Showing posts with label author. Show all posts
Showing posts with label author. Show all posts

Wednesday, 5 July 2017

The CopyKat. Friday the 13th without Jason Voorhees, sounds like a nightmare!

The Flamingos
June was certainly an interesting month in the world of copyright, and below you will find a selection of stories that have caught the eye of our new intern Matthew Lingard in the past month, supplemented by a couple of notes from Ben Challis!

Readers of this Blog will be aware that  there have been actions in New York, Florida and California about the existance of a 'common law' or state law right in the performance of pre-1972 sound recordings in the United States. These have been met with mixed results: Whilst some class actions exist, the main players have been the former members of the 60s combo The Turtles (Flo & Eddie) against internet broadcaster SiriusXM. Flo & Eddie had some initial success, although lately the prevailing mood has been with Sirius XM rather than the rights holders: In a new case  a court has again agreed with a broadcaster, here iHeartMedia, who had argued that the plaintiffs, husband and wife team Arthur and Barbara Sheridan, who own a number of master recordings from the pre-1972 era of popular musicincluding those The Flamingos and J.B. Lenoir,  had failed to make out a viable claim under state laws - with the court finding “By selling such recordings, the Sheridans did not, and could not, divest the compositions of their copyright protection. But they could, and did, divest the recordings of performances of those compositions of common law copyright protection by selling those recordings to the public.” For Judge Tharp, the primary issue on copyright was whether Illinois provides copyright protection to pre-1972 recordings sold to the public without licenses for public performance. And to this question the court had a simple answer - in Illinois, publication “extinguishes the common law copyright”. Judge Tharp explained “Both the Illinois Supreme Court and the Seventh Circuit, however, have construed the concept of dedication to the public to include acts by which members of the public could access copies of the work — particularly through sales,” Tharp said. Judge Tharp dismissed all claims saying “the dismissal is based on the incurable lack of any state law cause of action, rather than curable pleading deficiencies, the dismissal is with prejudice.”More on the Cook County Record here.


30 leading content creators and on-demand entertainment companies from around the world have launched the Alliance for Creativity and Entertainment (ACE), a new global coalition dedicated to protecting the dynamic legal market for creative content and reducing online piracy. The worldwide members of ACE are Amazon, AMC Networks, BBC Worldwide, Bell Canada and Bell Media, Canal+ Group, CBS Corporation, Constantin Film, Foxtel, Grupo Globo, HBO, Hulu, Lionsgate, Metro-Goldwyn-Mayer (MGM), Millennium Media, NBCUniversal, Netflix, Paramount Pictures, SF Studios, Sky, Sony Pictures Entertainment, Star India, Studio Babelsberg, STX Entertainment, Telemundo, Televisa, Twentieth Century Fox, Univision Communications Inc., Village Roadshow, The Walt Disney Company, and Warner Bros. Entertainment Inc.


ASCAP, the American Society of Composers, Authors and Publishers, and YouTube have signed a voluntary multi-year agreement, effective immediately, for U.S. public performance rights and data collaboration. The mutual goal of this agreement is to work together to ensure that ASCAP members get paid more fairly and accurately for the use of their music on YouTube. The deal combines ASCAP’s database of 10.5 million musical works with YouTube’s data exchange to aid in identifying songwriter, composer and publisher works on YouTube. The agreement is retroactive, allowing ASCAP to be compensated for content streamed on YouTube since the company’s 2013 deal to operate on a compulsory interim license with ASCAP. ASCAP CEO Elizabeth Matthews said, “This agreement achieves two important ASCAP goals – it will yield substantially higher overall compensation for our members from YouTube and will continue to propel ASCAP’s ongoing transformation strategy to lead the industry toward more accurate and reliable data. The ultimate goal is to ensure that more money goes to the songwriters, composers and publishers whose creative works fuel the digital music economy.


