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La protezione delle opere non statunitensi attraverso l’utilizzo della legge sul diritto d’autor
Non è necessario risiedere negli Stati Uniti per beneficiare dei molti vantaggi delle leggi sul diritto d’autore statunitensi. Queste leggi offrono alcune delle migliori tutele al mondo ed i titolari non statunitensi di diritti d’autore – inclusi media e società di software, scrittori, bloggers, artisti, fotografi, designers e tanti altri liberi professionisti – sono in grado di fare uso delle norme di legge di questo paese senza che sia necessario registrare le opere negli Stati Uniti.
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保护非美国公民的著作藉由美国著作权法
你不必成为美国居民也能够使用美国的著作权法。美国的著作权法提供世界上最完整的著作权保护。 拥有著作权的非美国公民(包括媒体或软件公司、作家、博客、艺术家、摄影师、设计师、以及所有从事创新 的职业)能够利用美国法律上的强制方法来保护著作权。这些著作甚至不用在美国注册著作权。
Benefits of Copyright Registration
While it is true that copyright protection for a creative work vests in the author of that work from the moment it becomes fixed in a tangible medium of expression, you shouldn't ignore the incredibly strong benefits of registering your work with the U.S. Copyright Office. This article discusses some basics of copyright law and why registration is such a good idea.
Website owners liable for infringement by web designers
I've consistently warned website owners to be extremely careful with regards to content supplied by their web designers and developers. A recent ruling from a federal court in Ohio recently underscored that point by holding a website owner liable for infringement by its web designer.
In Corbis v. Starr, the court issued a summary judgment order finding that the defendant, who ran a janitorial maintenance service called Master Maintenance, could be held accountable for the unlicensed use of four Corbis photographs on its website. Even though there was no evidence that Starr or anyone in his company was directly responsible for the selection of the photos, the court determined that the company was joint and severally liable for the infringement . . .
What does the backlog at the Copyright Office mean for Authors?
The Washington Post reported yesterday that the backlog of paper-based copyright registrations at the U.S. Copyright office is approaching two years due to unforeseen glitches in the Office’s new registration software. For anyone who has tried to register a copyright through the online eCO system, this will come as no surprise—the interface is terrible, the response time is slow, and the learning curve is steep. Still, authors who manage to work their way through the online system are rewarded not only with an extra $10 but also can hope to get their applications processed in about 6 months rather than 18+. Not bad, until you realize that the original promise of the eCO (”electronic Copyright Office”) system was that it would take less than a month to get a certificate for online applications.
The Post article is helpful in showing the problems within the office, both the disaster of the software itself and the painful lack of foresight shown in its implementation. In order to add some human interest to the reporting, however, the author tells the stories of three authors (all songwriters) who have been affected by the problems. Their tales of woe add poignancy to the article and attempt to illustrate how government incompetence is preventing ordinary people from making money from their creative works.
Problem is, the perceptions of all three are wrong. There is little reason to delay marketing your works just because you don’t have a copyright certificate in-hand. The Copyright Office problems only serve to delay, not eliminate, an author’s statutory benefits to registration. And most copyright rights don’t require registration at all (although enforcing them may). Read on or contact me for a free 20 minute consultation to learn more.