Copyright Remedy Clarification Act and Copyright Office Report on Copyright Liability of States, Subcomm. on Courts
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Copyright and State Sovereign Immunity
united states copyright office Copyright and State Sovereign Immunity A REPORT Of ThE REgister Of cOPyRighTs AugusT 2021 united states copyright office Copyright and State Sovereign Immunity A report Of ThE REgister Of cOPyRighTs AugusT 2021 The Honorable Patrick Leahy Chair Subcommittee on Intellectual Property United States Senate 437 Russell Senate Building Washington, D.C. 20510 The Honorable Thom Tillis Ranking Member Subcommittee on Intellectual Property United States Senate 113 Dirksen Senate Office Building Washington, D.C. 20510 August 31, 2021 Dear Chairman Leahy and Ranking Member Tillis: On behalf of the United States Copyright Office, I am pleased to deliver a copy of a report entitled Copyright and State Sovereign Immunity, which is available to the public on the Office’s website. Following the Supreme Court’s decision in Allen v. Cooper, you requested that the Copyright Office undertake a study to determine whether, consistent with the Court’s analysis, Congress could legislatively abrogate state sovereign immunity to suits in federal court for damages for copyright infringement. In response to your request, the Office solicited the views of interested stakeholders and held roundtables to amplify the record. The Office received comments from many copyright owners who believed that their works had been infringed by state entities. A number of state entities provided information about their policies on copyright, and views regarding allegations of infringement and the possible effect of abrogation on their operations. The Office also conducted extensive research into the legal standards governing abrogation in the context of copyright infringement. After carefully evaluating the information provided, the Office can report that the number of allegations of state infringement provided in the course of this study is substantially greater than the number Congress considered when it adopted its prior abrogation legislation, and greater than the evidence found insufficient in prior intellectual property cases. -
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. -
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. -
The Next Great Copyright Act
THE NEXT GREAT COPYRIGHT ACT Twenty-Sixth Horace S. Manges Lecture by Maria A. Pallante1 I. INTRODUCTION Tonight my topic is the next great copyright act, but before I speak about the future, I would like to talk a little about the past, including the role of the Copyright Office in past revision activities. In my remarks, I will address the need for comprehensive review and revision of U.S. copyright law, identify the most significant issues, and suggest a framework by which Congress should weigh the public interest, which includes the interests of authors. I also will address the necessary evolution of the Copyright Office itself. Those of you who have been to our offices in Washington know that we have a conference room featuring portraits of the former Registers of Copyright dating back to 1897.2 When guests are seated at our table, the former Registers preside on high, wearing a variety of expressions and overseeing complex conversations about copyright law in the digital age. Sometimes I think they would be startled by the discussions we have, but then again it might all sound familiar. Solberg (1887-1933) Thorvald Solberg was the first and longest-serving Register of Copyrights. He seems inspired in his portrait, and for good reason. Solberg was a visionary leader, a champion of authors’ rights, and an early advocate for the United States’ adherence to the Berne Convention for the Protection of Literary and Artistic Works (“Berne Convention”).3 Under his care, the Copyright Office grew from a handful of employees to more than a hundred professional staff, and took on the many assorted roles that are still critical to the mission of the Office today. -
Money for Something: Music Licensing in the 21St Century
Money for Something: Music Licensing in the 21st Century Updated February 23, 2021 Congressional Research Service https://crsreports.congress.gov R43984 SUMMARY R43984 Money for Something: Music Licensing in the February 23, 2021 21st Century Dana A. Scherer Songwriters and recording artists are generally entitled to receive compensation for Specialist in (1) reproductions, distributions, and public performances of the notes and lyrics they create (the Telecommunications musical works), as well as (2) reproductions, distributions, and certain digital public Policy performances of the recorded sound of their voices combined with instruments (the sound recordings). The amount they receive, as well as their control over their music, depends on market forces, contracts between a variety of private-sector entities, and laws governing copyright and competition policy. Who pays whom, as well as who can sue whom for copyright infringement, depends in part on the mode of listening to music. Congress enacted several major updates to copyright laws in 2018 in the Orrin G. Hatch-Bob Goodlatte Music Modernization Act (MMA; P.L. 115-264). The MMA modified copyright laws related to the process of granting and receiving statutory licenses for the reproduction and distribution of musical works (known as “mechanical licenses”). The law set forth terms for the creation of a nonprofit “mechanical licensing collective” through which owners of copyrights in musical works could collect royalties from online music services. The law also changed the standards used by a group of federal administrative law judges, the Copyright Royalty Board, to set royalty rates for some statutory copyright licenses, as well as the standards used by a federal court to set rates for licenses to publicly perform musical works offered by two organizations representing publishers and composers, ASCAP and BMI. -
