YouTube to Pay Fees for Some Video Makers to Fight Takedowns; New York Times, 11/19/15

Cecilia Kang, New York Times; YouTube to Pay Fees for Some Video Makers to Fight Takedowns:

"Constantine Guiliotis, who goes by Dean and whose channel dedicated to debunking sightings of unidentified flying objects has just over 1,000 subscribers, is one of the video makers YouTube will defend. Mr. Guiliotis has received three takedown notices from copyright holders of videos that he has found online and posted to his YouTube channel, U.F.O. Theater.

In his videos, Mr. Guiliotis includes the videos he found but also provides analysis and commentary, which YouTube argues is within the guidelines of fair use rules. The site reposted the videos after its review and told Mr. Guiliotis it would defend him against any future legal action. Like the other creators YouTube has selected, Mr. Guiliotis has not been sued for his videos.

“It was very gratifying to know a company cares about fair use and to single out someone like me,” Mr. Guiliotis said.

YouTube is starting small, initially supporting four video creators, but it said it may expand its program.

The company said it wanted to protect free speech and educate users on fair use."

Why Facebook Is Monitoring Your Private Videos; Huffington Post, 11/18/15

Huffington Post; Why Facebook Is Monitoring Your Private Videos:

"Parker Higgins, an activist with the Electronic Frontier Foundation, explains how Facebook's hunt for copyrighted material is playing out in users' private posts."

Matter of rights: Was Otto Frank really Anne Frank’s co-author?; Pittsburgh Post-Gazette, 11/18/15

Editorial Board, Pittsburgh Post-Gazette; Matter of rights: Was Otto Frank really Anne Frank’s co-author?Matter of rights: Was Otto Frank really Anne Frank’s co-author? :

"Otto Frank, her father, was the only family member who survived the Holocaust. It was his efforts that led to the publication of her diary. Until his death in 1980, he was acknowledged as the book’s “editor,” but gave full credit for the text to his daughter.

This is an important point given the new controversy surrounding the book’s copyright. Seventy years after her death, the European copyright is set to expire, but the Swiss foundation that holds the rights wants to prevent it from moving into public domain. The foundation is filing an extension of the copyright based on new information — the claim that Otto Frank is the book’s co-author.

This is contrary to descriptions made about the book since its publication. If the diary had been co-written by her father, then it cannot be properly called a girl’s reflections.

Extending the foundation’s control, until 2050, over “The Diary of Anne Frank” by now claiming Otto Frank is the co-writer is a cynical attempt to control a major revenue stream.

“The Diary of Anne Frank” belongs to the world. Treating it like a mere commodity detracts from its moral authority. Worse than that, making Anne Frank a mere collaborator in her own story is an insult to her memory and what she endured."

Frankenstein TV: what happens when literary classics drop out of copyright; Guardian, 11/16/15

Mark Lawson, Guardian; Frankenstein TV: what happens when literary classics drop out of copyright:

"One reason that the field of Brit Lit spin-offs is becoming so crowded is that Mary Shelley, Charles Dickens and Robert Louis Stevenson invented archetypes and situations that are familiar even to people who have never read the books. This rapid name-recognition is presumably why Fox originally gave its planned drama about a dead cop who is brought back to life to solve mysteries the title Frankenstein, even though it has no more than a vague metaphorical connection with the Shelley story. After objections of literary grave-robbing, the series is now, more sensibly, called Second Chance.

In tight financial times, it is also financially canny to plunder the vaults of out-of-copyright books. Adapt a classic novel that is still controlled by an estate and the budget is swollen by a rights fee, with the additional risk that the keepers of the author’s flame may also interfere artistically. Some copyright holders have been so acquisitive or restrictive that, for a decade or so, cultural democrats in various countries have celebrated Public Domain Day on 1 January each year, the date on which literary copyrights cease, 70 years after the writer’s death in many territories, but 95 in America. TV producers, you suspect, are among those whooping most exuberantly as another crop of plots and protagonists become free."

I’m Bullish about Copyright Policy for Libraries and I’m Not Crazy; American Libraries, 11/16/15

Alan S. Inouye, American Libraries; I’m Bullish about Copyright Policy for Libraries and I’m Not Crazy:

"The stimulus for this piece, however, is the copyright policy conference on November 17 hosted by the Re:Create Coalition. You may recall that the American Library Association (ALA) is a founding member of this new coalition that was born in spring 2015, which includes a range of important, influential, and ideologically diverse players such as the Consumer Technology Association (just renamed from the Consumer Electronics Association), Electronic Frontier Foundation, and R Street Institute. This first-ever public event of the coalition is a major milestone for heightened national advocacy for a balanced copyright regime in the digital era."

Anne Frank’s Diary Gains ‘Co-Author’ in Copyright Move; New York Times, 11/13/15

Doreen Carvajal, New York Time; Anne Frank’s Diary Gains ‘Co-Author’ in Copyright Move:

"Copyright protections vary from country to country. The classic novella “The Little Prince” fell into the public domain this year in much of the world but remains under copyright in France because of an exception that grants a 30-year extension to authors who died during military service in World War I and II.

Some critics of the foundation have already tested its resolve by posting bootleg copies of the diary online.

Olivier Ertzscheid, a lecturer in communications and researcher at the University of Nantes, received a warning letter this month from a French publisher of the diary after he started circulating a copy online in protest. He removed it, but he and a French politician, Isabelle Attard, said they were waiting to see what happens in January before pressing forward with a plan to encourage publication of the original manuscript more widely online.

“The best protection of the work is to bring it in the public domain, because its audience will grow even more,” said Ms. Attard, who noted that her own Jewish relatives were hidden or deported during the German occupation in France. “What is happening now is a bluff and pure intimidation.”

The foundation insists that by issuing an early warning of its intent to extend the copyright, it is acting ethically to prevent publishers from pursuing a course that might be unproductive and costly.

But if the foundation succeeds, publishers may wind up waiting even longer than the 70 years allowed after Otto Frank’s death."

The monkey 'selfie' copyright battle is still going on, and it's getting weirder; Washington Post via Chicago Tribune, 11/11/15

Abby Ohlheiser, Washington Post via Chicago Tribune; The monkey 'selfie' copyright battle is still going on, and it's getting weirder:

"The U.S. Copyright office clarified last year that it only registers copyright claims for human authorship, meaning that neither the macaque, nor the nature photographer David Slater, have a valid claim to it, according to the office.

That clarification came after a years-long disagreement between Slater and Wikimedia Commons, which hosted the image in the public domain.

Slater said he should own the rights to the photograph, telling The Washington Post last year that the selfie's distribution by Wikimedia and Techdirt as public domain was "ruining my business."

"If it was a normal photograph and I had claimed I had taken it," he added, "I would potentially be a lot richer than I am.""