Relevant bibliographies by topics / Copyright guidance

Academic literature on the topic 'Copyright guidance'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Copyright guidance"

1

Ard, BJ. "Taking Access Seriously." Texas A&M Law Review 8, no. 2 (February 2021): 225–69. http://dx.doi.org/10.37419/lr.v8.i2.1.

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Copyright is conventionally understood as serving the dual purposes of providing incentives for the creation of new works and access to the resulting works. In most analysis of copyright, however, creation takes priority. When access is considered, it is often in the context of how access relates back to the creation of new works. Largely missing is an account of the value of access on its own terms. So what is the place of access in copyright law and policy? A set of cases dealing with copyright owners’ attempts to enjoin the markets created by new playback and distribution technologies is instructive. These decisions—where the courts refused to enforce copyright where the owners attempted to shut down a market rather than participate in it—have been criticized for their un- clear policy guidance and lack of doctrinal grounding. We can reconcile these cases with copyright policy by focusing on access. These cases provide rich examples showing how expanded access advances copyright’s higher-order goals of promoting a more democratic and participatory culture. Focusing on access also provides a means for bringing doctrinal coherence to these cases through the fair-use defense. The courts permitted the use of copyrighted works in new markets despite the copyright owners’ objections because these markets could expand public access without diminishing the copyright industries’ creative incentives. Indeed, copyright owners often found the markets profitable after being forced to enter them. Copyright owners’ market refusal in these scenarios is a distinct type of market failure, and fair-use doctrine allows courts to correct it.
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2

Speight, Dunstan, and Jennifer Darroch. "Clarifying Copyright." Legal Information Management 12, no. 3 (September 2012): 209–13. http://dx.doi.org/10.1017/s1472669612000485.

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AbstractLibrarians have an important role to play in providing guidance and assistance to their organisation on copyright compliance. This task is becoming ever more challenging as licence conditions and copyright law are refined and library users want to re-use information in a wider variety of ways. In the following article Dunstan Speight and Jennifer Darroch of Berwin Leighton Paisner LLP discuss a recent pilot project to produce more readily accessible copyright guidance. Although the examples below relate to newspaper copyright issues and are in the context of a City law firm, it is hoped that the ideas will be of more general application.
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3

Ekiz, Oğulcan. "Documenting the copyright sphere: can festivals solve the problem of copyright clearance for documentaries?" Queen Mary Journal of Intellectual Property 9, no. 4 (December 2019): 452–70. http://dx.doi.org/10.4337//qmjip.2019.04.05.

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The starting point of this article is a short documentary film that I and five colleagues produced in the course of the Business of Film module at Queen Mary University of London's Intellectual Property Law LLM Programme. During the process of production, we faced some borderline issues regarding our unauthorized uses of others’ copyright works. When we put ourselves into the copyright's author's shoes, three problems arose regarding our use of possible limitations and exceptions: the lack of guidance; the fear of liability; and the unharmonized status of limitations and exceptions at an international level. This article examines these problems from a copyright policy perspective and invites documentary festivals to undertake a mission of guiding new documentary directors through the complex, unharmonized world of copyright limitations and exceptions.
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4

Parchomovsky, Gideon. "Fair Use, Efficiency, and Corrective Justice." Legal Theory 3, no. 4 (December 1997): 347–78. http://dx.doi.org/10.1017/s1352325200000847.

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The fair use doctrine is at once the most significant and the most problematic qualification of the copyright owner's right to exclusivity. An affirmative defense against copyright liability, the fair use doctrine legitimates certain unauthorized reproductions of copyrighted materials that would otherwise be regarded as copyright infringements. Notwithstanding its importance, “fair use” continues to be “the most troublesome [doctrine] in the whole law of copyright.” Throughout its long history, neither courts nor legislatures have provided a useful definition of “fair use” nor have they adumbrated its objectjves. Since the doctrine's inception over two and a half centuries ago, courts and legislatures have attempted to formulate, explicate, refine, and revamp the fair use doctrine. Generally, these efforts have proven unfruitful. At best, they have resulted in various formulations of how to approach fair use questions that offer courts and users of copyrighted works scant guidance on how fair use should be recognized. All this would not have been of grave concern had judges shared a common understanding of fair use or of the principles that should guide them in deciding fair use cases. The problem is that they do not. Rather, the case law reflects wdely divergent notions of the concept of fair use. The lack of consensus is best witnessed in the multiple reversals and divided courts that have become the hallmark of fair use litigation.
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5

Webster, Mandy. "Copyright Resources." Legal Information Management 3, no. 1 (2003): 32–33. http://dx.doi.org/10.1017/s1472669600001663.

