The document discusses copyright issues relevant to educators. It describes the National Copyright Unit which provides copyright advice and education to Australian schools and TAFEs. It outlines key aspects of copyright law for educators including the statutory broadcast license, education exceptions like section 28 that allow performance and communication of copyright material in class, and the flexible dealing exception. The document provides examples of how these exceptions can be applied and notes some tricky areas like using audiobooks and recording school events.
Blade Runner reflects the social, cultural, and political contexts of the 1980s. There were fears of growing economic power in Japan, globalization, immigration, and loss of American culture. Environmental issues were also emerging in mainstream culture. The dystopian cityscape in Blade Runner reflected anxieties of the white middle class who viewed cities as dangerous and chaotic. However, some may find more freedom and anonymity in such an unplanned urban environment. The film also touches on issues of enforced slavery and marginalization.
This document provides an introduction to sound terminology and techniques used in film. It defines key terms like diegetic and non-diegetic sound, and external and internal diegetic sound. It also covers concepts like voiceover, sound bridges, pleonastic sound, and contrapuntal sound. Examples are given to illustrate different types of sound, including a detailed breakdown of a scene from the film The Last King of Scotland. Students are assigned homework to create a film sequence using the sound techniques and also to select a film sequence for coursework analysis.
The document discusses TV drama codes and conventions by comparing the openings of several TV dramas. It analyzes the openings of Neighbours, Hollyoaks, Press, and Killing Eve. Some key elements discussed include title sequences, recaps of previous episodes, themes, characters, and tone set by dramatic scenes, music, and imagery. The document also discusses genre conventions like technical codes, characters, narratives, and challenging genres. It provides examples of how some shows reference or draw from other media through intertextuality.
2022 OCR Media Studies GCSE Keywords and Knowledge Organisers (1).pptxMsCalver
This document provides information and vocabulary for the GCSE Media Studies exam. It outlines the key topics covered in Papers 1 and 2, including TV and advertising, music and news. It provides terminology related to camera techniques, representations, audiences, and the music and news industries. It also gives details about sample exam questions, command words, and techniques for answering questions effectively.
This document analyzes the genre elements that define the action thriller genre according to Nick Lacey's framework. It then applies these elements to summarize a trailer for the film "Walk Among the Tombstones." The key genre elements of setting, characters, narrative, iconography, and style are all discussed as seen in the trailer. Examples are provided for each element that follow typical conventions of the action thriller genre.
This document provides information about multi-camera filming of studio programs. It discusses different types of studio programs like game shows, talk shows, and magazine shows. It uses examples like The Gadget Show to explain the format of magazine shows, including introductions, segments on different topics, prerecorded inserts, and links between segments. Students are asked to analyze the format of The Gadget Show, identify how the multi-camera setup was used and problems filming in the studio. They then develop their own ideas for magazine show concepts and pitch one to the class.
The French New Wave of the late 1950s and 1960s influenced modern cinema through its rejection of classical Hollywood conventions. Directors like Godard emphasized location shooting with handheld cameras, natural lighting and sound, and nonlinear narratives focused on expressing the director's vision rather than adhering to genres. This movement encouraged experimentation and influenced directors like Tarantino to use long takes and tracking shots. While animation studios now emphasize consistent styles, embracing the French New Wave's emphasis on directorial freedom could lead to more interesting animated films in the future.
Blade Runner reflects the social, cultural, and political contexts of the 1980s. There were fears of growing economic power in Japan, globalization, immigration, and loss of American culture. Environmental issues were also emerging in mainstream culture. The dystopian cityscape in Blade Runner reflected anxieties of the white middle class who viewed cities as dangerous and chaotic. However, some may find more freedom and anonymity in such an unplanned urban environment. The film also touches on issues of enforced slavery and marginalization.
This document provides an introduction to sound terminology and techniques used in film. It defines key terms like diegetic and non-diegetic sound, and external and internal diegetic sound. It also covers concepts like voiceover, sound bridges, pleonastic sound, and contrapuntal sound. Examples are given to illustrate different types of sound, including a detailed breakdown of a scene from the film The Last King of Scotland. Students are assigned homework to create a film sequence using the sound techniques and also to select a film sequence for coursework analysis.
The document discusses TV drama codes and conventions by comparing the openings of several TV dramas. It analyzes the openings of Neighbours, Hollyoaks, Press, and Killing Eve. Some key elements discussed include title sequences, recaps of previous episodes, themes, characters, and tone set by dramatic scenes, music, and imagery. The document also discusses genre conventions like technical codes, characters, narratives, and challenging genres. It provides examples of how some shows reference or draw from other media through intertextuality.
2022 OCR Media Studies GCSE Keywords and Knowledge Organisers (1).pptxMsCalver
This document provides information and vocabulary for the GCSE Media Studies exam. It outlines the key topics covered in Papers 1 and 2, including TV and advertising, music and news. It provides terminology related to camera techniques, representations, audiences, and the music and news industries. It also gives details about sample exam questions, command words, and techniques for answering questions effectively.
This document analyzes the genre elements that define the action thriller genre according to Nick Lacey's framework. It then applies these elements to summarize a trailer for the film "Walk Among the Tombstones." The key genre elements of setting, characters, narrative, iconography, and style are all discussed as seen in the trailer. Examples are provided for each element that follow typical conventions of the action thriller genre.
This document provides information about multi-camera filming of studio programs. It discusses different types of studio programs like game shows, talk shows, and magazine shows. It uses examples like The Gadget Show to explain the format of magazine shows, including introductions, segments on different topics, prerecorded inserts, and links between segments. Students are asked to analyze the format of The Gadget Show, identify how the multi-camera setup was used and problems filming in the studio. They then develop their own ideas for magazine show concepts and pitch one to the class.
The French New Wave of the late 1950s and 1960s influenced modern cinema through its rejection of classical Hollywood conventions. Directors like Godard emphasized location shooting with handheld cameras, natural lighting and sound, and nonlinear narratives focused on expressing the director's vision rather than adhering to genres. This movement encouraged experimentation and influenced directors like Tarantino to use long takes and tracking shots. While animation studios now emphasize consistent styles, embracing the French New Wave's emphasis on directorial freedom could lead to more interesting animated films in the future.
This document provides revision materials for a GCSE Media Studies exam on television and promoting media. It includes terminology related to film techniques, conventions of television crime dramas, analysis of crime drama representations, facts about British broadcasters BBC and ITV, and sample exam questions. Key points covered are editing techniques, camera shots, sound devices, character archetypes in crime genres, and how social groups are portrayed. Example pleasures of crime dramas discussed are narrative resolution, escapism, and familiarity from recurring characters.
