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Derivative work

A derivative work is a copyrighted creation based upon one or more preexisting works, incorporating substantial elements of the original material while adding new authorship, such as through recasting, transformation, or adaptation.^[1] Under United States copyright law, examples include translations, musical arrangements, dramatizations, fictionalizations, motion picture versions, sound recordings, art reproductions, abridgments, and condensations.^[1] The term originates from statutory definitions aimed at protecting the exclusive right of copyright owners to control adaptations of their works, thereby preventing unauthorized exploitation while enabling licensed expansions of creative content.^[2] The copyright protection afforded to a derivative work covers only the novel contributions made by its creator, leaving the underlying preexisting elements under the original copyright holder's control.^[2] Preparation of a derivative work typically requires permission or a license from the owner of the preexisting work's copyright, as unauthorized creation or distribution can constitute infringement.^[3] This framework incentivizes innovation by granting owners monopoly over transformative uses, though exceptions like fair use may permit certain derivatives, such as parodies or critiques, without consent if they meet statutory criteria for purpose, nature, amount, and market effect.^[4] Derivative works play a central role in intellectual property law by facilitating cultural and commercial evolution—evident in film adaptations of novels, sequels to stories, and remixed media—while posing challenges in distinguishing infringing copies from protected transformations.^[5] Courts evaluate whether a work recasts or adapts the original sufficiently to qualify as derivative, often requiring evidence of substantial similarity in protected expression.^[6] Internationally, similar concepts appear in treaties like the Berne Convention, though enforcement varies, underscoring the balance between preserving originality and promoting derivative creativity essential to fields like literature, music, and visual arts.^[3]

Legal Definitions and Frameworks

International Standards under Berne Convention

The Berne Convention for the Protection of Literary and Artistic Works, administered by the World Intellectual Property Organization (WIPO) and first adopted on September 9, 1886, with subsequent revisions including the Paris Act of 1971, establishes minimum standards for the international protection of copyrights among its contracting parties.^[7] As of October 2023, it has 182 contracting parties, covering over 95% of global trade in creative works. Article 2(3) specifically addresses derivative works, stating: "Translations, adaptations, arrangements of music and other alterations of a literary or artistic work shall be protected as original works without prejudice to the copyright in the original work."^[8] This mandates that member states treat such derivatives—encompassing modifications that recast the original expression into a new form—as independently copyrightable, provided they meet the Convention's threshold of originality in the added elements.^[7] The "without prejudice" limitation ensures that protection for the derivative does not erode or transfer rights from the preexisting work, requiring explicit authorization from the original copyright holder for any use of protected material in the derivative.^[8]^[7] Consequently, while the creator of the derivative gains exclusive rights over novel contributions (such as creative choices in adaptation), exploitation of the derivative remains subordinate to the original author's moral and economic rights, including under Articles 8 (right of reproduction) and 9 (right of public performance). Berne's framework leaves the precise scope of "adaptations" or "other alterations" to national legislation, allowing variations in application (e.g., whether dramatizations or abridgments qualify), but prohibits member states from denying protection to categories explicitly listed, such as translations and musical arrangements.^[7] Protection applies automatically upon creation, without formalities like registration, and aligns with the minimum term of the author's life plus 50 years for originals and derivatives alike (Article 7). Article 2(5) extends this to compilations or collections involving derivatives, safeguarding original selection or arrangement therein.^[8] These standards promote cross-border reciprocity while preserving incentives for both original and transformative creation, though enforcement relies on domestic implementation, which may exceed Berne minima under Article 20.

United States Copyright Act Provisions

The United States Copyright Act of 1976, codified in Title 17 of the U.S. Code, defines a derivative work in 17 U.S.C. § 101 as "a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted," further including works consisting of editorial revisions, annotations, elaborations, or other modifications that, as a whole, represent an original work of authorship.^[9] This definition emphasizes transformation or adaptation of preexisting material rather than mere reproduction, requiring the new work to incorporate and modify the original in a manner that adds expressive content.^[2] Under 17 U.S.C. § 106(2), the owner of a copyright holds the exclusive right to prepare derivative works based upon the copyrighted work and to authorize others to do so, making unauthorized creation, distribution, or public performance of such works an infringement unless exceptions like fair use under § 107 apply.^[9] This right protects against transformative uses that could compete with or dilute the original market, as established in cases interpreting the Act, but does not extend to ideas, procedures, or uncopyrightable elements within the preexisting work. Section 103(a) specifies that derivative works qualify as copyrightable subject matter under § 102 only if they employ preexisting material lawfully, meaning the use must stem from permission, public domain status, or defenses such as fair use, and protection does not cover unlawfully incorporated elements.^[10] Subsection 103(b) limits the copyright in a derivative work to the original material contributed by its author—such as new expressions, arrangements, or selections—distinct from the preexisting work, preserving the original copyright holder's rights without prejudice.^[9] For registration with the U.S. Copyright Office, applicants must identify preexisting material and demonstrate the new authorship's originality, which requires minimal creativity but not novelty or independent economic value.^[2] These provisions balance incentivizing new creativity with safeguarding original authors' control, reflecting congressional intent in the 1976 Act to address evolving media like films and recordings while adhering to constitutional limits on copyright's scope.^[11] Unauthorized derivatives infringe even if the new contributions are highly original, underscoring that lawful access to the base work is a prerequisite for protection.^[10]

