Big statements on copyright 29/11/2010

November was a month of grand pronouncements on copyright, with both the EU Digital Commissioner and the British Prime Minister calling for major copyright reform, and the founder of the Creative Commons movement addressing a WIPO conference on a similar theme.

 

In a speech urging members of the European Union to look beyond “nationalist and corporate self interest”, the EU Digital Commissioner, Neelie Kroes, said: “Copyright exists to ensure that artists will continue to create. Yet we see more and more often that it is not respected. In some sectors, the levels of piracy demand that we ask ourselves what we are doing wrong. We must ensure that copyright serves as a building block, not a stumbling block.”

 

A case in point, Kroes said, was Europeana, the digital portal of libraries, museums and archives in Europe: “Will this 12 million-strong collection of books, pictures, maps, music pieces and videos stall because copyright gets in the way? I hope not. But when it comes to 20th Century materials, even to digitise and publish orphan works and out-of-distribution works, we have a large problem indeed. Europeana could be condemned to be a niche player rather than a world leader if it cannot be granted licenses and share the full catalogue of written and audiovisual material held in our cultural institutions. And it will be frustrated in that ambition if it cannot team up with commercial partners on terms that are consistent with public policy and with the interests of rightsholders.”

 

Kroes said the European Commission would soon make legislative proposals on orphan works, and on the transparency and governance of the collective management societies, and would also examine the divergent national copying levies that exist in Europe and look into multi-territorial and pan-European copyright. “We need this debate because we need action to promote a legal digital Single Market in Europe.”

 

Also in early November, the British PM, David Cameron, announced a review of the country’s intellectual property law – focusing on copyright – with review recommendations due in April 2011. He pointed to the ‘fair use’ copyright provisions in the United States as a possible model for reform, saying: “Over there, they have what are called ‘fair use’ provisions, which some people believe gives companies more breathing space to create new products and services.”

 

Some Internet groups welcomed the review, saying it would provide an opportunity to redress the balance between copyright owner and user interests set by the Digital Economy Act of 2010 (which underpins the introduction of a system of ‘graduated response’ by ISPs, to prevent online copyright infringement). Other commentators accused the Government of being too much in the thrall of major IT corporations such as Google and Facebook.

 

In Geneva, high profile copyright reform campaigner and founder of the Creative Commons movement, Professor Lawrence Lessig, addressed a World Intellectual Property Organisation (WIPO) conference on emerging modalities for licensing of digital content. Lessig reportedly divided licensing into two ‘ecologies’, one for professionals and one for amateur [1]. Professionals were those seeking remuneration from the exploitation of their works, while amateurs were those freely distributing their works, including some scientists and academics; licensing should distinctly address each of these ecologies.

 

[1] http://www.copyrightlaws.com/international/wipo-meetings-francis-gurry-and-lawrence-lessig/

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Ivi TV – is it legal? 29/11/2010

A new US-based Internet TV provider, ivi, Inc., has recently come under fire from ABC, NBC, CBS and FOX, who allege that the ivi TV service breaches copyright in their broadcasts.

 

Following its launch in September 2010, ivi received numerous cease and desist letters and subsequently filed a pre-emptive Complaint for Declaratory judgment in the US District Court in Seattle to confirm its services were legal [1]. Days later, the TV broadcasters countered with an action filed in the US District Court Southern District of New York, arguing that ivi was breaching their copyright [2].

 

Essentially, ivi provides its customers with television broadcasts over the Internet. It operates by receiving the live over-the-air broadcasts of primary transmitters, including ABC, NBC, CBS and FOX, then makes this content available over the Internet to its customers who download the Ivi TV player. But is it legal?

 

Ivi maintains that its activities fall within the scope of the US statutory license set out in s 111 of the US Copyright Act, which exempts certain secondary transmissions, such as cable TV.

 

Ivi CEO Todd Weaver likens ivi’s position to the cable providers, arguing [3]: “We pay broadcasters in accordance with the law, just like cable. This is not about copyright, this is about competition.”

 

“Congress created the compulsory licensing scheme for cable systems, to distribute broadcast content to the masses,” Weaver says. “We intend to increase viewer numbers and would welcome opportunities to work with the Broadcasters.”