The document discusses various elements of film editing that can be analyzed, including: order of shots, continuity, transitions, shot duration/pace and rhythm, and special effects. It explains how these technical elements help create meaning and influence what information is revealed or hidden from the characters and audience. Order of shots can reveal character perspectives and importance. Continuity editing implies spatial relationships to tell a story smoothly. Transitions can imply passage of time or location changes. Shot duration impacts pace, while special effects further manipulate scenes.
Steve Neale is an influential film studies scholar who has written extensively on genre theory. He argues that genres are defined by both repetition of conventions and elements of difference in each text. Genres are not fixed but evolve as new works subvert conventions or combine elements of multiple genres. Audiences expect certain genre conventions but regimes of realism vary between genres based on their internal rules rather than reality alone.
GCSE - Promoting Media: Advertising and Marketing LEGOsimone1192
Here are some key points about the target audience of The Lego Movie advertising campaign:
- The campaign targets both children who play with Lego and adults who played with Lego when they were younger. It aims to appeal to multiple generations.
- By featuring characters and references from popular culture like Batman and The Matrix, it draws in audiences familiar with these franchises, many of whom would now be adults.
- The bright colors, humor and sense of imagination portrayed attract young children who enjoy Lego. Younger viewers can identify with characters.
- Including voice actors like Lenny Henry and familiar faces like Vinny Jones from films/TV helps appeal to adult audiences who recognize these people.
- The warm, friendly tone
The document discusses conventions and codes of the psychological thriller genre. It provides definitions of psychological thriller and outlines some common themes such as reality, perception, mind, existence/purpose, obsession, and identity. It then discusses several codes and conventions used in psychological thrillers, including costume and makeup, props, running water, vast landscapes, confined spaces, and shadows. Examples are given of how each convention is used to build tension, suspense, and unease.
This document discusses ethics in documentary filmmaking. It addresses the conflicting traditions of journalistic and artistic approaches. Key ethical issues include exploiting or misrepresenting subjects, obtaining informed consent, paying subjects, conducting interviews, staging scenes, collaborating with subjects, and being transparent and self-reflexive. In post-production, filmmakers must honor the viewer's trust by not misleading them through tactics like reckless editing, misleading voiceovers, or using unidentified archival footage. The overall goals are to avoid harming subjects and viewers while achieving documentary goals like education, insight and entertainment.
This document analyzes the British music magazine CLASH. It summarizes that CLASH focuses on underground and mainstream musicians while combining sections on film, fashion, news and entertainment. The target audience is primarily men aged 21-30, though the slim difference in male and female readership suggests it appeals to both sexes. Additionally, the target audience has a strong interest in music and are avid tech users located primarily in the UK, with many readers in London and eastern England.
This document discusses several narrative theories, beginning with a definition of narrative as a sequence of fictional or non-fictional events presented to an audience. It then examines Tzvetan Todorov's theory that narratives follow five steps: equilibrium is disrupted, the disruption is recognized, an attempt is made to fix the damage, and a new resolution or equilibrium is reached. However, some narratives like the film "Se7en" deliberately avoid resolution. Vladimir Propp's theory identified common character archetypes in narratives like villains, helpers, and heroes. Claude Levi-Strauss's theory was that narratives rely on binary oppositions like strong vs. weak and good vs. evil.
Film form -early cinema, meaning,narrationEACoffman
The document provides an overview of the film production process including pre-production, production, and post-production. It then discusses key film techniques like mise-en-scene, cinematography, editing, and sound. It also summarizes several important film movements like German Expressionism, Soviet Montage, and Classical Hollywood Cinema. Finally, it introduces concepts of film form, narration, and theories of meaning from scholars like Saussure, Peirce, Benjamin, and Bordwell.
This document discusses the key features and types of documentaries. It identifies five key elements of documentaries: observation, interviews, dramatization, mise-en-scene, and exposition. It then describes several types of documentaries, including fly on the wall, drama documentary, mockumentary, personal, fully narrated, mixed, self-reflexive, and investigative documentaries. Examples are provided for each type to illustrate its conventions.
Pan's Labyrinth A-Level Film Studies student booklet e-book workbook study guideIan Moreno-Melgar
A detailed guide and workbook for Pan's Labyrinth as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Spanish Cinema, Civil War, as well as work on representation and aesthetics as well as the aesthetic influences of Director Guillermo Del Toro.
Guy Debord was a French Marxist theorist and filmmaker who founded the Situationist International in 1957. He is best known for his influential 1967 book The Society of the Spectacle, which critiqued consumer capitalism and the role of images and media in alienating individuals. Debord argued that advanced capitalism had replaced meaningful social interaction with an "immersive spectacle" that isolated people. His ideas inspired the 1968 general strike in France and continue to influence academics, activists, and filmmakers today through concepts like "culture jamming" and critiques of late-stage capitalism.
This document discusses emoji and the author's favorite emoji. It mentions dab+emoji and provides details about Season 1, Episode 5 of the TV show "Nailed it!" along with the hashtag #GoCubs!.
The document discusses key concepts in narrative structure and techniques used in films to tell stories. It defines narrative form as the structure through which movies convey stories. It then explores concepts like narrative elements being present across different media, the logical sequence of events in narratives, common narrative structures involving setup, rising action, climax, falling action and resolution, use of characters including traits, goals and obstacles, different types of conflict, and diegetic vs nondiegetic elements.
The document discusses common codes, conventions, and techniques used in horror films. It begins by defining codes and conventions, and explains that codes are technical or symbolic ways of communicating meaning, while conventions are generally accepted ways of doing things within a genre. It then lists and describes several common conventions in horror films, such as films being set in isolated locations, characters ignoring threats of danger, the power being cut at scary moments, phone lines being cut, characters investigating strange noises, victims running upstairs instead of outside, and more.
The document provides an analysis of the opening sequence of a teen drama film. It summarizes that simple shots are used to give the film a sense of realism and challenge conventions of the genre. Various characters are introduced, including an outcast main character. Music, camera angles, shots, editing, narrative, and mise-en-scene are all discussed as techniques that establish the genre and set the scene of a typical day for the main character.
The document summarizes Guy Debord's concept of "spectacle" from his book The Society of the Spectacle. It discusses how spectacle functions through mass media to present an unreal version of social life and relations as a one-way communication. This serves political and economic ends by subjugating individuals and separating them from their labor, products, and leisure time. The consequences include a lack of freedom and unity through separation, as well as a degradation of being to having and then to merely appearing. Spectacle aims to justify and develop itself above all else.
The document discusses media ownership in the film industry. It focuses on ownership of the major Hollywood studios, known as the Big Six, which are subsidiaries of large media conglomerates. This high level of concentration of ownership allows bigger budgets but can also lead to biases and synergy between related products. The document also examines ownership in the UK film industry, where American films dominate the box office, and how independent British productions like "This is England" reflect aspects of British culture.