European Union Harmonization

The European Union's approach to derivative works in copyright law emphasizes partial harmonization through directives that implement international obligations under the Berne Convention while preserving some national flexibility, particularly for adaptation rights. Directive 2001/29/EC on the harmonization of certain aspects of copyright and related rights in the information society (InfoSoc Directive) establishes a uniform reproduction right under Article 2, granting authors the exclusive authorization to prohibit any form of reproduction, including partial or indirect reproductions that could encompass transformative uses akin to derivatives.^[12] This provision, transposed into national laws by December 2002, aims to ensure legal certainty across the internal market by standardizing protection against unauthorized alterations or reproductions that alter the expression of the original work.^[12] Unlike the explicit derivative work provisions in the United States Copyright Act, EU law does not fully harmonize a standalone adaptation right; member states retain competence to define the scope of adaptations for literary and artistic works, often subsuming them within the broader reproduction right.^[13] The Berne Convention's Article 12, requiring exclusive rights to authorize adaptations, is implemented variably, with some states treating adaptations as a subset of reproduction (e.g., translations or arrangements) without separate enumeration, leading to divergences in enforcement. For instance, the reproduction right's inclusion of "any means and in any form" has been interpreted by the Court of Justice of the EU (CJEU) to cover transformative reproductions, as in the Infopaq case (C-5/08, 2009), where even brief extractions required originality assessment for the derivative elements. CJEU jurisprudence has driven de facto harmonization by emphasizing the author's "own intellectual creation" as the threshold for protecting derivative works' new contributions, independent of the underlying work. In cases like SAS Institute v World Programming (C-406/10, 2012), the Court clarified that interfaces or functional elements in software derivatives (under Directive 2009/24/EC) are not protected if lacking originality, prioritizing functional interoperability over broad derivative claims. Recent Advocate General opinions, such as Spielmann's in 2025, affirm that derivative works can qualify for protection based on reconstructive efforts or original modifications, provided they meet the harmonized originality standard, without extending monopoly to the preexisting material.^[14] Remaining variations persist in exceptions and moral rights; for example, while InfoSoc Article 5 permits limited exceptions (e.g., for parody or quotation) that may apply to derivatives, implementation differs, with some states allowing broader transformative uses under national doctrines absent in others. The 2019 Directive on Copyright in the Digital Single Market (2019/790) further adapts exceptions for text and data mining (Article 3-4), potentially facilitating certain derivative analyses, but does not resolve adaptation right disparities.^[15] Overall, EU harmonization prioritizes rightholder control over the original while enabling protection for demonstrably original derivative elements, with CJEU rulings mitigating fragmentation through uniform interpretation principles.^[16]

Variations in Other Jurisdictions

In the United Kingdom, the Copyright, Designs and Patents Act 1988 addresses derivative works primarily through the exclusive right of adaptation under section 21, which applies to literary, dramatic, and musical works. This includes conversions to nondramatic forms, translations into any language or dialect, and arrangements or transcriptions yielding works of a different nature, such as musical variations. The adaptation right requires authorization from the original copyright holder, while the derivative work itself qualifies for protection under section 1 to the extent its new elements meet the originality threshold of skill, labor, or judgment invested. Unlike the broader U.S. derivative work category, UK law delimits adaptations more narrowly, excluding certain transformative uses unless they fall under permitted exceptions like fair dealing for criticism or research.^[17] Canada's Copyright Act enumerates derivative works without a comprehensive definition, specifying in section 3(1) rights to produce adaptations such as translations, dramatizations, cinematic versions of literary works, and musical arrangements or transcriptions. Creation of these requires permission from the underlying work's owner, with copyright subsisting in the derivative only for original contributions demonstrating skill and judgment, as affirmed in case law like CCH Canadian Ltd. v. Law Society of Upper Canada (2004). A key variation from U.S. law lies in Canada's fair dealing exceptions under section 29, which are exhaustive and purpose-limited (e.g., research, private study, news reporting), contrasting with the open-ended fair use doctrine and potentially restricting unauthorized transformative derivatives more stringently.^[18] In Australia, the Copyright Act 1968 grants owners under section 31 the exclusive right to make adaptations, defined in section 10 as transformations including dramatic works from nondramatic ones, translations, abridgements, and alterations of artistic works. Derivative works receive protection for novel expressive elements, provided they involve independent intellectual effort, though Australian courts apply a "substantial part" test for infringement akin to the U.S. but informed by local precedents like IceTV Pty Limited v Nine Network Australia Pty Limited (2009), which emphasized qualitative rather than quantitative copying. Fair dealing exceptions mirror Canada's categorical approach, limiting defenses for derivatives to enumerated purposes such as parody or judicial proceedings, without the flexibility of fair use. Japan's Copyright Act, revised as of 2020, defines derivative works in Article 2(1)(xi) as those produced through translation, musical arrangement, transformation, or other alterations of existing works, with Article 27 vesting the exclusive right to create them in the original copyright holder. Protection extends to the derivative's original portions, requiring a modicum of creativity, but Japan's strong moral rights under Articles 18-20 prohibit unauthorized distortions that harm the author's honor or reputation, imposing stricter limits on modifications than in common law jurisdictions. Enforcement data from the Agency for Cultural Affairs indicates over 1,000 copyright disputes annually, with derivatives often litigated under transformation clauses. In China, the Copyright Law (amended 2020) under Article 10(5)(ii) confers the adaptation right, covering derivatives like translations, musical arrangements, and audiovisual adaptations, while Article 3 protects works demonstrating originality via intellectual creation. Courts, as in the 2018 Beijing XY Interactive v. Zhejiang Daily case, demand substantial creative input for derivative protection, but lax enforcement and lower originality bars compared to Western standards enable more permissive derivative markets, particularly in digital content, with over 500,000 copyright registrations processed in 2023 by the National Copyright Administration.^[19]

