
“Modern dic:onaries accordingly describe a parody as a ‘literary or ar:s:c work that imitates the characteris:c style of an author or a work for comic effect or ridicule,’ or as a ‘composi:on in prose or verse in which the characteris:c turns of thought and phrase in an author or class of authors are imitated in such a way as to make them appear ridiculous.’ For the purposes of copyright law, the nub of the defini:ons, and the heart of any parodist’s claim to quote from exis:ng material, is the use of some elements of a prior author's composi:on to create a new one that, at least in part, comments on that author's works.”
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Campbell
Sega (CA9 1992)
Sega Genesis III
TMSS
Sega Games Licensed Games
License fees
Accolade Games
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Socially beneficial
Crea:ve Different Purpose
Cri:cal of π
Parody
Physical modifica:ons
Kelly (2003); Perfect 10 (2007); AV (2009); White (2013)
Connectix (2000)
Videopipeline (2008) Friedman (2011); Cariou (2011)
Campbell (1994); Leibovitz (1998); Suntrust (2001); Mattel (2003)
Blanch (2006)
Graham (2006)
Gaylord (2010)
Nunez (2006)
Rogers (1992)
Fairey (2011)
Salinger (2010)
Lennon (2008)
Free Republic (2000)
Dr. Seuss (1997)
Castle Rock (1998)
Strength of Copyright Protec:on
March 28, 2015 Unpublished Published
Factual
Crea:ve