Class 1 Copyright, Spring, 2008 Introduction Randal C. Picker Leffmann Professor of Commercial Law...

Class 1Copyright, Spring, 2008

IntroductionRandal C. PickerLeffmann Professor of Commercial Law

The Law School

The University of Chicago

Materials

Syllabus picker.uchicago.edu/Copyright/Syllabus.htm Download statute Links

Gorman & Ginsburg, Copyright, 7th Ed. Readings packet

Constitution

The Congress shall have the Power . . . To promote the progress of science and the

useful arts, by securing for limited times to authors and inventors the exclusive right to their respective writings and discoveries;

(Art. I, § 8, cl. 8)

102. Subject matter of copyright: In general

(a) Copyright protection subsists, in

accordance with this title, in original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device.

102(a) (Cont.)

Works of authorship include the following categories: (1) literary works; (2) musical works, including any

accompanying words; (3) dramatic works, including any

accompanying music; (4) pantomimes and choreographic works;

102(a) (Cont.)

(5) pictorial, graphic, and sculptural works; (6) motion pictures and other audiovisual

works; (7) sound recordings; and (8) architectural works.

102 (Cont.)

(b) In no case does copyright protection for an

original work of authorship extend to any idea, procedure, process, system, method of operation, concept, principle, or discovery, regardless of the form in which it is described, explained, illustrated, or embodied in such work.

101: “Fixed”

A work is “fixed” in a tangible medium of expression when its embodiment in a copy or

phonorecord, by or under the authority of the author, is sufficiently permanent or stable to permit it to be perceived, reproduced, or otherwise communicated for a period of more than transitory duration.

101: Copies

“Copies” are material objects, other than phonorecords, in

which a work is fixed by any method now known or later developed, and from which the work can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The term “copies” includes the material object, other than a phonorecord, in which the work is first fixed.

Copyright Magic: The Blank Paper and the Pen

Use v. Access

Copyright is mainly about use rules, assuming legitimate

access Copyright isn’t

a regime for creating access rights More?

http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1104764

Do I Have a Copyright in the Poem?

Yes Copyright protection subsists, in

accordance with this title, in original works of authorship fixed in any tangible medium of expression

Poem should qualify as OWA Paper should quality as TME Writing will fix the OWA in a TME

Don’t Need ©

No Formalities Required Don’t need © or something like that

But can (see 401-407) and has advantages (see, for example, 401(d))

This came into effect in the U.S. with our entry into the Berne Convention as of March 1, 1989

Don’t Need to Register

Don’t need to register the work with the government

But can (see 408-410) and necessary to sue for copyright infringement (see 411); also matters for availability of statutory damages

Very different from patents

Getting the Terms Right

Physical Objects v. Works Is the piece of paper with the poem on it the

work? If not, what is the work?

Copies vs. Originals Is the single piece of paper on which the

poem is written a copy?

101: Literary Works

“Literary works” are works, other than audiovisual works, expressed in words, numbers, or other

verbal or numerical symbols or indicia, regardless of the nature of the material objects, such as books, periodicals, manuscripts, phonorecords, film, tapes, disks, or cards, in which they are embodied.

Ownership of copyright as distinct from ownership of material object Ownership of a copyright, or of any of the

exclusive rights under a copyright, is distinct from ownership of any material object in which the work is embodied.

202 (Cont.)

Transfer of ownership of any material object, including the copy or phonorecord in which the work is first fixed, does not of itself convey any rights in the copyrighted work embodied in the object; nor, in the absence of an agreement, does transfer of ownership of a copyright or of any exclusive rights under a copyright convey property rights in any material object.

101: Copies

“Copies” are material objects, other than phonorecords, in

which a work is fixed by any method now known or later developed, and from which the work can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. The term “copies” includes the material object, other than a phonorecord, in which the work is first fixed.

106. Exclusive rights in copyrighted works

Subject to sections 107 through 121, the owner of copyright under this title has the exclusive rights to do and to authorize any of the following: (1) to reproduce the copyrighted work in

copies or phonorecords; (2) to prepare derivative works based upon

the copyrighted work;

106 (Cont.)

(3) to distribute copies or phonorecords of the copyrighted work to the public by sale or other transfer of ownership, or by rental, lease, or lending;

(4) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and motion pictures and other audiovisual works, to perform the copyrighted work publicly;

106 (Cont.)

(5) in the case of literary, musical, dramatic, and choreographic works, pantomimes, and pictorial, graphic, or sculptural works, including the individual images of a motion picture or other audiovisual work, to display the copyrighted work publicly; and

(6) in the case of sound recordings, to perform the copyrighted work publicly by means of a digital audio transmission.

201: Ownership of copyright

(a) Initial Ownership. Copyright in a work protected under this title

vests initially in the author or authors of the work. The authors of a joint work are coowners of copyright in the work.

