Duration of Copyright
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
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. -
ELDRED V. ASHCROFT: the CONSTITUTIONALITY of the COPYRIGHT TERM EXTENSION ACT by Michaeljones
COPYRIGHT ELDRED V. ASHCROFT: THE CONSTITUTIONALITY OF THE COPYRIGHT TERM EXTENSION ACT By MichaelJones On January 15, 2003, the Supreme Court upheld the constitutionality of the Copyright Term Extension Act ("CTEA"), which extended the term of copyright protection by twenty years.2 The decision has been ap- plauded by copyright protectionists who regard the extension as an effec- tive incentive to creators. In their view, it is a perfectly rational piece of legislation that reflects Congress's judgment as to the proper copyright term, balances the interests of copyright holders and users, and brings the3 United States into line with the European Union's copyright regime. However, the CTEA has been deplored by champions of a robust public domain, who see the extension as a giveaway to powerful conglomerates, which runs contrary to the public interest.4 Such activists see the CTEA as, in the words of Justice Stevens, a "gratuitous transfer of wealth" that will impoverish the public domain. 5 Consequently, Eldred, for those in agree- ment with Justice Stevens, is nothing less than the "Dred Scott case for 6 culture." The Court in Eldred rejected the petitioners' claims that (1) the CTEA did not pass constitutional muster under the Copyright Clause's "limited © 2004 Berkeley Technology Law Journal & Berkeley Center for Law and Technology. 1. Sonny Bono Copyright Term Extension Act, 17 U.S.C. §§ 108, 203, 301-304 (2002). The Act's four provisions consider term extensions, transfer rights, a new in- fringement exception, and the division of fees, respectively; this Note deals only with the first provision, that of term extensions. -
The Copyright Act of 1976 (As Amended and Codified)
The Copyright Act of 1976 (as amended and codified) The Act of October 19, 1976 , Public Law Number 94-553 , 90 Stat. 2598, effective January 1, 1978. Chronology of Amendments Public Law No. 95-94 , 91 Stat. 653, 682 (Aug. 5, 1977) amended Sections 203 and 708. Public Law No. 95-598 , 92 Stat. 2676 (Nov. 6, 1978) amended Section 201. Public Law No. 96-517 , 94 Stat. 3028 (Dec. 12, 1980) amended Sections 101 and 117. Public Law No. 97-180 , 96 Stat. 93 (May 24, 1982) amended Section 506. Public Law No. 97-215 , 96 Stat. 178 (July 13, 1982) amended Section 601. Public Law No. 97-366 , 96 Stat. 1759 (Oct. 25, 1982) amended Section 110, 708. Public Law No. 98-450 , 98 Stat. 1727 (Oct. 4, 1984) amended Sections 109 and 115. Public Law No. 98-620 , 98 Stat. 3347 (Nov. 8, 1984) added Chapter 9 (§ § 901 et seq. ). Public Law No. 99-397 , 100 Stat. 848 (Aug. 27, 1986) amended Sections 111 and 801. Public Law No. 100-159 , 101 Stat. 900 (Nov. 9, 1987) amended Sections 902 and 914. Public Law No. 100-568 , 102 Stat. 2853 (Oct. 31, 1988) added Section 116A and amended Sections 101, 116, 205, 301, 401, 402, 403, 404, 405, 406, 407, 408, 411, 501, 504, 801, and 804. Public Law No. 100-617 , 102 Stat. 3194 (Nov. 5, 1988) amended Section 109 and 17 U.S.C. § 109 note. Public Law No. 100-667 , 102 Stat. 3949 (Nov. 16, 1988) added Section 119 and amended Sections 111, 501, 801, and 804. -
Supreme Court of the United States
(Slip Opinion) OCTOBER TERM, 2002 1 Syllabus NOTE: Where it is feasible, a syllabus (headnote) will be released, as is being done in connection with this case, at the time the opinion is issued. The syllabus constitutes no part of the opinion of the Court but has been prepared by the Reporter of Decisions for the convenience of the reader. See United States v. Detroit Timber & Lumber Co., 200 U. S. 321, 337. SUPREME COURT OF THE UNITED STATES Syllabus ELDRED ET AL. v. ASHCROFT, ATTORNEY GENERAL CERTIORARI TO THE UNITED STATES COURT OF APPEALS FOR THE DISTRICT OF COLUMBIA CIRCUIT No. 01–618. Argued October 9, 2002—Decided January 15, 2003 The Copyright and Patent Clause, U. S. Const., Art. I, §8, cl. 8, provides as to copyrights: “Congress shall have Power . [t]o promote the Progress of Science . by securing [to Authors] for limited Times . the exclusive Right to their . Writings.” In the 1998 Copyright Term Extension Act (CTEA), Congress enlarged the duration of copy- rights by 20 years: Under the 1976 Copyright Act (1976 Act), copy- right protection generally lasted from a work’s creation until 50 years after the author’s death; under the CTEA, most copyrights now run from creation until 70 years after the author’s death, 17 U. S. C. §302(a). As in the case of prior copyright extensions, principally in 1831, 1909, and 1976, Congress provided for application of the en- larged terms to existing and future copyrights alike. Petitioners, whose products or services build on copyrighted works that have gone into the public domain, brought this suit seeking a de- termination that the CTEA fails constitutional review under both the Copyright Clause’s “limited Times” prescription and the First Amendment’s free speech guarantee. -
