Fair Use

Copyrighted works are greatly entwined with the concept of the sharing economy because of their status as informational public goods. Unlike commercial sharing models that address tangible goods such as bikes and houses, the sharing of which is limited by their physical nature, sharing models for intangible copyrighted works such as Google Books and live game webcasting must account for the comparatively unfettered ability for these to be shared. Accordingly, these models are more focused on exploiting such works to their full commercial potential. However, these sharing models are to a large extent based on the unauthorised exploitation of copyrighted works and will be unworkable if the related copyright issues cannot be solved. The interest that copyright owners have in exclusivity must thus be balanced with the public’s interest in further exploitation of copyrighted works. Article 22 of the Copyright Law of China outlines an exhaustive list of copyright exceptions; such a restrictive list is incompatible with the sharing economy. The Chinese courts have realised this problem and have gone beyond the law in their judgments, taking a cue from their US counterparts. However, many of these decisions appear to be inconsistent with one another.

To address the aforementioned problems, this paper examines the latest proposed amendment to the Copyright Law of China and proposes several legislative and judicial actions that could help promote the sharing economy. At the legislative level, enacting legislation based on a refined open-ended fair use model is necessary to promote the development of the sharing economy. At the judicial level, Chinese courts should employ the concept of transformative use to correctly interpret legislation based on the proposed open-ended model. With transformative use as the cornerstone of copyright policy, the public gains the freedom to share others’ works, participate in the innovation process, and create works with new value. Moreover, authors would retain an incentive to create works under such a legal regime because market substitution will not occur if a work is used for a different expressive purpose than that for which the work was originally created. Thus, a balance can be achieved between promoting the sharing economy and protecting the exclusivity of copyright in China.

Today's emerging technologies and the concomitant changes in intellectual property laws make it imperative that colleges and universities establish clear policies regarding the appropriate use of copyrighted materials on their campuses and educate their communities about the application of copyright law in teaching, research, and scholarship (Braman 2005). Effective education about copyright is especially essential as content is reused and remixed in the multimedia-rich, technology-enhanced learning environments that are becoming increasingly prevalent in higher education. At the heart of these issues is the fair use provision of copyright law, which is intentionally vague and subject to broad interpretation. Our experience in teaching about copyright and fair use shows that many educators find fair use guidelines confusing and difficult to apply. We offer an innovative solution. The Fair Use Analysis (FUA) tool developed by the University of Minnesota Libraries can help faculty...

Abstract: Christine Greenhow, JD Walker, Dan Donnelly, and Brad Cohen describe the implementation and evaluation of the University of Minnesota's Fair Use Analysis (FUA) tool, an interactive online application intended to educate users and foster defensible fair use practice in accordance with copyright law by guiding users through a robust, fact-specific, four-factor analysis. After examining the FUA tool's ability to improve both student understanding of the four factors involved in fair use analysis and the quality of student ...

The U.S. Digital Millennium Copyright Act (DMCA) criminalizes decryption of "copy protected" digital content, even if the decryption itself serves lawful purposes that do not infringe on copyright. However, temporary exemptions to this prohibition are granted triennially if communities of practice can demonstrate that the encryption ban adversely affects noninfringing uses. This study explores to what degree members of communities with existing exemptions for audiovisual work (1) are aware of the DMCA ban on encryption and (2) are aware of the relevant exemptions, and (3) whether they believe they can use the exemptions with confidence. We find that existing knowledge of DMCA exemptions is low, but that creators may employ the exemption reliably if given the exemption language. This empirical evidence demonstrates creative and productivity costs of narrow exemptions, as well as the importance of education. Results are relevant to discussions about international treaty intellectual property discussions, about the function of exemptions in intellectual property law, and about the consequences of criminalizing decryption.

