Posted by: kelliroesch | November 5, 2012

Privacy for Private Parts

On October 15 in Strategically Communicating, my post “Voyeurism escalates to creepshots in our “paparazzi culture,” explored how distasteful violations of privacy.  As noted, Websites such as Reddit create a thriving online subculture to escalate voyeurism from a creepy individual pursuit to a collective resource for sharing photos and bragging rights to “creepshots” (a.k.a. upskirts),  which can be described as the deliberate and secret photography of women’s crotches, breasts, and rear ends in everyday life.

If it were legally wrong,  someone would have sued, and won, for violation of privacy, right? Information I read indicated that “creepshots”  were not removed because individuals do not have a right to privacy in a public space.

However, the Electronic Frontier Foundation (EFF) , “Privacy; Legal Guide for Bloggers” uses a criteria that may be helpful for victims of “creepshots” who want the photos removed from the internet. The EFF asks “What is offensive to the reasonable person?”  EFF goes on to say that “To state a claim, the plaintiff must show that the matter made public was one that would be offensive and objectionable to a reasonable person of ordinary sensibilities. For example, disclosing that the plaintiff returned $240,000 he found on the street was held not to be offensive, but the publication of an “upskirt” photo would likely be found to be offensive to a reasonable person.”

Do you feel that EFF’s definition is enough to have “creepshots”  removed? Why do you think “creepshots” are still legally on the internet?

Posted by: pcordell | November 5, 2012

YouTube allows ‘private censoring’ of posts.

A stop at PlagiarismToday.com, broadened my understanding of the timely and practical aspects of copyright and fair use laws covered in this week’s readings.

An article I found on this watchdog website decried the poor performance of YouTube.com when it comes to protecting the fair use rights of YouTube users.  Reporter Jonathan Bailey contends:

everyday,(sic) dozens, if not hundreds, of such (fair-use-legal) clips get taken down by copyright holders. Part of the problem is rightsholders (sic) not showing much concern for fair use. (Bailey, 9-4-07, plagiarismtoday.com)

He says the structure of YouTube is a big part of the problem, but another part is that YouTube doesn’t do anything proactive to protect its users’ rights.

Bailey describes a cycle:  A clip protected by fair use is uploaded. YouTube’s Content ID function returns a false match for “hashers” (people trained to look for clients’ copyrighted material), and two days later the video stops working.  A DMCA (Digital Millennium Copyright Act of 1998) notice has been filed by the copyright holder and the clip has been removed.  The user could file a counter-notice, but after the 10 to 14 business days it takes to restore the clip, the post is no longer relevant.

YouTube has admitted to problems with false matches via its Content ID program, but has not yet commented on fair use protections.  (Bailey, 10-4-12, PlagiarismToday.com)

Shouldn’t YouTube be held responsible (by embargo) for de facto infringement upon the rights (private censoring) of smaller businesses due to the “chilling effects” it places upon their commercial interests?

Posted by: emmajoyce | November 5, 2012

“I won’t be bought and sold like a piece of meat.”

As a journalist, it is vital to be aware of copyright issues involving music, not only because of the necessity of using music in written pieces and multimedia productions, but also to understand copyright law in the broader sense of being an artist.

One current hot topic on the table is a 1976 copyright law (Section 203) that allows artists to reclaim music rights after 35 years by terminating rights granted to record labels, with the provision that they provide a 2-10 year notice in advance of the termination.

2013 will be the first year for this law to come to fruition, so it will be interesting to see how the rulings pan out. As one New York Times article acknowledges, “some recording artists and their lawyers are talking about simply exercising their rights and daring the record companies to stop them.”

The artists mentioned in many of these cases are big players whose music is heard everywhere from high school football fields to professional sports arenas: Billy Joel, Led Zeppelin, the Rolling Stones, and Bob Dylan (to name a few).

An interesting case to look at is Tom Petty, who went as far as to file bankruptcy, rather than fold to his record labels, saying, “I won’t be bought and sold like a piece of meat.” His record Damn the Torpedoes was appropriately titled to reflect those sentiments.

Do you think that artists should be able to reclaim their rights after a certain amount of time? Why or why not?

