Fair Use Week: Day Four featuring Professor William Fisher’s CopyrightX class

For our fourth entry this week, we are privileged to share the newest lecture on fair use from Professor William Fisher, the WilmerHale Professor of Intellectual Property Law at Harvard Law School and Faculty Director at the Berkman Center for Internet and Society.  This lecture is part of Professor Fisher’s CopyrightX course:  a twelve-week networked course, offered each Spring under the auspices of Harvard Law School, the HarvardX distance-learning initiative, and the Berkman Center for Internet and Society.  The course explores the current law of copyright and the ongoing debates concerning how that law should be reformed.  This particular lecture, which will be featured in week 9 of the class, is titled “Fair Use Today.”   Many thanks to Professor Fisher for sharing it ahead of the official class release.

 

Fair Use Week: Day Three With Guest Expert Kenneth D. Crews

For our third expert post this week, we are delighted to welcome Kenneth D. Crews.  Crews is an internationally recognized expert on copyright, libraries, and fair use.  He is currently Of Counsel to Gipson Hoffman & Pancione in Los Angeles, California, and an adjunct professor in the Columbia Law School in New York.

 

The Expanding Importance of Fair Use: Virtues and Dimensions for Future Needs

 

It seemed common not long ago for some critics to predict the demise of fair use.  Fair use was reviled as obsolete.  It was hopelessly obtuse and reserved for scoundrels who needed a last resort for salvation from infringement claims.  Even its advocates foresaw a dwindling role for fair use as licensing and pay-per-use mechanisms would become more prevalent. Balderdash.

The doctrine has never been as strong, versatile, and essential as it is today.  Fair use is of greater importance now than ever before.  It is a mainstay of creativity, and it is called upon by artists, publishers, Internet services, and players from a multitude of industries and perspectives.  Fair use has been at the center of debates involving derivative artworks, classroom readings, and mass digitization of millions of books.  In cases before U.S. courts in recent years, fair use has been asserted by creative artists and attacked by others.  Fair use has been claimed by publishers developing new books, and asserted by educators to share portions of copyrighted books for education.  Fair use has been preserved as a legal strategy when needed, and it has been deployed as a business model for creative industries.

Fair use, of course, always has been a legal principle, and it is built on an interpretation and application of the four factors in the statute.  Two very general developments are happening on that foundation: First, the law is being called upon to serve a wider variety of needs and circumstances; second, the resulting legal experiments with fair use are opening some welcome creative and economic opportunities with widespread benefits.

The escalating significance of fair use can be measured in multiple dimensions, from the legal definition to geographic outreach.

Geography

Fair use is a distinctly American doctrine in many respects.  It has some distant roots in British law, but it was coalesced in rulings from U.S. courts, starting in 1841 [PDF].  It became part of the U.S. copyright statutes in 1976.  While nearly every country has copyright exceptions of some form, fair use remained exclusively in the U.S. domain until just the last several years.  Other countries have discovered the compelling virtue of a flexible doctrine to serve unanticipated needs.  Occasionally, non-U.S. courts have devised creative doctrines, but those countries still lack the true benefits of fair use.  In recent years, several countries actually have introduced a four-factor test that is nearly identical to the American statute.  Fair use and similar doctrines are finding a home outside the United States in the laws of countries such as Israel, Korea, Singapore, and the Philippines (see Library Copyright Alliance, “How Flexibility Supports the Goals of Copyright Law: Fair Use and the US Library Experience” [PDF] p. 15)

Scope of Works and Media

Fair use never has been limited to certain types of works, but the early cases were typically about books and occasionally music.  New waves of cases have tested fair use for art, photography, advertising, motion pictures, and even Barbie dolls.  Cases have begun to define the parameters of fair use for digital technologies, software, databases, search engines, and much more.

Flexibility

Fair use also never has been limited to certain contexts.  It has substantive limits, but no boundaries of circumstance.  Fair use is ready to be tested as new technologies, new media, and new demands arise.  As the challenge of orphan works and mass digitization expand, fair use is ready as a resource for potentially alleviating some of the legal tension.  Fair use may not be the panacea, but it will always have a place in solving new copyright dilemmas and assuaging the interface between protection and innovation.