This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
The document traces the history of psychological thrillers from the 1920s to present day. It discusses how early films from the 1920s-1940s used limited technology, resulting in movies that were not as clear or realistic as modern films. It then outlines several influential psychological thriller films from each decade, noting how conventions of the genre developed over time along with increasing violence and gore as technology advanced.
The document provides information about copyright for educators from the National Copyright Unit. It discusses the Unit's role in managing copyright obligations and licenses for the education sector in Australia. It also outlines key topics around copyright for different types of materials used in education, including text and artistic works, broadcasts, music, films and videos. Exceptions under the Copyright Act that apply to educational uses are also summarized.
The document discusses using television and film in TAFEs. It provides information on the National Copyright Unit which manages educational copyright licenses and provides copyright advice to schools and TAFEs. It outlines the Statutory Broadcast License which allows WA TAFEs to copy and communicate television and radio broadcasts. It also discusses education exceptions under the Copyright Act that allow performance and communication of copyright material for educational purposes, as well as flexible dealing provisions that allow some copying of audiovisual works.
This document provides revision materials for a GCSE Media Studies exam on television and promoting media. It includes terminology related to film techniques, conventions of television crime dramas, analysis of crime drama representations, facts about British broadcasters BBC and ITV, and sample exam questions. Key points covered are editing techniques, camera shots, sound devices, character archetypes in crime genres, and how social groups are portrayed. Example pleasures of crime dramas discussed are narrative resolution, escapism, and familiarity from recurring characters.
The document discusses various elements of film editing that can be analyzed, including: order of shots, continuity, transitions, shot duration/pace and rhythm, and special effects. It explains how these technical elements help create meaning and influence what information is revealed or hidden from the characters and audience. Order of shots can reveal character perspectives and importance. Continuity editing implies spatial relationships to tell a story smoothly. Transitions can imply passage of time or location changes. Shot duration impacts pace, while special effects further manipulate scenes.
Steve Neale is an influential film studies scholar who has written extensively on genre theory. He argues that genres are defined by both repetition of conventions and elements of difference in each text. Genres are not fixed but evolve as new works subvert conventions or combine elements of multiple genres. Audiences expect certain genre conventions but regimes of realism vary between genres based on their internal rules rather than reality alone.
GCSE - Promoting Media: Advertising and Marketing LEGOsimone1192
Here are some key points about the target audience of The Lego Movie advertising campaign:
- The campaign targets both children who play with Lego and adults who played with Lego when they were younger. It aims to appeal to multiple generations.
- By featuring characters and references from popular culture like Batman and The Matrix, it draws in audiences familiar with these franchises, many of whom would now be adults.
- The bright colors, humor and sense of imagination portrayed attract young children who enjoy Lego. Younger viewers can identify with characters.
- Including voice actors like Lenny Henry and familiar faces like Vinny Jones from films/TV helps appeal to adult audiences who recognize these people.
- The warm, friendly tone
The document discusses conventions and codes of the psychological thriller genre. It provides definitions of psychological thriller and outlines some common themes such as reality, perception, mind, existence/purpose, obsession, and identity. It then discusses several codes and conventions used in psychological thrillers, including costume and makeup, props, running water, vast landscapes, confined spaces, and shadows. Examples are given of how each convention is used to build tension, suspense, and unease.
This document discusses ethics in documentary filmmaking. It addresses the conflicting traditions of journalistic and artistic approaches. Key ethical issues include exploiting or misrepresenting subjects, obtaining informed consent, paying subjects, conducting interviews, staging scenes, collaborating with subjects, and being transparent and self-reflexive. In post-production, filmmakers must honor the viewer's trust by not misleading them through tactics like reckless editing, misleading voiceovers, or using unidentified archival footage. The overall goals are to avoid harming subjects and viewers while achieving documentary goals like education, insight and entertainment.
This document analyzes the British music magazine CLASH. It summarizes that CLASH focuses on underground and mainstream musicians while combining sections on film, fashion, news and entertainment. The target audience is primarily men aged 21-30, though the slim difference in male and female readership suggests it appeals to both sexes. Additionally, the target audience has a strong interest in music and are avid tech users located primarily in the UK, with many readers in London and eastern England.
This document discusses several narrative theories, beginning with a definition of narrative as a sequence of fictional or non-fictional events presented to an audience. It then examines Tzvetan Todorov's theory that narratives follow five steps: equilibrium is disrupted, the disruption is recognized, an attempt is made to fix the damage, and a new resolution or equilibrium is reached. However, some narratives like the film "Se7en" deliberately avoid resolution. Vladimir Propp's theory identified common character archetypes in narratives like villains, helpers, and heroes. Claude Levi-Strauss's theory was that narratives rely on binary oppositions like strong vs. weak and good vs. evil.
Film form -early cinema, meaning,narrationEACoffman
The document provides an overview of the film production process including pre-production, production, and post-production. It then discusses key film techniques like mise-en-scene, cinematography, editing, and sound. It also summarizes several important film movements like German Expressionism, Soviet Montage, and Classical Hollywood Cinema. Finally, it introduces concepts of film form, narration, and theories of meaning from scholars like Saussure, Peirce, Benjamin, and Bordwell.
This document discusses the key features and types of documentaries. It identifies five key elements of documentaries: observation, interviews, dramatization, mise-en-scene, and exposition. It then describes several types of documentaries, including fly on the wall, drama documentary, mockumentary, personal, fully narrated, mixed, self-reflexive, and investigative documentaries. Examples are provided for each type to illustrate its conventions.
Pan's Labyrinth A-Level Film Studies student booklet e-book workbook study guideIan Moreno-Melgar
A detailed guide and workbook for Pan's Labyrinth as part of the A-Level Film Studies Specification covering context, a detailed analysis of the film, examinations of Spanish Cinema, Civil War, as well as work on representation and aesthetics as well as the aesthetic influences of Director Guillermo Del Toro.
Guy Debord was a French Marxist theorist and filmmaker who founded the Situationist International in 1957. He is best known for his influential 1967 book The Society of the Spectacle, which critiqued consumer capitalism and the role of images and media in alienating individuals. Debord argued that advanced capitalism had replaced meaningful social interaction with an "immersive spectacle" that isolated people. His ideas inspired the 1968 general strike in France and continue to influence academics, activists, and filmmakers today through concepts like "culture jamming" and critiques of late-stage capitalism.
This document discusses emoji and the author's favorite emoji. It mentions dab+emoji and provides details about Season 1, Episode 5 of the TV show "Nailed it!" along with the hashtag #GoCubs!.
The document discusses key concepts in narrative structure and techniques used in films to tell stories. It defines narrative form as the structure through which movies convey stories. It then explores concepts like narrative elements being present across different media, the logical sequence of events in narratives, common narrative structures involving setup, rising action, climax, falling action and resolution, use of characters including traits, goals and obstacles, different types of conflict, and diegetic vs nondiegetic elements.