 

Whether or not this particular form of secondary transmission falls within the ambit of the statutory license remains to be seen but the actions are being closely watched in the increasingly converged operating landscape of television.

 

The US Copyright Office addressed similar issues in a report issued in a June 2008 report, expressing opposition to a statutory license that would permit websites to retransmit television broadcasts without the consent of copyright owners. In its reasoning, the U.S. Copyright Office, amongst other things, said this would “effectively wrest control away from program producers who make significant investments in content and who power the creative engine in the U.S. economy. In addition, a government-mandated Internet license would likely undercut private negotiations leaving content owners with relatively little bargaining power in the distribution of broadcast programming” [4].

 

The U.S. Copyright Office argues that, “the carriage of programming on the Internet has been subject to marketplace negotiations and private licensing with some degree of success. As such, there is no market failure warranting the application of a statutory license in this context. An Internet statutory license would likely remove incentives for individuals and companies to develop innovative business models” [5].

 

The report also notes both that the Internet raises unique issues of security, which if not managed properly could be detrimental to rights holders [6]. Further, it is argued that allowing Internet retransmission to be statutorily licensed would breach U.S. obligations under several international free trade agreements [7]. This is because these agreements require the parties not to permit retransmission of television signals on the Internet without the consent of rights holders (See for example, the Australia-United States Free Trade Agreement, Article 17.4.10(b)).

 

In Australia, a service such as ivi TV would unlikely comply with the conditions of the Part VC statutory license given that the statutory license specifically does not apply to a retransmission that “takes place over the Internet”[8].

 

This is an important issue for primary broadcasters, particularly given that other businesses are likely to enter this space. Even more recently, another Internet TV provider, FilmOn.com, has also been sued by the major television broadcasters. FilmOn.com’s founder, billionaire Alki David, has been quoted saying, “There is no difference between the Internet and satellite. There’s little difference between having a digital television box (and having television delivered through a computer). It’s all just semantics” [9].

 

Whether or not he is right will be revealed in the litigation to come, but it is clear for now that the primary broadcasters are keen to maintain control of the distribution of their programming over the Internet, and won’t be letting go without a fight.

 

[1] Case number 10 CV 1512

http://assets.bizjournals.com/cms_media/pdf/ivi-complaint.pdf?site=techflash.com

[2] Case number 10 CV 7415

[3] Ivi TV Statement in response to NAB, 21 September 2010

http://www.ivi.tv/pr/2010-09-21_ivi-tv-statement-in-response-to-nab

[4-7] United States Copyright Office, Satellite Home Viewer Extension and Reauthorization Act Section 109 Report, at 188, 181, 181, 188.

http://www.copyright.gov/reports/section109-final-report.pdf

[8] Section 135ZZJA The Copyright Act 1968

[9] FilmOn owner preps for battle with TV networks, Eriq Gardner, Reuters

http://www.reuters.com/article/idUSTRE69510K20101006

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France takes a creative approach to protecting artists’ rights 29/11/2010

Although the level of online copyright infringement in France is relatively high, it is also a nation that champions the rights of artists and creators. In an effort to resolve this conundrum some interesting new schemes have been launched to persuade consumers to source legitimate content online.

 

1. Carte Musique

 

In March this year the French Government proposed the establishment of the Carte Musique scheme, whereby people aged 12 to 25 could purchase an online music credit card at half price. Customers would pay 25 Euros for a 55-Euro credit card and the government would pay the other half. The cards could then be used at a variety of online digital music stores.

 

Prior to the launch of the Carte Musique in October, the proposal went to the EU Commission for approval, to ensure it did not run counter to EU competition policy. Checks and balances applying to the scheme include a limit of one card per individual per year and a cap of 5 million Euros on the total government funding provided to any one music retailer. [1]

 

Those in favour of the Carte Musique praise its stated aim to “develop the habit for consumers, when they are still young, to use legal music distribution channels over the Internet” [2]. Critics, such as a spokesperson for Internet lobby group La Quadrature du Net, argue along the following lines: “There is no evidence that this would be useful to anything but bringing a bit more money in the pockets intermediaries of distribution of digital music.” [3]

 

2. YouTube and SACEM

 

After three years in negotiations, the French music collecting society SACEM has signed a deal with the video streaming website YouTube [4]. Whilst details of the agreement have not yet been announced, it will essentially see royalty payments flowing from YouTube to SACEM and then from SACEM to creators. It will cover music used on the YouTube website from 2007 to 2012.

