{"id":4002,"date":"2016-02-25T15:16:12","date_gmt":"2016-02-25T19:16:12","guid":{"rendered":"http:\/\/blogs.harvard.edu\/mediaberkman\/?p=4002"},"modified":"2016-02-25T15:16:12","modified_gmt":"2016-02-25T19:16:12","slug":"radio-berkman-234-how-fair-use-works-in-six-minutes-or-less","status":"publish","type":"post","link":"https:\/\/archive.blogs.harvard.edu\/mediaberkman\/2016\/02\/25\/radio-berkman-234-how-fair-use-works-in-six-minutes-or-less\/","title":{"rendered":"Radio Berkman 234: How Fair Use Works, in Six Minutes or Less"},"content":{"rendered":"

\"FairUseWeek\"Listen:or download<\/strong><\/a> | …also in <\/strong>Ogg<\/a><\/strong><\/p>\n

An artist, musician, or writer can\u2019t just take another person’s creation and claim it as their own. Federal law outlines how creators can and can\u2019t borrow from each other. These rules are collectively called “copyright law,” and essentially they give creators the exclusive right to copy, modify, distribute, perform, and display their creative works.<\/p>\n

But even with copyright there are exceptions, or times where another creator can use a copyrighted work without\u00a0getting the copyright holder\u2019s permission. This safe zone is called “Fair Use.”<\/p>\n

For Fair Use Week<\/a> this year, Radio Berkman\u2019s Daniel Dennis Jones talked to Leo Angelakos and Olga Slobodyanyuk from the Cyberlaw Clinic at the Berkman Center for Internet and Society about what constitutes fair use.<\/p>\n

Transcript<\/strong><\/p>\n

Daniel Dennis Jones: It\u2019s time to learn everything you need to know about the history of Fair Use, in six minutes or less. I\u2019m Daniel Dennis Jones, and this is Radio Berkman. Let\u2019s start the clock!<\/small><\/p>\n

This is \u201cPretty Woman,\u201d co-written by singer Roy Orbison and released in 1964. The copyright belongs to Orbison’s publisher, Acuff-Rose Music. Fast forward 25 years. It\u2019s 1989 and the rap group 2 Live Crew releases \u201cPretty Woman\u201d on their album, “As Clean as They Wanna Be.\u201dShortly thereafter, Acuff-Rose sues 2 Live Crew\u2019s label for copyright infringement.<\/small><\/p>\n

Basically, Acuff-Rose says, hey, this song isn\u2019t yours. According to the Copyright Act of 1976, this song is ours. You want to play it? You have to pay us.<\/small><\/p>\n

Leo Angelakos: Copyright law gives creators \u2014 such as authors and artists \u2014 the exclusive right to copy, modify, distribute, perform, and display their creative works.<\/small><\/p>\n

DDJ: Copyright law was originally created as an incentive for artists and creators. If creators aren\u2019t worrying about whether someone might steal their work, they\u2019re more likely to share their ideas with the public. This kind of sharing in turn helps to create more ideas, as well as products and jobs and art and whole industries, all that good stuff.<\/small><\/p>\n

In the Pretty Woman case the publisher, Acuff-Rose, owned the copyright and therefore had the sole right to copy, modify, and distribute that song.<\/small><\/p>\n

But this is where things get really interesting. This case made it all the way to the Supreme Court. In the end 2 Live Crew won. They were allowed to do their own spin on the song, without paying and without permission from Acuff-Rose, and here\u2019s why.<\/small><\/p>\n

2 Live Crew\u2019s defense was that their version of Pretty Woman was a parody of the original. For that reason they argued it fell into this safe zone under copyright law called fair use.<\/small><\/p>\n

Olga Slobodyanyuk: Fair use is a defense to copyright infringement. Fair use let\u2019s you use someone\u2019s copyrighted work without permission as long as you do it in a way that adds new meaning to the work.<\/small><\/p>\n

LA: The Supreme Court found 2 Live Crew\u2019s version to be a parody and it was thus a fair use because it ridiculed the innocent nature and outdated troupes of the original song.<\/small><\/p>\n

DDJ: And they say that what makes this court opinion so interesting is there is actually no explicit mention of parody in copyright law.<\/small><\/p>\n

Taking inspiration from a precedent set by a 19th century court case, Congress decided to build Fair Use into copyright law in 1976, realizing that it helped fulfill the law\u2019s original purpose of incentivizing creators.<\/small><\/p>\n