Relationship to other exceptions

A mainstay virtue of fair use is its independence of the other copyright exceptions.  The U.S. Copyright Act has more than fifteen statutory provisions that detail specific exceptions.  Regardless, fair use still applies.  If the provision on distance learning (Section 110(2)), for example, does not fit your needs, you still have the opportunity to test whether fair use might help.  Fair use is a separate and independent element of the overall equation in copyright that establishes rights of owners and tempers them with limits.  The same could be said about defining the public domain or simply seeking permissions from rightsholders.  Fair use is one of the alternatives for properly using works created by others.

Support for Creativity

Fair use may be a limit on the rights of copyright owners, but it is a critical boost for innovation and creativity.  It enables the next generation of talent to utilize and build on the creative works that came before.  It empowers each of us with an opportunity and a responsibility to engage with copyrighted works in a reasonable manner that may ultimately have social benefit.  New artwork can be built on existing materials.  Critical studies of film, painting, and literature can reproduce quotations and images to convey new insights.  Digitized text can be used to engage students in the classroom, to build search tools, and to reach readers with diverse forms of print disabilities.

Establishment of a Business Model

Fair use as a legal principle is conventionally cited as a defense.  But it is increasingly a basis for business modeling and strategic planning long before a legal challenge can arise.  Musicians are deciding (OK, probably with their lawyers in the room) whether to release a song that samples or derives from another.  Artists are routinely building on the works of others.  Book and newspaper publishers regularly decide whether to reproduce photographs and quotations.  Software developers rely on existing code.  Universities and libraries design and implement services for education and research based on policy planning about fair use.  Some of the largest companies in the world develop innovative search tools and other online services that inherently depend on a strategically constructed definition of fair use.  Whether the ultimate objective is cultural growth, scholarly research, or corporate profit, the strategy is the same: Is this activity within our best understanding of fair use, and are we prepared to move forward with our model and strategy despite potential conflict from the legal ecosystem?

Filling Volumes

Writings about fair use today fill volumes.  That fact alone is a testament to the growing significance of fair use.  It is a compelling doctrine.  It is a source of rich debate and wondrous versatility.  It remains viewed as grounds for theft and a foundation for innovation.  One can also debate whether some of the newest court ruling actually have expanded or contracted the scope of the law.  Regardless, the latest developments at home and abroad are underscoring that fair use is, or always has been, ready to find meaning for new uses, new media, and new plans and models.  Even if fair use is fundamentally unchanged, it simply has found new prominence as the entire system of copyright law expands to reach new horizons of possibilities.

Kenneth D. Crews is Of Counsel to Gipson Hoffman & Pancione in Los Angeles, California, and is an adjunct professor in the Columbia Law School in New York.  He is the author of Copyright Law for Librarians and Educators: Creative Strategies and Practical Solutions (3rd edition, 2012)The views expressed here are his own.  You can contact him at kcrews107@outlook.com and on Twitter.

 

Fair Use Week: Day Two with guest expert Kevin Smith

For our second entry this week, we are excited to feature Kevin Smith, Director of Copyright and Scholarly Communication in the Office of Copyright and Scholarly Communication at Duke University.

Fair Use, Fixation, and the Problem of Legal Fictions

 

The Second Circuit Court of Appeals handed down a decision at the end of January that is simultaneously important and bizarre.  Bizarre because of the nature of the issue, which actually involved a debate over whether or not a work was “fixed” (a prerequisite for copyright protection).  And important because of the stance the Second Circuit took on fair use and the implications of its position for the Georgia State appeal, a decision that is still pending as I write.  Hat tip to attorney Zick Rubin for pointing the case out to me and suggesting its implications.

The case is Swatch Group Management Services v. Bloomberg, which the Second Circuit heard on cross appeals from a decision by the District Court in the Southern District of New York that found that Bloomberg had made a fair use of a recording of a telephone conference call that Swatch held with selected investors and analysts.  Swatch appealed the decision in favor of Bloomberg, while Bloomberg apparently appealed because it did not like the grounds on which it had won.

Briefly, someone working for Bloomberg managed to join the conference call and make a recording, which was then distributed to its list of “Bloomberg Professional” subscribers.  Swatch objected, registered a copyright in its own recording of the call, and sued Bloomberg for infringement.  Bloomberg argued that it had not copied Swatch’s recording but had made its own, lawful recording of a “live news event.”  More about that argument later on, but first let’s look at the fair use analysis.