Section 512 of Title 17 a Report of the Register of Copyrights May 2020 United States Copyright Office
united states copyright office section 512 of title 17 a report of the register of copyrights may 2020 united states copyright office section 512 of title 17 a report of the register of copyrights may 2020 U.S. Copyright Office Section 512 Report ACKNOWLEDGEMENTS The publication of this Report is the final output of several years of effort by the Copyright Office to assist Congress with evaluating ways to update the Copyright Act for the 21st century. The genesis of this Report occurred in the midst of the two years of copyright review hearings held by the House Judiciary Committee that spanned the 113th and 114th Congresses. At the twentieth and final hearing in April 2015, the Copyright Office proposed several policy studies to aid Congress in its further review of the Copyright Act. Two studies already underway at the time were completed after the hearings: Orphan Works and Mass Digitization (2015), which the Office later supplemented with a letter to Congress on the “Mass Digitization Pilot Program” (2017), and The Making Available Right in the United States (2016). Additional studies proposed during the final hearing that were subsequently issued by the Office included: the discussion document Section 108 of Title 17 (2017), Section 1201 of Title 17 (2017), and Authors, Attribution, and Integrity: Examining Moral Rights in the United States (2019). The Office also evaluated how the current copyright system works for visual artists, which resulted in the letter to Congress titled “Copyright and Visual Works: The Legal Landscape of Opportunities and Challenges” (2019). Shortly after the hearings ended, two Senators requested a review of the role of copyright law in everyday consumer products and the Office subsequently published a report, Software-Enabled Computer Products (2016). -
Register of Copyr1ght.S
SIXTY-NINTH ANNUAL REPORT OF THE REGISTER OF COPYR1GHT.S FOR THE FISCAL YEAR ENDING JUNE 30, 1966 COPYRIGHT OFFICE THE LIBRARY OF CONGRESS IL.C. Card No. 10-36017 This report is reprinted from the Annual Report of the Libdnof Congreee for the fiscal year ending June 30,1966 Contents THECOPYRIGHT OFFICE ............................ 1 The Year's Copyright Business ......................... 2 Official publications .............................. 4 Copyright Contributions to the Library of Congress ................ 4 Administrative Developments ........................... 4 Problems of Registrability ........................... 5 Organizational Problems ............................ 5 Notices of Intention To Use ...................... : ... 5 Legislative Developments ............................ 6 Judicial Developments ..............................8 Performing Rights and Community Antenna Systems ............... 8 Rights of Exhibition and Copying ....................... 10 Author's "Moral Right" ........................... 11 Subject Matter of Copyright ......................... 13 Publication ................................. 16 Notice of Copyright ............................. 17 Copyright Registration ............................ 19 Ownership. Assignment. and Renewal of Copyright ............... 21 Infringement and Remedies .........................23 Other Judicial Developments .........................26 International Developments .......................... 28 Tables: International Copyright Relations of the United States as of December -
Copyright Publication on the Internet
1 COPYRIGHT PUBLICATION ON THE INTERNET DEBORAH R. GERHARDT* I. Introduction................................................................. 1 II. Ambiguities Latent in Copyright Publication Doctrine....................................................................... 5 III. The Enduring Significance of Copyright Publication ................................................................ 13 IV. Internet Publication................................................... 23 V. Internet Publication Indicators.................................. 38 VI. Conclusion ................................................................ 43 I. INTRODUCTION This Article tackles the question of when a work distributed over the Internet is published as a matter of copyright law. Copyright publication doctrine retains significant practical importance and can have a dispositive impact on the economic value of a work. Publication can also determine whether a court has jurisdiction over a * Associate Professor of Law, University of North Carolina School of Law. I am grateful to Ann Bartow, Jim Gibson, Rebecca Tushnet, Alfred Chueh-Chin Yen, and participants at the 2019 University of New Hampshire Redux Conference and the 2019 Intellectual Property Scholars Conference. I am also grateful to Chandler Martin and R. Taylor Townes for excellent research assistance. Volume 60 – Number 1 2 IDEA – The Law Review of the Franklin Pierce Center for Intellectual Property copyright claim. For many twentieth century works, publication with observance of formalities was required -
Exceptions and Limitations to Intellectual Property Rights with Special Reference to Patent and Copyright Law