Historical Evolution

Early Concepts and Pre-Berne Developments

Prior to the Statute of Anne in 1710, copyright-like protections in Europe consisted primarily of royal printing privileges and guild monopolies granted to specific printers for individual titles, focusing exclusively on verbatim reproduction and lacking any concept of authors' rights or protection for adaptations, translations, or other transformative uses.^[20] These systems, originating in the 15th century with the advent of the printing press, aimed to regulate the book trade rather than incentivize creativity, and unauthorized translations or abridgements were common without legal recourse, as privileges were tied to exact copies of granted works.^[21] The Statute of Anne, enacted on April 10, 1710, marked the first statutory copyright framework in Britain, granting authors or proprietors the exclusive right to "print, reprint, or import" books for 14 years (renewable once), but it explicitly limited protection to direct copying and reprinting, omitting adaptations, abridgements, or translations.^[20] Early judicial interpretations began expanding this scope through case law; in Burnet v. Chetwood (1721), the Court of King's Bench ruled that translating a dramatic work into another language constituted an infringement, as it replicated the original's substance and multiplied unauthorized copies, effectively treating certain translations as equivalents to reproduction under the statute.^[21] However, abridgements received more lenient treatment: Gyles v. Wilcox (1741) held that "fair abridgements" adding original commentary or value qualified as new works, not infringements, while mere colorable reductions were unlawful.^[20] This distinction persisted in Strahan v. Newbery (1774), where abridgements were deemed "meritorious" if they served public utility without evading the original's monopoly.^[20] In the United States, early federal copyright acts mirrored the Statute of Anne's reproductive focus; the Copyright Act of 1790 protected "books" via registration but did not address derivatives explicitly. The Copyright Act of 1831 introduced limited recognition of transformative rights, granting authors exclusive control over dramatizations of their novels, prohibiting unauthorized stage adaptations as a response to growing theatrical piracy.^[22] By the Copyright Act of 1870, protection expanded to encompass "translations or other versions" of registered works, alongside photographs and paintings, reflecting a broadening acknowledgment of economic harm from adaptations, though still without international harmonization.^[22] Continental European developments paralleled but diverged from Anglo-American approaches; France's 1793 decree emphasized authors' perpetual property rights post-Revolution, with early cases like the 1796 Dictionary of the Académie française affirming publishers' (as assignees) control over modifications, treating them as protected adaptations.^[21] Spain's 1847 Literary Copyright Act explicitly prohibited unauthorized adaptations, influencing bilateral treaties such as the 1853 Franco-Spanish agreement.^[21] In Britain, musical adaptations gained traction via D'Almaine v. Boosey (1835), where courts considered market substitution as infringement criteria, shifting emphasis from literal copying to competitive impact.^[21] These piecemeal national expansions highlighted inconsistencies—translations often protected in dramatic contexts but not uniformly for literature—fueling pre-Berne calls for standardization amid rising cross-border trade in adapted works.^[20]

Berne Convention and 20th-Century Codification

The Berne Convention for the Protection of Literary and Artistic Works, signed on September 9, 1886, in Berne, Switzerland, established the foundational international standard for protecting derivative works by including translations, adaptations, musical arrangements, and other alterations of preexisting literary or artistic works as eligible for copyright as original creations.^[23] Article 2(3) explicitly states that such derivatives "shall be protected as original works without prejudice to the copyright in the [preexisting] work," ensuring that the derivative enjoys independent protection while preserving the original author's rights.^[8] This provision addressed the growing cross-border trade in adapted content, such as novel-to-stage dramatizations and multilingual translations, by requiring signatory nations to extend automatic protection without formalities like registration.^[7] Subsequent revisions in the 20th century codified and expanded these protections to harmonize national laws amid evolving media technologies. The 1908 Berlin revision strengthened enforcement mechanisms and clarified that member states must protect derivatives on par with originals, influencing early 20th-century domestic codifications in Europe, such as Germany's 1910 copyright law updates that explicitly safeguarded adaptations.^[23] The 1928 Rome and 1948 Brussels revisions further integrated derivative rights into the moral rights framework under Article 6bis, mandating recognition of the original author's paternity and integrity rights even in authorized alterations, which prompted widespread legislative alignments in over 50 adhering countries by mid-century.^[23] These updates emphasized the exclusive authorial right to authorize derivatives, as reinforced in Article 2's scope, countering unilateral national exceptions that had previously fragmented protection.^[24] The 1967 Stockholm and 1971 Paris revisions represented the culmination of 20th-century codification efforts, incorporating developing nations' concerns while solidifying derivative works' status through Appendix provisions on compulsory licenses for translations in limited cases, applicable only after a three-year delay for originals published in less-accessible languages.^[23] This framework compelled Berne Union members—numbering 80 by 1971—to enact or amend statutes explicitly defining and protecting derivatives, such as the United Kingdom's 1956 Copyright Act, which mirrored Berne by granting protection to "adaptations" without undermining originals.^[7] By prioritizing empirical alignment with treaty text over divergent domestic traditions, these codifications fostered causal consistency in global enforcement, reducing disputes over unauthorized adaptations in emerging fields like cinematographic works.^[8]