 

Cooperation between Internet sites like YouTube and traditional collecting societies is an important step in providing income streams for music creators, as such websites have become destinations on which users seek out and discover new music.

 

3. HADOPI

 

On the opposite end of the spectrum to Carte Musique, the French Government's graduated response scheme commenced this year after several years of negotiation and amendment. The scheme creates a new agency called Haute Autorité pour la Diffusion des Œuvres et la Protection des Droits sur Internet (HADOPI).

 

Rightsholders participating in the scheme monitor Internet networks for infringing activity, collect the IP addresses of infringing users and refer them to HADOPI. HADOPI then sends a warning notice to the relevant ISP, and the ISP must pass the warning notice on to the user connected to that IP address. After three warnings users risk fines or suspension of their Internet account, following a court order. An appeal process exists for users that wish to challenge a finding. [See last month’s newsletter for a detailed look at international graduated response measures.]

 

Supporters of HADOPI argue that the warning notices alone will serve as a deterrent and begin to reduce infringing activity online. Other arguments in favour suggest that HADOPI will allow rightsholders to focus on larger-scale, repeat infringers who have been warned multiple times that their activity is illegal. Critics argue that the scheme oversteps the bounds of privacy and imposes a sanction disproportionate to the offence.

 

Many countries are closely watching developments in France and the success of these three measures will influence whether similar arrangements are introduced in other jurisdictions.

 

[1] EU Press Release, 21 October 2010

http://europa.eu/rapid/pressReleasesAction.do?reference=IP/10/1320&format=HTML&aged=0&language=EN&guiLanguage=en

[2] ibid

[3] Farivar, Cyrus, ‘France to start Carte Musique digital music subsidy plan’ DW-World, 27 October 2010

http://www.dw-world.de/dw/article/0,,6158141,00.html

[4] SACEM Press Release, 30 September 2010

http://www.sacem.fr/cms/site/en/home/about-sacem/documentation/the-last-one/sacem-youtube

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Can cyber wars win reform? 29/11/2010

Three recent cyber campaigns – Cook’s Source, Operation Payback, and Limewire: The Pirate Edition – demonstrate that copyright remains a hot topic online. Staffer JEROME JOHN compares the three disputes and concludes that extremists on both sides of the debate make it difficult to think constructively about reform.

 

1. The Cook's Source saga

 

Writer Monica Gaudio discovered that a small, US-based magazine titled Cook’s Source had used one of her online articles without permission. Objecting to this use of her work, the writer emailed Cook’s Source editor Judith Griggs and an exchange ensued, culminating in the editor sending a now infamous email to the author. [1]

 

The curt communication from Griggs stated that anything on the Internet was “public domain” and could be used freely. The angry author responded by posting this on her blog, and her cause was taken up by other bloggers and spread over the Internet, eventually hitting news outlets. Within a few days, hundreds of negative comments were posted to Cook’s Source's Facebook page, the magazine's website briefly went down, names of advertisers were publicised and rewarded for distancing themselves from the magazine, and a number of news articles were written about the case. [2]

 

Anti-Cook’s Source fervour grew and people began searching older issues of Cook’s Source for other instances of infringement, which led to a number of alleged infringements being discovered and publicised [3]. Eventually Griggs issued a half-apology via the Cook’s Source website, also stating that the magazine could no longer keep going. Cook’s Source had met its demise.

