Copyright and cultural Institutions by
The development of new digital technologies has led to fundamental changes in the ways that cultural institutions fulfill their public missions of access, preservation, research, and education. Many institutions are developing publicly-accessible websites in which users can visit online exhibitions, search collection databases, access images of collection items, and in some cases create their own digital content. Digitization, however, also raises the possibility of copyright infringement. It is imperative, therefore, that staff in libraries, archives, and museums have a good understanding of fundamental copyright principles and how institutional procedures can be affected by the law. Copyright and Cultural Institutions was written to assist understanding and compliance with copyright law. It discusses the basics of copyright law and the exclusive rights of the copyright owner, the major exemptions used by cultural heritage institutions, and stresses the importance of "risk assessment" when conducting any digitization project. Two cases studies (on digitizing oral histories and student work) are also included.
Copyright Law for Librarians and Educators by
Readers will learn basic copyright definitions and key exceptions for education and library services; find information quickly with key points sidebars, legislative citations, and cross-references; understand the four factors of fair use and related court interpretations; get up to speed on current interpretations of the Digital Millennium Copyright Act from a librarian-educator viewpoint. Copyright Law for Educators and Librarians--highly praised in previous editions--draws on cutting-edge case law in 18 discrete areas of copyright, including specialized and controversial music and sound recording issues. Information professionals will find the tools they need to take control of their rights and responsibilities as copyright owners and users in this succinct, easy-to-use guide.
Reclaiming Fair Use by
In the increasingly complex and combative arena of copyright in the digital age, record companies sue college students over peer-to-peer music sharing, YouTube removes home movies because of a song playing in the background, and filmmakers are denied a distribution deal when some permissions “i” proves undottable. Patricia Aufderheide and Peter Jaszi chart a clear path through the confusion by urging a robust embrace of a principle long-embedded in copyright law, but too often poorly understood—fair use. By challenging the widely held notion that current copyright law has become unworkable and obsolete in the era of digital technologies, Reclaiming Fair Use promises to reshape the debate in both scholarly circles and the creative community. This indispensable guide distills the authors’ years of experience advising documentary filmmakers, English teachers, performing arts scholars, and other creative professionals into no-nonsense advice and practical examples for content producers. Reclaiming Fair Use begins by surveying the landscape of contemporary copyright law—and the dampening effect it can have on creativity—before laying out how the fair-use principle can be employed to avoid copyright violation. Finally, Aufderheide and Jaszi summarize their work with artists and professional groups to develop best practice documents for fair use and discuss fair use in an international context. Appendixes address common myths about fair use and provide a template for creating the reader’s own best practices. Reclaiming Fair Use will be essential reading for anyone concerned with the law, creativity, and the ever-broadening realm of new media.
Managing Copyright in Higher Education by
As more and more colleges and universities establish copyright offices and/or assign the responsibilities of copyright education and advisory services to specific individuals within the institution, many times librarians, there is a paucity
of resources available on how to manage that responsibility. Most works on copyright discuss the law and court cases interpreting the law but few address the situational application of it and the management and coordination of copyright efforts on a campus.
Here is a complete, one-stop, guide to managing copyright at all levels - community college, college, and university. Complete chapters are devoted to: the university culture; the role of a copyright office; how to establish a copyright office; copyright services
for librarians; copyright services for faculty; copyright services for administrators and staff; copyright services for students. Written by the director of the University Copyright Office at Purdue University who holds both law and library science degrees,
this complete, authoritative guide is a must-purchase for every institution of higher education seeking to comply with the copyright law and thus avoid potential liability exposure.
The Copyright Librarian by Libraries are creatures of the historical and statutory balance in copyright law. Libraries lend materials based on the First Sale doctrine. Libraries share materials and preserve works under specific provisions for libraries in the Act. Libraries are often the only entities that provide access to the vast majority of copyrighted works that lose market vitality long before the expiration of the copyrights, and are often the only entities that preserve public domain materials. Libraries enable users to access copyrighted and public domain works and to exercise their rights under the exceptions and limitations to creators' rights in the law. The creation of new intellectual property building on the old is stimulated as a result of the existence of libraries. Libraries are places where the public and the proprietary meet. The multiple roles of libraries as social organizations address the balance in the law, and are shaped by it.1
1From "Libraries as Creatures of Copyright: Why Librarians Care about Intellectual Property and Policy." Carol Henderson, American Library Association. http://www.ala.org/advocacy/copyright/copyrightarticle/librariescreatures