It has been widely reported that UCLA has decided to re-start its program of streaming digitized videos for course-related viewing. They do so based on a set of principles adopted by the faculty, which can be read here.
Readers of this blog will recall that I have previously expressed ambivalence about whether and how this practice can be justified under our current copyright law. I expressed that ambivalence in this posting, and many comments flowed in, most from experts for whose opinions I have great respect. Several were more sanguine than I about the legality of streamed digital video, while some were certain that no justification could be found.
I still had not made up my mind when I read about UCLA’s decision to resume their activities. But yesterday’s article in Inside Higher Ed., which includes statements from the lawyer for the trade group that originally threatened UCLA , has really helped me clarify the issues. It seems to me that there are two glaring and obvious misstatements in AIME’s denunciations of UCLA, and that these misstatements actually point out why the practice is justifiable.
First, AIME’s lawyer insists that UCLA will stream videos to “an unlimited number of students.” But a cursory reading of the principles adopted at UCLA shows that the program will limit access to each video only to students enrolled in a class for which that film is required content. Surely that is a limit on the number of students who will see the film using UCLA’s streamed service; only those students who can authenticate into the course management site for the particular course will be able to view each film. In other words, the audience is limited in exactly the same way that it would be if the film were shown in a classroom to the assembled students.
Second, the remarks from AIME stress the fact that UCLA will buy only a single copy of each film, as if that is different from prior practice. But of course, most universities buy only one copy of most DVDs, which are then shown in class to a group of students or put on reserve so that students can come in and watch the film in a library or media lab one at a time. During the time UCLA had suspended its program, this was the practice it followed. What it did not do was buy large numbers of each film and hand them out to individual students, which the AIME statement seems to suggest is the only alternative.
This, of course, is absurd, and it is disingenuous. In its negotiations with UCLA, I am very sure that AIME did not propose that there was some number of multiple DVDs which, if purchased, would render the practice of streaming that film for student viewing fair. If there is such a number, I suggest that AIME should tell us what it is; I am sure many schools would prefer to buy that number of copies in order to provide the streaming services our faculty and students want while still not exposing themselves to liability. But multiple sales are not the issue here.
What AIME is seeking, naturally, is repeated licensing fees. They are happy to have schools buy only one copy and stream it if, for each film, a license fee greatly in excess of the cost of the DVD itself is paid, and paid each semester. The film companies do not want to settle for slightly increased sales of DVDs in this matter, they want to turn our campus intranets into pay-per-use jukeboxes that will provide a new and virtually unlimited income stream.
In the past, universities bought single copies of films and showed them to groups gathered together in a classroom or to students on a one-to-one basis. The film companies may have grumbled about the doctrine of first sale and the face-to-face teaching exception that permitted this, but there was little they could do. Now those film companies hope to create new revenue by forcing us to pay to show the same single copy to the same students over a closed network. In short, they want large fees for space-shifting.
The fact that AIME’s attorney uses this phrasing, with its two statements that misdirect the reader from the real issue, suggests that he realizes how strong the fair use argument, based on space and time shifting to accomplish a purpose that is specifically authorized by the copyright act, really is. Rhetoric about single copies and unlimited students is a smokescreen, and when the smoke is cleared away it is easier than it has ever been for me to see the powerful fair use argument in clear focus.
Policy on Electronic Course Content
For help deciding whether course content in Blackboard or some other digital form is fair use or requires copyright permission, consult this policy document adopted by the Academic Council in February 2008.
Search the Scholarly Communications Blog
- Authors' Rights
- Copyright in the Classroom
- Copyright Information Notes
- Copyright Issues and Legislation
- Digital Rights Management
- Fair Use
- international IP
- Open Access and Institutional Repositories
- Open Access topics
- Orphan works
- Public Domain
- Scholarly Publishing
- Traditional Knowledge
- User Generated Content
- Academic publisher on Finding out who your friends are
- Martina Periodicos on The GSU decision — not an easy road for anyone
- Jeff Malaguilla on The six million dollar fair use standard
- Kevin Smith on “the radical disaggregation of scholarship” | Marygrove Library News on Meet me at the intersection
- friends and foes at Attempting Elegance on Finding out who your friends are