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This site contains information on copyright, designs, patents and trademarks. The legal decisions page includes selected decisions issued by the Patent Office since the beginning of 1998 and links through to the Patents Court website, European Patent Office website and Copyright Tribunal. News and press releases on aspects of intellectual property and the Trade Mark, Patent and Design Journal notices can also be viewed here with all pages including a note of when they were last updated. A page with information on patent and trademark searches and a search facility for the whole site is available. A list of forms can be accessed and viewed along with guidance notes and fees information. Progress on implementation of the EU Copyright Directive is brief but helpful. The glossary of terms covers very few terms and some pages would benefit from hyperlinks being added such as the information about international treaties. URL: http://www.patent.gov.uk/copy/index.htm
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6

Almawla, Hanan. "Parody in Copyright Laws of GCC States: Where Does It Fit?" Arab Law Quarterly 32, no. 3 (January 18, 2018): 298–312. http://dx.doi.org/10.1163/15730255-12322021.

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Abstract The relationship between parody and copyright law has not been discussed in the copyright laws of the Gulf Cooperation Council (GCC) or in Arab states in general. Nevertheless, in the past ten years, there has been a remarkable increase in parody shows and programmes in the region, triggering the question of copyright infringement. This article therefore examines the position of parody in the copyright laws of GCC states. It considers protection of parody − as an expressive tool − under the principle of freedom of speech. As no explicit statutory or judicial guidance in relation to parody in the current national copyright laws of GCC states is found, this article argues that parody should be explicitly recognized in the copyright laws of GCC states.
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7

Oppenheim, Charles, and Ilona Woodward. "A survey of copyright advice and guidance in UK higher education libraries." Library and Information Research 28, no. 89 (September 14, 2009): 50–56. http://dx.doi.org/10.29173/lirg167.

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The results of a questionnaire sent out to members of the lis-copyseek discussion group in Summer, 2003 to assess who currently provides copyright advice in UK higher Education libraries and what concerns these people have. There is a clear feeling that not all the answers given are correct, even though many queries are rated as quite easy. Queries arrive from a variety of sources. There is a need for continued short courses to keep copyright advisors up to date, but lis-copyseek itself is considered by far the most helpful source of information.
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8

Stobo, Victoria. "Copyright exceptions for archivists and librarians in the UK." Art Libraries Journal 41, no. 1 (January 2016): 3–10. http://dx.doi.org/10.1017/alj.2015.3.

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Copyright legislation in the UK changed significantly in 2014, and this article provides an overview to some of the most relevant changes to the exceptions1 in copyright law that can be used by archivists and librarians. Subscribers to ALJ will have read Tim Padfield's excellent introduction to UK copyright law for art librarians in 2012, much of which is still relevant and will not be repeated here. Given the varied nature of art library and archive collections in the UK, and the complex nature of the law in this area, it is intended that the following general guidance to the 2014 legislative changes will highlight areas for further study: such basic guidance should not be used to inform internal policy or decision-making. The article also includes a list of sources for more detailed information on the law, in the references section.
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Roberto, Rose. "Basic copyright resources for UK archives and special libraries." Art Libraries Journal 37, no. 2 (2012): 25–31. http://dx.doi.org/10.1017/s0307472200017430.

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This article provides practical first steps and basic resources for tracing copyright owners in archives and special libraries, through a compilation of sources, guidance notes and useful practices. It points out online diagnostic tools and suggests how to find copyright holders through different search streams, when those holders are known, and where the institution holding the work in question is based in the UK.
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10

Karjiker, Sadulla. "Hyperlinking and copyright." South African Law Journal 139, no. 1 (2022): 181–204. http://dx.doi.org/10.47348/salj/v139/i1a6.