Late 20th to Early 21st-Century Case Law Shifts

In 1994, the U.S. Supreme Court in Campbell v. Acuff-Rose Music, Inc. established the transformative use standard as a core element of fair use analysis under 17 U.S.C. § 107, reshaping the evaluation of works potentially infringing the derivative right.^[25] The Court ruled 7-2 that 2 Live Crew's commercially released parody "Pretty Woman," which copied the opening riff and chorus of Roy Orbison's 1964 hit while adding rap verses critiquing promiscuity, qualified as fair use because it "reasonably could be perceived as commenting on the original or criticizing it, to some degree."^[26] By rejecting presumptive disfavor for commercial uses and emphasizing added "new expression, meaning, or message," the decision shifted doctrine away from pre-Campbell rigidity—where courts often deemed commercial copies presumptively unfair—toward case-specific weighing of transformativeness against market harm to authorized derivatives under § 106(2).^[27] This clarified that parodies and similar adaptations need not supplant the original's market if they alter its purpose, preserving the derivative right while enabling critical reuse. Early 21st-century appellate decisions built on Campbell by applying transformativeness expansively to visual and multimedia contexts, further delineating boundaries for derivative claims. In Blanch v. Koons (2006), the Second Circuit upheld artist Jeff Koons' fair use of cropped elements from Andrea Blanch's 1998 photograph "Yoga" in his painting Niagara, which incorporated the image amid bacon strips and other motifs to evoke "the social critique" of human-object interplay, distinct from the original's fashion magazine purpose. The court stressed that Koons added "significant expressive content" without reproducing the photo's "essence," favoring fair use despite minimal alteration to the borrowed legs and feet. Likewise, *Bill Graham Archives v. Dorling Kindersley Ltd.* (2006) deemed thumbnail reproductions of Grateful Dead posters in a 2,600-page coffee-table book transformative, as their small, altered format served biographical illustration rather than merchandising, minimally impacting the originals' promotional value. These rulings evidenced a doctrinal trend prioritizing purpose differentiation over verbatim fidelity, enabling courts to deem certain derivative-like incorporations noninfringing if they supplied historical or artistic context. Circuit splits emerged, underscoring limits to transformativeness in protecting the derivative right against commercial exploitation. The Sixth Circuit in Bridgeport Music, Inc. v. Dimension Films (2004) rejected fair use for even brief, digitally sampled sounds from sound recordings, holding that "any sampling... requires a license" regardless of de minimis quantity or transformative claim, as Congress intended broad control over audio derivatives post-1976 Copyright Act amendments. This bright-line approach contrasted with Second Circuit flexibility, prioritizing owner authorization for musical derivatives to prevent erosion of licensing markets. Such variances reflected cautious evolution, where Campbell's framework promoted creative liberty in commentary but restrained overbroad fair use from nullifying § 106(2) incentives for original investment.

Core Requirements for Copyright Protection

Originality in New Contributions

The copyright protection afforded to a derivative work extends solely to the original contributions made by its author, which must satisfy the fundamental requirement of originality under copyright law. Originality entails independent creation by the derivative author—meaning the new material is not copied from another source—and a minimal degree of creativity, surpassing mere mechanical reproduction or sweat-of-the-brow effort.^[28]^[29] This threshold, while low, excludes works dominated by factual compilation without creative selection, coordination, or arrangement, as established in the U.S. Supreme Court's ruling in Feist Publications, Inc. v. Rural Telephone Service Co., 499 U.S. 340 (1991), where the Court emphasized that copyright demands "some minimal degree of creativity" beyond industriousness alone.^[30] Although Feist addressed compilations, its originality standard governs the protectable elements in derivative works, ensuring that additions like editorial revisions, annotations, or elaborations qualify only if they reflect authorial choices rather than rote incorporation of the preexisting material.^[2] In practice, the new contributions in a derivative work—such as transformations, adaptations, or modifications—must demonstrably alter the original in a manner that introduces expressive novelty. For instance, a musical arrangement qualifies if it involves creative harmonic or structural changes, not just faithful transcription; similarly, a film adaptation gains protection for newly authored screenplay elements, directorial interpretations, or visual stylings that evince independent creativity.^[5] Protection does not vest in the underlying preexisting work, which remains governed by its own copyright; thus, the derivative author's rights are layered atop, but subordinate to, the original owner's exclusive right to prepare derivatives under 17 U.S.C. § 106(2). Jurisdictions adhering to the Berne Convention align with this principle, treating adaptations and translations as protectable "original works" provided they embody sufficient authorship, without impairing the source work's rights—a stipulation codified in Article 2(3) of the Convention, which has influenced harmonized standards since its 1886 inception and subsequent revisions.^[23] Assessing originality in derivatives often hinges on the quantum of new material relative to the whole, though no fixed percentage governs; courts evaluate whether the additions as integrated evince the requisite spark of creativity. Mere trivial changes, such as minor edits or reproductions indistinguishable from the original, fail this test, as they lack the independent expression needed for authorship.^[28] In the U.S., the Copyright Office's Compendium reinforces this by requiring applicants to identify and disclaim preexisting elements during registration, underscoring that only the "copyrightable authorship" in novel components merits claim.^[28] This framework promotes innovation by safeguarding transformative efforts while preventing overreach into the public domain or uncopyrightable facts embedded in the base work.

Lawful Basis of the Preexisting Work

The creation of a derivative work requires a lawful basis in the preexisting work to avoid infringement and ensure eligibility for copyright protection in the new contributions. Where the preexisting work is protected by copyright, the derivative author typically must obtain explicit permission, such as a license or assignment of rights, from the copyright owner to incorporate and exploit elements of it.^[10] Without such authorization, the act of adaptation constitutes unauthorized reproduction or preparation of a derivative, infringing the exclusive rights under frameworks like the Berne Convention Article 9, which reserves to authors the right to authorize adaptations. Exceptions, such as fair use in the United States or quotation rights in some European jurisdictions, may provide a lawful basis in limited circumstances, but these are narrowly construed and do not confer blanket permission for commercial derivatives.^[31] In the United States, 17 U.S.C. § 103(a) explicitly conditions protection for derivative works on lawful use of preexisting material: "protection for a work employing preexisting material in which copyright subsists does not extend to any part of the work in which such material has been used unlawfully." This means that even original additions to an unlawfully incorporated preexisting work—for instance, editing a pirated film copy—receive no copyright shielding in the infringing portions, rendering the derivative vulnerable to claims and limiting enforceability.^[10] The U.S. Copyright Office reinforces this in its guidance, noting that registration of derivatives requires disclosure of preexisting material's copyright status and that unlawful use undermines claims to new authorship.^[2] Courts have upheld this, as in cases where unauthorized translations or adaptations were deemed infringing despite novel elements, emphasizing that the derivative's viability hinges on cleared rights to the base work. For preexisting works in the public domain, no lawful basis beyond general access is needed, as copyright has expired or never subsisted, allowing unrestricted derivation—provided the public domain status is verified, such as under U.S. law where works published before 1929 generally qualify as of 2025. In contrast, jurisdictions like the European Union harmonize under Directive 2001/29/EC, requiring member states to protect adaptations only where they do not conflict with the original's moral or economic rights, implicitly demanding lawful exploitation to prevent unauthorized derivations.^[32] Some countries, such as China, explicitly mandate in Article 3 of the Copyright Law that derivatives from copyrighted works obtain permission to qualify for independent protection, avoiding scenarios where bootleg bases taint the new work. This lawful basis principle extends to ownership chains: if the derivative author owns the preexisting work outright, no further permission is required, but licensing agreements often specify scope, such as non-exclusive rights limiting further derivations.^[5] Failure to establish this foundation not only risks infringement liability but also complicates registration and enforcement, as evidenced by U.S. Copyright Office practices requiring evidence of rights clearance for complex derivatives like motion picture versions of novels.^[2] Across Berne Convention signatories, which encompass over 180 countries as of 2025, the uniformity lies in prohibiting unauthorized derivatives while protecting licensed ones, though enforcement varies by national implementation.

