2 THIS EVENT IS BEING VIDEOTAPED. BY ENTERING YOU CONSENT TO THE EXHIBITION OF YOUR NAME, VOICE, AND LIKENESS.
4 Copyright protection subsists in original works of authorship fixed in any tangible medium of expression, now known or later developed, from which they can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. 17 USC 102(a).
6 CREATIVE WORKS Literary Works Musical Works Dramatic Works Pantomimes and Choreographic Works Pictorial, Graphic, and Sculptural Works Motion Pictures and Other Audio Visual Works Sound Recordings Architectural Works RIGHTS PROTECTED To reproduce the work in copies or phonorecords To prepare derivative works To distribute copies or phonorecords to the public by sale or other transfer of ownership, or by rental, lease, or lending To perform the work publicly To display the work publicly To perform the work publicly by means of a digital audio transmission
7 Musical Works Audiovisual Works
9 The Copyright Act does not specifically define musical works because the term has a fairly settled meaning. A musical work is a song, and copyright law protects both the instrumental component of the work and any accompanying words.
10 Sound Recording: The Copyright Act defines sound recordings as works that result from the fixation of a series of musical, spoken or other sounds, regardless of the nature of the material objects, such as disks, tapes, or other phonorecords, in which they are embodied. 17 USC 101. Musical Composition: The Copyright Act does not define musical composition, but the term commonly is understood to refer to the tune (melody, harmony, rhythm) and the words of a musical work.
11 The definitions of sound recording phonorecord use the word fixed. and A work is fixed if it is embodied in a copy or phonorecord, and it is sufficiently permanent or stable to permit it to be perceived, reproduced, or otherwise communicated for a period of more than transitory duration.
12 Example 1 If your favorite band went into the studio and recorded Amazing Grace, the melody, harmony, rhythm and words of the musical work would make up the musical composition, and the master tape recording would be the sound recording. Example 2 Your favorite band records Amazing Grace. The lyricist or composer would be the author of the musical composition, and the band or record producer who processed the sounds and fixed them on the master tape would be the author of the sound recording.
13 Name the six exclusive rights that the copyright law protects. Hint: They are listed in Section 106 of the Copyright Act.
14 The right to reproduce the work in copies or phonorecords; The right to prepare derivative works based upon the work; The right to distribute copies or phonorecords of the work to the public by sale, lease, loan or rent; The right to perform the work publicly; The right to display the work publicly; and The right to perform the work publicly by means of a digital audio transmission.
15 Copies are material objects, other than phonorecords, in which a work is fixed by any method now known or later developed, and from which the work can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. 17 USC 101.
16 Phonorecords are material objects in which sounds, other than those accompanying a motion picture or other audiovisual work, are fixed by any method now known or later developed, and from which the sounds can be perceived, reproduced, or otherwise communicated, either directly or with the aid of a machine or device. 17 USC 101.
17 A derivative work is a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted. 17 USC 101.
18 To perform a work means to recite, render, play, dance, or act it, either directly or by means of any device or process or, in the case of a motion picture or other audiovisual work, to show its images in any sequence or to make the sounds accompanying it audible. 17 USC 101.
19 To display a work means to show a copy of it, either directly or by means of a film, slide, television image, or any other device or process or, in the case of a motion picture or other audiovisual work, to show individual images nonsequentially. 17 USC 101.
20 To perform or display a work publicly means To perform or display it at a place open to the public or at any place where a substantial number of persons outside of a normal circle of a family and its social acquaintances is gathered ; or
21 To transmit or otherwise communicate a performance or display the work to a place open to the public or at any place where a substantial number of persons outside of a normal circle of a family and its social acquaintances is gathered, by means of any device or process, whether the members of the public capable of receiving the performance or display receive it in the same place or in separate places and at the same time or at different times. 17 USC 101.
22 A digital transmission is a transmission in whole or in part in a digital or other nonanalog format. 17 USC 101.
24 Musical Composition Right of reproduction; Right to prepare derivative works; Right to distribute copies or phonorecords to the public; Right of public performance; and Right of public display. Sound Recording Right of reproduction; Right to prepare derivative works; Right to distribute phonorecords to the public; and Digital performance right.
25 During these performances ask yourself these questions:
26 1. Did the performance here amount to a public performance as defined in the Copyright Act? 2. Can I distinguish the musical composition from the sound recording in each performance? 3. Do I understand which of the exclusive rights are implicated in each performance? 4. How can I determine who owns the copyright in the sound recordings and musical compositions? 5. Why do I care?
27 Did this performance involve a musical work? Did it involve both components of a musical work? Whose permission, if any, would I need to use this work? Which of the exclusive rights were implicated by this performance?
28 Did this performance involve a musical work? Did it involve both components of a musical work? Whose permission, if any, would I need to use this work? Which of the exclusive rights were implicated by this performance?
29 Did this performance involve a musical work? Did it involve both components of a musical work? Whose permission, if any, would I need to use this work? Which of the exclusive rights were implicated by this performance?
30 Because it is expensive not to
32 A person or entity that violates one of the copyright owner s exclusive rights, including the rights set forth in Section 106: 1. Reproduction; 2. Preparation of derivative works; 3. Public distribution; 4. Public performance; 5. Public display; and 6. Public digital performance.