Le droit d'auteur est ossifié en France et là où il est utilisé. Il empêche toute évolution dans le monde de l'innovation ouverte, des formes nouvelles de création et des média nouveaux de circulation des oeuvres. D'autre part en France il refuse frigidement les autorats qui ne sont pas littéraires, poétiques, dramatiques, en un mot artistiques. On a même vu en 2018 le Festival de Cannes refuser un film d'un grand du cinéma américain car ce film a été produit par Netflix et pour une diffusion dite virtuelle ou de "vidéo à la demande", voire de streaming. La preuve n'est-elle point là que ce n'est pas un film mais une vulgaire vidéo. Jean Luc Godard se retourne dans sa tombe et ricane savamment à ces énarques bureaucrates de l'autorat digne de ce nom, c'est à dire du ghetto littéraire et artistique sur média matériels réels. A bas le virtuel, l'intelligence artificielle, le numérique de tous les instants. Vivent à jamais et pour toujours le telephone fixe, la machine à écrire (Apollinaire aimait tant les sténodactylographes), le Solex à condition de ne pas fumer la pipe et autres inventions d'avant que l'on lance en pleine figure l'ordinateur qui a perdu le monde de vue au profit d'un code machine à deux lettres. Et donc finissons à la française avec une chanson.

"Allons enfants de l'Internet
La nuit machine est arrivée."

Le téléphone dit smart de tous ces bureaucrates se met à sonner dans toutes les poches et on se croirait à la fin de Lawnmower Man 2, dont toute paternité a été niée par Stephen King devant les tribunaux. L'ennui c'est qu'ils l'emportent avec eux, ce smart phone, même quand ils vont se laver les pieds dans la salle de bain.

The College Art Association (CAA) created the Code of Best Practices in Fair Use with and for the visual arts community, particularly those involved in art writing, art practice, museum work, teaching about art, and putting images online. The Code describes common situations in which materials under copyright can be used in these professional areas. Bring your lunch and learn more about the basic tenets of the code and its application. This will be of particular interest to art and architectural historians, artists, designers, curators, museum directors, educators, rights and reproduction officers, and editors at scholarly publishers and journals.

This succinct book articulates a clear framework for remixing and drawing at intermediate and advanced levels. It begins by walking through the ideas of copyright and fair use, providing context, examples, and advice. Mueller directs students through building a collection of sources and influences, leading to the development and analysis of style.

- Available at http://remixinganddrawing.com/

In this paper, a structure (nature under the law) of the Permissible Use, and specific regulations situated in the Chapter III Division 3 of Polish Act on Copyright and Neighbouring Rights were elaborated. Leading positions of the doctrine, formulated at the turn of the 20th and 21th centuries, including works published after the 2015 amendment entry into force, were taken into account.

Celem pracy było omówienie konstrukcji dozwolonego użytku (jego charakteru prawnego) oraz poszczególnych przepisów należących do rozdziału III oddziału 3 ustawy o prawie autorskim i prawach pokrewnych. Uwzględniono wiodące stanowiska doktryny sformułowane na przełomie XX i XXI wieku, w tym prace opublikowane po wejściu w życie nowelizacji z 2015 r.

This text reflects upon the complexities of image copyright laws and their implications for the art community. I highlight the double-sided effects of such laws on the protection of authors’ rights.
On the one hand, copyright provides authors with monetary recognition for their work. On the other hand, it limits the circulation of such work and its opportunity to generate new discourse.
The absence of shared international policies and the high costs of image reproduction rights can compromise the quality of art historical research and affect the very existence of art history as we know it.

In the Chilean law, the thesis prevails that the “public figures” have a significantly diminished
right to one’s own image than others, more so if a “public interest” is involved in the dissemination of news,
information or portraits. Based on the case that affected a candidate for the presidency of the Republic of Chile,
our conclusion is that the outdated understanding of creating portraits prevents a proper solution to typical
phenomena of the digital and information age, since all the legal issues involved end up reduced only to balancing
test between the fundamental right to privacy versus the contribution to a debate of “general interest”.