Both the District Court and the Second Circuit found that Bloomberg had made a fair use of the recording of this conference call, and the reasoning the latter court applied is very telling.  They held that the use had not been transformative, but that that didn’t matter.  In fact, they suggest that the lack of transformation was a good thing.  First, in this part of the discussion, the Court cites the remark from the Supreme Court in Campbell v. Accuff-Rose Music, the case which really established the importance of the transformative analysis, that not all fair use must be transformative, citing the paradigmatic example of “multiple copies for classroom use.”  Then the Second Circuit goes on to say that the purpose of Bloomberg’s recording of the Swatch conference call was “to make important financial information… available to American investors” and that that intent is “closely analogous” to news reporting and therefore is a favored purpose in the fair use analysis.  In light of this purpose, the Court reasons, the goal of the copying and distribution is accuracy of the information, so it is sensible that no transformation took place, and that lack does not undermine fair use.

I see a couple of ways that this analysis of the purpose of Bloomberg’s use of the recorded phone call can shed light on the arguments being reviewed by the Eleventh Circuit in the GSU copyright case.

First, the Second Circuit held that Bloomberg’s admittedly commercial purpose did not defeat the fair use argument.  The public purpose, analogous to news reporting, remember, was enough to reduce the weight that a commercial purpose would normally have in countering a fair use claim.  This was the case even though the use was held not to be transformative.  All this reflects on the argument made by the GSU plaintiff publishers that without some transformation, GSU should not get the benefit, on the first fair use factor, of claiming that it has a non-profit educational purpose.  In the Swatch case, the Second Circuit affirms that even a commercial, yet publicly beneficial, purpose can favor fair use in spite of not being transformative.  This seems to completely undermine the argument being made in Atlanta; a non-profit, educational purpose is of great public benefit, and it can and should weigh in favor of fair use even if the Eleventh Circuit upholds the finding that there was no transformation.

Second, in the Swatch case the Second Circuit did not require that the material on the recording be subjected to criticism and comment in order for its “re-use” to be considered fair.  They said that the need for precision in the delivery of information was enough.  As Mr. Rubin pointed out when he alerted me to the case, there seems to be a clear analogy here to those electronic reserves at issue in the GSU case.  In order for the non-profit educational purpose to be fulfilled, students need to become acquainted with small parts of the thinking of different scholars; this is best accomplished by reproducing accurately short excerpts from a variety of different works.  Commentary is not required, at least as part of the reserves system – it is provided by the teacher in the classroom.  What is vital is that these excerpts reflect precisely what the author said and thought.  Really, this is just an added justification for the conclusion in the Swatch case that transformation was not required.

One other point from the Second Circuit is also worth a moment of our time.  In Swatch v. Bloomberg, the Court recognized that the entire phone call had been recorded and distributed.  But they held, consistently with other Circuits, that using this much of the copyrighted work was necessary in light of the favored purpose (even though it was not transformative) and therefore that the third fair use factor was neutral – it did not either favor or weigh against fair use.  In the GSU case, the Eleventh Circuit worried during oral arguments that the trial court had applied a numerical standard in its evaluation of the third factor and that the plaintiff publishers were asking the Appellate Court to apply a different, lesser standard, but a hard numerical line nonetheless.  In light of what the Second Circuit has said, maybe the best course for the panel hearing the GSU appeal is to reject both numerical standards and ask if the length of each reading is appropriate to the favored non-profit educational purpose.  The best judges of this, of course, are the instructors, who determine whether a short excerpt is appropriate or if students should, where possible, purchase the books.  So within some reasonable and flexible limit, the Court should defer to the decision of the individual instructors as too how much of a work is necessary to fulfill their clearly favored purpose.

In short, if the Eleventh Circuit panel upholds the trial court, or even creates more space for fair use in its ruling, they will be joining a growing consensus among the Circuit Courts of Appeal.  If, on the other hand, they decided to deviate from this body of precedent, they will be inviting further review.

