MediaLaw Monitor – Copyright The 2nd Circuit Weighs in on Transformativeness in the Visual Arts By Christopher J. Robinson A year after hearing oral argument, the 2nd Circuit has issued its much anticipated decision in Cariou v. Read More » Can We Publish This Photo? Analyzing Fair Use When the Well-Known Subject of an Image Owns the Copyright Penguin Group (USA) Inc. v. By Elizabeth McNamara and Chris Robinson Earlier this year, the New York Court of Appeals issued an important decision which should help New York publishers combat online piracy of their copyrighted works and will DMCA Update: Copyright Office Proposes Changes to Agent Registration System Goal is to Qualify for Copyright Safe Harbor for User Generated Content By Adam Shoemaker, David D. Copyright Office Begins New DMCA Exemption Rulemaking By David M. Disaster or Disaster Averted? By Christopher J. Ninth Circuit Revives California Idea Submission Claims The Basics of Music Licensing in Digital Media: 2011 Update By David D.
Stanford Copyright and Fair Use Center Value of Cataloging Librarians | Association for Library Collections & Technical Services (ALCTS) by the Association for Library Collections & Technical Services Cataloging & Classification Section Executive Committee, 13 June 2006 The CCS Executive Committee is charged with encouraging and promoting cataloging and classification of library materials in all types of institutions. Although not explicitly stated, this support extends to the professionals who do the work. Cataloging librarians comprise a small but valuable subset of the library profession that provides critical but sometimes hidden services to their libraries. With this document, the committee hopes to provide catalogers and cataloging managers a tool for describing the critical importance of cataloging librarians. Cataloging librarianship is, at its heart, about service. Further, cataloging librarians: Lead Envision bibliographic control of collections of the world’s knowledge and implement this vision to create local, regional, and international catalogs and digital access systems. Collaborate Create & Improve Access
Code of Best Practices in Fair Use for Scholarly Research in Communication June 2010Click here to view or download a copy of this report.Click here to view or download a printable version of this report. Report by: The International Communication Association Facilitated by: Peter Jaszi,Program on Information Justice and Intellectual Property, American University Washington College of LawPat Aufderheide, Center for Media & Social Impact, American University With funding from: The International Communication Association The Ford Foundation,by way of the Future of Public Media Project Introduction Code of Best Practices in Fair Use for Communication Scholars 1. 2. 3. 4. Notes What This Is This document is a code of best practices that helps U.S. communication scholars to interpret the copyright doctrine of fair use. This guide identifies four situations that represent the current consensus within the community of communication scholars about acceptable practices for the fair use of copyrighted materials. What This Isn't How This Document Was Created Problems Often Encountered
The Code of Best Practices in Fair Use for Media Literacy Education Click here to view or download a PDF of this report. Coordinated by: The Media Education Lab,Temple UniversityThe Program on Information Justice and Intellectual Property,American University Washington College of LawThe Center for Media & Social Impact,American University With funding from: The John D. and Catherine T. And additional support from: The Ford Foundation,by way of the Future of Public Media Project Introduction Principles of Fair Use in Media Literacy Education 1. 2. 3. 4. 5. Conclusion Common Myths About Fair Use Notes What This Is This document is a code of best practices that helps educators using media literacy concepts and techniques to interpret the copyright doctrine of fair use. What This Isn't This code of best practices does not tell you the limits of fair use rights. It’s not a guide to using material that people give the public permission to use, such as works covered by Creative Commons licenses. How This Document Was Created Media Literacy Education Fair Use and Education
Copyright in the Library - Introduction Libraries have a special set of exemptions from liability for copyright infringement when they exercise some of the exclusive rights of copyright holders such as making copies, displaying and performing works publicly, and distributing works to the public. They also enjoy the protections of other more general exemptions, such as fair use. Copyright in the library is a set of short articles that explain each of the law's special privileges and the conditions under which libraries enjoy them. There are also articles that explore other important issues that deeply affect academic libraries, such as the revolution in scholarly communication, enabled by dramatic changes in networked communication technologies, the continuing evolution of analog libraries into digital libraries, and such practical considerations as negotiating contracts to acquire access to databases and software. The subjects in this series include: Fair Use (Section 107) Library reproduction and distribution (Section 108) Other
Ethical Issues ALA's Position Statement on the Confidentiality of Library Records The ethical responsibilities of librarians, as well as statues in most states and the District of Columbia, protect the privacy of library users. This statement outlines the beliefs of the American Library Association on the issue of patron confidentiality. American Library Association Code of Ethics The ALA Code of Ethics are the principles that guide the work of librarians, other professionals providing information services, library trustees, and library support staffs. IFLA's World Code of Ethics by Country The International Federation of Library Association and Institutions monitors the state of intellectual freedom within the library community world-wide. Intellectual Freedom Brochure This brochure was created by the AASL Intellectual Freedom Committee and is available for download, duplication, and distribution. Privacy in School Library Programs American Library Association. Return to top of page
Rights of Writers: Copyright in Fictional Characters: Can I Have Don Draper Make a Cameo Appearance in My Novel? I'm throwing a dinner party in my novel. My guest list includes Don Draper, James Bond, Jack Ryan, Scarlett O'Hara, Dolores Haze a/k/a Lolita, and Elizabeth Bennett. I don't expect my guests to say or do anything at my fictional party. The question is: Can they simply show up at the dinner table without my infringing the copyrights of Matthew Weiner, Ian Fleming, Tom Clancy, Margaret Mitchell, Vladimir Nabokov, and Jane Austen or their heirs? Before trying to answer that (somewhat surprisingly complicated) question, let me introduce you to one of my guests. Jack Ryan is known to millions of readers as a tough former Second Lieutenant in the Marines, a onetime CIA agent, and ultimately President of the United States. Clancy was a true unknown when he wrote Hunt for Red October -- an insurance agent who daydreamed of becoming a novelist. For his second book, Clancy jumped ship and signed with a big New York publisher. The Red October arbitration was settled on undisclosed terms.
