Wednesday, 14 September 2016

Wish to discuss the future of EU copyright? Here are two events for you

Brussels mood
As just reported on the IPKat, further to the proposal for a regulation on cross-border portability of online content services in late 2015, today the European Commission has unveiled its new set of proposals to ameliorate EU copyright and achieve a fully functioning digital single market.

Both instruments, if adopted in their current form, will have a deep impact on the EU copyright framework, particularly with regard to online uses of copyright works, responsibilities of hosting providers, users’ freedoms, and authors’ contracts.

In parallel to all this, the Court of Justice of the European Union has been as busy as ever, delivering important rulings in several topical areas of copyright (linking being just an example).

I am organising two new events to review and discuss all these recent developments, including the feasibility (and desirability as such) of proposed Commission action.
  • The first event will take place on 5 October 2016 at the beautiful Tower Bridge offices of RPC. Places are limited (with some tickets available for full time students), to provide everybody with the opportunity to discuss fully the present and future of EU copyright. You can find further details and register here.
  • The second event will be streamed on YouTube on 6 October 2016: participants can decide to follow it live or watch it at any later time of their choice. This second option is for those who are unable to attend the event on 5 October 2016, eg because based outside London. You can find further details and register here.

Wikimedia, EDRI, and others call for EU Copyright Package to uphold DSM fundamental principles

This from Alberto Bellan writing on the IPKat

Wikimedia, EDRI, Application Developers Alliance, along with other associations advocating for digital rights and ONGs representing digital creators and platforms, addressed a letter [available here] to, among others, EU Commission's President Junker, Vice-President Ansip, and Commissioner Oettinger, urging the Copyright Package expected to be released on 15 September to uphold
"the fundamental principles of the Digital Single Market such as rights of citizens to freedom of information, access to knowledge and the limitation of intermediaries’ liability, which lie at the very foundations of the internet".
In the letter published on 9 September, the signatories request the EU Commission:

Not to create a new ancillary right for publishers. After the tragic experiments in Spain and Germany, the signatories stress, that - you guys should have understood that distorting copyright to tax snippets produce "no positive outcomes but has harmed consumers, innovation and the internet at large" -- i.e., not only Google, but many other small companies and startup aggregating and indexing news on the internet and struggling to fill the gap between old media and digital revolution. In the same regard, the signatories also urge the Commission to publish the response to the public consultation on the role of publishers in the copyright value chain and on the 'panorama exception'. The signatories say that "many have pointed out that new ancillary rights for publishers were harmful".

To maintain the E-Commerce Directive safe harbour, which "provides a balanced framework which ensures that the interests of right holders, citizens, consumers, and businesses can be vindicated in the online environment". As our very own Eleonora outlined on the Financial Times [freely available here -- 'The Financial Times! WOW!', says Merpel], getting rid of the no-general monitoring obligation "could ultimately result in the market for hosting services becoming increasingly difficult to access ... So much for creating a European YouTube."

"Scarier than terror!"
On the top of that, this Kat finds odd that the very same EU Commission that would be proposing an obligation upon platforms to "prevent the availability on their services" of infringing works, "including through the use of effective content identification technologies" [see the IPKat breaking scoop here], has being repeatedly stressing the necessity to maintain the safe harbour as it is and also to prevent Member States from adopting general monitoring obligations in other fields of the DSM reform. That is happening, e.g., with the General Data Protection Regulation [Recital 21] and with the Proposed AVMS Directive [Recitals 29, 30, and Articles 28a and 28b]. Fundamental rights such as freedom to conduct a business and freedom of information, safeguarded by the safe harbour, are duly considered within the balance of interests when it comes to protecting personal data and combatting hatred, incitement, child pornography, and terrorism. Why should not it be the same when it comes to copyright infringement -- apart from better lobbysts involved in the latter reform process, I mean?

-    Not to limit the Text and Data Mining exception to 'public interest research institutions' only, as it would "ultimately restrict, rather than unlock, use of TDM across sectors and would be more likely to drive such research and innovation out of Europe".

Whilst the leaked Draft Directive on Copyright in the DSM that the IPKat leaked here seems to go in a different direction, it would not be the first time that the consolidated version of the proposal features substantial changes as compared to previous leaks [e.g., that already happened with the above mentioned AVMS Directive]. Let's wait a couple of days and see.