The fact that the Swatch case was decided based on fair use had an additional, instructive effect, which we can take as a warning against using copyright law to prop up specific businesses or business models.  Bloomberg’s primary defense against the charge that they infringed copyright was that there was no copyright to infringe, since they made a recording from a live event.  The problem they faced, however, was that part of the definition of “fixed” includes this line: “A work consisting of sounds, images or both, that are being transmitted, is ‘fixed’ for purposes of this title if a fixation of the work is being made simultaneously with its transmission.”  As David Kluft explains in this blog post about the case, this sentence appears to create a “legal fiction” that anyone recording the live event is actually copying the “official” recording that is being made simultaneously with the live event.  This rule was inserted to protect professional sports leagues from recordings made from live broadcasts, but Swatch was apparently able to use it to defeat Bloomberg’s claim that there was no copyright in the unfixed, live phone call from which they, Bloomberg, made their recording.  I say apparently because the Court simply ruled in Bloomberg’s favor based on fair use; that would appear to assume that a copyright did exist – based on this legal fiction – without actually telling us that the court was applying this provision from section 101 of the copyright law.

The reason I bring this up is because I fear that this sentence intended to assist professional sports leagues might well encompass too much in the sweep of the fictional situation it creates.  As attorney Kluft asks, does this mean that a parent who videotapes a live high school sporting event might infringe the copyright created by some official recording of the same event, made simultaneously, even though the parent made her video from live action?  What if two different people make such recordings; do they infringe each other?  The problem is that the sentence does not provide details, including whose recording creates this fiction, or if any/all do.  The line was inserted without sufficient thought to solve a putative problem raised, I would guess, by lobbyists for a single industry.  But changing the law is much too blunt an instrument to protect one business or one business model; such changes will nearly always have unintended consequences that do more harm than the supposed good they were aimed at.  Whenever lobbyists for a particular industry, including the publishing industry, offer to help “solve” a problem that they themselves have identified, Congress should take great care.  In many cases, and the simultaneous fixation of a live broadcast may be one of them, those solutions prove more problematic than the situation they were supposed to address.  This warning is especially important as Congress is talking about a revision of the copyright law, since such talk will bring out special interests in droves, and many will have such “problems” that they want solved.

Kevin Smith is Director of the Office of Copyright and Scholarly Communications and is both a librarian and an attorney experienced in copyright and technology law. He also serves as a nationally recognized resource on local and national policy in order to help the Duke community stay informed and involved with the changing landscape of scholarly publication. You can read his regular blog here.

Fair Use Week: Day One with guest expert Krista L. Cox

Welcome to the inaugural Fair Use Week hosted by the Harvard Library Office for Scholarly Communication!  This entire week we will be celebrating Fair Use through expert posts, videos, “Fair Use Stories,” and a live panel on Friday, February 28th.

For our first entry this week, I am pleased to introduce Krista L. Cox.  Krista is the Director of Public Policy Initiatives for the Association of Research Libraries (ARL), in Washington D.C.

Harvard Fair Use Week: Best Practices in Fair Use

 

Harvard’s Fair Use Week is an opportunity to reflect not only on the importance the doctrine has already had in the academic library community, but also to consider its future role in an ever-changing world of new technologies and circumstances.  A professional community consensus on fair use with respect to when and how the doctrine is applied can provide powerful guidance, defining community standards and best practices.  The Code of Best Practices in Fair Use for Academic and Research Libraries provides such guidance to a number of areas where fair use applies, including in the digital environment.

Fair use plays a critical role in the copyright system, promoting a balanced system respecting the rights of rightholders while also promoting the public interest and protecting the First Amendment.  As a flexible doctrine, fair use can adapt to evolving technologies and new situations that may arise, and its long history demonstrates its importance in promoting access to information, future innovation, and creativity.  Without this flexibility, the law would simply be unable to keep pace with rapid changes and advancements in technology. Within the academic library community, fair use has allowed for better service to patrons in areas of preservation, providing access to information resources, enhancing research, and promoting education, among others, particularly where specific limitations and exceptions in the Copyright Law fail to address a particular situation [pdf file].

The House Judiciary Committee on Subcommittee on Courts, Intellectual Property and the Internet is currently undergoing a “copyright review” and has already held four hearings, the most recent of which addressed “The Scope of Fair Use.”  The hearing examined not only the current scope and practice of fair use, but also looked toward what the future of the doctrine might be, particularly whether any changes were necessary.

During the hearing, Members posed questions that covered a wide range of issues including, among others, how to define “transformative,” whether exporting the doctrine to other countries is appropriate, and whether fair use is currently working for all groups.  Most comments indicated that fair use is working and statutory changes are not necessary, however some raised questions regarding whether jurisprudence on fair use has been predictable.  Best practices developed through community consensus and standards goes to the heart of this issue, promoting predictability for both those relying on fair use as well as for the rightholders.