[4]

 

2. Anonymous & “Operation Payback”

 

By contrast, the “Operation Payback” campaign launched by Internet activist group Anonymous had a distinctly anti-copyright flavour. Operation Payback began in response to perceived threats against file sharing website The Pirate Bay. Its targets included a number of prominent copyright stakeholders such as the MPAA, RIAA, the UK Intellectual Property Office, the US Copyright Office, rights holder groups in Italy, Spain and Ireland, and several high profile copyright lawyers. The website of Australian film anti-piracy group AFACT was also briefly taken offline in October. [5]

 

Anonymous attacks websites using a method called Distributed Denial of Service (DDoS), which works by overloading a target website with traffic to the point where it becomes overwhelmed and inaccessible. Because of its rogue nature, little is known about the makeup of Anonymous or which statements and documents released on its behalf are representative of the group's actual goals. Persons alleging to represent the group have listed a number of demands, including the gradual reduction of the term of copyright to a maximum of one year. [6]

 

3. Limewire: The Pirate Edition

 

Prior to successful court proceedings against Limewire by several record companies, Limewire software was used to connect to p2p networks and, in many cases, to acquire and distribute infringing music and film online.

 

Shortly after the Limewire site was shut down in October, reports began to emerge that a team of developers had modified the source code of the original software and released it to be freely distributed under the title Limewire: The Pirate Edition [7]. The Pirate Edition recreates all the functionality of the original software and renders many of the practical outcomes of the court case ineffective. The official Limewire company posted a statement on its website demanding that all unauthorised use of Limewire software and trademarks cease immediately, but the horse has bolted and the Pirate Edition is easily available.

 

What’s the outcome?

 

One may ask why in one instance a copyright owner received so much support yet in another, was the target of such hostility? Most likely it turned on who was perceived to be the underdog. In the case of Cooks Source, it was the individual author; in the Limewire and Operation Payback campaigns, the collective user was perceived as the underdog in a fight with large corporate interests.

 

The relative anonymity offered by the Internet may tempt some to join in vigilante-style copyright actions but such actions can have real-world consequences. Anonymous is now being investigated by the FBI. Cooks Source is now a dead publication. Authorities are seeking those who released The Pirate Edition for potential court action.

 

And whilst each scenario has had a definite outcome, is the outcome desirable? Was shutting down the whole magazine the author’s intended goal in the Cook’s Source dispute, or was it just to seek compensation for use of the article without permission? Operation Payback has caused much inconvenience to the groups targeted, and generated lots of publicity, but has it done anything to advance the group’s goal of copyright reform? The actual copyright questions have been lost in a myriad of distractions. If any of these campaigns is perceived as a victory, it is a dark victory only. In my view they demonstrate why, whatever your view, it is better to utilise regular channels of intellectual property dispute resolution, such as letters, negotiation, agreements, lobbying, mediation and court, if necessary.

 

The law gives creators and rightsholders the right to decide how their creative work can be used. In turn, users may be frustrated by the effect of these rights when invoked. Copyright reform is an attempt to re-set the balance between these conflicting positions, particularly when new technologies change the landscape. With copyright reform on the agenda and the issues heating up, it’s important that the focus remains on the long-term goals not short-term distractions.

 

[1] Gaudio, M. 'Copyright Infringement and Me' LiveJournal, 3rd November 2010 http://illadore.livejournal.com/30674.html

[2] see Champion, E. 'The Cooks Source Scandal: How A Magazine Profits on Theft', edrants.com, 4th November 2010

http://www.edrants.com/the-cooks-source-scandal-how-a-magazine-profits-on-theft/

[3] A collaboratively authored public list of all alleged instances of plagiarism in Cooks Source is available at: https://spreadsheets.google.com/ccc?key=0AmTaIPHPnkSedGFhbHo1d1FIR2oxNWJLaDZLeXhEVEE&hl=en#gid=0

[4] Originally posted by Judith Griggs on www.cookssource.com on 17th November 2010 – the site now appears to have been taken down.

[5] See Anonymous’ page at http://www.anonops.net/anonops/Main_Page for detailed information about the group and Operation Payback.

[6] ibid

[7] Anderson, N. ‘Horde of piratical monkeys" creates LimeWire: Pirate Edition’, Ars Technica, 10th November 2010 - http://arstechnica.com/tech-policy/news/2010/11/horde-of-piratical-monkeys-resurrects-limewire-pirate-edition.ars

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Aggregating the News: Who should pay? 29/11/2010

By Mary Anne Reid & Fiona James

 

The Federal Court’s recent decision on copyright in headlines (Fairfax Media Publications v Reed International Books Australia) is unlikely to be the last word on news aggregation and copyright. This month’s feature article compares Australia’s experience with developments elsewhere.

