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Circular 1 Copyright Basics
CIRCULAR 1 Copyright Basics Copyright is a form of protection Copyright is a form of protection provided by the laws of the provided by U.S. law to authors of United States to the authors of “original works of authorship” that are fixed in a tangible form of expression. An original “original works of authorship” from work of authorship is a work that is independently created by the time the works are created in a a human author and possesses at least some minimal degree of creativity. A work is “fixed” when it is captured (either fixed form. This circular provides an by or under the authority of an author) in a sufficiently overview of basic facts about copyright permanent medium such that the work can be perceived, and copyright registration with the reproduced, or communicated for more than a short time. Copyright protection in the United States exists automatically U.S. Copyright Office. It covers from the moment the original work of authorship is fixed.1 • Works eligible for protection • Rights of copyright owners What Works Are Protected? • Who can claim copyright • Duration of copyright Examples of copyrightable works include • Literary works • Musical works, including any accompanying words • Dramatic works, including any accompanying music • Pantomimes and choreographic works • Pictorial, graphic, and sculptural works • Motion pictures and other audiovisual works • Sound recordings, which are works that result from the fixation of a series of musical, spoken, or other sounds • Architectural works These categories should be viewed broadly for the purpose of registering your work. For example, computer programs and certain “compilations” can be registered as “literary works”; maps and technical drawings can be registered as “pictorial, graphic, and sculptural works.” w copyright.gov note: Before 1978, federal copyright was generally secured by publishing a work with an appro- priate copyright notice. -
Illustrators' Partnership of America and Co-Chair of the American Society of Illustrators Partnership, Is One of Those Opponents
I L L U S T R A T O R S ‘ P A R T N E R S H I P 8 4 5 M O R A I N E S T R E E T M A R S H F I E L D , M A S S A C H U S E T T S USA 0 2 0 5 0 t 7 8 1 - 8 3 7 - 9 1 5 2 w w w . i l l u s t r a t o r s p a r t n e r s h i p . o r g February 3, 2013 Maria Pallante Register of Copyrights US Copyright Office 101 Independence Ave. S.E. Washington, D.C. 20559-6000 RE: Notice of Inquiry, Copyright Office, Library of Congress Orphan Works and Mass Digitization (77 FR 64555) Comments of the Illustrators’ Partnership of America In its October 22, 2012 Notice of Inquiry, the Copyright Office has asked for comments from interested parties regarding “what has changed in the legal and business environments during the past four years that might be relevant to a resolution of the [orphan works] problem and what additional legislative, regulatory, or voluntary solutions deserve deliberation at this time.” As rightsholders, we welcome and appreciate the opportunity to comment. In the past, we have not opposed orphan works legislation in principle; but we have opposed legislation drafted so broadly that it would have permitted the widespread orphaning and infringement of copyright-protected art. In 2008, the Illustrators’ Partnership was joined by 84 other creators’ organizations in opposing that legislation; 167,000 letters were sent to members of Congress from our website. -
An Introduction to Copyright for Small and Medium-Sized Enterprises
For more information contact the: World Intellectual Property Organisation (WIPO) 34, Chemin des Colombettes P.O Box 18 creative CH-1211 Geneva 20 Switzerland. Fax: +41 22 338 87 60 Email: [email protected] Web page: http://www.wipo.int/sme expressionS Intellectual Property for Business Series 4 | 4 Copies of all publications in this series are available from: An Introduction to The Department of Trade and Industry (DTI) Copyright for Small Postal Address: and Medium-sized Private Bag x400 Pretoria Enterprises 0001 Physical Address: The dti Campus 77 Meintjies Street Sunnyside, Pretoria Web page: www.thedti.gov.za Call Centre: 0861 843 384 Email: [email protected] creative expressionS An Introduction to Copyright for Small and Medium-sized Enterprises Intellectual Property for Business Series 4 | 4 PUBLICATIONS IN THE “INTELLECTUAL PROPERTY FOR BUSINEss” serieS: 1. Making a Mark: An Introduction to Trade marks for Small and Medium-sized Enterprises. 