Dead sure: Will Jason Voorhees file an amicus brief?
The ongoing legal battle between Victor Miller, the original screenplay writer of Friday the 13th, and Horror Inc/Sean Cunningham continues to rumble on. Miller is seeking to terminate the grant of his rights in the script to recover ownership of the franchise but faces opposition from Cunningham, who directed and produced the first film and produced a number of further films. Miller is trying to use the provision in US copyright law that allows authors to terminate a grant of rights and reclaim ownership, giving him back Friday the 13th. Meanwhile, Cunningham and Co. are saying that Miller's screenplay was a work-made-for-hire, which invalidates any right he has to claim ownership in this case. Is there a settlement is sight? Its a complex case, not least as after the original film, a series of eleven more films followed and these in turn developed Jason Voorhees- now the main (much loved?) character in the franchise. Therei s also a television show, novels, comic books, video games, and tie‑in merchandise. Miller's attorney Marc Toberoff told The Hollywood Reporter: “Whereas Miller will thereby recover the U.S. copyright to his original film treatment and screenplay this does not prevent the continued exploitation by Plaintiffs or their licensees of prior derivative works, including the 1980 film and its many sequels; it solely relates to new derivative works after the effective 2018 termination date. Furthermore, as the U.S. Copyright Act has no extra-territorial application, the foreign rights to Miller’s screenplay remain with Plaintiffs or their licensees”.  Matthew adds: In simple terms this suggests that Miller will retain ownership of the concepts that were present in the original screenplay. As Jason Voorhees as he is currently portrayed is a relatively new addition to the franchise, Cunningham et all would retain the rights to utilise his character. Therefore we could see the scary possibility of Friday the 13th Films in the US that don’t feature Jason in addition to films in the same franchise made for outside the US that do. It is highly doubtful that a major studio is going to roll the dice on a film that has to be effectively rewritten dependant on the jurisdiction of release. Though the Friday the 13th films are a franchise that still draws fans, they are not significant in number enough to justify it. Until then horror fans will have to suffer without another Friday the 13th film.


When a group of museums and researchers in the Netherlands unveiled a portrait entitled The Next Rembrandt, it was something of a tease to the art world. It wasn’t a long lost painting - but a new artwork generated by a computer that had analysed thousands of works by the 17th-century Dutch artist Rembrandt Harmenszoon van Rijn. We've had monkeys taking photos - now theconversation.com asks "Should robot artists be given copyright protection?". 

Do robots dream of electric sheep?

Friday, 23 May 2014

The CopyKat - global copytreats - with a distinct lack of divine inspiration

A German court has ruled that an American psychologist — and not Jesus Christ — is the author of a book that she said Christ dictated to her in a "waking dream." Well, at least for the purposes of authorship in copyright law. The late Helen Schucman said she was a vessel for the words of Christ in her book A Course in Miracles, and a German Christian group called the New Christian Endeavour Academy argued that they were therefore free to put text from the book up on their website without permission or payment, saying "For many there is no doubt that Jesus of Nazareth is the author of the course and that copyright law therefore doesn't apply to his work." The Higher Regional Court in Frankfurt  disagreed and ruled that the rights go to the actual writer of the book regardless of "divine inspiration".

Its evolution Charles,
but not as we know it
This from the Guardian: "There were some funkybeats at Imperial College London at its annual science festival. As well as opportunities to create bogeys, see robots dance and try to get physics PhD students to explain their wacky world, this fascinating event included the chance to participate in a public game-like experiment called DarwinTunes. Participants select tunes and "mate" them with other tunes to create musical offspring: if the offspring are in turn selected by other players, they "survive" and get the chance to reproduce their musical DNA". The experiment is online: http://darwintunes.org/  - and should it be repeated with music that is in copyright would raise all sorts of interesting challenges for copyright lawyers as the music 'evolves'. 