Fixation and Tangible Medium

Copyright protection for derivative works, like original works, generally requires that the work be fixed in a tangible medium of expression, ensuring the expression is sufficiently stable and perceivable for more than a transitory duration.^[1] In the United States, under 17 U.S.C. § 101, a work is "fixed" when embodied in a copy or phonorecord by or under the authority of the author, in a manner permitting perception, reproduction, or communication either directly or with machine aid, for a period exceeding transitory duration.^[9] This applies to the derivative work as a whole, but protection subsists only in the new authorship contributed, distinct from the preexisting material.^[9] The fixation requirement serves to distinguish protectable expression from unprotectable ideas, providing evidentiary stability for claims of infringement and enabling public notice of the work's scope.^[33] For derivative works, failure to fix the new contributions—such as unaltered mental recitations of a modified script—precludes copyright in those additions, even if the underlying work is lawfully accessed.^[2] Examples include a film adaptation fixed on celluloid or digital media, where the screenplay's modifications and directorial choices gain protection upon recording, or a translated novel printed in book form, with fixation capturing the linguistic alterations.^[5] Internationally, fixation is not uniformly mandated; while the Berne Convention implies protection for expressed works without formalities, common law jurisdictions like the US enforce it strictly, whereas some civil law systems in the European Union protect unfixed expressions if original, though most require tangible embodiment for practical enforcement.^[34] In EU member states without a fixation rule, derivative works like improvised performances may qualify for protection upon oral delivery if perceived by others, but registration or litigation often demands recorded evidence.^[35] This variance can complicate cross-border enforcement, as a US-originated derivative fixed digitally may enjoy broader automatic protection than an EU counterpart reliant on national originality thresholds alone.^[34]

Application and Scope

Criteria for Identifying Derivative Works

A derivative work is statutorily defined in the United States under 17 U.S.C. § 101 as "a work based upon one or more preexisting works, such as a translation, musical arrangement, dramatization, fictionalization, motion picture version, sound recording, art reproduction, abridgment, condensation, or any other form in which a work may be recast, transformed, or adapted."^[1] This definition emphasizes a foundational relationship where the new creation derives its structure or content from the original, incorporating expressible elements subject to copyright protection. Mere factual compilation or selection from public domain sources does not qualify, as the work must recast or adapt copyrighted expression rather than independently recreate unprotected ideas or data.^[2] Courts identify derivative works by assessing whether the accused creation substantially depends on the preexisting work's protected elements, evaluating the degree of incorporation and modification. In cases like Micro Star v. FormGen Inc. (1998), the Ninth Circuit held that user-generated levels for a video game constituted derivatives because they extended the original's narrative and audiovisual elements, requiring analysis of how new material interacts with and builds upon the source.^[5] Key indicia include direct adaptation of plot, characters, or sequences in literary works; rearrangement of notes with new harmony in music; or visual alterations in images that retain core compositional features.^[36] Unlike reproduction rights, which protect against verbatim duplication, derivative status hinges on transformative processes that alter form without wholly supplanting the original's authorship.^[2] Additional criteria involve evaluating the scope of new authorship: while classification as derivative does not mandate originality in the additions for infringement purposes, protectability of the derivative itself requires "sufficient change" amounting to original expression in the modified elements.^[3] For instance, an abridgment that condenses text while preserving sequential narrative flow qualifies if it adapts rather than excerpts verbatim, but trivial edits like minor formatting changes do not elevate a copy to derivative status.^[37] Judicial scrutiny often employs a two-part test: (1) factual dependence, confirmed by access to and copying of original expression; and (2) legal dependence, where the adaptation evinces creative recasting rather than independent invention.^[5] Unauthorized derivatives infringe the copyright owner's exclusive right under 17 U.S.C. § 106(2), regardless of the creator's intent or commercial success. In practice, identification avoids overbroad application to incidental uses; for example, interoperability in software does not inherently render compatible code derivative unless it copies proprietary algorithms or structures.^[38] Empirical analysis from U.S. Copyright Office registrations shows that over 10% of claims since 1978 involve disputed derivatives, underscoring the need for evidence of substantial expressive borrowing beyond functional necessity.^[2] This framework prioritizes causal linkage to the original, ensuring derivative status reflects genuine adaptation rather than coincidental similarity.