2. Looking Good: An Introduction to Aesthetic Designs for Small and Medium-sized Enterprises. 3. Inventing the Future: An Introduction to Patents and Functional Designs for Small and Medium- sized Enterprises. 4. Creative Expressions: An Introduction to Copyright for Small and Medium-sized Enterprises. All publications in the series are available from the Department of Trade and Industry at: [email protected] 2 PREFACE This is the fourth in a series of guides developed under the World Intellectual Property Organisation (WIPO) Developement Agenda project to assist small and medium sized enterprises (SMEs) to navigate and optimally utilise the South African intellectual property right system. The guide provides a user friendly overview and explanation of South African copyright law. -
Case 1:16-Cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66
Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 1 of 66 UNITED STATES DISTRICT COURT SOUTHERN DISTRICT OF NEW YORK -------------------------------------- X : WE SHALL OVERCOME FOUNDATION and : 16cv2725(DLC) BUTLER FILMS, LLC, on behalf of : themselves and all others similarly : OPINION AND ORDER situated, : : Plaintiffs, : : -v- : : THE RICHMOND ORGANIZATION, INC. (TRO : INC.) and LUDLOW MUSIC, INC., : : Defendants. : : -------------------------------------- X APPEARANCES: For the Plaintiffs: Mark C. Rifkin Randall S. Newman Gloria K. Melwani Wolf Haldenstein Adler Freeman & Herz LLP 270 Madison Ave, 10th Floor New York, NY 10016 For the Defendants: Paul LiCalsi Ofer Reger Robins Kaplan LLC 601 Lexington Ave, Suite 3400 New York, NY 10022 DENISE COTE, District Judge: The defendants The Richmond Organization, Inc. (“TRO”) and its subsidiary and imprint Ludlow Music, Inc. (“Ludlow”) (collectively, the “Defendants”) possess two copyrights in the musical composition “We Shall Overcome” (the “Song” or the Case 1:16-cv-02725-DLC Document 87 Filed 09/08/17 Page 2 of 66 “Copyrighted Song”), registered as a derivative work with the Copyright Office in 1960 and 1963. In this litigation, the plaintiffs We Shall Overcome Foundation (“WSOF”) and Butler Films, LLC (“Butler”) (collectively, the “Plaintiffs”) challenge through a putative class action the validity of the Defendants’ copyrights in the Song. The Plaintiffs have filed a motion for partial summary judgment in which they principally argue that the lyrics and melody in the first verse and its identical fifth verse (“Verse 1/5”) of the Song are not sufficiently original to qualify for copyright registration as a derivative work.1 For the reasons that follow, that portion of the Plaintiffs’ motion for summary judgment is granted. -
Copyright 2018 4Th Edition a Practical Cross-Border Insight Into Copyright Law
ICLG The International Comparative Legal Guide to: Copyright 2018 4th Edition A practical cross-border insight into copyright law Published by Global Legal Group, in association with Bird & Bird LLP With contributions from: Anderson Mōri & Tomotsune KISCH IP Arnold & Porter Kaye Scholer LLP LexOrbis Bereskin & Parr LLP LPS L@w Bird & Bird LLP MinterEllison BROSS & PARTNERS PEREZ CORREA & ASOCIADOS, SC Daniel Legal & IP Strategy S. P. A. Ajibade & Co Deep & Far Attorneys-at-Law Seow & Associates FRORIEP Legal SA SyCip Salazar Hernandez & Gatmaitan Gorodissky & Partners (Ukraine) Vash Patent LLC Güzeldere & Balkan Law Firm Weisselberg Avocat HOYNG ROKH MONEGIER ZY Partners JIPYONG The International Comparative Legal Guide to: Copyright 2018 General Chapter: 1 Communication to the Public: the Only Right Worth Talking About? – Will Smith & Phil Sherrell, Bird & Bird LLP 1 Contributing Editor Country Question and Answer Chapters: Phil Sherrell, Bird & Bird LLP 2 Australia MinterEllison: John Fairbairn & Emily Hawcroft 7 Sales Director Florjan Osmani 3 Brazil Daniel Legal & IP Strategy: Giovanna M. Sgaria de Morais Moulin & Account Director Hannah Vitória M. Fernandes 14 Oliver Smith Sales Support Manager 4 Canada Bereskin & Parr LLP: Jill Jarvis-Tonus 20 Toni Hayward 5 China ZY Partners: Zhou Qiang & Deng Huiqiong 26 Senior Editors Suzie Levy, Rachel Williams 6 France Weisselberg Avocat: Elise Weisselberg 32 Chief Operating Officer Dror Levy 7 Germany HOYNG ROKH MONEGIER: Thomas H. Schmitz & Mathis Breuer 37 Group Consulting Editor Alan Falach 8 India LexOrbis: Dheeraj Kapoor & Aprajita Nigam 42 Publisher Rory Smith 9 Japan Anderson Mōri & Tomotsune: Masayuki Yamanouchi & Yuri Fukui 49 Published by 10 Korea JIPYONG: Seung Soo Choi & Seungmin Jasmine Jung 55 Global Legal Group Ltd. -
