Hobbs and valenza 4.6.11

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Still Confused? A Conversation on Copyright, Fair Use & Remix Culture”. Presented for LLNJ
4/6/11

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  • Institute for Policy Innovation global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. FORTUNATELY: ten million licensed tracks available on more than 400 different services worldwide.  That ’s great news for music fans and the industry alike.
  • Institute for Policy Innovation global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. FORTUNATELY: ten million licensed tracks available on more than 400 different services worldwide.  That ’s great news for music fans and the industry alike.
  • Article I, Section 8, Clause 8 of the United States Constitution, known as the Copyright Clause, the Copyright and Patent Clause (or Patent and Copyright Clause), the Intellectual Property Clause and the Progressive Clause, empowers the United States Congress: “ To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries.
  • Worst case scenario: $3,3 million – 22 episodes at $150K each If you plead ignorance: possibly only $4,400 ($750 * 22 episodes) PLUS YOUR LEGAL FEES + THEIR LEGAL FEES
  • Worst case scenario: $3,3 million – 22 episodes at $150K each If you plead ignorance: possibly only $4,400 ($750 * 22 episodes) PLUS YOUR LEGAL FEES + THEIR LEGAL FEES
  • Worst case scenario: $3,3 million – 22 episodes at $150K each If you plead ignorance: possibly only $4,400 ($750 * 22 episodes) PLUS YOUR LEGAL FEES + THEIR LEGAL FEES
  • Institute for Policy Innovation global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. FORTUNATELY: ten million licensed tracks available on more than 400 different services worldwide.  That ’s great news for music fans and the industry alike.
  • Sometimes Creative Commons images are perfect for the information or communication product.
  • Sometimes the use of copyrighted media is critical to the message of the communication product.
  • Institute for Policy Innovation global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. FORTUNATELY: ten million licensed tracks available on more than 400 different services worldwide.  That ’s great news for music fans and the industry alike.
  • Institute for Policy Innovation global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. FORTUNATELY: ten million licensed tracks available on more than 400 different services worldwide.  That ’s great news for music fans and the industry alike.
  • Institute for Policy Innovation global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. FORTUNATELY: ten million licensed tracks available on more than 400 different services worldwide.  That ’s great news for music fans and the industry alike.
  • Institute for Policy Innovation global music piracy causes $12.5 billion of economic losses every year, 71,060 U.S. jobs lost, a loss of $2.7 billion in workers' earnings, and a loss of $422 million in tax revenues, $291 million in personal income tax and $131 million in lost corporate income and production taxes. FORTUNATELY: ten million licensed tracks available on more than 400 different services worldwide.  That ’s great news for music fans and the industry alike.
  • http://copyrightconfusion.wikispaces.com
  • Hobbs and valenza 4.6.11

    1. 1. Still Confused? A Conversation about Copyright, Fair Use & Remix Culture By Joyce Valenza and Renee Hobbs
    2. 2. PEER-TO-PEER FILE SHARING Why creative people value copyright law How various licensing schemes like Creative Commons work When you (and your students) can use copyrighted materials without payment or permission under some circumstances How codes of best practice help people become more confident in understanding and using the doctrine of fair use How the law adapts to changes in society and changes in technology Goals for Today’s Session
    3. 3. PEER-TO-PEER FILE SHARING Why do creative people value copyright law? A Conversation
    4. 5. To promote creativity, innovation and the spread of knowledge Article 1 Section 8 U.S. Constitution
    5. 6. <ul><li>Use and share </li></ul><ul><li>Copy </li></ul><ul><li>Modify & Repurpose </li></ul><ul><li>Excerpt & Quote From </li></ul><ul><li>Distribute </li></ul>
    6. 7. <ul><li>Restrict </li></ul><ul><li>Limit </li></ul><ul><li>Charge high fees </li></ul><ul><li>Discourage use </li></ul><ul><li>Use scare tactics </li></ul>
    7. 8. See no Evil Close the Door Hyper-Comply
    8. 9. NEGOTIATED AGREEMENTS BETWEEN MEDIA COMPANIES AND EDUCATIONAL GROUPS Agreement on Guidelines for Classroom Copying in Not-for-Profit Educational Institutions Fair Use Guidelines for Educational Multimedia Guidelines for the Educational Use of Music Educational Use Guidelines are Confusing!