Illustrative Examples Across Media

In literature, translations of original texts exemplify derivative works, as they recast the preexisting content into another language while preserving core expressive elements. For instance, a French translation of an English novel requires authorization from the original copyright owner, as it incorporates substantial portions of the source material in adapted form.^[2] Abridgments or condensations, such as shortened editions of lengthy novels that omit sections but retain narrative structure, similarly qualify, provided they add no independent originality sufficient to stand alone.^[9] Dramatizations, like converting a novel into a stage play script, transform prose into dialogue and action, yet derive protection only for new contributions atop the underlying plot and characters.^[1] In visual arts, reproductions or modifications of existing artworks serve as derivatives, such as altering a printed reproduction of a painting by adding new elements. Marcel Duchamp's 1919 piece L.H.O.O.Q., which appends a mustache and goatee to a postcard reproduction of Leonardo da Vinci's Mona Lisa, recasts the original image through transformative defacement, though its copyright status hinges on the underlying public domain elements and any added originality.^[2] Collages incorporating excerpts from copyrighted photographs or illustrations, if fixed in a tangible medium, also fall under this category, demanding permission unless excused by defenses like fair use.^[1] For film and audiovisual media, motion picture versions of literary works illustrate derivatives by adapting narrative, dialogue, and settings into visual sequences. The 2001 film The Lord of the Rings: The Fellowship of the Ring, directed by Peter Jackson, derives from J.R.R. Tolkien's novel through screenplay fictionalization and dramatization, with copyright vesting in new audiovisual expressions while licensing the underlying text.^[2] Sequels or prequels expanding on established characters and worlds, such as franchise extensions, recast preexisting elements into new plots, requiring control over the original to avoid infringement.^[5] In music, arrangements transform compositions by altering melodies, harmonies, or instrumentation, such as orchestrating a piano piece for a full symphony. A jazz rendition of a classical score, if it substantially recasts the original notes and structure, constitutes a derivative needing the composer's consent.^[2] Sound recordings of performances, when based on prior recordings through remixing or sampling, adapt preexisting audio tracks; for example, the 1989 track "Pretty Woman" by 2 Live Crew rearranged Roy Orbison's 1964 song, leading to litigation where courts assessed derivative status alongside fair use claims.^[1]^[25] Software and digital media provide examples through modified code or interfaces derived from base programs. Updating an open-source application by integrating proprietary modules recasts the original codebase, with new copyright attaching to alterations but subordinate to the preexisting work's license terms.^[39] In video games, fan-made mods that alter graphics, levels, or mechanics from commercial titles, such as texture packs for Minecraft, transform the underlying engine and assets, often prompting takedown notices absent permissive licensing.^[2] These cases underscore that fixation in digital formats does not alter derivative criteria, which focus on substantial use of protected expression.^[1]

Defenses, Exceptions, and Limitations

Fair Use Analysis Framework

The fair use doctrine under United States copyright law serves as a flexible defense against claims of infringement, applicable to unauthorized derivative works when the use aligns with purposes such as criticism, comment, news reporting, teaching, scholarship, or research, as enumerated in 17 U.S.C. § 107.^[40] This statutory provision establishes a balancing test comprising four factors, which courts must consider holistically without any single factor being determinative, to assess whether the challenged use qualifies as fair.^[31] The analysis is inherently fact-specific, requiring evaluation of the totality of circumstances, and applies equally to derivative works, where the defense may permit alterations or adaptations that do not merely supersede the original but add new expression, meaning, or message. Empirical data from U.S. Copyright Office records indicate that fair use rulings have upheld derivative uses in contexts like parody and commentary, though commercial exploitation weighs against fair use absent strong justifications in other factors.^[31] The first factor examines the purpose and character of the use, including whether it is commercial or nonprofit educational, and emphasizes transformativeness—whether the new work adds something new with a further purpose or different character, altering the original with new expression, meaning, or message.^[31] Courts, as in Campbell v. Acuff-Rose Music, Inc. (510 U.S. 569, 1994), have clarified that commercial nature does not presumptively preclude fair use, particularly for parodic derivatives that critique or comment on the original rather than serve as market substitutes.^[25] For derivative works, this factor favors uses that transform the source material's expressive content, such as satirical adaptations, over mere reproductions or slight modifications lacking independent creative justification.^[41] The second factor assesses the nature of the copyrighted work, distinguishing between factual and creative content, with greater protection afforded to highly creative or unpublished works where fair use is less likely.^[31] Published works receive less stringent scrutiny than unpublished ones, as dissemination implies consent to public engagement, but imaginative fiction or artistic expressions demand careful portioning to avoid undermining the author's incentive to create.^[40] In derivative contexts, this factor cautions against extensive borrowing from core creative elements, such as plot structures in literary adaptations, unless the use critiques those very elements.^[42] The third factor evaluates the amount and substantiality of the portion used in relation to the copyrighted work as a whole, both quantitatively and qualitatively, disfavoring uses that appropriate the "heart" of the original even if limited in scope.^[31] Wholesale copying rarely qualifies as fair, but necessity may justify taking substantial portions for purposes like parody, provided the amount is no more than required to achieve the transformative goal.^[25] For derivatives, courts scrutinize whether the borrowed elements form the essence of the original's value, as in cases involving musical samples or visual motifs, where even brief excerpts can tip against fair use if they capture protected creativity without sufficient alteration.^[31] The fourth factor considers the effect of the use upon the potential market for or value of the copyrighted work, probing whether the derivative supplants demand for the original or harms exploitable derivative markets controlled by the rights holder.^[31] This market-harm analysis focuses on reasonably foreseeable exploitation, not hypothetical lost licensing fees, and favors fair use where the new work serves niche audiences unlikely to displace the original's sales. In derivative disputes, evidence of actual revenue diversion—such as competing merchandise—undermines the defense, whereas uses expanding overall market awareness without cannibalization support it, as upheld in precedents balancing innovation against monopoly harms.^[25] Courts weigh this factor last, integrating it with the others to ensure fair use promotes free expression without eroding economic incentives for creation.^[31]