 

It is no surprise that traditional news outlets have clashed with the news aggregators flourishing on the Internet. Corporations like News Ltd, Associated Press and Fairfax pay their staff to produce original news stories and pictures, or pay other creators for the use of their work. News aggregators use digital technology to search (‘crawl’), reproduce and index fragments of news produced by others – often without payment to the owners of the original work, often without adding original content, and often generating income for themselves in the process.

 

In the news aggregator’s worldview, this should be considered ‘fair dealing’ (or ‘fair use’ depending on your country of origin) for the purposes of reporting the news. In the view of some news outlets, the aggregator is unjustly profiting from the work of others.

 

From a business perspective, the content owner’s point of view is likely to depend on whether they see the news aggregator as providing a welcome source of promotion for their news outlet, or a substitute for their original work. The reality may well be combination of both, yet that may still disturb businesses whose costly content is generating income for others without payment.

 

The potency of this issue at a time when news publishers around the world are struggling to monetise their content online created significant interest in the recent case brought by Fairfax Media Publications against Reed International Books Australia (trading as LexisNexis). Reed had indexed articles from the Australian Financial Review (AFR) in its news aggregation service ABIX, which essentially provides paying subscribers with abstracts of published articles, together with the (often unaltered) headlines and by-lines of these articles.

 

Fairfax alleged that Reed had infringed its copyright in the AFR. One of the key issues addressed – for the first time in an Australian court – was whether copyright subsisted in the news headlines in question. In September 2010, the Federal Court’s Justice Bennett found that no copyright subsisted in the headlines reproduced by ABIX and that even if it did, ABIX’s use of the work amounted to fair dealing under Australian copyright law.

 

It is doubtful, though, that we have heard the last word on news aggregation and copyright. International experience, and the extensive business interests at stake, suggests the Fairfax case may be the first round only.

 

Google and the wire services

 

The Google service Google News has been at issue in several high profile cases on copyright infringement and news aggregation.

 

One of these actions was brought against Google by the wire service Agence France Presse (AFP), in the United States in 2005. As wire services generally license their content to other news outlets rather than publishing on their own sites, AFP asserted that the headline, ‘lede’ (lead) and photo displayed by Google News was licensed content and only those who had paid licensing fees to AFP were authorised to publish them. “By providing this content, even in an abbreviated form, AFP claimed, Google News was infringing their copyrights and stealing their product.”[1]

 

The legal action continued for almost two years until the matter was concluded out of court in 2007, with Google signing a licensing agreement with AFP for the right to post AFP content on Google News and other Google services.

 

While the AFP proceedings were in progress, Google moved to stop another potential suit by entering into a similar licensing agreement with the wire service Associated Press (AP) in 2006. In commenting on the two agreements Google maintained its position that Google News was fully consistent with fair use. Rather, it said, the purpose of the licensing deals was to allow for new uses of AP and AFP news content by Google.

 

Copiepresse

 

In Europe, Google was involved in another legal action over its Google News service and this time the matter was settled in court.

 

The association of Belgian newspaper publishers, Copiepresse, commenced court proceedings against Google in 2006, asserting that Google News went beyond a simple search engine service and acted as a “portal to the written press”. [2] Copiepress objected to the display on Google News of the titles and first sentence or two of its members’ newspaper articles, as well as the provision of links to ‘cached’ versions of the articles (HTML text copies of articles stored by Google). Importantly, Copiepress did not object to the provision of hyperlinks to its members’ sites.

 

Original expression: Google argued that the fragments displayed on Google News were not original elements qualifying for copyright protection. The court found that some of the headlines were original enough to warrant copyright protection, while others were not.

 

News reporting exception: Google argued that in any event it could rely on Belgium’s exceptions to copyright infringement for news reporting. The court found that as Google provided no commentary on the news, the exception did not apply because reproduction could not be the principal object, rather than the secondary, in news reporting. [3]

 

Implied licence: Google argued that the newspapers had explicitly or implicitly consented to the use of their materials by not using technical means (robots.txt files and metatags) to stop their publications being indexed by search engines. The court rejected this argument on the grounds that copyright is a right to prior authorisation, not a right to opt out of a particular use.