33 By reproducing, derivating, publicly distributing, publicly performing (including digital performances of sound recordings), or publicly displaying a copyrighted work without the copyright owner s express permission.
34 Quite a bit
35 NON-MONETARY: 1. Injunctions an order from the court directing you to stop infringing. 2. Impoundment and Disposition an order from the court to impound and destroy (or otherwise dispose of) the infringing materials.
36 MONETARY: Actual Damages and Profits: An order from the court allowing the copyright owner to recover from you the actual damages he/she/it suffered as a result of the infringement, plus any of the profits you may have made from your infringing activity.
37 MONETARY: Statutory Damages court must award between $ and $30, at its sole discretion for each work infringed. This maximum can be increased to $150, if the plaintiff proves that the infringement was willful.
38 ATTORNEYS FEES AND COSTS: The prevailing party in an infringement action may recover reasonable costs and attorneys fees at the court s discretion.
39 In order for a copyright owner to recover statutory damages and attorneys fees, he/she/it must have registered the work with the Copyright Office. Registration is not a prerequisite to the recovery of costs.
42 Congress did enact a Worship Services exemption that permits certain uses of copyrighted works without the copyright owner s permission.
43 The following use of a copyrighted work is not an infringement: performance of a nondramatic literary or musical work or of a dramatico-musical work of a religious nature, or display of a work, in the course of services at a place of worship or other religious assembly. 17 USC 110(3).
44 The Worship Service exemption implicates two of the six exclusive rights: right of public performance and the right of public display.
45 Section 110(3) provides a complete exemption for the right of public display, as long as the display occurs in the course of services and at a place of worship or other religious assembly.
46 Section 110(3) permits the public performance only of nondramatic literary or musical works or of dramatico-musical works of a religious nature, but only in the course of services and at a place of worship or other religious assembly.
47 A work intended as a dramatization, including screenplays, plays, choreography, radio and television scripts, pantomimes, and film treatments.
48 THE NATURE OF WORSHIP MAKES INFRINGING REPRODUCTIONS AND DERIVATIONS VERY LIKELY.
49 Artistic expressions cannot be paraphrased without losing some of their unique content In many cases, houses of Worship cannot truly start a dialogue about a work s message unless they show the artwork in its original medium e.g., playing a movie clip rather than describing it or acting it out on stage, or displaying a sculpture rather than a picture of it. Wassom, Brian, Unforced Rhythms of Grace: Freeing Houses of Worship from the Specter of Copyright Infringement Liability, Fordham Intell. Prop. Media & Ent. L.J., at 170 (Feb. 1, 2006).
50 Lyrics and displays must often be reproduced in order to be useful in Worship None of the exemptions in Section 110 provide an even arguable basis for making copies of copyright works, like song lyrics. This reproduction is infringing (whether the lyrics are reproduced in paper copies or projected onto a screen), unless you have the owner s permission.
51 Many uses of musical, choreographic and audiovisual works in Worship are likely to create a derivative work. Musical directors and other talent usually deviate from the exact notes and lyrics. This type of spirit led Worship often infringes the owner s exclusive right to create derivative works.
52 Currently, there is no guaranteed mechanism that Churches can rely on to ensure that their uses of copyrighted works are unquestionably lawful.
54 The arts help busy and distracted congregants to focus. Congregants will not hear any message communicated in a Worship Service if their hearts and minds are not prepared to receive it. Popular works can help Churches overcome barriers of distrust. For those entering a worship service not only distracted but also skeptical of religious perspectives or institutions, the arts can communicate messages to the heart that the mind is unwilling to consider.
55 Using familiar popular works as a springboard into unfamiliar concepts is a time-honored teaching method. Using examples from the common culture connects the familiar with the unfamiliar and biblical mores are increasingly unfamiliar in contemporary society.
56 Arts in Worship spark the imagination and allow an experience of the transcendent. No other art form sparks imagination in a Worship Service quite as directly as dramatic storytelling whether through live performance or on the projector screen.
57 Worship arts can minister to wounded emotions. Few demographic groups in a congregation are likely to be wrestling with emotions more often or intensely than adolescents. Movie clips and popular music can be especially useful for addressing those needs and engaging teens in Worship.
58 Worship arts foster stronger community ties within the congregation. Arts not only draw people into Houses of Worship, but they also help to anchor attendees within the community.
59 Using popular artworks in Worship teaches congregants to be more critical consumers of popular media. [H]ouses of Worship incorporate popular artworks into their services in order to begin a dialogue with popular culture... But a necessary prerequisite to this comparison is the ability to recognize the message being communicated by the work, both through its form and its content. Featuring popular artworks in the course of a Worship Service isolates and exposes the message contained in the work, allowing congregants to evaluate it.
60 Arts present new perspectives and new understanding. Artistic expression in Worship can also do more than soothe our emotions and spark our imaginations. Sometimes it confronts us and forces us to reconcile with the uncomfortable.
61 Okay, you ve made the case for continuing to use artistic works during Worship, despite the risk.
62 FAIR USE BLANKET LICENSING
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