Role of Transformativeness

Transformativeness evaluates whether a secondary work alters the original copyrighted material by adding new expression, meaning, or message, thereby serving a further purpose or different character. This principle, integral to the fair use doctrine in U.S. copyright law under 17 U.S.C. § 107, primarily informs the first statutory factor: the purpose and character of the use. Transformative uses are deemed more likely to qualify as fair, as they expand upon the original without merely supplanting it, thus promoting creativity and free expression while respecting the copyright holder's exclusive right to prepare derivative works.^[31]^[43] The U.S. Supreme Court established the modern framework for transformativeness in Campbell v. Acuff-Rose Music, Inc. (1994), holding that a parody of Roy Orbison's "Oh, Pretty Woman" by 2 Live Crew constituted fair use because it critiqued the original through hyperbolic and bawdy expression, creating a new work that shed light on the source material rather than serving as a market substitute. The Court emphasized that the degree of transformation influences the weight of the first factor, with highly transformative works requiring less justification under subsequent factors like the amount used or market effect.^[25]^[26] In derivative work disputes, transformativeness can defend against infringement claims by demonstrating that the new creation justifies unauthorized adaptation. For instance, courts have upheld appropriations in visual art, such as Richard Prince's alterations of Patrick Cariou's photographs, as transformative when they injected new aesthetic and commentary elements, diverging from the originals' documentary purpose. However, the doctrine does not grant carte blanche; commercial exploitation weighs against fair use if the transformation fails to sufficiently alter the purpose.^[44] The Supreme Court's decision in Andy Warhol Foundation for the Visual Arts, Inc. v. Goldsmith (2023) refined this role, ruling that Warhol's silkscreen adaptations of Lynn Goldsmith's 1981 photograph of Prince were not transformative for licensing purposes, as they retained a similar celebratory purpose and expressive core, potentially usurping the original's derivative market. This 7-2 opinion underscored that aesthetic changes alone do not render a use transformative; the inquiry must compare the specific purposes, preventing overbroad fair use from eroding authors' rights to control adaptations. Critics, including legal scholars, argue the standard remains subjective, fostering litigation uncertainty despite its intent to balance innovation with protection.^[45]^[46]^[47] Examples of transformative derivatives include parodies, scholarly critiques, and search engine thumbnails, which add commentary, education, or technological utility, whereas mere stylistic tweaks or commercial mimics often fail the test. Empirical analyses of case outcomes reveal that transformativeness correlates strongly with fair use findings in appellate decisions from 1990 to 2020, though its application varies by circuit, highlighting the doctrine's evolution through judge-made law rather than statutory rigidity.^[48]

Other Jurisdictional Exceptions

In jurisdictions outside the United States, copyright laws generally protect the exclusive right to authorize adaptations or derivative works of pre-existing materials, but provide enumerated exceptions that may permit limited transformative uses without infringement, subject to fairness assessments and specific purposes. These exceptions, often termed "fair dealing" in common law countries or mandatory/optional provisions in civil law systems, contrast with the broader, open-ended fair use doctrine by requiring the use to align with predefined categories such as criticism, parody, or quotation, while adhering to the Berne Convention's three-step test for limitations on exclusive rights. Unlike U.S. fair use, which weighs multiple factors flexibly, these mechanisms prioritize enumerated purposes to balance creator rights with public interests like free expression, though courts assess "fairness" based on factors including the amount used, commercial nature, and effect on the market.^[49] In the United Kingdom, the Copyright, Designs and Patents Act 1988 (CDPA) establishes fair dealing exceptions applicable to derivative uses. Section 30 permits fair dealing for criticism or review of a work or performance, allowing quotation or reproduction of sufficient portions to enable the critique, provided the source and authorship are acknowledged where practicable; this has supported transformative adaptations in cases involving literary or artistic works.^[50] Additionally, since October 1, 2014, Section 30A provides an exception for caricature, parody, or pastiche, enabling the creation of derivative works that evoke or mock the original without requiring fair dealing's purpose-specific limitation, as long as the use does not conflict with normal exploitation or harm the work's legitimate interests—a standard derived from EU harmonization.^[51] UK courts, in decisions like Hubbard v. Vosper (1972), have interpreted fairness narrowly, emphasizing that substantial copying for parody must genuinely transform or comment on the original to avoid infringement.^[52] Canada's Copyright Act employs a fair dealing framework that explicitly includes purposes enabling derivative works, expanded by amendments effective November 7, 2012, to encompass parody and satire alongside research, private study, criticism, review, education, and news reporting.^[53] The Supreme Court's ruling in CCH Canadian Ltd. v. Law Society of Upper Canada (2004) established a two-part test: first, the use must fit an enumerated purpose; second, it must be fair, evaluated via six non-exhaustive factors including purpose, character (e.g., transformative vs. commercial), amount copied, alternatives available, nature of the work, and market impact.^[54] This has permitted derivative parodies, such as satirical adaptations of songs or images, provided they do not reproduce the essence of the original excessively; for instance, courts have upheld uses where transformation adds new expressive content, distinguishing from mere substitution.^[55] Unlike explicit derivative work protections in U.S. law, Canada's approach integrates adaptation rights within reproduction and authorizes limited dealings without separate fixation requirements for the new elements. In the European Union, the Information Society Directive (2001/29/EC) outlines optional exceptions under Article 5(3) that member states may implement for derivative uses, including quotations for criticism or review (Article 5(3)(d)) and parody, caricature, or pastiche (Article 5(3)(k)).^[32] The Court of Justice of the EU in Deckmyn v. Vandersteen (2014) clarified that parody exceptions require the derivative work to evoke the original while conveying a discriminatory or humorous message, with a fairness balance considering conflict with normal exploitation and the original author's rights, thus enabling transformative adaptations like satirical cartoons without blanket permission.^[56] Quotation exceptions permit limited excerpts in new works for analytical purposes, provided they are justified by the informative role and proportionate to the goal, as implemented variably across member states (e.g., Germany's Urheberrechtsgesetz §51 allows transformative quotations). The 2019 Directive on Copyright in the Digital Single Market (2019/790) reinforced these by mandating exceptions for text and data mining, which may involve derivative processing, but parody remains optional and purpose-bound, often narrower than common law fair dealing due to civil law emphasis on moral rights.^[57] Australia's Copyright Act 1968 similarly limits exceptions to fair dealing for criticism, review, parody, or satire (added 2006), requiring dealings to be internally fair and not prejudicial to the original's market, with courts applying tests akin to Canada's but rejecting broader transformative defenses absent enumerated fit.^[58] These provisions collectively ensure exceptions for derivative works remain constrained, promoting innovation through specific allowances while safeguarding economic incentives, though empirical analyses indicate they permit fewer adaptive uses than U.S. fair use, particularly for commercial parodies.^[59]

