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Copyright crash course saul m

Copyright crash course saul m



Copyright Crash Course Presentation

Copyright Crash Course Presentation



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    Copyright crash course saul m Copyright crash course saul m Presentation Transcript

    • Copyright Crash Course
      building on others’ creative expression
    • The Public Domain and Orphan Works
      Developing better tools to identify those works that actually are in the public domain.
      Free those works that are in the public domain but not identified as such.
      Orphan works by definition often lack sufficient information to identify their owners.
    • Using materials from the Internet
      Copyright protection is automatic: Neither a publication nor a notice of any kind is required to protect works today.
      By posting an author impliedly grants a limited license for the use of the work.
      Commercial use it’s not part of an implied license.
      Implied licenses are vague.
    • Fair use of copyrighted materials
      Fair use is better described as a shadowy territory whose boundaries are disputed.
      Any work published on or before Dec. 31, 1922 is now in the public domain.
      Works published between Jan. 1, 1923 to Dec. 31, 1978 are protected 95 yrs. after published date.
      After 1978 works are protected after 70 years from the date the author dies.
    • Fair use of copyrighted materials
      The four fair use factors:
      What is the character of the use?
      What is the nature of the work to be used?
      How much of the work will you use?
      What effect would this use have on the market for the original or for permissions if the use were widespread?
    • The TEACH Act
      Copyright law provides educators with a separate set of rights in addition to fair use, to display (show) and perform (show or play) others’ works in the classroom.
      • Accredited Educational Institution
      • Materials are specifically for students
      • Only students will have access to materials.
      • Include a notice that materials are copyrighted.
    • Getting Permission
      Getting permission maybe difficult
      A subscription license covers typical use
      In music, the owner is usually the record label.
      Writing a letter, calling, or emailing are appropriate ways to initiate contact.
      You should be sure that the person giving you permission is authorized to do so.
      If author, creator, or publisher is not obvious, your task may be more difficult.
    • The Copyright Crash Course
      ©2001, 2007
      Georgia K. harper