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This article critically considers the legality of hyperlinking to copyright-protected material on the Internet. It considers the position with respect to standard hyperlinks, and attempts to provide a possible approach in light of the proposed introduction of two new exclusive rights, namely (i) the right of communication to the public; and (ii) the making-available right. These new exclusive rights appear to be an attempt to amend the South African Copyright Act in order to give effect to the 1996 WIPO Copyright Treaty, which sought to ‘digitise’ copyright law in light of the digital technology that had developed. The WIPO Copyright Treaty supplements, in particular, the rights granted to copyright owners under the Berne Convention, extending the right of communication to the public to include the making-available right. Use will be made of the case law of the Court of Justice of the European Union, which has given effect to the right of communication to the public (including the making-available right), following its inclusion in the WIPO Copyright Treaty of 1996. Through a more focused analysis of these exclusive rights, it is intended that this article can provide some guidance to South African lawyers and our courts when considering the application and scope of these exclusive rights.
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Books on the topic "Copyright guidance"

1

P, Cornish G. Keep it legal: Copyright guidance for school library staff. Wanborough, Swindon: School Library Association, 2003.

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2

Deanna, Schwartz Daylle, ed. The musician's guide to licensing music: How to get music into film, TV, advertising, digital media, and beyond. New York: Watson-Guptill, 2010.

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3

Wilsey, Darren. The musician's guide to licensing music: How to get your music into film, TV, advertising, digital media, and beyond. New York: Billboard Books, 2010.

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Wilsey, Darren. The musician's guide to licensing music: How to get your music into film, TV, advertising, digital media, and beyond. New York: Billboard Books, 2010.

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5

Wilsey, Darren. The musician's guide to licensing music: How to get your music into film, TV, advertising, digital media, and beyond. New York: Billboard Books, 2010.

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6

Wilsey, Darren. The musician's guide to licensing music: How to get music into film, TV, advertising, digital media, and beyond. New York: Watson-Guptill, 2010.

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7

Elsey, Derek. Copyright and copying: Note of guidance to staff and students at the University of Teesside. University of Teesside: University of Teesside, 1996.

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8

Insider's guide to music licensing. New York: Allworth Press, 2014.

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9

The art of music publishing: An entrepreneurial guide to publishing and copyright for the music, film and media industries. Amsterdam: Focal Press, 2011.

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10

The plain and simple guide to music publishing. 2nd ed. Milwaukee, WI: Hal Leonard, 2009.

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Book chapters on the topic "Copyright guidance"

1

Rajesh Babu, R. "‘Minor Exemptions’ Doctrine in National Copyright Law: Guidance from the WTO Jurisprudence." In Copyright Law in the Digital World, 133–50. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-3984-3_6.

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2

"Copyright." In Missile Guidance and Pursuit, iv. Elsevier, 1998. http://dx.doi.org/10.1016/b978-1-904275-37-4.50003-4.

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"Copyright." In Modern Spacecraft Guidance, Navigation, and Control, iv. Elsevier, 2023. http://dx.doi.org/10.1016/b978-0-323-90916-7.12001-3.

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Mysoor, Poorna. "Frameworks for Implying Copyright Licences." In Implied Licences in Copyright Law, 45–62. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198858195.003.0004.

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This chapter proposes frameworks under each category of copyright licences which help assess the facts and circumstances and determine whether a licence may be implied and, if so, the scope of the licence. Given that the advantage of implied licences is their flexibility, any rigid set of rules governing the implication could strike at the heart of such flexibility. Therefore, the chapter presents frameworks as opposed to rigid rules, and seeks to balance guidance and flexibility. These frameworks are developed based on the constituents that each category of licence would need to have, had it been an express licence; and when the express licence is absent, these frameworks indicate how the facts and circumstances can be marshalled, so that one can ascertain whether a licence is to be implied. In addition, these frameworks approach bare licences differently from contractual licences.
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5

Vickery, Jacqueline Ryan. "Networked Sharing: Participation, Copyright, and Values." In Worried About the Wrong Things. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262036023.003.0006.

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This chapter challenges understandings of participatory culture by examining the barriers that prevent some marginalized media creators from sharing their creative media in online spaces. Students cited three reasons why they didn’t want to share their creative content online: fear that someone would steal it, concerns that their work wasn’t professional enough, or they lacked the time and access required to build beneficial online networks. The students’ legitimate concerns reflect the ways learning is embedded within cultural systems and relationships and highlights the need for literacy development and adult guidance in learning how to fully and safely participate online. Although intentional online visibility is accompanied by risk, it can also be beneficial to students’ identities and future aspirations. The chapter makes suggestions for ways that schools can equip students with the necessary digital literacies and protections necessary for them to safely participate in a collaborative manner that is mutually beneficial to students and society.
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Makori, Elisha Ondieki. "Social Media and Social Networking in Digital Libraries." In Advances in Library and Information Science, 17–35. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-8097-3.ch002.

