Showing posts with label 1st sale doctrine. Show all posts
Showing posts with label 1st sale doctrine. Show all posts

Thursday, August 28, 2025

Think you actually own all those movies you’ve been buying digitally? Think again; The Guardian, August 27, 2025

  , The Guardian; Think you actually own all those movies you’ve been buying digitally? Think again


[Kip Currier: This article underscores why the First Sale Doctrine (Section 109a) of the U.S. Copyright Statute is such a boon for consumers and public libraries: when you (or a library) buy a physical book, you actually do own that physical book (though the copyright to that book remains with the copyright holder, which is an important distinction to remember).

The First Sale Doctrine is what enables a library to purchase physical books and then lend them to as many borrowers as it wants. Not so for digital books, which are generally licensed by publishers to users and libraries who pay for licenses to those digital books.

The bottom line: You as a digital content licensee only retain access to the digital items you license, so long as the holder of that license -- the licensor -- says you may have access to its licensed content.

This distinction between physical and digital content has put great pressure on library budgets to provide users with access to electronic resources, while libraries face ever-increasing fees from licensors. This fiscally-fraught environment has been exacerbated by Trump 2.0's dismantling of IMLS (Institute of Museum and Library Services) grants that supported the licensing of ebooks and audiobooks by libraries. Some states have said "enough" and are attempting to rebalance what some see as an unequal power dynamic between publishers and libraries/users. See "Libraries Pay More for E-Books. Some States Want to Change That. Proposed legislation would pressure publishers to adjust borrowing limits and find other ways to widen access." New York Times (July 16, 2025)]


[Excerpt]

"Regardless of whether the lawsuit is ultimately successful, it speaks to a real problem in an age when people access films, television series, music and video games through fickle online platforms: impermanence. The advent of streaming promised a world of digital riches in which we could access libraries of our favorite content whenever we wanted. It hasn’t exactly worked out that way...

The problem is that you aren’t downloading the movie, to own and watch forever; you’re just getting access to it on Amazon’s servers – a right that only lasts as long as Amazon also has access to the film, which depends on capricious licensing agreements that vary from title to title. A month or five years from now, that license may expire – and the movie will disappear from your Amazon library. Yet the $14.99 you paid does not reappear in your pocket."

Wednesday, June 21, 2017

Current copyright regime makes entertainment industry boring; The Daily Texan, June 18, 2017

Usmaan Hasan, The Daily Texan; Current copyright regime makes entertainment industry boring

"The current system of copyright and intellectual property protections quells artistic expression gives consumers the short end of the stick.
Mickey Mouse, as a property of Disney, enjoys bipartisan support in Congress. He was created in 1928, and under the existing copyright regime of the time, Disney’s right to Mickey should have ended in 1956 at the soonest, 1984 at the latest. Yet with some Disney magic, without fail, Congress expands copyright protections every time the Mickey is about to lapse into the public domain.
The hypocrisy coming from Disney is staggering. It has gained its immense wealth by monetizing properties in the public domain – like Cinderella, a centuries old fairy tale owned by no one – lobbying for copyright protections for those properties, and then reworking properties while constantly expanding the lifetime of their protections. It is a company that has managed to exercise artistic reinterpretation of cultural touchstones while making it nearly impossible for others to do the same. In fact, Disney has made its wealth by making movies on at least 50 works in the public domain."