The Creative Employee and the Copyright Act of 1976 Rochelle Cooper Dreyfusst
The Creative Employee and the Copyright Act of 1976 Rochelle Cooper Dreyfusst Debates on issues in copyright law have long exhibited a clash between alternative visions of the goal that copyright seeks to achieve. One group sees copyright as a means for enhancing the creative environment and so tends to suggest resolutions of open issues that are highly attuned to the interests of authors.' Another camp takes an economic approach centered on questions of public welfare. Under this view, public access emerges as a central con- cern, and the rights of authors are thought protectable only insofar as they are necessary to stimulate the optimal level of innovative production. 2 Ralph Brown has recently suggested that neither ap- proach fully captures the social interests that are at stake, and that greater insights might be obtained if the two views were somehow melded.3 This paper is an attempt to carry out Professor Brown's proposal. In merging the author-based and economic approaches, I con- t Associate Professor of Law, New York University School of Law. B.A., Wellesley Col- lege, 1968; M.S., University of California at Berkeley, 1970; J.D., Columbia University, 1981. I note with sadness the passing of my friend and colleague, Kate McKay. As copyright librarian, Kate was enormously helpful to everyone involved with intellectual property at New York University. The unaffected competence with which she carried out her many pub- lic and private roles inspired us all. I also wish to thank Harry First, Jane Ginsburg, Robert Gorman, and Diane Zimmerman for their thoughtful comments, and New York University law students Howard August and Michele Cotton for their research assistance. -
Diverted Derived Design
Diverted Derived Design Table of Contents Introduction 0 Motivations 1 Licenses 2 Design (as a) process 3 Distributions 4 Economies 5 Propositions 6 This book 7 Glossary 8 2 Diverted Derived Design Introduction The term open source is becoming popular among product designers. We see websites and initiatives appear with a lot of good intentions but sometimes missing the point and often creating confusion. Design magazines and blogs are always rushing into calling an openly published creation open source but rarely question the licenses or provide schematics or design files to download. We are furniture designers, hackers and artists who have been working with free/libre and open source software for quite some time. For us, applying these prirciples to product design was a natural extension, providing new areas to explore. But we also realized that designers coming to this with no prior open source experience had a lot of information to grasp before getting a clear picture of what could be open source product design. So we set ourselves to mobilize our knowledge in this book. We hope that this tool can be a base for teaching and learning about open source product design; a collective understanding of what one should know today to get started and join the movement; a reference students, amateurs and educators can have in their back pocket when they go out to explain what they are passionate about. How to read this book We have divided this book in sections that make sense for us. Each of these tries to address what we think is a general question you might have about open source product design. -
Golan V. Holder
THE JOHNIMARSHALL REVIEW OF INTELLECTUAL PROPERTY LAW GOLAN v HOLDER: COPYRIGHT IN THE IMAGE OF THE FIRST AMENDMENT DAVID L. LANGE, RISA J. WEAVER & SHIVEH ROXANA REED ABSTRACT Does copyright violate the First Amendment? Professor Melville Nimmer asked this question forty years ago, and then answered it by concluding that copyright itself is affirmatively speech protective. Despite ample reason to doubt Nimmer's response, the Supreme Court has avoided an independent, thoughtful, plenary review of the question. Copyright has come to enjoy an all-but-categorical immunity to First Amendment constraints. Now, however, the Court faces a new challenge to its back-of-the-hand treatment of this vital conflict. In Golan v. Holder the Tenth Circuit considered legislation (enacted pursuant to the Berne Convention and TRIPS) "restoring" copyright protection to millions of foreign