Posted by: meredithalawrence | November 5, 2012

Pinterest, Copyright and Complacency

Earlier this year, right about the time that Pinterest became so popular it seemed as though every single girl was on Pinterest planning her imaginary dream wedding, posts started to circulate about Pinterest’s violation of copyright law.  Most posts centered on the fact that someone positing on Pinterest could be in violation of copy right law, if he or she did not have permission to post content, say from another website, and that the poster was solely responsible for posting potentially copyrighted material. (See article: http://www.popphoto.com/news/2012/03/pinterest%E2%80%99s-photo-copyright-infringement-issues-get-more-complex)

In the wake of this revelation, Pinterest users threatened to drop left and right if Pinterest didn’t fix the loophole. Pinterest made a few adjustments and tightened up the language and now each post is a link back to the original site. For a current copy of the site’s copy right statement, see: http://pinterest.com/about/copyright/. But it seems to me that due to the nature of the site and the way in which it allows you to pull images from nearly any site without necessarily giving credit to the site, that it is still pretty easy to violate copyright law or fair use law without even knowing it. And yet, to my knowledge, the droves of users who originally threatened to leave have not left.

And so I wonder, in this age of “share everything” are we becoming complacent because we are surrounded by constant sharing of images and material, and in so doing, do we put ourselves at risk because of the pervasiveness culture of content-sharing?

Posted by: lee E. | November 5, 2012

Clear Consequences

In a world where twice in one week a Presidential campaign doesn’t clear it’s use of footage, surely we could do with some clarity around Fair Use.

The CSM site seems to at once revel in and worry about the immense grey area.  Indeed, the CSM finds that “the journalistic mission is in peril, because of lack of clarity around copyright and fair use,”  but in the next breath claims that “copyright law does not exactly specify how to apply fair use, and that is to creators’ advantage.”

God help us if we’re looking to the CSM materials to clear things up.  Their Online Video page has been posted for 5 years without update. Several of the hyperlinks are dead, and the informational video left me too befuddled by aged YouTube remixes to pick out useful information.

It is unnerving to learn the fair use confusion extends to professional journalists.  According to CSM, fair use is “about reasoning and logic; it’s not about just following the rules.”  I wonder if at current a more representative “guide book” looks something like this?  I wonder if the CSM would agree that there’s a lot about new media we just haven’t figured out yet and that with the sheer volume of new media, we may for a long time be  feeling our way in the dark and making publishing decisions mostly by weighing consequences?

Posted by: corrinebuchanan | November 4, 2012

A little privacy please…

The culture of celebrity seems to be taking over our society. Taking the perfect photo of a public figure leaving the grocery store, pumping gas, or if the photographer is really lucky, catching them in a compromising situation, can bring in major money. Whether they are a politician, award-winning actor, or even a reality star, they know that this comes with the job. They are now a public figure and might be subject to gossip, intrusive photographs and very little privacy all in the name on entertainment.

But what about their children? These kids did not ask to have famous parents; they did not ask to have photos taken of them at the park or walking home from school. Blogger and author Allie Hagan is earning a living off of her Tumblr turned into book, “Suri’s Burn Book” (http://surisburnbook.tumblr.com/page/2). This blog and book is written in the made up voice of Suri Cruise (Tom Cruise and Katie Holmes’ daughter) as she critiques and often makes fun of other “famous” children. Does this go to far? Suri and children like her did not ask to have famous parents. They are probably not actively trying to become public figures. For citizens, members of the media, and entrepreneurs this is a very gray area. Do they have the right to use  images of these children without consent for entertainment and profit? Is it reasonable for the kids and their families to seek privacy? Where does privacy end and celebrity begin?

Last year I read the 7-volume epic novel, In Search of Lost Time, by Marcel Proust. I was thrilled to read a new translation (the first in decades) that Penguin UK began publishing in 1995.

After reading 4 volumes, I learned that the final 3, while available in the UK, were not available here. I still managed to read them thanks to a very intense series of inter-library loans. But guess why the final 3 volumes aren’t available in the US?

Copyright law.

In 1998 California congressman Sonny Bono, at least in part at the behest of Walt Disney Studios, worked to get a bill passed called the Copyright Term Extension Act. The details were briefly described in our Artists Rights Society reading this week, but to make a long story short the bill basically froze the public domain advancement date at 1923 for the following 20 years.