In New Zealand a summary of the FBI's case against Kim Dotcom has been made public. It alleges the German millionaire knowingly infringed copyright, monetarily rewarded other people for doing so and made more than $175 million in the process. Judge Nevin Dawson in the District Court lifted the prohibition order on publicising the FBI's case against Dotcom, which the Megaupload founder "had hoped to keep secret. Stuff explains that Dotcom's has issues with a document called the "Record of Case", a summary document from more than 22 million emails obtained by the FBI. The summary of the FBI's case was released by a United States district judge to potential victims at the end of last year. The summary is now no longer subject to prohibition orders in New Zealand.

The Bookseller reports that the International Publishers’ Association (IPA) and the Federation of European Publishers (FEP) have warned that Europe's creative industries risk being "severely" prejudiced by measures taken by the World Intellectual Property Organisation's (WIPO) committee on copyright: How so? Well WIPO's Standing Committee on Copyright and Related Rights (SCCR) is currently looking at limitations and exceptions to copyright internationally, with a particular focus on educational activities, libraries and archives, and on people with disabilities, particularly those with visually impairments - and the trade groups 
have joined others including the International Association of Scientific, Technical and Medical Publishers and the European Grouping of Societies of Authors and Composers, in calling for the European Union to clarify the mandate of the SCCR before it commits to further work on copyright limitations and exceptions. An open letter signed by the organisations stated that a "broad range of divergent views" exists among WIPO member states. The “future direction of the SCCR may have far-reaching implications for the international copyright framework”, especially in relation to topics including the limitations and exceptions for libraries and archives, it said.


The U.S. Supreme Court has given the daughter of deceased screenwriter Frank Petrella a second chance to fight movie studio Metro-Goldwyn-Mayer Inc over her claim it infringed the copyright of an early screenplay for what became the iconic boxing movie "Raging Bull." MGM had invoked "laches", the doctrine that an unreasonable delay in pursuing a claim is a defence against that claim. MGM moved for summary judgment, asserting the equitable defence of laches based upon the long and unreasonable delay in bringing suit. The District Court agreed, then the Ninth Circuit Court of Appeals affirmed. Justice Ruth Bader Ginsburg wrote on behalf of the majority (6-3) of the Supreme Court that the Copyright Act bar on lawsuits more than three years after a claim arises did not bar the lawsuit because Petrella has argued that  there was an ongoing infringement and Petrella was only claiming damages for the three years preceding the filing of her lawsuit saying " Laches, we hold, cannot be invoked to preclude adjudication of a claim for damages brought within the three-year window. As to equitable relief, in extraordinary circumstances, laches may bar at the very threshold the particular relief requested by the plaintiff. And a plaintiff’s delay can always be brought to bear at the remedial stage." The court was clear that equitable estoppel may also apply, but that generally requires some affirmative act by the rights-holder. More on Laches and as Jeremy explains on the IPKat - laches cannot bar legal claims for actual damages or profits arising out of copyright infringement

Vimeo CEO Kerry Trainor has told Billboard that the video streaming service is launching a "Content ID" system which will allow the company to be "a little more controlled" in terms of making sure that copyrighted material is not infringed. Simply referred to as Copyright Match, Vimeo’s system subjects uploaded content to a scanning algorithm that attempts to pick up on any conflicts of interest, like clips of movies or songs not intended for free use. Vimeo said “Over the last nine years, Vimeo has grown into one of the most visited video destinations in the world. We now have more than 26 million registered members, with over 170 million people swinging by monthly to watch awesome videos. At our size, we need a semi-automated system to help us enforce those beloved guidelines.”

The South China Morning Post says that one of China's most popular online platforms, Qvod, will be fined 260 million yuan (or a rather large £24.7 million or US $41.6 million
as I make it) by the Shenzhen Market Supervision and Administration Bureau for linking to pornographic material and copyright infringement. Qvod, founded in 2007, has been accused of allowing users to watch pirated material and pornographic content on the company's peer-to-peer video-player technology. Early last month, Qvod was compelled to shut down its servers after the National Copyright Administration said it continued to violate copyrights. On April 22nd Shenzhen police raided Qvod's headquarters and seized computers and equipment.