Monetizing Infringement
University of Colorado Law School Colorado Law Scholarly Commons Articles Colorado Law Faculty Scholarship 2020 Monetizing Infringement Kristelia García University of Colorado Law School Follow this and additional works at: https://scholar.law.colorado.edu/articles Part of the Entertainment, Arts, and Sports Law Commons, Intellectual Property Law Commons, Law and Economics Commons, and the Legislation Commons Citation Information Kristelia García, Monetizing Infringement, 54 U.C. DAVIS L. REV. 265 (2020), available at https://scholar.law.colorado.edu/articles/1308. Copyright Statement Copyright protected. Use of materials from this collection beyond the exceptions provided for in the Fair Use and Educational Use clauses of the U.S. Copyright Law may violate federal law. Permission to publish or reproduce is required. This Article is brought to you for free and open access by the Colorado Law Faculty Scholarship at Colorado Law Scholarly Commons. It has been accepted for inclusion in Articles by an authorized administrator of Colorado Law Scholarly Commons. For more information, please contact [email protected]. Monetizing Infringement Kristelia García* The deterrence of copyright infringement and the evils of piracy have long been an axiomatic focus of both legislators and scholars. The conventional view is that infringement must be curbed and/or punished in order for copyright to fulfill its purported goals of incentivizing creation and ensuring access to works. This Essay proves this view false by demonstrating that some rightsholders don’t merely tolerate, but actually encourage infringement, both explicitly and implicitly, in a variety of different situations and for one common reason: they benefit from it. -
Fetishizing Copies
University of Michigan Law School University of Michigan Law School Scholarship Repository Book Chapters Faculty Scholarship 2017 Fetishizing Copies Jessica Litman University of Michigan Law School, [email protected] Available at: https://repository.law.umich.edu/book_chapters/108 Follow this and additional works at: https://repository.law.umich.edu/book_chapters Part of the Computer Law Commons, Consumer Protection Law Commons, Intellectual Property Law Commons, Legislation Commons, and the Science and Technology Law Commons Publication Information & Recommended Citation Litman, Jessica D. "Fetishizing Copies." In Copyright in An Age of Limitations and Exceptions, edited by R. Okediji, 107-31. Cambridge: Cambridge Univ. Press, 2017. This Book Chapter is brought to you for free and open access by the Faculty Scholarship at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Book Chapters by an authorized administrator of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. 3 Fetishizing Copies Jessica Litman * Abstract Our copyright laws encourage authors to create new works and communicate them to the public, because we hope that people will read the books, listen to the music, see the art, watch the f lms, run the software, and build and inhabit the buildings. That is the way that copyright promotes the Progress of Science. Recently, that not-very- controversial principle has collided with copyright owners’ conviction that they should be able to control, or at least collect royalties from, all uses of their works. A particularly ill-considered manifestation of this conviction is what I have decided to call copy- fetish. -
Chapter 1: Synthesis
