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• W1587996978 abstract "1 January of each year is domain day. It's not a day for celebration, however. Duke University's Center for the Study of the Public Domain reminds us each January what would have entered the U.S. public domain that year, if we still had the copyright terms that were in place before 1976. See: http://web.law.duke.edu/cspd/publicdomainday/2013/pre-1976. On a happier note, Public Knowledge (www.publicknowledge.org), the Washington advocacy organization that fights for balanced copyright and an open internet, celebrated 18 January as Internet Freedom Day. It was the first anniversary of the online uprising that stopped two onerous copyright expansion bills, Stop Online Piracy Act (SOPA) and Protect Intellectual Property Act (PIPA), in their tracks in 2012. Public Knowledge is worth your support. Have you heard about the new book about one of the most notorious cases of copyright suppression of art, Who's Afraid of The Song of the South? It is by Disney expert Jim Korkis and is about the Academy Award winning 1946 film that Disney has refused to reissue (in the U.S.) for many years due to fears that its racial depictions might be offensive to some. Copies are readily available from overseas, where they apparently don't get offended so easily. Disney also takes its knocks from a new art film called Escape From Tomorrow, which, incredibly was shot surreptitiously at Disney World and Disneyland. It's about a father who slowly goes insane while at the parks with his family. Cameramen and actors posed as ordinary tourists to gain entry to the parks and used small, hand held cameras and natural lightning--apparently park security never realized what was going on. The film debuted at the Sundance Film Festival, drawing much attention. The question now is whether the famously litigious Disney Co. will try to suppress it on the basis of copyright infringement. So far, no word. (Google Escape from Tomorrow for stories in The New York Times and Los Angeles Times.) We have two features for you this issue, an analysis of recent court cases by attorney and Copyright & Fair Use Committee member Bruce Epperson, and a review of a new book on copyright by committee member Alex McGehee. Copyright & fair use update In this issue we report on three cases, covering two topics. First, we revisit the apparently endless dispute between Glen Gallefoss and Tim Timbaland Mosley over Nelly Furtado's 2003 hit record Do It, produced by Mr. Mosley Mr. Gallefoss alleges that Do It was made by copying a digital synthesizer program developed by he and a colleague, Janne Suni. After disposing of a score of side matters, some quite imaginative (one of which was reported in here previously (ARSC Jowrnal, 2012;42 (1):68-69)) the court has finally gotten around to addressing the case's core issue. Musicians trying to decide whether to release their music initially on CD-ROM or via a website should give it a close reading, as it is a good example of the significant legal differences that exist between what appear to be minor technical matters. Kernel v. Mosley is followed by two cases, one from Illinois, the other from Oregon. Both illustrate the process a court goes through in comparing two songs to determine if copying has occurred. What should immediately stand out to you is how different the procedures are. The average lay person believes that there is one unitary federal copyright law. There isn't. Under the Supreme Court are eleven geographically-defined circuit courts of appeal, plus one for the District of Columbia. (Patent cases go to a special court of their own, called the Federal Circuit appeals court.) Unless the Supreme Court has handed down specific direction in a case opinion, the twelve circuits have reasonable latitude to interpret federal statutory and case law as they feel appropriate. You would be very surprised at the differences in the way some basic copyright issues vary between New York, Los Angeles, Nashville, and Chicago. …" @default.
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• W1587996978 date "2010-03-22" @default.
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