1. Introducción: la cultura gamer de compartir. Youtubers & streamers.
1.1. ¿Que es un Let´s Play? Live stream, Video on Demand (VOD). Categorías de videos según el contenido: reviews, speedruns, etc.
1.2. Tendencias del mercado de fabricantes de consolas: Mixer y PS Share.Nintendo.
2. Perspectiva de los titulares de derechos intelectuales
2.1. Desarrolladores, estudios, publishers
2.2. Derechos involucrados: derecho de reproducción, public performance.
Infracciones marcarias.
2.3. El elefante en el gameroom: ¿si es una infracción, por qué no se la persigue?
2.3.1. Beneficios publicitarios
2.3.2. Creación de comunidades
2.3.3. Backlash, PR y retaliation: el caso de Persona 5
3. Perspectiva desde el lado de los streamers
3.1. Categoria legal del stream: ¿Obra derivada?
3.2. Monetización de los streamings
3.3. Qué tipos de licencia se conceden para el uso? Panorama regulatorio de los Términos de Servicios (ToS).
3.4. First Sale y principio de exhaustion
3.5. Free speech y Youtubers. La tensión entre propiedad intelectual y libre expresión
3.5.1. El caso de Pew Die Pie
3.5.2. Cómo funcionan los strikes
3.5.3. DMCA y libre expresión
3.6. Fair Use y Youtubers
4. Perspectiva desde la óptica de las plataformas: Twitch y YouTube Gaming
5. Takeaways
5.1. Impacto futuro: regulación de los derechos de distribución sobre e-sports
5.2. Repensar nuestro ecosistema de derecho autoral para que albergue la innovación y recepte las prácticas de las industrias creativas.Negative spaces y regulación

تتناول الدراسة مفهوم الإستخدام العادل Fair use باعتباره واحدا من الموضوعات التى تتمخض عن موضوعات قوانين حقوق التأليف والنشر، وقد عملت الدراسة على التعرف إلى موقف بعض المكتبات السعودية تجاه تطبيق مبادئ الإستخدام العادل وتحقيق الموازنة بين إتاحة مصادر المعلومات وحقوق التأليف والنشر من خلال تطبيق اللوائح والأنظمة بكل منها. وتوصلت الدراسة إلى عدد من النتائج لعل أبرزها أن الإستخدام العادل بمبادئه يلقى العديد من الصعوبات فى التطبيق، وتتشابه المكتبات فى القيود المفروضة على استخدام المصادر الإلكترونية مستخدمة مجموعة من الأنظمة.  ويعانى المستفيد من عدم إعلان هذه الأنظمة كما يعانى من عدم الوعى بمفهوم الإستخدام العادل وحقوق الملكية والموضوعات ذات الصلة. وأوصت الدراسة بالاهتمام بحق المستفيد فى استخدام المعلومات نقلا ونسخا وتحويلا وأوصت بضرورة اهتمام النصوص التشريعية العربية بهذ  الحق على غرار اهتمامه بحق المؤلف لاسيما فى البيئة الرقمية، كما أوصت بالاهتمام بطرح مقررات دراسية تتناول الإستخدام العادل فى البيئة الرقمية من خلال أقسام المكتبات والمعلومات بالجامعات السعودية

This paper crucially builds on previous sociological and legal research into fan fiction and copyright law, using a novel interdisciplinary quantitative approach to fan studies to investigate the effect of fan fiction on the market for the underlying work. This research adds to the research in this area by focussing on the relationship between fan fiction and the popularity of the underlying work, using quantitative methods to examine the links between fandom and traditional publishing by undertaking thorough statistical analysis of all 15 million posts to Fanfiction.net and 2125 works published on Kindle Worlds.

