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Towle Test (9th Circuit) Element 1
Physical and conceptual qualities
Exclusive Rights
Reproduce, prepare derivatives, distribute copies, perform publicly, display publicly
9th Circuit Substantial Similarity Test - Extrinsic
Objective comparison of protectable elements.
2nd Circuit Substantial Similarity Test
Would an ordinary observer recognize the defendant’s work as being copied from the plaintiff’s work?
Fair Use Factor 1
Purpose and character of the use
Towle Test (9th Circuit) Element 2
Sufficiently delineated to be recognizable as the same character wherever it appears
Towle Test (9th Circuit) Element 3
Especially distinctive and unique elements of expression
9th Circuit Substantial Similarity Test - Intrinsic
Subjective comparison of the total concept and feel by an ordinary observer
Fair Use Factor 2
Nature of copyrighted work
Fair Use Factor 3
Amount and substantiality of portion used
Fair Use Factor 4
Effect of use upon potential market
The Copyright Act of 1976 applies to
Works created on or after January 1st, 1978
What you can copyright
Original works of authorship fixed in any tangible medium of expression
When can useful articles be copyrighted?
When design features can be identified separately from, and are capable of existing independently of, the utilitarian aspects of the article
How do you know who is the author? (Generally)
Titanic case says when plaintiff exercises such a high degree of control over work, that individual may be considered the author
Joint Works
Works prepared by two or more authors with the intent that their contributions be merged into one work (Malcom X)
In joint works, consider:
Who has decision making authority; how the parties bill themselves; any contracts; other objective manifestations of intent to be joint authors
Erickson
Each author’s contributions have to be copyrightable
What do you need for it to be a commissioned work?
Work specially ordered or commissioned and a signed agreement specifying it is a work for hire
Prima Facie Case of Copyright Infringement - 1
Ownership of valid copyright
Prima Facie Case of Copyright Infringement - 2
Unauthorized exercise of a section 106 right, or “copying”
Within “copying”, there is (for a prima facie case)
Copying in fact AND improper appropriation (substantial similarity)
What is copying in fact?
The defendant obtained and used the copyright owner’s protected work as opposed to independently creating the work
How to show direct evidence of copying in fact
Admission, documentary, or eyewitness
How to show circumstantial evidence of copying in fact
Access and Similarity
How to show access
Prior dealings, a mutual friend in common, or widely disseminated
How to show similarity (in circumstantial evidence of prima facie case)
Ty case said access can be inferred when there is a striking similarity between the works when the subject isn’t in the public domain
How to rebut similarity
Independent creation
Improper Appropriation
Can be factual copying or similarities are substantial and involve protected elements of plaintiff’s work
Factual Copying
Similarities one wouldn’t expect to arise in independently created works
The Purpose and Character of the Use
Has the original been transformed? Warhol says the degree of transformation must go beyond that which would qualify it as derivative. Is the new a substitute for the original? Is it commercial?
Parodies
Under Campbell, parodies are transformative. A parody needs to mimic enough of the original to make the parody
The Nature of the Copyrighted Work
Is it creative or factual? Has it been published?
The Amount and Substantiality of the Portion Used
Quantitative vs. Qualitative
Some things that may be fair use (but not automatically)
Criticism, comment, news reporting, teaching, scholarship, or research
Defenses to copyright infringement
De minimis, fair use, independent creation, scenes a faire
Musical works
Protect lyrics, melody, harmony, rhythm, sheet music, score, and arrangement of song, but not the audible form
Who owns the rights in a musical work?
Whoever writes the lyrics, music, or both
4 Types of Licenses
Mechanical, public performance, print, and synchronization
Mechanical License
Allows a record company/recording artist to reproduce and distribute a copyrighted musical work in recordings such as CDs
Compulsory Mechanical License
The first reproduction of the work has been done, so anyone can record their own version of the song, but they have to pay for it
Cover versions of musical works can’t do what
Change the basic melody or fundamental character of the work
Public Performance License
Allows the licensee to publicly perform a copyrighted work (owning a CD isn’t enough)
Print License
Gives someone permission to print lyrics in books or sheet music. Must get this from the copyright owner
Synchronization License (and Master Use License for Sound Recordings)
If you’re going to use the song in an audiovisual recording (TV, video game, etc.), then you must get this from the copyright owner
Sound Recording
Actual fixation of sounds
How do sound recordings differ from musical works?
They receive less protection, have fewer exclusive rights, and there is no right to perform publicly
Who owns the copyright under a recording agreement (for sound recordings)?
Record companies because agreements typically classify it as a work for hire, but if the artist’s contributions aren’t deemed a work for hire, then the agreement usually says the artist will assign the copyright to the record company
Circuit Split on De Minimis for Music
6th Circuit rejected the substantial similarity and de minimis concept for sound recording infringement, but 9th circuit accepted them
There is vicarious infringement if
right and ability to control or supervise the infringing activity and direct financial interest in such activities
There is contributory infringement if
knowledge of infringing activity and induces, causes, or materially contributes to the infringing conduct (Fonovisa flea market case)
2 types of secondary liability
Vicarious and contributory
DMCA provides
Safe harbors if you accept and use the repeat infringer policy and have a DMCA agent
Without the protection of safe harbors, what would happen?
OSPs face direct and secondary liability
The Copyright Act of 1976 does or does not have renewals?
Does not
The Copyright Act of 1909 does or does not have renewals?
Does, and it is for 28 years
Who is entitled to renew?
The author of the work if still living, or the widow, widower, or children, then the author’s executors, or in the absence of a will, the next of kin
How long is the copyright for individuals
Life of the creator plus 70 years (for anything after 1978)
Length of copyright for works made for hire
95 years from its first date of publication or 120 years from its date of creation, whichever expires first
Works before 1929 are considered
in the public domain
Copyright Termination term with grants
Must be terminated within a 5 year period beginning 35 years from the date of execution of the grant
Termination of transfer doesn’t apply to
Works made for hire
When can the copyright claims board hear claims?
Where the total monetary recovery doesn’t exceed $30,000; declarations of non-infringement; and misrepresentation in connection with DMCA takedown notices
Copyright Notices
Not required for works published on or after March 1, 1989
Under the 1909 Act once you publish a work, one of 2 things happen:
if you affix copyright notice and promptly deposit with Copyright Office, you get 28 years of protection, or if you don’t, the work immediately went in the public domain
Do you need to register the copyright under the 1976 Act?
No, unless you want to sue
What is presumptive proof of a valid copyright?
Registration within 5 years of first publication
What are the types of damages you can get for copyright infringement?
Actual, statutory, injunction, attorney’s fees (maybe), criminal offense, infringing copies can be impounded, infringing copies and machinery used to make them can be destroyed