The document discusses common codes, conventions, and techniques used in horror films. It begins by defining codes and conventions, and explains that codes are technical or symbolic ways of communicating meaning, while conventions are generally accepted ways of doing things within a genre. It then lists and describes several common conventions in horror films, such as films being set in isolated locations, characters ignoring threats of danger, the power being cut at scary moments, phone lines being cut, characters investigating strange noises, victims running upstairs instead of outside, and more.
The document provides an analysis of the opening sequence of a teen drama film. It summarizes that simple shots are used to give the film a sense of realism and challenge conventions of the genre. Various characters are introduced, including an outcast main character. Music, camera angles, shots, editing, narrative, and mise-en-scene are all discussed as techniques that establish the genre and set the scene of a typical day for the main character.
The document summarizes Guy Debord's concept of "spectacle" from his book The Society of the Spectacle. It discusses how spectacle functions through mass media to present an unreal version of social life and relations as a one-way communication. This serves political and economic ends by subjugating individuals and separating them from their labor, products, and leisure time. The consequences include a lack of freedom and unity through separation, as well as a degradation of being to having and then to merely appearing. Spectacle aims to justify and develop itself above all else.
The document discusses media ownership in the film industry. It focuses on ownership of the major Hollywood studios, known as the Big Six, which are subsidiaries of large media conglomerates. This high level of concentration of ownership allows bigger budgets but can also lead to biases and synergy between related products. The document also examines ownership in the UK film industry, where American films dominate the box office, and how independent British productions like "This is England" reflect aspects of British culture.
This document provides an introduction to genre theory and how it can be applied to analyze media texts. It discusses how genre categorizes texts based on common elements and conventions. Key aspects covered include definitions of genre, common genre conventions and codes, how genres engage and please audiences, and different genre theories and models. The document also discusses how genre is useful for producers, audiences and scholars but is also constantly evolving through a process of negotiation.
The document traces the history of psychological thrillers from the 1920s to present day. It discusses how early films from the 1920s-1940s used limited technology, resulting in movies that were not as clear or realistic as modern films. It then outlines several influential psychological thriller films from each decade, noting how conventions of the genre developed over time along with increasing violence and gore as technology advanced.
The document provides information about copyright for educators from the National Copyright Unit. It discusses the Unit's role in managing copyright obligations and licenses for the education sector in Australia. It also outlines key topics around copyright for different types of materials used in education, including text and artistic works, broadcasts, music, films and videos. Exceptions under the Copyright Act that apply to educational uses are also summarized.
The document discusses using television and film in TAFEs. It provides information on the National Copyright Unit which manages educational copyright licenses and provides copyright advice to schools and TAFEs. It outlines the Statutory Broadcast License which allows WA TAFEs to copy and communicate television and radio broadcasts. It also discusses education exceptions under the Copyright Act that allow performance and communication of copyright material for educational purposes, as well as flexible dealing provisions that allow some copying of audiovisual works.
This document provides an outline for a presentation on copyright for educators to be delivered on March 22nd and 29th. It discusses the role and responsibilities of the National Copyright Unit in managing copyright obligations and providing advice for Australian schools. It also outlines topics to be covered in the presentation, including statutory education licenses, exceptions for education use, and guidance on topics like using music, audiobooks and remote learning within copyright rules. An appendix provides additional resources and links for attendees to access slides and further copyright guidelines.
The document discusses copyright guidelines for using television and film in TAFEs. It provides information on the National Copyright Unit which manages educational copyright licenses and provides copyright advice to schools and TAFEs. It outlines exceptions like the statutory broadcast license that allows copying of TV and radio broadcasts in WA TAFEs, and the education exceptions that allow performance and communication of copyrighted works for educational purposes. It also discusses concepts like flexible dealing and exceptions for students with disabilities.
The document provides an overview of copyright issues for educators in the TAFE sector in Australia. It discusses the National Copyright Unit which manages copyright obligations for the school and TAFE sectors. It outlines the Statutory Text and Artistic Works Licence which allows copying of text and artistic works. It also discusses various copyright exceptions for education including for performing works in class, flexible dealing, exams, and disabilities. The document covers issues around using music, tricky areas like streaming services, seeking permission, and open educational resources and Creative Commons licensing.
The National Copyright Unit manages copyright policy and administration for the Australian school and TAFE sectors. This involves managing educational copyright licenses, providing copyright advice, advocating for copyright laws on behalf of schools and TAFEs, and educating the sectors about their copyright responsibilities. The Smartcopying website provides practical copyright information sheets, FAQs, and information on using Creative Commons resources. Schools can rely on various statutory licenses and exceptions under the Copyright Act to use copyrighted works for educational purposes.
The document discusses copyright guidelines for using television and film in schools. It provides an overview of the National Copyright Unit which manages educational copyright licenses and provides copyright advice to schools. It outlines licenses that allow schools to copy broadcasts, play films for non-educational purposes, and perform or communicate copyright material for educational purposes in class. Specific details are given about what is covered under each license and exceptions.
The document discusses copyright guidelines for using television, film, and other audiovisual content in schools. It provides information on the Statutory Broadcast Licence, which allows schools to copy and communicate television and radio broadcasts. It also discusses the Co-curricular Licence, which permits playing films for non-educational purposes under certain conditions. Additionally, it summarizes the education exceptions that exist under the Copyright Act, including performing and communicating material in class, flexible dealing, and exceptions for exam copying and disability access.
The document discusses copyright issues relevant for educators in TAFE (Technical and Further Education) settings. It describes the role of the National Copyright Unit in managing educational copyright licenses and providing advice to schools and TAFEs. It outlines exceptions like the statutory text and artistic works license that allow copying of certain works, the education exceptions that allow performing and communicating copyrighted works in class, and the flexible dealing exception for copying audiovisual content when no other exception applies. Guidelines for determining fair use under the flexible dealing exception are also provided.
The document discusses copyright guidelines for using television, film, and other audiovisual content in schools. It provides an overview of the Statutory Broadcast Licence, which allows schools to copy and communicate television and radio broadcasts for educational purposes. It also discusses the Co-curricular Licence, which permits schools to play films for non-educational entertainment purposes in certain situations. Additionally, it summarizes the education exceptions that exist under the Copyright Act, including using content in classrooms and for students with disabilities.
The document provides information about copyright for educators from the National Copyright Unit. It discusses the Unit's role in managing educational copyright licenses and educating schools about their copyright responsibilities. It also outlines the Statutory Text and Artistic Works License and Statutory Broadcast License that allow schools to copy and communicate copyrighted works for educational purposes, provided certain conditions are met. The document provides guidance on how much material can be copied under each license and what notice requirements apply.
The document discusses copyright guidelines for using television and film in schools. It provides an overview of the National Copyright Unit which manages educational copyright licenses and provides copyright advice to schools. It outlines licenses that allow schools to copy and use television and film content for educational purposes, including the Statutory Broadcast License, Co-curricular License, and exceptions for educational use, exams, and disability access. Smartcopying tips are also provided, such as linking or streaming video instead of downloading.