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The modern knowledge economy has transformed library and information organizations to adopt and embrace digital social media platforms. Proliferation and growth of social media and social networking technologies continue to play pivotal roles in establishment and operation of digital library and information systems in organizations. The purpose of the chapter is to examine the extent to which information professionals and practitioners understand the impact of social media and social networking technologies on digital library and information systems. The author also analyzes how information professionals manage and promote the adherence to copyright and intellectual property laws in digital library contexts. This chapter specifically discusses the rationale for social media and social networking in digital library and information systems; emerging social media platforms and their applications; legal aspects of social media, copyright and intellectual property protection, and risk management; as well as professional ethics and guidance on social media.
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Makori, Elisha Ondieki. "Social Media and Social Networking in Digital Libraries." In Research Anthology on Collaboration, Digital Services, and Resource Management for the Sustainability of Libraries, 249–67. IGI Global, 2021. http://dx.doi.org/10.4018/978-1-7998-8051-6.ch014.

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The modern knowledge economy has transformed library and information organizations to adopt and embrace digital social media platforms. Proliferation and growth of social media and social networking technologies continue to play pivotal roles in establishment and operation of digital library and information systems in organizations. The purpose of the chapter is to examine the extent to which information professionals and practitioners understand the impact of social media and social networking technologies on digital library and information systems. The author also analyzes how information professionals manage and promote the adherence to copyright and intellectual property laws in digital library contexts. This chapter specifically discusses the rationale for social media and social networking in digital library and information systems; emerging social media platforms and their applications; legal aspects of social media, copyright and intellectual property protection, and risk management; as well as professional ethics and guidance on social media.
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8

Alspaugh, Thomas A., Hazeline U. Asuncion, and Walt Scacchi. "Software Licenses, Open Source Components, and Open Architectures." In Open Source Technology, 1–22. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-7230-7.ch001.

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A substantial number of enterprises and independent software vendors are adopting a strategy in which software-intensive systems are developed with an open architecture (OA) that may contain open source software (OSS) components or components with open APIs. The emerging challenge is to realize the benefits of openness when components are subject to different copyright or property licenses. In this chapter, the authors identify key properties of OSS licenses, present a license analysis scheme to identify license conflicts arising from composed software elements, and apply it to provide guidance for software architectural design choices whose goal is to enable specific licensed component configurations. The scheme has been implemented in an operational environment and demonstrates a practical, automated solution to the problem of determining overall rights and obligations for alternative OAs as a technique for aligning such architectures with enterprise strategies supporting open systems.
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Alspaugh, Thomas A., Hazeline U. Asuncion, and Walt Scacchi. "Software Licenses, Open Source Components, and Open Architectures." In Aligning Enterprise, System, and Software Architectures, 58–79. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-2199-2.ch004.

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A substantial number of enterprises and independent software vendors are adopting a strategy in which software-intensive systems are developed with an open architecture (OA) that may contain open source software (OSS) components or components with open APIs. The emerging challenge is to realize the benefits of openness when components are subject to different copyright or property licenses. In this chapter, the authors identify key properties of OSS licenses, present a license analysis scheme to identify license conflicts arising from composed software elements, and apply it to provide guidance for software architectural design choices whose goal is to enable specific licensed component configurations. The scheme has been implemented in an operational environment and demonstrates a practical, automated solution to the problem of determining overall rights and obligations for alternative OAs as a technique for aligning such architectures with enterprise strategies supporting open systems.
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Christiansen, Stacy, and Connie Manno. "Tables, Figures, and Multimedia." In AMA Manual of Style, 113–70. Oxford University Press, 2020. http://dx.doi.org/10.1093/jama/9780190246556.003.0004.

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The Tables, Figures, and Multimedia chapter of the 11th edition of the AMA Manual of Style begins with guidance on when to use tables vs figures or tables vs text. Descriptions of various table types (eg, matrix, box, sidebar, and other nontabular material) and examples of each illustrate advice on organization of information, use of footnotes, alignment, titles, column and row headings, and treatment of punctuation, abbreviations, and units of measure. Descriptions of assorted figures (statistical graphs, diagrams, maps, illustrations, and clinical imaging), each with examples, provide advice on scales, axis labels, and error bars, as well as titles and legends. New with this edition is sentence-style capitalization for table column headings and graph axis labels. Consent for identifiable patients is covered, and helpful guidelines for preparing both figures and tables are included. Detailed specifications on acceptable video and audio file formats, optimal video quality, and filming and copyright considerations complete the chapter.
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