Posted By Alberto Bellan to The IPKat on 9/13/2016 09:58:00 am

Also see  http://www.wsj.com/articles/eu-copyright-proposals-expected-to-help-music-industry-fight-piracy-1473786140


http://arstechnica.co.uk/tech-policy/2016/09/european-commissions-copyright-cover-up-will-finally-end-tomorrow/

Monday, 12 September 2016

Linking after GS Media ... in a table

Readers may remember that a few months ago I published a table that I had prepared for my students at the University of Southampton, attempting to summarise the position of the Court of Justice of the European Union as regards linking to protected content.

Further to this week's GS Media decision [here and here], here's an updated version of my 'linking table' [check out also this useful tool prepared and shared by Martin Husovec the same day of the GS Media decision]:


The table was originally published on The IPKat on 10 September 2016.

Friday, 9 September 2016

Optimal 21st Century Copyright?

This post is from our friend Amanda Harcourt, who updates us from the 11th Annual European Policy for Intellectual Property conference with a very interesting take on Optimal 21st Copyright Policy”


From Saturday 3rd until Monday 5th September a daunting array of academics from the world of global IP gathered in Oxford for the 11th Annual European Policy for Intellectual Property conference.  Presentations from the copyright world were what interested the author and there were some familiar faces:  Dr Nicola Searle from Goldsmiths (and IPKAT) delivered a sobering presentation entitled “Changing Business Models in the Creative Industries: Industry Response to Copyright Challenges in the Digital Era” where, inter alia, she mourned the absence of copyright in business model literature.  And JIPLP, 1709  and the IPKAT’s Dr Eleonora Rosati was considering international jurisdiction in the online infringement of EU trademarks.

Theodore Koutmeridis, from the University of Glasgow, presented a survey of evidence-based studies that examine copyright and digital innovation within the creative economy. The key, but gloomy, take away from his tour of the studies was the relative dearth of studies on the harmony between authors and producers.  Similarly he demonstrated, in tables of subject matter comparisons, the lack of studies on fair remuneration of authors and performers in this sector.  There is much to be done to support with evidence the writings about the losses suffered by creators form digital dissemination of their works.

The plenary session on Sunday morning boasted a panel entirely made up of women, who explored Copyright Policies: The Perspective from Europe, the US and the West Pacific”. And what women!  Here, it will be the content of only one of whom I plan to discuss in any great detail. 

Maria Martin-Prat, Head of the Copyright Unit in the European Commission Communications Networks, Content and Technology (DG CONNECT) made her remit clear at the outset.  She had agreed to speak before the Brexit vote and leaked EU proposals notwithstanding, she would not be commenting upon either.  She did however, note the limits as to manoeuvrability within individual EU member states and suggested she would be recommending “guided development” of the EU copyright landscape to promote EU harmonisation that is compatible with individual member states regimes.

Shira Perlmutter, Chief Policy Officer and Director for International Affairs at USPTO began by noting the rise of consumer influence on the IP debate, referring to the public effect via the SOPA/ACTA/PIPA debate on the US legislative initiatives.  Noting how technology overtakes policy, Perlmutter raised four areas as her focus: the adjustment of existing exceptions to accommodate technological advances; finding ways of dealing with works out of the copyright market system, and out of commerce; improvement of the licensing structures and enforcement  the latter two not requiring a legislative approach.  She drew attention to the 2016 Department of Commerce White Paper that followed on from the IPTF Green Paper and noted Copyright Office studies on safe harbour and notice and take down.  She made some “guesses” at what might be around the corner for the 2016/17 period as including music licensing, orphan works, small claims court for IP infringement, modernisation of the Copyright Office and a review of statutory damages.  Her allusion to the need to support standardisation of the labelling of copyright works spoke to a subject close to this author’s heart.

Kim Weatherhall (from Twitter)
But it was the third presentation from Kimberlee Weatherall, Associate Professor at the University of Sydney Law School, that led to this post.  In a presentation she entitled “Optimal 21st Copyright Policy” Weatherall suggested we all might benefit from a fresh approach. She proposed starting from the Aristotelian position of blind ignorance and then she hit the audience with 5 basic principles to guide our collective deliberations.  And here they are:

1.       Copyright should act in the public interest and this aspect of the new regime be subject to a collective and disinterested debate.  In pursuit of this she suggested we discuss this aspect from the perspective of being everyone in the value chain and considering how they might all be served by the new copyright regime.

