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Copyright Clarity: Remix and Fair USe in Education

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Banish your copyright confusion. When our students want to use bits of popular culture in their own creative work, you'll discover when you can say, "Yes, you Can"" by helping students understand the scape of their rights and responsibilities under the law.

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Copyright Clarity: Remix and Fair USe in Education

  1. 1. http://mediaeducationlab.com/copyright
  2. 2. PEER-TO-PEER FILE SHARING Why creative people value copyright law When you (and your students) can use copyrighted materials without payment or permission under some circumstances When you (and your students) should ask permission or pay a license fee to use copyrighted materials 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. Critical Thinking, Reflection & Ethics Using Technology Tools Well Self-Expression & Creativity Teamwork & Collaboration Digital and Media Literacy Critical thinking about media & technology + Composing using media & technology For what purpose? To build critical thinking and communication skills
  4. 6. To promote creativity, innovation and the spread of knowledge Article 1 Section 8 U.S. Constitution
  5. 7. <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. 8. <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. 9. See no Evil Close the Door Hyper-Comply
  8. 10. 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. 11. 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. 12. with accurate knowledge
  11. 13. LOVE HATE
  12. 14. Copyright law enables people to control the creative works they produce LOVE HATE
  13. 15. 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. 16. 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. 17. EVERYTHING IS COPYRIGHTED
  16. 18. EVERYTHING IS COPYRIGHTED … BUT THERE ARE EXEMPTIONS
  17. 19. --Section 107 Copyright Act of 1976 For purposes such as criticism, comment, news reporting, teaching (including multiple copies for classroom use), scholarship or research
  18. 20. “ 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
  19. 22. <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>
  20. 23. Bill Graham Archives vs. Dorling Kindersley, Ltd. (2006)
  21. 24. 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>
  22. 27. 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
  23. 28. . 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.
  24. 29. . 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.
  25. 32. <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>
  26. 33. 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)
  27. 34. 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
  28. 35. SHARE THE GOOD NEWS!
  29. 36. http://mediaeducationlab.com
  30. 37. Elementary School Case Study: P.S. 124 The Silas B. Dutcher School Brooklyn, NY High School Case Study: Upper Merion Area High School King of Prussia, PA College Case Study: Project Look Sharp at Ithaca College Ithaca, NY
  31. 39. Copyright? What’s Copyright? Users’ Rights, Section 107
  32. 40. Elementary School Case Study: P.S. 124 The Silas B. Dutcher School Brooklyn, NY High School Case Study: Upper Merion Area High School King of Prussia, PA College Case Study: Project Look Sharp at Ithaca College Ithaca, NY
  33. 42. PEER-TO-PEER FILE SHARING Why creative people value copyright law When you (and your students) can use copyrighted materials without payment or permission under some circumstances When you (and your students) should ask permission or pay a license fee to use copyrighted materials 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
  34. 44. <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
  35. 46. <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>
  36. 47. http://mediaeducationlab.com/copyright Renee Hobbs Temple University Media Education Lab Philadelphia PA Email: renee.hobbs@temple.edu Phone: (215) 204-3255 Twitter: reneehobbs Web: http://mediaeducationlab.com

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