    9. 10. The documents created by these negotiated agreements give them “the appearance of positive law. These qualities are merely illusory, and consequently the guidelines have had a seriously detrimental effect. They interfere with an actual understanding of the law and erode confidence in the law as created by Congress and the courts” --Kenneth Crews, 2001
    10. 11. with accurate knowledge
    11. 12. LOVE HATE
    12. 13. Copyright law enables people to control the creative works they produce LOVE HATE
    13. 14. The Copyright Act grants five rights to a copyright owner: 1. the right to reproduce the copyrighted work; 2. the right to prepare derivative works based upon the work; 3. the right to distribute copies of the work to the public; 4. the right to perform the copyrighted work publicly; and 5. the right to display the copyrighted work publicly.
    14. 15. Violating Copyright Can Be Expensive The Copyright holder may receive statutory damages for all infringements involved in the action… not less than $750 or more than $30,000 as the court considers just. [...] When infringement was committed willfully, the court in its discretion may increase the award of statutory damages to a sum of not more than $150,000.&quot; LOVE HATE
    15. 16. PEER-TO-PEER FILE SHARING Why do creative people value copyright law? How do various licensing schemes like Creative Commons work? A Conversation
    16. 18. http://www.youtube.com/watch?v=1DKm96Ftfko&feature=player_embedded
    17. 20. http://search.creativecommons.org
    18. 23. http://copyrightfriendly.wikispaces.com/
    19. 24. http://only2clicks.com/pages/joycevalenza/343504
    20. 25. http://www.flickr.com/creativecommons/
    21. 26. ttp://flickrcc.bluemountains.net
    22. 27. http://wylio.com
    23. 28. http://compfight.com/
    24. 29. http://www.zoo-m.com/flickr-storm/
    25. 30. http://creativecommons.org/choose/
    26. 31. Oliver, Tony. “Sioux Woman and her Child.” 1 Jun. 2007. Flickr . 30 Mar. 2010. <http://www.flickr.com/photos/48806909@N00/525348256>.
    27. 32. “ Pocahontas.” n.d . Disney.com . 30 Mar. 2011. <http://disney.go.com/princess/index.html#/pocahontas/> “ Lone Ranger . IMDB.com . 30 Mar. 2011. <http://www.imdb.com/title/tt0041038/>. “ indians from Peter Pan. ” 21 Jan. 2008. Nine Most Racist Disney Cartoons . 30 Mar. 2011. <http://www.cracked.com/article_15833_the-9-most-racist-disney-characters.html> .
    28. 33. PEER-TO-PEER FILE SHARING Why do creative people value copyright law? How do various licensing schemes like Creative Commons work? When can you use copyrighted materials without payment or permission? A Conversation
    29. 34. EVERYTHING IS COPYRIGHTED
    30. 35. EVERYTHING IS COPYRIGHTED … BUT THERE ARE EXEMPTIONS
    31. 36. --Section 107 Copyright Act of 1976 For purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship or research
    32. 37. “ It not only allows but encourages socially beneficial uses of copyrighted works such as teaching, learning, and scholarship. Without fair use, those beneficial uses— quoting from copyrighted works, providing multiple copies to students in class, creating new knowledge based on previously published knowledge—would be infringements. Fair use is the means for assuring a robust and vigorous exchange of copyrighted information.” --Carrie Russell, American Library Association
    33. 39. <ul><li>Judges are more likely to rule that a particular use of copyrighted materials </li></ul><ul><li>Is a fair use when the social benefits of the unauthorized use outweigh the private costs to the copyright holder </li></ul>
    34. 40. Bill Graham Archives vs. Dorling Kindersley, Ltd. (2006)
    35. 41. An Example of Transformative Use <ul><ul><li>The purpose of the original: To generate publicity for a concert. </li></ul></ul><ul><ul><li>The purpose of the new work: To document and illustrate the concert events in historical context. </li></ul></ul>
    36. 42. Fair Use Music Video http://www.youtube.com/watch?v=o1XaCBf8PJ8&feature=player_embedded#at=14
    37. 43. USING COPYRIGHTED MATERIAL CHOICES FOR THE CREATIVE INDIVIDUAL PAY A LICENSE FEE Ask Permission CLAIM FAIR USE Just Use it DON ’T USE IT SELECT PUBLIC DOMAIN, ROYALTY-FREE or CREATIVE COMMONS LICENSED CONTENT
    38. 44. . CASE 1. Someone uses an image of John Lennon in a class assignment when discussing how musicians share their political beliefs with their fans. CASE 2. Someone uses an image of John Lennon on the cover of the high school literary magazine.