Rightscorp Inc  the "provider of monetisation services for artists and holders of copyrighted Intellectual Property" has announced  the addition of 500,000 new copyrights to it's representation catalogue, bringing its total ownership portfolio to over 1.5 million copyrights. According to Rightscorp, it has been actively increasing the number of copyrights that it can protect and monetise by constantly adding new copyrights into its system.

In France it seems that the French record industry is following its UK counterpart in seeking a web-block injunction against The Pirate Bay, which would force internet service providers in the country to stop their customers from accessing the controversial file-sharing site via its principle (albeit ever changing) domains. According to NextINpact, a lawsuit filed by the French Civil Society Of Phonographic Producers back in February is now being shared with France's net sector at large and the suit names over a hundred Pirate Bay proxies which would otherwise be used to avoid primary blocks.

And finally, Music Week reports that new copyright amendments are being prepared by the Ministry of Communications in Russia that could lead to entire websites being blocked by court order - even if they comply with takedown requests. With many feeling that some sites pay lip service to take down requests and indeed are turning a blind eye to a mass of infringing content elsewhere on their domains, Ministry of Communications deputy Alexei Volin said: “Unscrupulous illegal sites should be blocked entirely.”



Monday, 2 July 2012

Do computers dream of human beats?

I, Robot
On Sunday I met  a friend who had some sort of new Apple iPhone and his proudest app (yes, the one which will save humanity) was one which allowed him to sample a voice which can then be auto-snchronised with music generated by the phone. All well and good (and I rather liked saying 'Where's Captain Kirk', an old Spizzenergi punk classic and having random notes assigned) and I thought little more about this until this morning when the Guardian newspaper in the UK carried the story that the London Symphony Orchestra had agreed to play "Transits - into an Abyss", a composition written by Iamus. The twist? Iamus is a computer programme. Francisco Vico, leader of the team a the University of Malaga  who devised Iamus, named after the son of Apollo who could understand the language of birds, explains that using algorithms:

"Iamus generates an initial population of compositions automatically" adding "but their genomes are so simple that they barely develop into a handful of notes lasting just a few seconds" ..... "as evolution proceeds, mutations alter the content and size of this primordial genetic material and we get longer and more elaborate pieces. All the research team inputs is an approximate length and the instruments to be used (emphasis added). But they did, of course, create the original Iamus programme.

Likened to Bartok, Ligeto and Penderecki, the work will be streamed live from Malaga to celebrate the 100th anniversary of the birth of  the father of modern computing Alan Turing, with a CD planned for September.  The programme can 'compose' and also produce variations of well known pieces or merge compositions. 

This Blog has asked its loyal and wonderful readership probing questions before - perhaps pertinently enquiring if  a monkey can be the "author" of a photograph (Aurelia J Schultz's most excellent blog Monkey See, Monkey Do, Monkey get copyright too? and Jeremy's blog here) which generated some excellent comments - and I wondered if anyone out there would like to add anything on the the idea of a computer programme self generating original music as an 'author' in light of the above - views from Europe post Infopaq and from other different jurisdictions would be most welcome. I've started it off - from a Brit's perspective!

Wednesday, 13 July 2011

Monkey See, Monkey Do, Monkey get Copyright, too?

By now it’s all over the twittersphere, the blogosphere and every other made-up sphere on this green and blue sphere.  The monkey that stole a photographer’s camera and got her pictures published in the Daily Mail. 

Copyright experts and dilettantes alike are going ape trying to analyze who owns the copyright in these images.  Why?  Because the Daily Mail put a copyright notice on two of the pictures in its article.  Most of the analyses I’ve seen are Americans trying to sort it out under American law, which is typical, but not necessary the best approach here.  You see, the monkey is Indonesian.  The work was made in Indonesia.  The photographer who’s camera was taken and the  agency claiming copyright ownership of the photos are British.