LA: And fair use is actually a really flexible doctrine. It can cover a wide-range of works. Olga: It\u2019s central to fulfilling the constitutional purpose and it balances the public\u2019s first amendment rights against monopolies granted by copyright.<\/small><\/p>\n

DDJ: A monopoly in this sense is the fact that one person – or one band, or one copyright owner – has complete and total control over a piece of content, and everything that gets done with it – recording, performing, translating, remixing, adapting, modifying, you name it.<\/small><\/p>\n

There are a number of examples where the use of a copyrighted work is important to furthering some other goal. It could be an artistic use. It could be in journalism, or for some kind of educational use. When judges and lawyers are considering whether something is fair use, they look at 4 factors.<\/small><\/p>\n

LA: First the purpose and character of the use.<\/small><\/p>\n

OS: Courts have construed this to mean that a fair use is one that transforms the copyrighted work to add new expression, meaning or message.<\/small><\/p>\n

For example, a student can quote a stanza of a poem in an essay where it\u2019s critiquing the poem because that critique of the poem will make the use transformative.<\/small><\/p>\n

DDJ: Transformative. That\u2019s the key word. Are you using a portion of the copyrighted work in a context that makes a new statement? If so, that might be Fair Use. A good example of the transformative factor occurred in a court case where documentary filmmakers used a John Lennon song paired with images of the Cold War to suggest that Lennon\u2019s message was naive.<\/small><\/p>\n

OS: The court found that this use was transformative because the filmmakers criticized Lennon\u2019s lyrics in a way that added new meaning to them.<\/small><\/p>\n

LA: The second factor asks how expressive the genre of the work is and whether it\u2019s published or not.<\/small><\/p>\n

DDJ: If a creator hasn\u2019t published the work yet, it is more strongly protected by copyright, because they should have control over when it first goes public.<\/small><\/p>\n

OS: The third factor asks how much of the original work was taken. This inquiry includes both a qualitative and a quantitative component. For example, the less words you take, the more likely it is to be a fair use.<\/small><\/p>\n

DDJ: So if you\u2019re literally copying someone\u2019s entire book and republishing it, you\u2019re probably not going to get away with calling it fair use. But if you\u2019re quoting a small passage, you probably will.<\/small><\/p>\n

LA: And the fourth factor asks whether the use would replace the demand for the original work in the marketplace. So for example, if someone publishes a glossary that defines terms from the Harry Potter series, such a glossary could usurp the demand for a similar glossary by J.K. Rowling and courts might not find that to be a fair use.<\/small><\/p>\n

DDJ: In other words, if people are consuming the thing you created as a substitute for something created by the original creator, you\u2019re walking on thin ice. This fourth factor of fair use also plays a role in that Supreme Court case we mentioned earlier.<\/small><\/p>\n

Two years before the case went to the Supreme Court, a federal appeals court ruled that 2 Live Crew had a “blatantly commercial purpose” in recording its version. In other words the demand for the the parody replaced that of the original work, and that should deprive the 2 Live Crew song of all protection under the copyright law. But the Supreme Court said no to the lower court\u2019s decision, which validated parodies under fair use, even when someone makes money off of them, as a creative work deserving of consideration.<\/small><\/p>\n

And that\u2019s everything you need to know about Fair Use in 6 minutes or less! Celebrate Fair Use by going to fairuseweek.org where you can find infographics, videos, and all kinds of resources about fair use.<\/small><\/p>\n

Reference Section<\/strong>
\nPhoto courtesy of Fair Use\/Fair Dealing Week
\nMusic courtesy of \u201cBeta Blocker\u201d -Anitek
\nThis week’s episode was written by Leo Angelakos, Elizabeth Gillis, Daniel Dennis Jones, and Olga Slobodyanyuk, and edited by Elizabeth Gillis.
\nVisit http:\/\/www.fairuseweek.org for even more information and resources on Fair Use
\nVisit http:\/\/dlrp.berkman.harvard.edu\/ for information on how to incorporate digital resources and fair use friendly practices in classrooms
\nSpecial thanks this week to Andres Lombana-Bermudez of the Youth & Media Team, and Chris Bavitz of the Cyberlaw Clinic.<\/p>\n

Tweet<\/a> us!\u00a0Subscribe to us on Soundcloud<\/a>,<\/em>\u00a0iTunes<\/a>, or RSS<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

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