2.        Copyright should consider the role/function and vital importance of the human author – recognise their interests and acknowledge their imbalance in terms of success of individual works; the imbalance negotiating strength.  She noted the poor organisation among creators (something that is improving given the growing strength of the CISAC Creator Councils and the launch of music organisations such the International Artists Organisation (IAO).

3.       Consideration should be given to a scheme of differentiated protection – laundry lists might not be entitled to the same level of protection as a novel.  Or, as Ms Weatherall put it “selfie protection for 70 years post-mortem auctoris?”. Examples might be core commercial exploited works, valueless marginalia, commercial works no longer being exploited and non-commercial works that do, however, have some value.  Maybe we could consider default exceptions to apply to older works out of commerce.  Or infringement remedies being adjusted where there is no competition from the infringement.

4.       Allow innovation from outside meant, she told us “can copyright owners, or even copyright scholars, determine the future of technology?  Indeed!

5.       Ask that copyright owners accept that in exchange for more or greater protection they should offer some concessions or flexibility. Here Weatherall stressed the balance between benefit and burden; the former should not be the exclusive preserve of right owners and the latter for everyone else.  A fair distribution of the burden and benefits of copyright protection would prevent the locking up of copyright works without commercialisation.

Now, ain’t she sensible?  And thought provoking?  Those of you that like what Ms Weatherall threw out to her fellow academics might want to read her forthcoming title  What if We Did Reimagine Copyright? Co-authored by Weatherall and Giblin and soon to be published by ANU Press  http://press.anu.edu.au/

The full programme of EPIP 2016 can be found at http://www.epip2016.org/

Post Mortem Auctoris: Copyright and Estate Planning

UCL/IBIL are offering a two day course aimed at young lawyers  (2 to 5 years qualified) and small to medium sized practices, focusing on sharing practical knowledge that would make estate planning and probate more streamlined and effective for clients and for the beneficiaries of estates - with a specific emphasis on intellectual property 

The practical two day guide for private client practitioners will take place on Monday 27th and Tuesday 28th February 2017 at the Institute of Brand and Innovation Law, Faculty of Laws, University College London. 

Topics which will be covered within this fascinating two day course include Copyright: What Lives On and for How Long?, Estate Planning in a Global marketplace, Managing an Art Estate, Auditing Rights Owners  and Valuation of Copyright Works, and Artistic works: Licensing and Re-sale - and will also extend to revenue administration for artistic works, musical works, sound recordings, audio-visual works, literary works, actors, musicians and the film crafts,  to the role of literary executors and issues including moral rights, endorsements and adaptations, and preserving and protecting the reputation of the deceased.

Panellists and speakers include: Alan Brodie, the eponymous founder of the respected London literary agency, Alan Brodie Representation; Margaret Haig,  Head of Copyright Delivery, the UK Intellectual Property Office; Amanda Harcourt, the independent IP consultant and academic who has worked with many of the worlds leading performers; Barrister and film producer Keith Northrop who has worked extensively with film producers, financiers and distributors, both domestically and internationally: Qualified accountant David Ravden, now a consultant  providing extensive industry knowledge, expertise and commercial strategic advice; Christian Zimmerman, Legal Director and Deputy COO, Design and Artists’ Copyright Society (DACS); Archivist Anthony Penrose, film maker, photographer, author, artist, curator, copyright licensor and CEO; Philip Partingtonan specialist IP litigator at Virtuoso Legal,  and music industry legend Pete Jenner who has managed Pink Floyd and the Clash amongst many many other successful artistes.


This course is a practical introduction for the private client lawyer to help them, on behalf of their clients, both in estate planning and in probate. Students will on completion have acquired a valuable understanding of dealings in copyright works and the revenues that copyright can generate. 

Accreditation:  14.5 learning hours 

The application deadline is 9th December 2016, or earlier if fully booked before that date. The course fee is £830, plus VAT (Total, £996). 

http://www.laws.ucl.ac.uk/event/copyright-estate-planning/



Contact: Lisa Penfold: Telephone: 020 3108 8508  Email: lisa.penfold@ucl.ac.uk

Monday, 5 September 2016

The CopyKat

Jacobsen egg chair
A change in copyright law has now come into effect in the UK, which looks to protect classic designs from imitation. The repeal of section 52 of the Copyright, Designs and Patents Act 1988 came into effect on 28 July, and means that iconic design products will now be protected for 70 years after a designer dies - and this would include products such as Arne Jacobsen’s Egg Chair and Charles and Ray Eames’ DSW plastic chair. The change means that no replica products can be sold after 28 January 2017, which will mark six months after the legislative amendment. Additionally, no new replica products can be manufactured between now and January, unless the company gains rights from the original copyright holder. To be granted this right, 3D designs must qualify as “works of artistic craftsmanship”, according to the Intellectual Property Office – this means they have required special training and skill to make, they are seen as a “piece of art”, and the designer purposefully intended to create a work of art.