The main questions being discussed: Does the monkey get the copyright?  If not, does anyone?

Monkey stole the camera from the camera man

Under Indonesian copyright law an author is “a person or some persons.”  Miss Monkey is ruled out right there I’m afraid.  But what about under British copyright law?  Since it’s a British company claiming copyright, any suit is likely to be brought in the UK.  Indonesia is a member of Berne and TRIPs, so the photos should be treated the same as UK works under UK copyright law.  Unfortunately for the monkey, The UK copyright law also defines author as “the person.”  Sorry monkey, it’s not you.

If not, then who?

It appears the monkey, by virtue of not being a “person,” cannot be the author of the photos.  (…unless there’s a statute somewhere that makes monkeys a person the way corporations are made a person.)  So who gets the copyright? 

The photographer / Carters News

If the photographer did own the copyright, it appears that he transferred his rights to Caters News Agency Ltd based on the copyright notices on the newspaper photos.

There is a clause in Article 7 of the Indonesian copyright law that specifies if a work is designed by one person and worked out by another, then the one who designed the work gets the copyright.  If the photographer had set up the shot and the monkey had just taken the photo, the photographer would likely have the copyright.  But the photographer didn’t design anything here.  He just left his camera.  The monkey did all the designing in the photos, so this article shouldn’t apply.

Indonesia

Perhaps more useful here is Article 9, “If a legal entity announces that a work has originated from it without mentioning a person as the author, then the legal entity shall be deemed to be the author, unless proven otherwise.”  The monkey took the photos in an Indonesian national park.  The Indonesian government presumably owns that park and is a legal entity.  It would seem that if the Indonesian government claimed it was the copyright owner, then it would be.  Except for that “unless proven otherwise bit.”  But this leads us to another question, does the park own the monkey? 

If not having an author as defined under the copyright law is the same as having an unknown author, then Indonesia owns the copyright under Article 10A of the Indonesian copyright law.

No one

The main claim I’ve seen in the US discussions of who should own the copyright is that no one should; the photos should be in the public domain.  And it appears, under UK copyright law, they’re right.  - Now, this is the part where, knowing that there are a great deal of very knowledgeable UK copyright practitioners who read this blog and that the author is not one of them, the author asks for forgiveness and clarification should she get anything wrong.  -

Under Section 153, the work only qualifies for copyright protection if it meets requirements in several different areas including the area of author.  Section 154 outlines the requirements the author must meet in order for the work to receive copyright protection. 

  • Option one, a British citizen.  Pretty sure the Indonesian monkey is not a British citizen.
  • Option two, an individual domiciled or resident in the UK.  Monkey lives in Indonesia.
  • Option three, an individual domiciled or resident in another country to which the relevant provisions of this Part extend.  This seems to include any countries to which the UK must extend national treatment with respect to copyright.  Since Indonesia is a member of Berne and TRIPS, Indonesia would be one of these countries.  It might seem like we need to know if the monkey is an individual, or if it can be domiciled or resident.  But, that doesn’t matter because the first part of Section 154 says “if the author was at the material time a qualifying person.” (emphasis added)

So it appears under UK law, the photos are in the public domain.  Under Indonesian law, the matter is less clear.

Barrels of Fun

Perhaps more fun than the real story are all the different extra facts you can add to make even more puzzlingly-fun scenarios.  What if the monkey belongs to a zoo?  Or a person who taught him to take pictures?  What if the park or zoo where the monkey lives posts a sign that says the copyright of any photographs taken by animals inside the park or zoo belong to the park or zoo?  What if it is not a monkey but one of the gorillas that can speak sign language or otherwise communicate to subjects in a photo how to move?

Personally, I like the position one of my colleagues took: Forget the copyright issue.  The monkey should sue for rights of publicity.