works previously thought to belong to the public domain. The Tenth Circuit upheld the legislation, but not without noting that it appeared to raise important First Amendment concerns. The Supreme Court granted certiorari. This article addresses the issues in the Golan case, literally on the eve of oral argument before the Court. This article first considers the Copyright and Treaty Clauses, and then addresses the relationship between copyright and the First Amendment. The discussion endorses an understanding of that relationship in which the Amendment is newly seen as paramount, and copyright is newly seen in the image of the Amendment. Copyright C 2011 The John Marshall Law School Cite as David L. Lange, Risa J. Weaver & Shiveh Roxana Reed, Golan v. Holder: Copyright in the Image of the First Amendment, 11 J. -
Guide to Using Public Domain Tools
Creative Commons makes sharing easy Public domain works are valuable because anyone What is the difference between can freely build upon, enhance, and reuse them for CC0 and the Public Domain Mark? any purposes without restriction under copyright or database law. CC0 (“CC Zero”) is intended for use only That’s why it’s important for creators to have a clear and by authors or holders of copyright and legally robust way to place their works in the public domain as related rights (including database rights), in connection Guide to completely as possible, and it’s also important for publishers with works that are still subject to those rights in one or and archives to have a standardized way to identify works that are already in the public domain. more countries. Creative Commons supports two distinct public domain tools, When CC0 is applied to a work, copyright and related using public rights are relinquished worldwide, making the work free the CC0 Public Domain Dedication and the Public Domain Mark. Creative Commons copyright licenses help authors from those restrictions to the greatest extent possible. manage their copyright on terms they choose. Conversely, CC0 domain tools enables authors and copyright owners who want to dedicate The Public Domain Mark (PDM) is used their works to the worldwide public domain to do so, and PDM to label works that are already free of facilitates the labeling and discovery of works that are already known copyright restrictions. Unlike CC0, PDM doesn’t free of known copyright restrictions. change the copyright status of a work. -
Fifty Years of Open Source Movement: an Analysis Through the Prism of Copyright Law
FIFTY YEARS OF OPEN SOURCE MOVEMENT: AN ANALYSIS THROUGH THE PRISM OF COPYRIGHT LAW V.K. Unni* I. INTRODUCTION The evolution of the software industry is a case study in itself. This evolution has multiple phases and one such important phase, termed open source, deals with the manner in which software technology is held, developed, and distributed.1 Over the years, open source software has played a leading role in promoting the Internet infrastructure and thus programs utilizing open source software, such as Linux, Apache, and BIND, are very often used as tools to run various Internet and business applications.2 The origins of open source software can be traced back to 1964–65 when Bell Labs joined hands with the Massachusetts Institute of Technology (MIT) and General Electric (GE) to work on the development of MULTICS for creating a dynamic, modular computer system capable of supporting hundreds of users.3 During the early stages of development, open source software had a very slow beginning primarily because of some preconceived notions surrounding it. Firstly, open source software was perceived as a product of academics and hobbyist programmers.4 Secondly, it was thought to be technically inferior to proprietary software.5 However, with the passage of time, the technical issues got relegated to the backside and issues pertaining to copyright, licensing, warranty, etc., began to be debated across the globe.6 * Professor—Public Policy and Management, Indian Institute of Management Calcutta; Thomas Edison Innovation Fellow (2016–17), Center for the Protection of Intellectual Property, George Mason University School of Law. 1. -
Unlicense Yourself: Set Your Code Free