The document provides information about copyright for educators in TAFE institutions. It discusses the National Copyright Unit which manages educational copyright licenses and provides copyright advice to schools and TAFEs. It outlines the Statutory Text and Artistic Works License that allows TAFEs to copy and communicate text and artistic works for educational purposes. It also discusses the Statutory Broadcast License that allows copying and communicating of TV and radio broadcasts, and restrictions on what content it does not cover such as online streaming services. The document provides guidance on how much educational material can be copied under these licenses and labeling requirements.
The document provides information about copyright for educators in TAFE. It discusses the National Copyright Unit which manages copyright obligations for the Australian school and TAFE sectors. It outlines the Statutory Text and Artistic Works Licence which allows TAFEs to copy and communicate text and artistic works for educational purposes provided it does not unreasonably prejudice the copyright owner. It also discusses the Statutory Broadcast Licence which applies to TAFE WA and covers copying and communicating TV, radio and scheduled subscription TV broadcasts.
The document provides information about copyright for educators in schools. It discusses the National Copyright Unit which manages educational copyright licenses and provides copyright advice and education to schools. It outlines the Smartcopying website as a resource for practical copyright information and guidelines. The presentation covers copyright basics, the Statutory Text and Artistic Works License, the Statutory Broadcast License, and exceptions and resources available to educators for copyright compliance in schools.
The document discusses copyright for educators in schools. It provides information on the National Copyright Unit which manages educational copyright licenses and provides copyright advice and education to schools. It outlines the Statutory Text and Artistic Works License and Statutory Broadcast License that allow schools to copy and communicate certain copyrighted works for educational purposes. It provides guidance and examples on how educators can identify what can be copied and communicated under these licenses and best practices for attribution and labeling.
Similar to Copyright for Educators - Clickview (20)
The document provides information about copyright for educators in schools. It discusses the National Copyright Unit which manages educational copyright licenses and provides copyright advice and education to schools. It outlines key aspects of copyright including what is protected, who owns copyright, and copyright owners' rights. It describes the Statutory Text and Artistic Works License that allows schools to copy and communicate text and artistic works for educational purposes in certain amounts. It provides guidance on how much material can be copied from text works and artistic works under this license and examples of what schools can do with copied material. It also discusses labeling and attribution requirements.
This document provides an overview of a presentation given by the National Copyright Unit on copyright issues relating to artificial intelligence. It discusses copyright concerns around using existing works as inputs to train AI models and around the outputs generated by AI. It notes there is uncertainty in law around whether AI outputs are protected by copyright and who would own copyright if it exists. The presentation recommends approaches for schools to take when using AI to modify existing works or create new material. It also provides an update on various law reform consultations relating to AI and copyright that the National Copyright Unit is involved in.
The document discusses artificial intelligence (AI) and copyright issues related to its use in education. It provides an overview of AI, including common applications in education like adapting resources. It also discusses how generative AI tools are developed by training models on large datasets. There are uncertainties around copyright issues for both the inputs used to train AI models and the outputs AI tools generate. The National Copyright Unit provides guidance and recommendations for schools and TAFEs navigating these complex issues until the law is clarified.
The document discusses copyright and music use in schools. It summarizes the role of the National Copyright Unit in managing educational copyright licenses and providing copyright advice to schools. It outlines that the Schools Music License allows schools to copy sheet music, perform musical works live, play sound recordings, and record and share recordings of school events with music for educational purposes. Schools are given guidelines on what they can and cannot do under this license, such as limits on copying long works and changing lyrics.
The document discusses a presentation by the National Copyright Unit on using text and artistic works in schools. It provides an outline of the presentation which covers copyright basics, the Statutory Text and Artistic Works Licence, education exceptions, labelling and attribution requirements, and smartcopying tips. The presentation aims to educate school sectors about their copyright responsibilities and the flexibilities available under the educational licensing scheme.
This document provides information about copyright for educators in TAFE institutions. It discusses the National Copyright Unit which manages educational copyright licenses and provides copyright advice to schools and TAFEs. It outlines the Statutory Text and Artistic Works License which allows TAFEs to copy and communicate text and artistic works for educational purposes. It also discusses what can be copied under this license from both text works and artistic works.
The document discusses copyright for resource developers in education. It provides information about the National Copyright Unit (NCU) which manages educational copyright licenses and provides copyright advice. It outlines the NCU's responsibilities including managing licenses, providing advice, advocating for copyright laws, and educating the education sector about copyright responsibilities. It also provides information about the Smartcopying website which contains copyright resources and guides.
The document outlines how to find materials licensed under Creative Commons. It recommends starting with the openverse website which allows one-click attribution of images and audio. It also describes how to use Google Images to filter search results to only include images with a Creative Commons license by using the advanced search features or image search filters. The document provides guidance on best practices for finding open educational resources and materials that can be legally reused or remixed.
The document discusses copyright and the use of text and artistic works in schools. It provides information about the National Copyright Unit (NCU) and its role in managing educational copyright licenses and providing copyright advice. It outlines what works are protected by copyright and summarizes the Statutory Text and Artistic Works License, including what schools are allowed to copy and communicate under this license for educational purposes.
The document discusses copyright issues related to educators in TAFE institutions. It provides information about the National Copyright Unit which manages copyright licences and provides advice for the school and TAFE sectors in Australia. It outlines the Statutory Text and Artistic Works Licence which allows TAFEs to copy and communicate text works and artistic works for educational purposes. It also discusses the TAFE Music Licence and restrictions around copying radio and TV broadcasts. The document aims to educate TAFE educators about their copyright responsibilities and the options available to them to use copyright material for teaching.
The document provides an overview of copyright for educators in schools. It discusses the National Copyright Unit which manages educational copyright licenses and provides copyright advice and education to schools. It outlines key aspects of copyright including what is protected, who owns copyright, and copyright owners' rights. It describes the Statutory Text and Artistic Works License that allows schools to copy and communicate text and artistic works for educational purposes in certain amounts. It provides guidance on how much material can be copied from text works and artistic works under this license and examples of what schools are permitted to do. It also notes good practices like linking or embedding content where possible and properly attributing any copied material.
The document outlines how to find and use Creative Commons licensed materials for educational purposes. It discusses Creative Commons licensing and the different CC licenses. It provides guidance on searching for CC licensed content on websites like Openverse, Google Images, and Flickr. Specific tips covered include using Openverse's one-click attribution and filtering Google Image searches to only show CC images. The document aims to educate users on identifying and appropriately using open educational resources under a CC license.