What Is Copyright Infringement? Examples That May Surprise You There are a few things going on here. First of all, let’s forget about the existing translation and look back at the definition of a derivative work from the first question. It’s pretty clear that without the original book, there could be no translation whatsoever—the de facto definition of “derivative.” Well, obviously, you say. Wrong. However, if the original copyright has expired, you’re certainly free to make your own translation—even if someone else has done another modern translation, whose copyright is still valid. Here’s an example—Beowulf, arguably the most impressive of the Old English that has luckily enough been preserved, has been translated many, many times. You may be surprised to learn how vastly different translations of the same piece can vary, especially when you’re dealing with poetry. Because of this, one person’s translation is, of necessity, a different work from another person’s translation.
Code of Best Practices in Fair Use Embed imageView/download PDFThe Association of Research Libraries (ARL) presents the Code of Best Practices in Fair Use for Academic and Research Libraries (PDF), a clear and easy-to-use statement of fair and reasonable approaches to fair use developed by and for librarians who support academic inquiry and higher education. The Code was developed in partnership with the Center for Social Media and the Washington College of Law at American University. In dozens of interviews with veteran research and academic librarians, the researchers learned how copyright law comes into play as interviewees performed core library functions. Then, in a series of small group discussions held with library policymakers around the country, the research team developed a consensus approach to applying fair use. The Code deals with such common questions in higher education as: When and how much copyrighted material can be digitized for student use? Such codes have a powerful effect both in law and practice.
PD Info-Public Domain and Royalty Free Music Copyright Term and the Public Domain in the United States Notes 1. This chart was first published in Peter B. Hirtle, "Recent Changes To The Copyright Law: Copyright Term Extension," Archival Outlook, January/February 1999. This version is current as of . The most recent version is found at 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. The copyright notice for phonorecords embodying a sound recording is different from that for other works. 1. ; and 2. 3. 4. 2004 X.Y.Z. 16. 17. 19. and may have inherited UCC obligations and protections from the , which joined the UCC on . 20. 21. The Teacher's Guide To Copyright And Fair Use Today, so much of our research happens online, and part of what makes the internet so wonderful is the ease at which it brings information into our lives. But when that information is so easily available to us, it is sometimes easy to forget that someone else produced that information, and they deserve credit. Plagiarism is as much an issue now as it ever has been (we’ve even devoted a portion of an issue of Edudemic Magazine to learning about the anti-plagiarism tools available for teachers and students). Teaching students about copyright is more than just letting them know that they should be doing their own work, and not copying off the web. Luckily, there are a number of resources on the web which make copyright and fair use guidelines much more clear. The below graphic was created by Tech and Learning and more information is available over at Hall Davidson’s site . Click image to enlarge!
Home - Copyright - LibGuides at Laramie County Community College For purposes such as criticism, comment, news reporting, teaching, scholarship, or research, determing if the use of a copyrighted work will be fair, you need to consider these four factors: The purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes The nature of the copyrighted work The amount and substantiality of the portion used in relation to the copyrighted work as a whole The effect of use upon the potential market for or value of the copyrighted work Fair Use Guidelines The U.S. In the final report from the Conference on Fair Use, see the following appendices for suggested guidelines: Appendix H - Fair Use Guidelines for Digital Images Appendix I - Fair Use Guidelines for Distance Learning Appendix J - Fair Use Guidelines for Educational Multimedia When to ask for Permission Fair Use Checklist - Copyright.com Requesting permission