Why was this so important to Disney? Well, Steamboat Willie (the original Mickey Mouse) was about to become part of the public domain and the bill kept the character (and 3 volumes of Proust, and everything else produced since 1923) under copyright for an extra 20 years. The Technology Liberation Front produced a great graphic showing what happens every time Steamboat Willie approaches the end of copyright protection.

Mickey Mouse will be up for release again in 2023. Will Disney let it happen without a fight this time?

If copyright is a balance between copyright holders and the people, is it fair for business interests to change copyright law whenever they need to?

Posted by: ARNoack | November 3, 2012

Chinese Counterfeiting: Once a Virtue, Now a Vice

The Artist Rights Society (ARS) article “Copyright Basics” explains how copyright protection works in the United States and most of the Western world. However, in China copyright protection is virtually non-existent. In the third presidential debate, Mitt Romney touched on the subject of copyright infringement in China when he mentioned the sale of Chinese-manufactured counterfeit valves with fake serial numbers in the U.S. and the rest of the world. “While Romney’s outrage may make for good politics, history shows that Chinese counterfeiting is almost as old as America itself,” writes Eric Jay Dolan for Reuters. According to Dolan, author of “When America met China: An Exotic History of Tea, Drugs, and Money in the Age of Sail,” Chinese painters in 18th-century Canton (now Guangzhou) could expertly copy any image. American merchants capitalized on this opportunity and, in the late 1700s, returned from China with excellent reproductions of American paintings. When French goods became popular in the 1830s, New York City’s Carnes brothers imported Chinese faux French fashion and food items, selling them at authentic prices.Image

Even today, Chinese companies continue to engage in “reverse-engineering,” as they call it. This is especially evident in the Chinese auto industry, where car manufacturers often build lower-quality, less-expensive knock-offs of American and European models. A recent special report from Reuters says China’s cars are improving with some carmakers resorting to simpler manufacturing techniques and digital crash-test simulations instead of counterfeiting to create inexpensive and safe cars.

How do views on copyright protection in other countries differ from our perspective in the U.S.? What can China do to curb copyright infringement without disrupting the burgeoning economy there?

Posted by: chrissypurcell | November 3, 2012

Happy Birthday to Who?

If you learn something new every day, then today I’ve learned that that the song “Happy Birthday to You” has one of the most convoluted copyright histories out there.  Yep, that’s right. The birthday song.

Although Warner Music Group currently owns the copyright – and earns around $2 million per year in usage fees from it – the song may actually date back to the year 1900 as a schoolhouse sing-along (check out this intriguing article from Slate examining this rabbit-hole of a song). Nonetheless, Warner Music cashes in every time a movie or tv show wants to use the song, and that’s why so many restaurant chains have their own (obnoxious) variation on a birthday song – they can’t afford the real thing.

This all begs the question – when is copyright a necessary protector and when is it a poor sport? Has copyright policy morphed into a profit-driven hot bed of litigation, or is it a viable source of power for the average Joe trying to protect his work?

Posted by: delphine criscenzo | November 3, 2012

I hope I am not breaking any Laws!!!

As I write this blog post, I’m going to do my best not to break any laws. I find fascinating and at the same time worrying, the way the internet has changed the job/role of a journalist. Throughout this term we have been discussing in several classes what it means to be a multimedia journalist, to be a one-man-band, a journalist who does it all.  I guess we now also have to be lawyers and business-women! I am starting to feel that it is a lot. At the same time I like the idea of taking full accountability for the content I post on the web. I feel that it forces me to seriously consider what I want to say, the work that I want to quote or comment on because once it is on the internet it is out for the world to see.

There is one practice that makes me cringe however. I feel really uncomfortable knowing that some take bits and pieces of others’ work and reshape it to say something completely different than the original piece. For example, Patricia Aufderheide and Peter Jaszi tell the story of an article published in the Des Moines Register which was republished by the campaign staffers of Tim Pawlenty without permission and omitting a lot of unfavorable passages. It makes me uneasy to think of the fact that whatever I publish and create, whether it ends on the internet or not, can be used illegally and sometimes legally by someone to make arguments with which I might disagree.

As journalists, how much control can we have on the content we create once it is published?

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