Copying I

Hypo I compose my poem as before I tack the paper to a physical poetry bulletin

board at the Law School You read the poem on the bulletin board

and write it down on a piece of paper Have you infringed my copyright?

Answer

Access vs. Copyright

Hypo I write my poem and read it in class I take the poem home You break into my house to steal the poem

so that you can read it; you quote from it on your blog

Have you infringed my copyright? Are you guilty of breaking and entering and theft?

Answer

Copying II

Hypo I compose poem as before I then memorize it and put the paper with

the poem on it in my desk I stand in front of the poetry bulletin board

and recite the poem from memory You write it down

Have you infringed my copyright?

Answer

Copying III

Hypo I compose poem as before I tack the paper to a physical poetry bulletin

board at the Law School You never see my poem; you compose the same

poem (Poem II) and write it down on a piece of paper

Have you infringed my copyright? Do you have a copyright on your poem?

Answer

Q2: Poem II and Originality

Is Poem II An Original Work of Authorship? Need to have OWA to get copyright No? Even if not copied, could argue not “original”

as it does not add to the expressions that we had before

So original?

Answer

Burrow-Giles Lithographic Co. v. Sarony

111 U.S. 53 (1884)

[Wilde 1]

[Wilde 18]

1865 Copyright Act: Photography

That the provisions of said act shall extend to and include photographs and the negatives thereof which shall hereafter be made, and shall enure to the benefit of the authors of the same in the same manner, and to the same extent, and upon the same conditions as to the authors of prints and engravings.

The Key Questions in Burrow-Giles

How does a new device—the camera producing photographs—match with the Constitution’s focus on Authors and Writings? What conception of authorship will make

possible a copyrighted work from such a device?

What is our focus?

The mechanical device? The quill pen and the ink? The printing press? The camera?

Are some mechanical devices within the Constitution and others outside it?

What is our focus?

The role of the author in creating the work? For manuscripts, the direct link between the

brain and the hand doing the writing? For the printing press, the movement from

the manuscript authored as above to the books produced by the press?

For the camera, pushing a button?

What counts as an original photograph?

Third Finding of Fact Below OW No. 18 is a “useful, new, harmonious, characteristic, and

graceful picture, and that plaintiff made the same … entirely from his own original conception, to which he gave visible form by posing the said Oscar Wilde in front of the camera, selecting and arranging the costume, draperies, and other various accessories in said photograph, arranging the subject so as to present graceful outlines, arranging and disposing the light and shade, suggesting and evoking the desired expression, and from such disposition, arrangement, or representation, made entirely by plaintiff, he produced the picture in suit.”

What counts as an original photograph?

What about a picture of the Grand Canyon? Unposed pictures at a birthday party? “This may be true in regard to the ordinary

production of a photograph, and, further, that in such case a copyright is no protection. On the question as thus stated we decide nothing.”

Did Sarony Invent OW No. 18?

Says the Court “These findings, we think, show this

photograph to be an original work of art, the product of plaintiff’s intellectual invention, of which plaintiff is the author, and of a class of inventions for which the Constitution intended that Congress should secure to him the exclusive right to use, publish and sell … .”

When Have We Copied OW No. 18?

Hypo: Three Originations of the B-G Lithograph of Wilde 1. B-G, just chatting, say “Oscar Wilde: I bet that

we could sell 85,000 lithographs of him.” 2. B-G, reading the NYT, see Wilde mentioned;

again, “we could sell 85,000” 3. B-G sees the Sarony photograph of Oscar

Wilde and says “we could sell 85,000” In each case, Burrow-Giles take a new photo of

Wilde, with his permission, and starts to sell those

When Have We Copied OW No. 18?

Questions Does it matter whether the idea for the

lithograph follows 1, 2 or 3? Under what circumstances, if any, can

Sarony claim copyright infringement? Does it matter how W is dressed or posed?

Idea/Expression

The Scope of the Copyright “Monopoly” Sarony can’t block all future pictures of

Wilde simply by taking his photograph We need to distinguish the idea of a photo

of Wilde from Sarony’s particular photo Holmes’s statement in Bleistein

“Others are free to copy the original. They are not free to copy the copy.”

Idea/Expression

How Copies are Made At the same time, we have to pay attention

to the technology of copying If B-G takes a new photo of Wilde but W is

dressed and posed as in OW No. 18, we should treat this as copying or reprinting the original work

Class 1 Copyright, Spring, 2008 Introduction Randal C. Picker Leffmann Professor of Commercial Law...

Documents

Transcript of Class 1 Copyright, Spring, 2008 Introduction Randal C. Picker Leffmann Professor of Commercial Law...

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Class 16 Copyright, Winter, 2010 Third-Party Liability Randal C. Picker Leffmann Professor of Commercial Law The Law School The University of Chicago 773.702.0864/r-picker@uchicago.edu.

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