    39. 45. . CASE 1. Someone uses “Little Mermaid” image in a personal blog writing about childhood memories. CASE 2. Someone uses a “Little Mermaid” image in online fan fiction about the sexual adventures of Ariel.
    40. 47. PEER-TO-PEER FILE SHARING Why do creative people value copyright law? How do various licensing schemes like Creative Commons work? When can you use copyrighted materials without payment or permission? How do codes of best practice build people’s confidence in applying fair use to their practice? A Conversation
    41. 48. Supported by a grant from the John D. and Catherine T MacArthur Foundation
    42. 49. <ul><li>Educators can: </li></ul><ul><li>make copies of newspaper articles, TV shows, and other copyrighted works and use them and keep them for educational use </li></ul><ul><li>create curriculum materials and scholarship with copyrighted materials embedded </li></ul><ul><li>share, sell and distribute curriculum materials with copyrighted materials embedded </li></ul><ul><li>Learners can: </li></ul><ul><li>use copyrighted works in creating new material </li></ul><ul><li>distribute their works digitally if they meet the transformativeness standard </li></ul>
    43. 50. Organizations Supporting the Code of Best Practices Action Coalition for Media Education (ACME) National Association for Media Literacy Education (NAMLE) National Council of Teachers Of English (NCTE) Visual Studies Division International Communication Association (ICA) Association of College and Research Libraries (ACRL)
    44. 51. National Council of Teachers of English (NCTE) has adopted the “Code of Best Practices in Fair Use for Media Literacy Education” as its official policy on fair use
    45. 52. PEER-TO-PEER FILE SHARING Why do creative people value copyright law? How do various licensing schemes like Creative Commons work? When can you use copyrighted materials without payment or permission? How do codes of best practice build people’s confidence in applying fair use to their practice? How does copyright law adapt to changes in technology and changes in society? A Conversation
    46. 53. http://www.youtube.com/watch?v=j3jovQ4eKqE&feature=player_embedded
    47. 55. <ul><li>RIPPING. Criminalizes the use of technology, devices, or services intended to circumvent digital rights management (DRM) software that controls access to copyrighted works. </li></ul><ul><li>ONLINE TAKEDOWNS. Protects Internet Service Providers against copyright liability if they promptly block access to allegedly infringing material (or remove such material from their systems) if notified by copyright holder; offers a counter-notification provision if use is exempted under fair use </li></ul>Digital Millennium Copyright Act of 1998
    48. 56. http://www.youtube.com/watch?v=whOvCQmjIWI&feature=player_embedded
    49. 57. <ul><li>The Results of our Advocacy </li></ul><ul><li>Users may unlock DVDs protected by the Content Scrambling System when circumvention is for the purpose of criticism or comment using short sections, for educational, documentary or non-profit use. </li></ul>
    50. 58. PEER-TO-PEER FILE SHARING Why creative people value copyright law How various licensing schemes like Creative Commons work When you (and your students) can use copyrighted materials without payment or permission under some circumstances How codes of best practice help people become more confident in understanding and using the doctrine of fair use How the law adapts to changes in society and changes in technology Goals for Today’s Session
    51. 59. SHARE THE GOOD NEWS!
    52. 62. http://mediaeducationlab.com/copyright
    53. 63. Joyce Kasman Valenza Springfield Township High School Email: [email_address] Web: http://springfieldlibrary.wikispaces.com/ http://blog.schoollibraryjournal.com/neverendingsearch/ Twitter: @joycevalenza
    54. 64. http://mediaeducationlab.com/copyright Renee Hobbs Temple University Media Education Lab School of Communications and Theater Philadelphia PA Email: renee.hobbs@temple.edu Phone: (215) 204-3255 Twitter: reneehobbs

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