Members expressed interest in best practices during the hearing.  For example, Judiciary Committee Ranking Member Conyers (D-MI) referenced best practices twice during his opening statement.  After noting the historic application of the fair use doctrine in a broad range of contexts that has been made possible by the flexibility of the doctrine, Conyers concluded by encouraging the development of best practices: “Fair use impacts all types of industries including filmmaking, poetry, photography, music, education and journalism.  We must continue to encourage these industries to develop best practices.”  Similarly, Rep. Lofgren (D-CA) seemed to signal interest in best practices when she asked the Chair of the subcommittee to adopt into the record the Code of Best Practices in Fair Use for Online Video.

This interest in best practices is not limited to the legislative branch.  While courts are guided by the four statutory fair use factors, in practice they have also looked to the standard practices of the communities from which the case originates in determining whether fair use applies in a given circumstance.  Codes of best practices can guide members of those communities in determining whether fair use applies in a particular circumstance and how to exercise this doctrine in a manner considered acceptable in that particular professional community, thereby minimizing the risk of litigation.

The Code of Best Practices in Fair Use for Academic and Research Libraries is therefore an important and useful tool for academic and research libraries making determinations as to what activities are likely to fall under fair use and how to exercise the doctrine.  Developed by and for the academic and research library community, the Code identifies eight areas where fair use is commonly exercised and articulates the principles describing each circumstance, a list of considerations to inform these practices, the limitations that are recommended, and enhancements that could strengthen the case for fair use in those situations.  These areas include:

  1. Supporting teaching and learning with access to library materials via digital technologies;
  2. Using selections from collection materials to publicize a library’s activities, or to create physical and virtual exhibitions;
  3. Digitizing to preserve at-risk items;
  4. Creating digital collections of archival and special collections materials;
  5. Reproducing materials for use by disabled students, faculty, staff, and other appropriate users;
  6. Maintaining the integrity of works deposited in institutional repositories;
  7. Creating databases to facilitate non-consumptive research uses (including search); and
  8. Collecting material posted on the World Wide Web and making it available.

 

While some may be hesitant in exercising fair use because of perceived unpredictability, the Code of Best Practices provides reassurances that such activities are considered to be fair use in the community, a factor likely to be looked upon favorably by both Congress and the courts.  Such best practices lend predictability to the fair use doctrine, demonstrating a consensus view on the areas where fair use should be exercised and the limitations that should be observed.

Congress need not make statutory changes to a doctrine that has served the public well, providing a crucial “safety valve” in copyright law.  Instead, professional communities should continue to develop and rely upon best practices, such as the Code of Best Practices in Fair Use for Academic and Research Libraries, lending greater predictability and certainty to fair use, including in areas of emerging technology.

Krista L. Cox is the Director of Public Policy Initiatives for the Association of Research Libraries (ARL), in Washington D.C.  Prior to joining ARL, Cox was the staff attorney/legal counsel at Knowledge Ecology International, a nonprofit organization that searches for better outcomes, including new solutions, to the management of knowledge resources. She may be reached at krista@arl.org or on Twitter: @ARLpolicy

Fair Use Week

Join us here from February 24th to 28th to celebrate the first-ever Fair Use Week, sponsored by the Harvard Library Office for Scholarly Communication.  We will be featuring guest blogs from experts on fair use, libraries, and the law; fair use videos; “How I used Fair Use” stories; and more!

Fair Use Week ends with a live Fair Use panel on Friday, February 28th, @2:30pm in the Lamont Library Forum Room.  The panelists are:

  • Andy Sellars, Berkman Center for Internet & Society’s Corydon B. Dunham First Amendment Fellow and the Assistant Director of the Digital Media Law Project
  • Ann Whiteside, Harvard Graduate School of Design’s Lecturer in Architecture and Librarian/Assistant Dean for Information Services
  • Laura Quilter, UMass Amherst Libraries Copyright and Information Policy Librarian
  • Ellen Duranceau, MIT’s Program Manager for the Office of Scholarly Publishing, Copyright & Licensing

Live Tweets #FairUseWeek and @FairUseWeek

For questions, information, or contributions for Fair Use Week, please contact Kyle K. Courtney, Copyright Advisor, Harvard University @KyleKCourtney or kyle_courtney@harvard.edu