Unlicense Yourself: Set Your Code Free Like 232 Follow on Tumblr 138 What is the Unlicense? The Unlicense is a template for disclaiming copyright monopoly interest in software you've written; in other words, it is a template for dedicating your software to the public domain. It combines a copyright waiver patterned after the very successful public domain SQLite project with the no-warranty statement from the widely-used MIT/X11 license. Why Use the Unlicense? Because you have more important things to do than enriching lawyers or imposing petty restrictions on users of your code. How often have you passed up on utilizing and contributing to a great software library just because its open source license was not compatible with your own preferred flavor of open source? How many precious hours of your life have you spent deliberating how to license your software or worrying about licensing compatibility with other software? You will never get those hours back, but here's your chance to start cutting your losses. Life's too short, let's get back to coding. The Unlicense To opt out of the copyright industry's game altogether and set your code free, put your next software project into the public domain using the following (un)licensing statement: This is free and unencumbered software released into the public domain. Anyone is free to copy, modify, publish, use, compile, sell, or distribute this software, either in source code form or as a compiled binary, for any purpose, commercial or non-commercial, and by any means. In jurisdictions that recognize copyright laws, the author or authors of this software dedicate any and all copyright interest in the software to the public domain. -
ELDRED V. ASHCROFT: the CONSTITUTIONALITY of the COPYRIGHT TERM EXTENSION ACT by Michaeljones
COPYRIGHT ELDRED V. ASHCROFT: THE CONSTITUTIONALITY OF THE COPYRIGHT TERM EXTENSION ACT By MichaelJones On January 15, 2003, the Supreme Court upheld the constitutionality of the Copyright Term Extension Act ("CTEA"), which extended the term of copyright protection by twenty years.2 The decision has been ap- plauded by copyright protectionists who regard the extension as an effec- tive incentive to creators. In their view, it is a perfectly rational piece of legislation that reflects Congress's judgment as to the proper copyright term, balances the interests of copyright holders and users, and brings the3 United States into line with the European Union's copyright regime. However, the CTEA has been deplored by champions of a robust public domain, who see the extension as a giveaway to powerful conglomerates, which runs contrary to the public interest.4 Such activists see the CTEA as, in the words of Justice Stevens, a "gratuitous transfer of wealth" that will impoverish the public domain. 5 Consequently, Eldred, for those in agree- ment with Justice Stevens, is nothing less than the "Dred Scott case for 6 culture." The Court in Eldred rejected the petitioners' claims that (1) the CTEA did not pass constitutional muster under the Copyright Clause's "limited © 2004 Berkeley Technology Law Journal & Berkeley Center for Law and Technology. 1. Sonny Bono Copyright Term Extension Act, 17 U.S.C. §§ 108, 203, 301-304 (2002). The Act's four provisions consider term extensions, transfer rights, a new in- fringement exception, and the division of fees, respectively; this Note deals only with the first provision, that of term extensions. -
The Copyleft Movement: Creative Commons Licensing
Centre for the Study of Communication and Culture Volume 26 (2007) No. 3 IN THIS ISSUE The Copyleft Movement: Creative Commons Licensing Sharee L. Broussard, MS APR Spring Hill College AQUARTERLY REVIEW OF COMMUNICATION RESEARCH ISSN: 0144-4646 Communication Research Trends Table of Contents Volume 26 (2007) Number 3 http://cscc.scu.edu The Copyleft Movement:Creative Commons Licensing Published four times a year by the Centre for the Study of Communication and Culture (CSCC), sponsored by the 1. Introduction . 3 California Province of the Society of Jesus. 2. Copyright . 3 Copyright 2007. ISSN 0144-4646 3. Protection Activity . 6 4. DRM . 7 Editor: William E. Biernatzki, S.J. 5. Copyleft . 7 Managing Editor: Paul A. Soukup, S.J. 6. Creative Commons . 8 Editorial assistant: Yocupitzia Oseguera 7. Internet Practices Encouraging Creative Commons . 11 Subscription: 8. Pros and Cons . 12 Annual subscription (Vol. 26) US$50 9. Discussion and Conclusion . 13 Payment by check, MasterCard, Visa or US$ preferred. Editor’s Afterword . 14 For payments by MasterCard or Visa, send full account number, expiration date, name on account, and signature. References . 15 Checks and/or International Money Orders (drawn on Book Reviews . 17 USA banks; for non-USA banks, add $10 for handling) should be made payable to Communication Research Journal Report . 37 Trends and sent to the managing editor Paul A. Soukup, S.J. Communication Department In Memoriam Santa Clara University Michael Traber . 41 500 El Camino Real James Halloran . 43 Santa Clara, CA 95053 USA Transfer by wire: Contact the managing editor. Add $10 for handling. Address all correspondence to the managing editor at the address shown above.