The document discusses copyright issues related to using music in schools. It describes the Schools Music Licence, which allows schools to copy sheet music, perform musical works live, play sound recordings, and record and share recordings of school events with the school community. It also discusses exceptions under the Copyright Act that permit performing and communicating music for educational purposes in class and flexible dealing with copyright material when no other exception or licence applies. The presentation provides examples and guidelines for how schools can use music within these copyright frameworks.
The document discusses copyright issues related to developing educational resources. It provides information about the National Copyright Unit (NCU) and its role in managing copyright licences and advising schools and technical and further education (TAFE) sectors. It outlines topics to be covered, including using Creative Commons licensed material, seeking permission to use copyrighted works, and relying on statutory copyright exceptions when permission or licences are not available. Tips are provided about attributing sources, finding Creative Commons images and music, and using material within the bounds of statutory licences.
This document provides an overview of copyright for educators in schools. It discusses the National Copyright Unit which manages educational copyright licenses and provides copyright advice and education to schools. It outlines the Statutory Text and Artistic Works License and Statutory Broadcast License that allow schools to copy and communicate certain copyright materials for educational purposes. It provides guidance on how much text and images can be copied under these licenses and the labeling and notice requirements. The document also directs educators to the Smartcopying website for more detailed copyright information and guidelines.
This document summarizes a presentation about copyright for TAFE educators given by the National Copyright Unit. It outlines the role of the NCU in managing copyright for Australian schools and TAFEs. The presentation covers the Statutory Text and Artistic Works Licence that allows TAFEs to copy and communicate text and artistic works for educational purposes. It also discusses education exceptions like performing and communicating works in class, flexible dealing, and exceptions for exams and assisting students with disabilities. The presentation provides guidance on how much material can be copied under these exceptions and licenses and recommends best practices for attribution and labeling.
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2. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
National Copyright Unit
The Ministers’ Copyright Advisory Group (CAG), through the NCU, is responsible for
copyright policy and administration for the Australian school and TAFE sectors. This
involves:
● managing the obligations under the educational copyright licenses
● providing copyright advice to schools and TAFEs
● advocating for better copyright laws on the school and TAFE sectors’ behalf
● educating the School and TAFE sectors regarding their copyright
responsibilities.
2
3. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
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Smartcopying website
3
www.smartcopying.edu.au
• Practical and simple information sheets and FAQs
• Interactive teaching resources on copyright
• Smartcopying tips and information on Creative Commons and how to find
Creative Commons licensed resources
• Search the site for answers to your copyright questions
5. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Slides
• Slides available @ http://www.slideshare.net/nationalcopyrightunit/
• This work is licensed under a Creative Commons Attribution 4.0 International
Licence (unless otherwise noted) http://creativecommons.org/licenses/by/4.0/.
• Attribution: National Copyright Unit, Copyright Advisory Groups (Schools and TAFEs)
5
6. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Outline
6
1. Copyright Basics
2. Statutory Broadcast Licence
3. Education Exceptions: s 28, Flexible Dealing (s 200AB), Other Exceptions
4. Tricky Areas: Audiobooks, Recordings of School/TAFE Events
5. Smartcopying Tips
8. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
What does copyright protect?
https://smartcopying.edu.au/guidelines/copyright-basics/what-is-protected-by-copyright/
Artistic Literary Musical Dramatic
● paintings
● illustrations
● sculptures
● graphics
● cartoons
● photographs
● drawings
● maps
● diagrams
● buildings
● models of buildings
● online images
● novels
● textbooks
● newspaper and
magazine articles
● short stories
● journals
● poems
● song lyrics
● instruction manuals
● computer software
● websites
● e-books
● melodies
● sheet music
● pop songs
● advertising jingles
● film score
● plays
● screenplays
● mime
● choreography
8
9. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
What does copyright protect?
Films Sound Recordings Broadcasts
● films
● video recordings
● DVDs
● television programs
● advertisements
● music videos
● online films and videos (eg
YouTube, Vimeo, iTunes,
Google Play, Netflix, Stan,
Amazon Prime etc)
● digital recordings (eg
MP3/MP4)
● Vinyl
● CD
● DVD
● audio cassette tapes
● digital music (eg Spotify,
Sound Cloud, Apple Music,
etc)
● radio
● television
9
10. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
A copyright owner’s rights
10
A copyright owner has the exclusive right to:
1. copy
2. perform
3. communicate to the public
the copyright material. "Copyright graffiti" by opensourceway is
licensed under CC BY-SA 2.0
11. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Copying Activities Performance Activities Communication
Activities
● scanning
● downloading
● printing
● saving to another device
– USB, hard drive,
mobile phone, tablet
● photocopying
● taking a digital
photo/screenshot
● playing films and music
● singing songs
● playing instruments
● acting out a play
● reading a book or
reciting a poem to a
class
● display or project on an
interactive whiteboard
● uploading to a digital
teaching environment
(DTE) or share drive
● emailing to students
11
https://smartcopying.edu.au/guidelines/copyright-basics/what-are-the-rights-of-a-copyright-owner/
13. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Statutory Broadcast Licence
13
Who is covered?
• Covers all schools.
• For the TAFE sector, only covers TAFE WA
• For other TAFEs, see Use of Television Programs and Film by TAFE Institutes Without a Statutory
Broadcast Licence.
Covers the copying and communication of:
• TV and radio broadcasts
• scheduled broadcast content on subscription TV (eg Foxtel), and
• TV/radio from a broadcaster’s website if it has been
broadcast on free-to-air.
https://smartcopying.edu.au/guidelines/education-licences/statutory-broadcast-licence/
14. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Using copy broadcasts
14
• Schools and TAFE WA institutes obtain copies or TV or radio broadcasts from resource
centres (eg ClickView) or by copying the broadcasts themselves.
• The copy broadcasts can be:
o in any format (eg DVD, MP4) and format shifted as needed
o played in class
o shared with students (eg add to your ‘school library’, add a link or embed in your school’s
DTE)
o copied and downloaded (if the resource centre offers this option) as needed
o communicated (eg uploaded a copy to a password protected intranet or DTE emailed to
students)
15. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Notice Requirements
15
Where practicable, it is best practice to include the following notice on material
copied/communicated under the statutory licence:
A practical way of including this notice is to insert a link to the notice from the attribution information:
Copied/communicated under the statutory licence in s 113P of the
Copyright Act
[Program title, Channel, Date copied]
[Link to warning notice]
Warning
This material has been copied [and communicated to you] in accordance with
the statutory licence in section 113P of the Copyright Act. Any further
reproduction or communication of this material by you may be the subject of
copyright protection under the Act. Do not remove this notice.
https://smartcopying.edu.au/guidelines/education-licences/section-113p-notice/
16. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Statutory Broadcast Licence:
Activities
16
• Downloading a broadcast using a resource centre (eg ClickView) and
uploading this to a school LMS
• Copying an old VHS of a broadcast to mp4 format and placing on ClickView
for students to access
• Downloading podcasts that are being broadcast and uploading them to
ClickView
• Taking extracts from a program and making them available on ClickView as
part of a student activity.
17. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
What is not covered
17
The Statutory Broadcast Licence does not cover:
• online programs from subscription TV/Radio broadcasters
• on-demand content from subscription TV that has not been previously broadcast
(Foxtel On Demand or Kayo Sports)
• television programs from streaming services (Netflix, Stan, Amazon Prime)
• purchased television programs from iTunes, Google Play, online or retail stores
• films or DVDs which are bought or rented by the school
• online videos (YouTube, Vimeo, TeachersTube, Edmodo, Khan Academy)
• online games (ABC for Kids).
19. National Copyright Unit
www.smartcopying.edu.au
Copyright for Educators - Clickview
27 May 2021
19
https://smartcopying.edu.au/performance-and-communication-of-copyright-material-in-class/
Performing and
Communicating Material in
Class (s 28)
20. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Performing and
communicating copyright
material in class (s 28)
20
• Section 28 allows schools/TAFEs to perform and communicate material 'in class'
(includes remote students).
• A free exception – no fees are paid.
• Does not permit copying – the ‘show and tell’ exception.
• Includes any type of material.
• Must be restricted to staff and students who need material.
21. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Section 28 uses – audio and audio-
visual content
21
Section 28 allows the playing of:
• television programs from free to air and pay television
• radio programs from free to air radio and digital radio stations
• programs from streaming services (eg Netflix, Stan, Amazon Prime)
• a film in any format (eg DVD or a film from iTunes, Google Play, etc)
• purchased material in any format (eg a film, audiobook, television program or series)
• online television programs (eg ABC iView, SBS on Demand, 7plus)
• sound recordings in any format (eg CD, DVD, cassettes, digital music from iTunes,
Google Play)
22. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Story time and digital learning
22
Can I hold virtual story time or stream classroom lessons?
Yes, as long as:
• you live stream the story time/lesson, not record it
• the teacher is physically present on school premises at the time
• the story time/lesson is held for educational instruction
• the audience is limited to staff and students of the school.
Can I record ‘virtual story times’ or classroom lessons for students to access at
another time?
It depends. It needs to be assessed on a case-by-case basis.
https://smartcopying.edu.au/remote-and-digital-learning-school-year-2021/
24. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Flexible dealing (s 200AB)
24
• Schools/TAFEs commonly rely on this exception to copy audio-visual content
(eg YouTube videos).
• Section 200AB is a flexible exception that can be used by schools/TAFEs when
no other exception or licence applies.
• The proposed use must be assessed on a case-by-case basis.
• The NCU has guidelines to ensure your use falls under section 200AB.
25. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Flexible dealing guidelines
25
Flexible dealing only applies if:
1. You cannot rely on any other licence or exception AND
2. You need the material for educational instruction (eg teaching particular lesson or course) AND
• Educational instruction includes:
o teaching
o preparing to teach
o compiling resources for student homework or research
o doing anything else for the purpose of teaching.
• You can’t rely on this exception for ‘just in case’ copying.
3. Your use does not conflict with the normal exploitation of the material
• If you can buy the material in the format you need within a reasonable time, or obtain a licence for your proposed
use on reasonable terms, then you must do so.
26. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Flexible dealing guidelines
26
If you meet those three criteria, you may be able to rely on the flexible dealing exception provided you:
• ensure no further copies or downloads can be made - if you are uploading content to the school digital
teaching environment (DTE), make sure it is view only
• limit access to the students/classes that need it for the specific instructional purpose - if you are
uploading a film to the school DTE for a year nine English class, only make it available to the students in that
class
• only use the amount of material that you need - if you only need to show students an extract of a film, you
won’t be able to rely on the flexible dealing exception to copy the entire film
• only make the material available for the time needed for the course of study - if students need to access
an excerpt of a documentary on the DTE for a course on the Great Depression, archive or disable access by
students to the documentary once it is no longer needed by the students
27. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Common flexible dealing
activities
27
• Copying extracts of videos (eg YouTube) needed for educational instruction.
• Copying an entire video when you cannot purchase it and it is needed for educational instruction.
• Format shifting an entire video or sound recording when you cannot purchase it and it is needed for
educational instruction, eg:
o VHS to DVD when the school has an old VHS tape but no longer has VHS players
o CD or DVD to a digital format (eg MP3/4) for use on iPads, etc lacking CD-ROM drives.
• Format shifting small extracts of a video or sound recording when it is needed for educational
instruction.
28. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
YouTube, iTunes (video content),
Google Play, Netflix, Amazon Prime
28
• YouTube, iTunes, Google Play, Netflix, Amazon Prime etc have standard terms and
conditions that state content can only be used for ‘personal, non-commercial’ use.
• You can stream this content in the classroom under section 28. In limited circumstances, you
may be able to make a copy of this content under section 200AB.
• BUT the terms and conditions of these websites may not strictly allow this, so you may be in
breach of contractual terms.
• It is unclear whether contractual terms override exceptions in the Copyright Act.
• Schools/TAFEs can manage risk by only using content under the exceptions in the Copyright
Act. Contact the NCU if you need additional advice.
https://smartcopying.edu.au/guidelines/internet-and-websites/
29. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Smartcopying Tip
29
Link or stream instead of downloading video content
under the flexible dealing exception
• link to or embed content – linking and embedding are
not copyright activities as you are not copying the
content. You are merely providing a pathway to where
they are on another website.
• directly stream content in class.
"File:External-link (CoreUI Icons
v1.0.0).svg" by CoreUI is licensed under CC BY 4.0
31. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Other Exceptions
31
Disability Access Exceptions
• Schools/TAFEs can make accessible format copies of audio-visual content which can then be uploaded
to ClickView for students with a disability.
• For more information on the requirements of these exceptions, see:
https://smartcopying.edu.au/guidelines/library-exam-and-disability-copying/disability-access-exceptions/
Exam Copying Exception
• Schools/TAFEs can copy audio-visual content onto ClickView for use in an exam or formal assessment.
• For more information on the requirements of this exception, see:
https://smartcopying.edu.au/guidelines/library-exam-and-disability-copying/copying-for-exams/
34. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Creating an audiobook
34
1. Is the audiobook available to purchase within a reasonable time (eg from
Google Play, iTunes, Audible)?
If yes, you must purchase the audiobook.
2. Do you need it for an educational purpose?
Educational purpose includes teaching (in a classroom or remotely), preparing to
teach, as part of a course of study or retaining in the library for use as a teaching
resource.
https://smartcopying.edu.au/flexible-dealing/
35. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Creating an audiobook
35
3. Does it unreasonably prejudice the legitimate interests of the copyright
owner?
• Only use the content you need for the specific educational purpose.
• Avoid making the audiobook/recording available for further copying and reuse (eg
by posting the audiobook on a public website).