 

In 2007 the court ruled that Google had violated Belgian copyright laws and ordered the corporation to pay a daily fine until it removed the Belgian news content (which it did). Copiepress also sought damages for the infringements.

 

Writing on the ruling in Lexology, Graham Smith (Bird & Bird) stated [4]: “This decision…illustrates the difficulties that face search engines as they develop and extend their activities into areas beyond general purpose search. These challenges are especially pronounced in European countries, which unlike the USA generally lack a flexible doctrine of fair use of copyright works. Instead, the norm in Europe is a series of narrowly crafted exceptions which often do not read well on to technological advances.”

 

Online Media Monitors

 

Web ‘crawling’ (or using search engine technology to monitor and index online content) may only become an issue for content creators when the aggregator is selling the indexed information to subscribers. This is the scenario behind an important action currently being fought in two separate courts in the UK: the dispute between Meltwater Holding BV (Meltwater) and the Newspaper Licensing Agency (NLA).

 

Meltwater is a large public relations group offering UK businesses a paid-for online media monitoring service called Meltwater News. This service searches online news sites to generate media monitoring reports for its customers, including the headlines of relevant articles, the first few words of the article and the ‘hit sentence’, which is a small number of words around the word or phrase being monitored. [5]

 

The NLA is a copyright collecting society acting on behalf of the majority of the UK’s national newspapers. In January 2009, the NLA announced it would introduce licences to cover paid-for online media monitoring services such as those offered by Meltwater. Under the two new licences, the NLA required payment from media monitoring services crawling its content, as well as payment from the end-users receiving the service.

 

In essence, the NLA was seeking to extend to the web the principles under which it charges media monitors for photocopying paper news clippings for clients.

 

Meltwater raised a number of objections to both new licences but particularly to the Web End User Licence, and referred the matter to the UK Copyright Tribunal. Despite a request from the NLA to dismiss it, the Copyright Tribunal decided early in 2010 that it would hear the case and nominated February 2011 as the earliest date convenient to all parties. In a counter-move, the NLA started its own action in the High Court, reportedly seeking a quicker ruling than would be provided by the Copyright Tribunal. The first High Court hearing is due for November 2010. [6]

 

According to the Copyright Tribunal’s decision on jurisdiction [7], Meltwater asserts that a number of the terms of the licence to crawl the media content are unreasonable, including the financial terms and the requirement to pass on to the NLA the identity of all its customers. An interesting complexity in the case is that, according to Meltwater, the NLA is in the process of commencing its own paid-for online media monitoring service. “So the [Web Database Licence] appears to require Meltwater to give to a potential competitor the names of all its customers.” [8]

 

In regard to the Web End User Licence, “Meltwater contends that even if the monitoring reports are copies of substantial parts of the literary works in question…the use and receipt of such reports [by the client] does not infringe copyright and so the customers need no licence.” [9]

 

It is this requirement for the end-user to pay that has caused the most controversy over the licences, with some UK news aggregators describing the requirement as a ‘link tax’.

 

In a recent online interview, Meltwater CEO Jorn Lyseggen suggested that the two legal cases would probably run in parallel: “If the High Court should rule that there is no reason for our clients to pay the NLA, I think that will end it. But, if they conclude there should be a licence, the Copyright Tribunal would then actually set the licence fees.”

 

“There might be appeals up to the point where we have a final ruling. But once we have a final ruling, I expect that all parties will comply.” [10]

 

Does size really matter?

 

Even in the US, with its relatively wide fair use provisions, the substantiality of the portion of copyright-protected work used may be the basis for a court deciding that the use is infringing, rather than fair. In her article on The Rise of the News Aggregator, Kimberley Isbell makes the following observation about the use of headlines and leads by news aggregators [6]:

 

“The [US] Supreme Court, as well as a number of lower courts, has found that the reproduction of even a short excerpt can weigh against a finding of fair use if the excerpt reproduces the ‘heart’ of the work…In some instances, the first few sentences may contain the heart of the work. In other instances, this will not be the case.”

 

So does size really matter or is it skill and effort that counts? Australia’s Fairfax v Reed case was interesting for its focus on this question.