EXCEPTIONS AND LIMITATIONS TO INTELLECTUAL PROPERTY RIGHTS WITH SPECIAL REFERENCE TO PATENT AND COPYRIGHT LAW Thesis submitted to Cochiin Uniiversiity of Sciience and Technollogy for the award of the degree of Doctor of Philosophy in The Faculty of Law By SALEENA K. B Under the guidance of Prof. Dr. N. S. GOPALAKRISHNAN (Director, IUCIPRS, CUSAT) SCHOOL OF LEGAL STUDIES COCHIN UNIVERSITY OF SCIENCE AND TECHNOLOGY COCHIN-682 022 2011 School of Legal Studies Cochin University of Science and Technology Kochi – 682 022, Kerala, India Ph: 91-484-2862487 (O), 2577542 (R) Prof. Dr. N. S. GOPALAKRISHNAN Fax: 91-484-2575463(Direct), 2577595 Professor HRD Chair on IPR E-mail:[email protected] ; [email protected] This is to certify that this thesis entitled “Exceptions and Limitations to Intellectual Property Rights with Special Reference to Patent and Copyright Law” submitted by Ms. Saleena K.B for the degree of Doctor of Philosophy, is to the best of my knowledge, the record of bonafide research carried out under my guidance and supervision from 13.09.2006 at School of Legal Studies, Cochin University of Science and Technology. This thesis or any part thereof has not been submitted elsewhere for any other degree. Cochin Dr. N. S. Gopalakrishnan 19/10/2011 (Research Guide) This is to certify that the important research findings included in the thesis entitled “Exceptions and Limitations to Intellectual Property Rights with Special Reference to Patent and Copyright Law” have been presented in a research seminar at School of legal Studies, Cochin University of Science and technology on 2nd May 2011. -
Cable-Copyright: the Corruption of Consensus, 6 Hastings Comm
Hastings Communications and Entertainment Law Journal Volume 6 | Number 2 Article 2 1-1-1983 Cable-Copyright: The orC ruption of Consensus Leslie A. Swackhamer Follow this and additional works at: https://repository.uchastings.edu/ hastings_comm_ent_law_journal Part of the Communications Law Commons, Entertainment, Arts, and Sports Law Commons, and the Intellectual Property Law Commons Recommended Citation Leslie A. Swackhamer, Cable-Copyright: The Corruption of Consensus, 6 Hastings Comm. & Ent. L.J. 283 (1983). Available at: https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol6/iss2/2 This Article is brought to you for free and open access by the Law Journals at UC Hastings Scholarship Repository. It has been accepted for inclusion in Hastings Communications and Entertainment Law Journal by an authorized editor of UC Hastings Scholarship Repository. For more information, please contact [email protected]. Cable-Copyright: The Corruption of Consensus By LESLIE A. SWACKHAMER* I Introduction [T] his is the corruption of consensus-the attempt to find uni- versal agreement on so many issues that great public purposes are eroded by tiny problems solved by adjustment and adaptation.' The 1976 Copyright Revision Act was over twenty years in the making.2 During most of those twenty years, the cable- copyright issue stalemated the revision of the 1909 Copyright Act, legislation which was passed before the invention of radio or television.' A lack of integration between communications and copyright policy formed the core of -
A Design for the Copyright of Fashion
Boston College Intellectual Property & Technology Forum http://www.bciptf.org A DESIGN FOR THE COPYRIGHT OF FASHION Jennifer Mencken* I. INTRODUCTION Fashion apparel is a multi-billion dollar industry that has no national boundaries. Designers, [1] retailers and consumers follow the game of international fashion. Within the last decade, consumer knowledge of specific designers has increased dramatically. Magazines and newspapers now cover the fashion industry as part of their national news coverage, focusing on the ever-changing world of creative designer expressions. [2] The general public has a ready command of the names and faces of fashion models and the designers for which they model. Countless television shows and feature films [3] exploit the fashion industry world. Consumers can now recognize the distinct style of their favorite designers: Chanel, jersey-knit double-breasted suits in contrast colors with trademarked brass buttons, and quilted leather accessories; Gianni Versace, colorful handprinted silks with reproduced 17th and 18th century illustrations; Issey Miyake, sparse deconstructed gender neutral garments in natural fabrics or highly unnatural polymers, which redefine both form and movement. [4] In 1977, former Register of Copyrights Barbara Ringer stated that the issue of design protection is “one of the most significant and pressing items of unfinished business” of copyright revision. [5] This issue remains unaddressed today, even though the need for revision is even more significant, because garment designs lie along the fringe area of creative expressions that exhibit the same qualities as protected matter. This paper suggests that the traditional reasoning which denied certain articles copyright protection is no longer reasonable, and that protection should now be extended to garment designs. -
Columbia Law School Winter 2010
From the Dean On August 17, 2009, Dean David M. Schizer offered his welcoming remarks to the incoming class of J.D. and LL.M. students at Columbia Law School. An edited version of that address appears below. This is both an inspiring and a challenging time to come that excellence is measured in many different ways—in to law school. It is inspiring because the world needs you the pride you take in your work, in the reputation you more than ever. We live in troubled times, and many of develop among your peers, and, more importantly, in the great issues of our day are inextricably tied to law. Our the eyes of the people you have helped. But to my mind, financial system has foundered, and we need to respond excellence should not be measured in dollars. with more effective corporate governance and wiser The second fundamental truth to remember is that regulation. Innovation, competition, and free trade need integrity is the bedrock of any successful career. It is a to be encouraged in order for our economy to flourish. great source of satisfaction to know that you have earned Because of the significant demands on our public sector, your successes, that you didn’t cut any corners, and that our tax system needs to collect revenue efficiently and people trust you. fairly. Our dependence on imported fuel jeopardizes our As for the specifics of what career choices to make, national security, and our emission of greenhouse gases you are just beginning that journey. Most likely, there places our environment at risk.