• Limit access to the students that need it on a password protected DTE and
access limited to streaming (as opposed to downloading).
• Remove the copy from the password protected DTE as soon as practicable (eg
by archiving).
36. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Alternatives to creating your
own audiobook
36
You cannot create your own audiobook if one is commercially available. Some alternatives are:
1. Shop around for audiobooks
Many online providers (eg iTunes, Google Play, Audible, Kobo, Overdrive) allow you to purchase, subscribe
and/or rent audiobooks. Some of these providers allow multiple devices to be logged in at the same time (eg
Google play allows up to five per account).
2. Free audiobooks
You can stream (and in some instances download) audiobooks for free from:
• Spotify
• OpenCulture (http://www.openculture.com/freeaudiobooks)
• Project Guttenberg (https://www.gutenberg.org/)
• Librivox (https://librivox.org/).
37. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Alternatives to creating your
own audiobook
37
3. Loading audiobooks onto devices and loaning these devices to students
If your library has a fleet of devices (eg ipads, ipods, tablets, laptops), you can purchase the audiobooks
needed, load these audiobooks onto the devices and loan these devices to students.
• You need to purchase one copy of the audiobook per device. If you have 10 devices, you would need 10
copies of an audiobook.
• You must make sure students cannot make further copies of the audiobooks from these devices.
• This option may allow you to purchase audiobooks from multiple sources depending on which is
cheapest.
38. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Uploading audiobooks to a
DTE
38
• In most cases, an audiobook cannot be uploaded to a password protected DTE for students to
access if it is available for purchase.
• If you do want to make it available, you would need to have enough copies of audiobooks to
match the amount of students that require access to it.
o Eg if 20 students require access and the audiobook is available for purchase, you must
purchase 20 copies of it before uploading it to the password protected DTE. You cannot
simply purchase 1 copy and upload it for the 20 students to access.
• However, you can play an audiobook to a class under s 28.
40. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
Recording a School event and
uploading it to ClickView
40
Recording a school event
Schools can make a recording (audio and/or video recording) of a school event at which music is played (eg
recording a dance recital).
Schools can:
• upload the recording to the school website
• make a physical copy (eg copy it on to a USB) and distribute it (free or at cost recovery price) to members of the
school community (ie parents/carers/guardians and students)
• upload it the school’s official social media account (note it may be blocked or muted)
• upload it to a password protected area (eg DTE or ClickView account), and make this available to parents and
students
• upload it to an educational app used by the school to communicate with the school community (eg Schoolbag,
Seesaw, but not apps like Snapchat and TikTok).
41. Copyright for Educators - ClickView
27 May 2021
National Copyright Unit
www.smartcopying.edu.au
What is a ‘school event’?
41
School event means an event organised or authorised by the school.
This includes events or functions held at the school or connected with the school but
held at a different venue.
Examples of school events:
• concerts
• presentation nights
• drama or music performances
• assemblies
• sports days or school fêtes.
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Labelling recordings under
the School Event Licence
42
You must label the recording in the following way:
‘This recording has been made under a licence from AMCOS and ARIA for school
purposes only’.
You must also display the following details of each musical work captured in the
recording:
• the title
• the composer/arranger
• the artist and recording company (if you are using a backing track).
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What is not covered by the
music licences?
43
• Copying or performing entire Grand Right Works (eg musicals, operas) or long choral works.
o You can make copies of up to three songs from a Grand Right Work or long choral work.
o You can also perform part of a Grand Right Work.
o If your school wants to stage an entire musical (eg ‘Matilda’), you will need to obtain
permission from the copyright owner.
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Recording a TAFE event and
uploading it to ClickView: NSW,
QLD, ACT and TAS
44
TAFEs in NSW, QLD, ACT and TAS can record TAFE events at which music is played under the new TAFE Music
Licence with APRA AMCOS, ARIA and PPCA.
TAFEs in these jurisdictions can use the recording of their TAFE event(s) in the following ways:
• upload it to the TAFE website and/or DTE (eg a password protected area on ClickView)
• upload it to educational apps being used for TAFE communications (eg Skillslocker)
• email a digital copy to the TAFE community (students and parents)
• provide a physical copy to the TAFE community (for example, on a USB device)
• upload it to the TAFE’s official social media page (although where a musical work or sound recording is played
at the TAFE event the post may still be taken down).
https://smartcopying.edu.au/music-copyright-guide-for-tafes/
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Recording a TAFE event and
uploading it to ClickView:
WA, SA and NT
45
TAFEs in WA, SA and NT
• TAFEs in WA, SA and NT are not covered under the TAFE Music Licence.
• If TAFEs in these jurisdictions wish to upload recordings of TAFE events to a DTE they will need
to:
• obtain specific licences from OneMusic (APRA AMCOS and PPCA)
• obtain permission directly from the copyright owner or
• use music from other resources (eg Creative Commons music). See How to Find
Creative Commons Licensed Materials.
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Copy and
communicate
Statutory
Broadcast
Licence
(all schools
and WA
TAFEs)
https://smartcopying.edu.au/guidelines/radio-and-television-broadcasts/
Radio and television
broadcasts
Radio Tower by Unknown Author is licensed under CC BY-SA
Play in class
Section 28
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https://smartcopying.edu.au/guidelines/films-and-videos/
Films and videos
Play class
Section 28
Make
accessible
versions for
students with
a disability
Disability
Access
Exceptions
Use in an
exam
Exam copying
exception
Copy and
communicate
if not
commercially
available
Flexible
Dealing
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Smartcopying tips
• Link
• Label
• Limit
• Clear out content
• Consider CC licensed resources
50
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Tips for encouraging
copyright compliance
51
Schools/TAFEs/administering bodies can do the following to ensure student and staff compliance with
copyright obligations:
• Encourage the use of the Smartcopying website and contact the NCU with any copyright questions.
• The NCU leads a ‘Copyright for Educators’ course – this is a free online course for all Australian school
and TAFE teachers and librarians.
• Ensure students and teachers are aware of the Smartcopying tips – Link, Label, Limit and Clear out
material when no longer needed.
• Encourage the use of Creative Commons and OER where possible. Have a look at our short explainers
on CC and OER on the Smartcopying website.
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Copyright 4 Educators online
course
52
• Free online course for educators who want to learn about copyright, statutory
licences, educational exceptions and open educational resources.
• 7 week course. Three courses run in 2020, with over 150 learners taking the
course.
• 2021 dates: 26 July – 12 September 2021 (enrolments open 19 July 2021).
• More information on the Smartcopying website:
http://www.smartcopying.edu.au/educational-resources/copyright-4-educators-
course.
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More information
53
www.smartcopying.edu.au
slideshare.net/nationalcopyrightunit
smartcopying@det.nsw.edu.au
02 7814 3855
Editor's Notes
Speaking note: a password protected area on CV that’s only accessible by the school is okay.