Billboard reports that a German court has ruled that file-sharing platforms that illegally distribute and exploit copyright-protected music, film and television are liable to pay damages to rights holders. The ruling, which has potentially far-reaching consequences, came in a legal case between German collecting society GEMA and file-sharing service Uploaded.net, operated by Swiss tech company Cyando AG.  GEMA demonstrated to the court that Uploaded.net had not only failed to remove large numbers of illegal files, but, by its design and application, increased the likelihood of copyright infringement. As an “accomplice” in the distribution of pirated content, the court ruled that Uploaded should assume responsibility for infringement. “The Regional Court [of Munich] has decided in the interest of our members. Their ruling confirms that file-sharing hosts play a significant role in the proliferation of music piracy” said  Dr Tobias Holzmüller, GEMA’s General Counsel, welcoming the decision. “Online service providers have previously only been obliged to remove contents infringing copyright from their platforms. By pronouncing the liability to pay damages for file-share host Uploaded, composers, lyricists and music publishers at least get a small compensation for the rights infringements of their works that have been committed on a massive scale.”

AgencySpy is trying to find out who filed a Digital Millennium Copyright Act (DMCA) takedown request with their parent company’s legal team earlier this year, using a fake name, a fake employer and a fake job description - trying to remove two articles from 2010  headlined “Hot Ad (Wo)Man of the Day: Torrence Boone” and “Google Hires ‘Unemployable’ Torrence Boone”. The articles aren't very nice - and clearly as Mr Boone is currently VP of global agency sales and services at Google he is employable ... but what's been going on with the takedown notices?

Universal Music Group is $20m richer thanks to a settlement from a two-year copyright infringement case. The major label has accepted a settlement package from in-flight entertainment provider Global Eagle that could be worth more than $40m in total. Universal launched a lawsuit against Global Eagle in May 2014, alleging that 4,500 of its tracks – including those from The Beatles and Taylor Swift – had been infringed via the on-demand music platform available on American Airlines flights.

Having determined a $14 million fund for anyone previously charged to use ‘Happy Birthday’ by previous publisher Warner/Chappell, U.S. District Judge George H. King supported the award of 33% of that amount for attorney’s fees, totalling around $4.6 million.  The remaining funds from Warner/Chappell Music will be used to reimburse those who had paid to license the song.

And finally, TorrentFreak tells us that the Swedish Internet service provider Bahnhof is launching a direct attack against Spridningskollen, the group that's spearheading copyright trolling efforts in Sweden. Bahnhof accuses the anti-piracy outfit of trademark infringement and demands the shutdown of its website. Bahnhof is accusing the group of trademark infringement, noting that they have a claim on the “spridningskollen” mark. “Bahnhof was the first to apply for the Spridningskollen trademark rights at the Swedish Patent and Registration Office,” the ISP announced. 

Sunday, 4 September 2016

Narrow Scope of New York Right of Publicity Statute Favors First Amendment, Not Lindsay Lohan


Readers of the IP Kat blog may remember that actress Lindsay Lohan sued Take-Two Interactive, the maker of the “Grand Theft Auto V” video game, claiming that it used her image when creating one of the characters of the game, a blond starlet. But, on September 1, a New York appellate Court ruled against Lohan, and also, in the same decision, against Karen Gravano of the VH1 reality TV show Mob Wives, who had similarly claimed that Take-Two had used her likeness in the video game.

The narrow scope of New York right of publicity law

New York has a limited right to privacy. Its only privacy law, New York Civil Rights Law §§ 50 and 51, does not recognize a general right to privacy, but only protects the right of publicity of a “person, firm or corporation” in order to prevent “uses for advertising purposes, or for the purposes of trade” of the “the name, portrait or picture of any living person without having first obtained the written consent of such person.

Therefore, in order to be a misdemeanor under New York law, an unauthorized use of the name, portrait or picture of an individual must have been for trade or advertising. The scope of the law is quite narrow.