7 | SYNTHESIS CHAPTER 1. SYNTHESIS This chapter provides the rationale and context for Enquiries into Intellectual Property’s Economic Impact and highlights its most significant findings. In doing so, the chapter presents the major themes of the overall report, which are 1) the importance of various types of intellectual property as sources of growth and innovation in today’s economies; and 2) the effects on IP systems and stakeholders of major developments such as content digitisation, the growth of the Internet, and globalisation. The statistical data for Israel are supplied by and under the responsibility of the relevant Israeli authorities or third party. The use of such data by the OECD is without prejudice to the status of the Golan Heights, East Jerusalem and Israeli settlements in the West Bank under the terms of international law. It should be noted that statistical data on Israeli patents and trademarks are supplied by the patent and trademark offices of the relevant countries. ENQUIRIES INTO INTELLECTUAL PROPERTY'S ECONOMIC IMPACT © OECD 2015 8 | SYNTHESIS EXECUTIVE SUMMARY Key challenges • Copyright appears to be the type of IP that has been attracting business investment at the highest growth rate and it is undergoing statutory review in many countries, yet there are fewer empirical studies about copyright than about patents. Encouraging and enabling the collection and availability of more data on copyright would facilitate data-driven copyright policy. In fact, robust evidence on the use of IP rights generally and on their economic and social impacts is essential for sound IP systems. Presently, however, relatively little concrete evidence is available to support the common assumption that IP rights encourage greater innovation and creativity. -
Copyright, Digitization of Images, and Art Museums: Cyberspace and Other New Frontiers
UCLA UCLA Entertainment Law Review Title Copyright, Digitization of Images, and Art Museums: Cyberspace and Other New Frontiers Permalink https://escholarship.org/uc/item/34s442ws Journal UCLA Entertainment Law Review, 6(2) ISSN 1073-2896 Author Appel, Sharon Publication Date 1999 DOI 10.5070/LR862026984 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Copyright, Digitization of Images, and Art Museums: Cyberspace and Other New Frontiers Sharon Appel* "[W]hile I shall think myself bound to secure every man in the enjoyment of his copy-right, one must not put manacles upon science." Lord Ellenborough, Carey v. Kearsley, 4 Esp. 168, 170, 170 Eng.Rep. 679, 681 (K.B.1803) I. IN TR O DU CTIO N .......................................................................... 151 II.THE LAW OF COPYRIGHT ......................................................... 154 A. Historical Origins of Copyright Law ................................. 154 B. Constitutional and Philosophical Underpinnings of C opyright Law ................................................................... 157 C. The Copyright Act of 1790 ................................................. 158 D. The Copyright Act of 1909 ................................................ 159 E. The Copyright Act of 1976 ................................................. 161 1. Threshold Requirements for Copyright Protection. 162 B.A. University of Wisconsin-Madison; J.D. Brooklyn Law School; Certificate, Graduate Program in Museum Studies, George Washington University. Former staff attorney and hearing officer, Telecommunications, Vermont Public Service Board. E-mail: [email protected]. Many thanks to Ralph Oman for his encouragement, enthusiasm, and advice. Thanks also to Jeffrey Hannigan, Ildiko P. DeAngelis, and Ellen Zavian for their comments upon earlier drafts, and to Craig Rutenberg for his flexibility and humor. I dedicate this article to my parents, Rose and Carl Appel. UCLA ENTERTAINMENT LAW REVIEW [Vol 6:2 2. -
Full Edition 1
WAKE FOREST JOURNAL OF BUSINESS AND INTELLECTUAL PROPERTY LAW VOLUME 14 NUMBER 1 FALL 2013 AN EXAMINATION OF BASEL III AND THE NEW U.S. BANKING REGULATIONS Andrew L. McElroy .................................................................. 5 HOW TO KILL COPYRIGHT: A BRUTE-FORCE APPROACH TO CONTENT CREATION Kirk Sigmon ........................................................................... 26 THE MIXED USE OF A PERSONAL RESIDENCE: INTEGRATION OF CONFLICTING HOLDING PURPOSES UNDER I.R.C. SECTIONS 121, 280A, AND 1031 Christine Manolakas ............................................................... 62 OPEN SOURCE MODELS IN BIOMEDICINE: WORKABLE COMPLEMENTARY FLEXIBILITIES WITHIN THE PATENT SYSTEM? Aura Bertoni ......................................................................... 126 PRIVATE FAIR USE: STRENGTHENING POLISH COPYRIGHT PROTECTION OF ONLINE WORKS BY LOOKING TO U.S. COPYRIGHT LAW Michał Pękała ....................................................................... 166 THE DMCA’S SAFE HARBOR PROVISION: IS IT REALLY KEEPING THE PIRATES AT BAY? Charles K. Lane .................................................................... 192 PERMISSIBLE ERROR?: WHY THE NINTH CIRCUIT’S INCORRECT APPLICATION OF THE DMCA IN MDY INDUSTRIES, LLC V. BLIZZARD ENTERTAINMENT, INC. REACHES THE CORRECT RESULT James Harrell ........................................................................ 211 ABOUT THE JOURNAL The WAKE FOREST JOURNAL OF BUSINESS AND INTELLECTUAL PROPERTY LAW is a student organization sponsored by Wake Forest University -