 

In determining whether the AFR headlines reproduced in Reed’s ABIX subscription service were discrete literary works, Justice Bennett concluded: “Headlines generally are, like titles, simply too insubstantial and too short to qualify for copyright protection as literary works. The function of the headline is as a title to the article as well as a brief statement of its subject, in a compressed form comparable in length to a book title or the like. It is, generally, too trivial to be a literary work.” [12]

 

There is certainly a long line of case law based on the principle that titles and names are generally too insubstantial to be considered literary works. But some commentary following the Fairfax decision queried whether all headlines are comparable in this regard with titles and names.

 

There is an argument that news headlines should be distinguished from titles because a headline will often be the basis for deciding whether or not to read the story, and so will ‘make or break’ the story. Contrast this with books, songs or movies, for example. Also, in some cases, a headline neatly encapsulates the essence of the story. It is arguable that, in the case of some headlines at least, there is a significant degree of skill and effort that goes into the selection of the particular words comprising the headline, few though they may be. For a particularly clever title, it may be that more effort and skill has been exercised in the selection of those words than, say, in writing a short news story to accompany it.

 

While Justice Bennett concluded that copyright did not subsist in the particular headlines put forward by Fairfax, she did not rule out the possibility altogether: “It may be that evidence directed to a particular headline, or a title of so extensive and of such a significant character, could be sufficient to warrant a finding of copyright protection”[13].

 

Perhaps surprisingly, Fairfax did not appeal the case. However given that the question of subsistence in headlines remains open, we may see another attempt in the future.

 

Future outlook

 

Eric Schmidt, chairman and CEO of Google, believes the clash between news aggregators and news creators will largely be resolved through commercial partnerships between the two: “I believe…we all have to work together to fulfill the promise of journalism in the digital age,” Schmidt wrote recently in The Wall Street Journal online. [14]

 

“Google is serious about playing its part. We are already testing, with more than three dozen major partners from the news industry, a service called Google Fast Flip. The theory—which seems to work in practice—is that if we make it easier to read articles, people will read more of them. Our news partners will receive the majority of the revenue generated by the display ads shown beside stories.

 

“Nor is there a choice, as some newspapers seem to think, between charging for access to their online content or keeping links to their articles in Google News and Google Search. They can do both.”

 

While Schmidt may be right about the partnership ahead, the key copyright cases being fought now and in the immediate future are likely to have a significant effect on the terms of such a partnership.

 

Australian Copyright Council

November

2010

 

 

[1] Kimberly Isbell, Berkman Centre for Internet & Society (Harvard University), Research Publication no. 2010-10, 30 August 2010, p. 6.

[2-4] Graham Smith, Bird & Bird, Lexology, March 13 2007.

[5] UK Copyright Tribunal, Colin Birss QC, on Meltwater Holding BV v NLA Ltd, 25 Feb, 2010. P.2

[6] Robert Andrews, paidContent.com; Sept. 20, 2010, at http://finance.yahoo.com/news/Interview-Meltwater-CEO-paidcontent-3545413581.html?x=0

[7-9] UK Copyright Tribunal, as per [5]. P.4

[10] Robert Andrews, as per [6]

[11] Kimberly Isbell, as per [1]

[12-13] Fairfax Media Publications Pty Ltd v Reed International Books Australia Pty Ltd [2010] FCA 984 at 44, 46

[14] Eric Schmidt, The Wall Street Journal, http://online.wsj.com/article/SB10001424052748704107104574569570797550520.html

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International agreement reached on ACTA 16/11/2010

Australia’s Minister for Trade, Dr Craig Emerson, announced today that international agreement has been reached on the Anti-Counterfeiting Trade Agreement (ACTA), after three years of negotiations.

 

ACTA has been negotiated by 37 countries, including Australia, Canada, European Union member states, Japan and New Zealand.

 

The Minister said Australia would not need to change its domestic laws in order to implement the ACTA. The Australian Government will make a final decision on ratifying the ACTA once the Joint Standing Committee on Treaties has examined the agreement.

 

To view the Minister for Trade’s media release, click here: http://www.trademinister.gov.au/releases/2010/ce_mr_101116.html

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