No use of the name, portrait or picture

The appellate Court dismissed Lohan’s claim, because the video game “never referred to Lohan by name or used her actual name in the video game, never used Lohan herself as an actor for the video game, and never used a photograph of Lohan.” Instead, the game features an avatar, not an actual image of Lohan. New York law does not recognize protection of the persona, and merely “evoking likeness,” such as using her hair length, white shirt, flashing the peace sign, or using her “screen persona,” as Lohan claimed Take-Two Interactive had done when creating the character, is not enough to trigger application of New York right of publicity statute.

No use in advertising or trade

The appellate court noted further that, even if the video game would indeed have used Lohan’s likeness within the meaning of New York right of publicity statute, it still would not have violated the law, because a video game is not an advertising or a trade within the meaning of New York Civil Rights Law § 50. Instead, it is a video game communicating ideas, and, as such, is protected by the First Amendment to the U.S. Constitution: “[t]his video game’s unique story, characters, dialogue, and environment, combined with the player’s ability to choose how to proceed in the game, render it a work of fiction and satire.

A good decision for creators

If the New York law would be constructed by the courts to include use which merely “evoke” the persona of the plaintiff, creators of video games, such in this case, but also biographers, comic books artists, painters, caricaturists and novelists, who merely “evoked” the persona of an individual would have to prove that the use was protected by First Amendment, which may be challenging to do, and thus costly. The Supreme Court recently denied petition in the Electronic Arts v. Davis case, and so it will not answer the question asked by petitioner, “[w]hether the First Amendment protects a speaker against a state-law right-of-publicity claim that challenges the realistic portrayal of a person in an expressive work.” The Ninth Circuit did not find in this case that the use of likeness of former NFL players in a video game was protected by the First Amendment. This case was a California right of publicity case. Each state has its own statute, and there is no right of publicity federal statute, leaving for a diverse jurisprudence.

Thursday, 25 August 2016

Appeal filed in 'Blurred Lines' case


It comes as no surpise that Pharrell Williams, Robin Thicke and TI have fied their appeal against the verdict in the 'Blurred Lines' case that saw them ordered to pay $5.3m (reduced from $7.3 million) and pay over 50% of songwriting and publishing revenues to the family of Marvin Gaye, after a jury ruled last year that their song copied Gaye’s 1977 hit 'Got to Give It Up'. Lawyers for the trio filed their opening brief with the Ninth Circuit Court of Appeals on 24th August, arguing that “if left to stand, the Blurred Lines verdict would chill musical creativity and inhibit the process by which later artists draw inspiration from earlier artists to create new popular music” and at the heart of their appeal is the argument that the Judge and indeed the jury shoud have simply considered the sheet music – the “deposit copy” filed with the the US copyright office - and not been influenced by the actual reciordings of either song. The "Blurred Lines" writers assert that when the court examined the two songs before the trial,  Judge John A. Kronstadt shoud have ruled that the case was not worthy of trial.

The brief states: “What happened instead was a cascade of legal errors warranting this court’s reversal or vacatur for new trial .... At summary judgment, the district court entertained expert testimony by musicologists for the Gayes who based their opinions entirely on the sound recording, not the deposit copy. The court correctly filtered out non-deposit copy and generic musical features from their testimony, but then erroneously failed to compare what remained to Blurred Lines .... At trial, the district court made things worse. While correctly excluding the Got to Give It Up sound recording itself, the court erroneously allowed the Gayes’ experts to testify about the sound recording anyway, including by playing their own musical excerpts based on the sound recording. The court then instructed the jury that it could consider all this testimony in its substantial-similarity analysis.”

This writer was expecting an appeal well before the recent decison in the 'Stairway to Heaven Case' where Led Zeppling where found not to have plagiarised a song 'Taurus' by Spirit - a decision must have boosted the appellant's confidence.

http://www.rollingstone.com/music/news/pharrell-robin-thicke-ti-appeal-blurred-lines-verdict-w436116

http://www.theverge.com/2015/12/9/9877706/robin-thicke-pharrell-blurred-lines-marvin-gaye-appeal

http://www.wipo.int/wipo_magazine/en/2015/05/article_0008.html

https://thump.vice.com/en_uk/article/we-talked-to-a-lawyer-about-how-the-blurred-lines-verdict-will-impact-copyright-law-in-dance-music