Conflict of Laws for Intellectual Property in Cyberspace
1 Conflict of Laws for Intellectual Property in Cyberspace François Dessemontet* INTRODUCTION * Professor, Universities of Lausanne and Fribourg. 2 The rules of conflict of laws are aimed at resolving conflicts between territorial laws, otherwise known as municipal laws. Although there are no separate national territories in cyberspace,1 territoriality remains in the 1 See Cass. com., March 7, 2000, D.2000 (No 20), 251-252; CA Paris, March 1, 2000, D.2000 (No 20), 251-252. For French private international law, see Chambre Nationale des Commissaires-priseurs c/ Nart SAS & Nart Inc., TGI Paris, May 3, 2000, available at http://www.legalis.net; UEJF & LICRA c/ Yahoo ! Inc & Yahoo France, Ordonnances de référé, TGI Paris, May 22, 2000 and November 20, 2000. See also M. R. Burnstein, Conflicts on the Net: Choice of Law in Transnational Cyberspace, 29 VAND. J. TRANSNAT’L L. 82 (1996); P.E. Geller, International Intellectual Property, Conflicts of Laws and Internet Remedies, EIPR 2000.125; L. LESSIG, CODE AND OTHER LAWS OF CYBERSPACE 42-60 (Cambridge 1999). 3 organization of the courts (with a few exceptions, such as the Panels adjudicating domain name disputes under the Internet Corporation for Assigned Names and Numbers (“ICANN”) Policy or the World Trade Organization (“WTO”) Dispute Resolution Body).2 Therefore, in most areas of intellectual property, conflict of jurisdiction remains a significant issue. This has prompted efforts towards the creation of a single patent court for all of Europe. However, beyond jurisdictional questions, the harmonization of intellectual property law is not a current endeavor. The Agreement on Trade- Related Aspects of Intellectual Property Rights (“TRIPS Agreement”)3 embodies only a minimum of 2 With regards to ICANN, see the Uniform Domain Name Dispute Resolution Policy, available at http://www.icann.org/udrp/udrp-policy-24oct99.htm; the Supplemental Rules for Uniform Domain Name Dispute Resolution Policy, available at http://www.arbiter.wipo.int/domains/rules/supplemental.html. -
INTELLECTUAL PRIVILEGE: Copyright, Common Law, and The
INTELLECTUAL PRIVILEGE Copyright, Common Law, and the Common Good TOM W. BELL Arlington, Virginia Founders’ Copyright 2014 by Tom Bell. (See opposite for more information.) Second printing, April 2018 Printed in the United States of America Mercatus Center at George Mason University 3434 Washington Blvd., 4th Floor Arlington, VA 22201 www.mercatus.org 703-993-4930 Library of Congress Cataloging-in-Publication Data Bell, Tom W. Intellectual privilege : copyright, common law, and the common good / Tom W. Bell. pages cm ISBN 978-0-9892193-8-9 (pbk.) -- ISBN 978-0-9892193-9-6 (e-book (kindle)) 1. Copyright--United States. I. Title. KF2994.B45 2014 346.7304’82--dc23 2014005816 COPYRIGHT NOTE Not long ago, in “Five Reforms for Copyright” (chapter 7 of Copyright Unbalanced: From Incentive to Excess, published by the Mercatus Center at George Mason University in 2012), I suggested that the United States should return to the kind of copyright the Founders supported: the one they created in their 1790 Copyright Act. The Founders’ copyright had a term of only fourteen years with the option to renew for another fourteen. It conditioned copyright on the satisfaction of strict statutory formali- ties and covered only maps, charts, and books. The Founders’ copyright protected only against unauthorized reproductions and offered only com- paratively limited remedies. This book follows through on that policy advice. The Mercatus Center and I agreed to publish it under terms chosen to recreate the legal effect of the Founders’ 1790 Copyright Act. For example, the book’s copy- right will expire in 2042 (if not before), and you should feel free to make a movie or other derivative work at any time.