Find Star Wars in Copyright; Library of Congress, May 4, 2022

 Alison Hall, Library of Congress; Find Star Wars in Copyright

"If you’ve ever watched The Big Bang Theory, you know that the guys are obsessed with Star Wars. In one episode, Leonard suggests a Star Wars marathon weekend to Sheldon, who replies with “Movies or video games? Or board games? Or trading card games? Or Legos? Or dress up? Or comic books? Or dramatic readings of novelizations? Yes to all!” They settle on the online game. The scene just scratches the surface of all the Star Wars derivative works, many of which I owned “A long time ago in a galaxy far, far away. . . .” (or, more accurately, forty-some years ago in Pittsburgh).

So, just how many hits do you think searching “Star Wars” gets in the Copyright Public Records System? On this Star Wars Day, I got more than 8,400. Now, not all of them are related to the first Star Wars movie, registered by Twentieth Century-Fox in 1977—for example, some are about the star wars defense system from the 1980s. But most are on topic, and several can be seen in the Find Yourself in Copyright exhibit."

THE STAR WARS VIDEO THAT BAFFLED YOUTUBE'S COPYRIGHT COPS; Wired, August 2, 2017

Jeremy Hsu, Wired; THE STAR WARS VIDEO THAT BAFFLED YOUTUBE'S COPYRIGHT COPS

"Still, the Auralnauts say they have few options to fight what they view as unfair claims on their content. Koonce suggested possible Content ID improvements that could prevent the same false claims from being repeatedly filed against the same video by different claimants. “People need to protect their IP, but don’t give them all the power," he says.

A smarter profit-sharing system would differentiate better between, say, a video of Queen performing “Bohemian Rhapsody” or the same song playing in the background of someone's wedding video. “What is needed is a more nuanced approach to how stuff gets monetized,” says Robert Lyons, a former digital media executive who is now a visiting lecturer at Northeastern University in Boston.

In any case, Lyons suggests that the Auralnauts video has a very good chance of being protected under fair use legal doctrine—the legal concept that allows for music and video parodies, among other exceptions to copyright infringement. “I think that a mere five seconds of the title’s music in a work that clearly is transformative and [that] poses no threat to the commercial potential of the original work would have a very strong fair use defense,” Lyons says."

‘Star Wars’ Doesn’t Belong to George Lucas. It Belongs to the Fans.; New York Times, 10/29/15

Manohla Dargis, New York Times; ‘Star Wars’ Doesn’t Belong to George Lucas. It Belongs to the Fans. :

"Mr. Lucas’s true genius may be in marketing, including of his vision. Like other filmmakers who came of age in the 1960s, when American directors became auteurs, he has strong views on authorship. In a 1997 interview with Wired, he addressed the studios’ and artists’ rights, arguing that a copyright should belong to “the artist” of a film and not the large corporation that owns it. “I solved the problem by owning my own copyright,” Mr. Lucas said, “so nobody can screw around with my stuff. Nobody can take ‘Star Wars’ and make Yoda walk, because I own it.” When asked about the changes that he had made to his earlier work, including to “Star Wars,” he said: “It’s my artistic vision. If I want to go back and change it, it’s my business, not somebody else’s.”...

Years before the popularization of the idea of participatory culture, a term for those who are at once pop-culture consumers and contributors, “Star Wars” fans had staked their claim on this world. That engagement sometimes took Mr. Lucas aback. “It’s always amazing to me when people take them so seriously,” he is quoted as saying in Dale Pollock’s essential book “Skywalking” (1983).

In the years since, Mr. Lucas has clearly embraced his destiny as a force. And while it may seem strange, given his hatred of the studios, that he sold Lucasfilm to Disney in 2012, he found it a perfect home. Mr. Lucas helped shape modern conglomerate cinema, to borrow a term from Mr. Schatz, but it was Disney that really pioneered cradle-to-grave entertainment. In 1929, Walt Disney sold the rights to use Mickey Mouse (soon called the “million dollar mouse”) on children’s writing tablets, signing his first licensing contract a year later. “The sale of a doll to any member of a household,” Roy Disney, Walt’s brother, said, “is a daily advertisement in that household for our cartoons and keeps them all ‘Mickey Mouse Minded.’ ”"