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• W2797007871 abstract "C OPYRIGHT AS A R ULE OF E VIDENCE Doug Lichtman Copyright commentators rarely focus on issues of evidence. They typically interpret the originality requirement as if there is some principled reason why creative works should be protected whereas less inspired works should not. Many likewise read the merger doctrine and the fixation requirement as if these are substantive distinctions sensibly drawn be- tween various types of expression. But evidence? Rarely if ever do con- ventional accounts acknowledge that copyright doctrines might serve this less noble master—responding to unavoidable problems of proof rather than announcing fundame ntal copyright principles. As I will argue below, however, the originality requirement, the merger doctrine, and the fixation requirement can all be justified only on these very functional grounds. These doctrines do not further the lofty normative goals with which they are typically associated. These are i - n stead practical doctrines that are best understood as tools that exclude from the copyright regime cases for which the costs of litigation would be intolerably high. In short, these are rules about evidence. And, because modern law fails to recognize that fact, courts today routinely and wrongly invoke these doctrines to deny protection even in cases where there are in fact no plausible evidentiary concerns. To unpack all this a bit, let me begin by focusing on just one copy- right doctrine—the originality requirement. It is today well established that, in order to qualify for copyright protection, a work of authorship must show at least a modicum of creativity. 1 This requirement might at first seem intuitive. After all, novels, plays, and musical compositions are the core stuff of copyright, so naturally some bit of creativity is required. It is nevertheless helpful to ask the question of why, as a legal rather than an artistic matter, a well-designed copyright regime would exclude ordi- nary, or what I call “banal,” expression. One typical response in the literature is to say that copyright favors creative over banal work because banal work is not valuable to society. 2 Assistant Professor, The University of Chicago, Law School. dgl@uchicago.edu. This is very much a work in progress, so I particularly welcome suggestions on both style and substance. I should note that this draft does not yet fully reflect some of the many helpful suggestions I received from Douglas Baird, Jack Goldsmith, Eric Posner, and Adrian Vermeule. Thanks are nevertheless owed to them and also to Stuart Benjamin, Jamie Boyle, Jason Goita, Jeremy Grushcow, Tony Reese, Eugene Volokh, and partici- pants in an email discussion on cyberprof. David Rokach provided thoughtful and much appreciated research assistance. Please do not cite or quote. The origins of this requirement are discussed infra Part I. See infra notes _ and accompanying text." @default.
• W2797007871 created "2018-04-24" @default.
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• W2797007871 date "2001-11-19" @default.
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• W2797007871 title "Copyright as a Rule of Evidence" @default.
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