This allows for important conclusions to be drawn regarding the impact of fan fiction on the author of the underlying work. The analysis of all works posted to Fanfiction.Net in comparison to trends in best-seller lists allows for conclusions about the relationship between the two. For example, by analysing the amount of fan fiction available about early works in a series, and comparing to the sales figures for works published after that date, predictions can be made regarding the effect on future income for the author of the underlying work. 
Quantitative research can also be used to demonstrate whether there is a pre-existing market for licensing transformative works, or whether a market would be viable in certain cases.  This can be used to argue for the practicality of a fan fiction licence, similar to that used by Amazon’s Kindle Worlds site.  If a licence is practical for both authors of underlying works and fan fiction authors, does this have an effect on the call for an extension of the copyright law fair use/fair dealing exceptions to cover fan fiction?

Keywords:
Copyright Exceptions, Self-Publication, Fan fiction, socio-legal studies, market effects

This presentation crucially builds on previous sociological and legal research into fan fiction and copyright law, using a novel interdisciplinary quantitative approach to fan studies to investigate the effect of fan fiction on the market for the underlying work. This research adds to the research in this area by focussing on the relationship between fan fiction and the popularity of the underlying work, using quantitative methods to examine the links between fandom and traditional publishing by undertaking thorough statistical analysis of all 15 million posts to Fanfiction.net and 2125 works published on Kindle Worlds.

This allows for important conclusions to be drawn regarding the impact of fan fiction on the author of the underlying work. The analysis of all works posted to Fanfiction.Net in comparison to trends in best-seller lists allows for conclusions about the relationship between the two. For example, by analysing the amount of fan fiction available about early works in a series, and comparing to the sales figures for works published after that date, predictions can be made regarding the effect on future income for the author of the underlying work.

Quantitative research can also be used to demonstrate whether there is a pre-existing market for licensing transformative works, or whether a market would be viable in certain cases. This can be used to argue for the practicality of a fan fiction licence, similar to that used by Amazon’s Kindle Worlds site. If a licence is practical for both authors of underlying works and fan fiction authors, does this have an effect on the call for an extension of the copyright law fair use/fair dealing exceptions to cover fan fiction?

Abstract
Argentina is debating the reform of its copyright act, dating back to 1933, focusing on its opportunity, merit, convenience, and scope. The lack of economic understanding on the part of the actors has led to an unsatisfactory exchange of views and to the radicalization of positions.
In this article, without intending to exhaust the theory of the Economic Analysis of the Law, I propose a series of topics which the Argentine legislator should take into account in making the reform efficient, effective, as well as maximizing society’s total welfare.
The topics include the raison d'être of the regulation of public goods; monopoly’s deadweight loss; measures to reduce transaction costs; the duration of copyright, orphan works and the tragedy of the anticommons; the optimal scope for exceptions and limitation;, the regulation of collecting societies; and the onerous public domain in force in Argentina.

Resumen
Actualmente en Argentina se debate la reforma de la ley 11.723 de derecho de autor(que data de 1933), es decir, su oportunidad, mérito, conveniencia y alcance. La falta de entendimiento de conceptos económicos por parte de los actores ha llevado a un infructífero intercambio de opiniones y a la radicalización de las posiciones.
En este artículo, sin pretender agotar la teoría del Análisis Económico del Derecho, propongo una serie de temas que debiera tomar en cuenta el legislador argentino para que la eventual reforma sea eficiente, eficaz y justa a la vez, maximizando el bienestar agregado de la sociedad.
Son objeto de análisis el origen de la regulación de los bienes públicos, la pérdida neta de bienestar (consecuencia del monopolio), las medidas tendientes a disminuir costos de transacción, la duración del derecho de autor, las obras huérfanas y la tragedia de los anticomunes, el alcance óptimo de excepciones y limitaciones, la regulación de las sociedades de gestión colectiva y el dominio público oneroso vigente en Argentina.

Recommended Citation
Marzetti, Maximiliano (2017) "Análisis Económico del Derecho y reforma del Derecho de Autor: Aporte para un debate ecuánime," The Latin American and Iberian Journal of Law and Economics: Vol. 3 : Iss. 1 , Article 5.
Available at: http://laijle.alacde.org/journal/vol3/iss1/5