Controversies and Modern Challenges

AI Training Data and Output Infringement Debates

The ingestion of copyrighted materials to train generative AI models has sparked intense legal debate over whether such processes infringe the exclusive rights to reproduction and preparation of derivative works under copyright law, particularly Section 106 of the U.S. Copyright Act. Proponents of infringement argue that copying vast datasets of protected works into training corpora constitutes unauthorized reproduction, even if the data is processed into model weights that do not directly reproduce originals, as the intermediate copies enable the creation of a new work derivative of the inputs' expressive elements.^[60] This view posits that AI models effectively "remix" patterns from copyrighted sources, rendering the trained model a derivative work without permission, akin to unauthorized adaptations in traditional media.^[61] Critics of this position counter that training involves statistical abstraction rather than expressive copying, distinguishing it from derivative works that recast originals in a new form while retaining substantial similarity, and emphasize that human creativity analogously draws from protected materials without infringement.^[62] Court rulings have yielded mixed outcomes, with fair use defenses under 17 U.S.C. § 107 often pivotal. In Bartz v. Anthropic (N.D. Cal., 2025), the court held that training the Claude AI model on copyrighted books was "highly transformative" fair use, as the process extracted factual patterns for new expressive generation without supplanting the originals' markets, dismissing claims of derivative infringement due to lack of substantial similarity in outputs.^[63] Similarly, in Kadrey v. Meta (N.D. Cal., 2025), training Llama models on ingested works, including from unauthorized sources, qualified as fair use because the transformative nature—converting text into predictive algorithms—did not harm plaintiffs' licensing markets and advanced innovative purposes.^[64] However, a Delaware federal court in a 2025 ruling (first major decision on point) rejected fair use for AI training on legal databases, finding the defendant's systematic copying non-transformative and directly competitive, potentially establishing precedent against unlicensed ingestion in specialized domains.^[65]^[66] Debates extend to AI outputs, where infringement claims hinge on whether generated content qualifies as unauthorized derivatives substantially similar to training inputs. Plaintiffs in cases like The New York Times v. OpenAI (S.D.N.Y., filed 2023, ongoing as of 2025) allege that model outputs verbatim reproduce or closely mimic articles, constituting derivative works that exploit without compensation, though defendants invoke fair use by arguing outputs as independent creations from learned probabilities rather than direct derivations.^[67] Empirical evidence from outputs shows rare exact reproductions but frequent stylistic echoes, raising causal questions about whether infringement occurs only upon substantial similarity or extends to probabilistic influences.^[68] The U.S. Copyright Office's May 2025 report acknowledges prima facie reproduction infringement in training but notes fair use's flexibility, cautioning that outputs resembling originals could independently infringe without shielding under training defenses.^[60] Over 25 such lawsuits pend nationwide as of April 2025, with outcomes turning on market harm analyses: training rarely substitutes originals, but outputs in creative fields may erode incentives if deemed infringing derivatives.^[69] These disputes underscore tensions between innovation and creator rights, with AI firms asserting broad fair use to sustain data-hungry models, while rights holders demand opt-outs or licensing to prevent de facto expropriation.^[70] Internationally, approaches diverge; Japan's 2024 guidelines permit training on copyrighted works absent market harm, contrasting U.S. case-by-case scrutiny.^[71] Empirical critiques highlight that unlicensed training scales to billions of works—e.g., Common Crawl datasets encompassing terabytes—potentially undermining causal incentives for original creation if fair use immunizes free-riding at mass levels.^[72] Courts' evolving fair use applications, informed by precedents like Google Books, prioritize transformativeness but remain wary of outputs enabling competitive substitutes.^[73]

Balancing Creator Rights with Innovation Incentives

The exclusive right to prepare derivative works, enshrined in frameworks like the U.S. Copyright Act of 1976, enables original creators to monetize adaptations such as sequels, remakes, or licensed merchandise, thereby providing economic incentives for initial investment in expressive works. This monopoly right compensates authors for fixed costs of creation while discouraging free-riding, as subsequent creators must negotiate licenses or risk infringement liability. However, it simultaneously raises barriers for innovators seeking to incorporate prior elements, potentially reducing the stock of buildable cultural inputs and diminishing returns to cumulative creativity. Economic models frame this as a tradeoff: stronger derivative controls enhance first-mover rewards but impose deadweight losses from foregone follow-on works, with optimal policy hinging on empirical calibration of term length and exceptions to maximize total output.^[74]^[75] Empirical analyses of copyright extensions, such as the 1998 Sonny Bono Copyright Term Extension Act lengthening U.S. terms to life of author plus 70 years, reveal scant evidence of heightened creative incentives proportionate to the prolonged lockup of works from public domain entry. Studies examining pre- and post-extension outputs find no significant uptick in new compositions or publications attributable to extended terms, yet document reduced availability for derivatives, including reprints and adaptations, during protected periods. For example, econometric reviews of European and U.S. data indicate that works entering the public domain after shorter terms trigger measurable surges in derivative productions—like a 30-50% increase in book publications for lapsed copyrights—implying that in-term exclusivity curtails innovation by limiting access to foundational texts, films, and compositions. These findings challenge claims of perpetual incentives, as marginal extensions beyond 50-70 years yield negligible supply boosts while amplifying monopoly rents for legacy estates over active creators.^[76]^[77]^[78] Policy responses to this imbalance include doctrinal tools like fair use, which permits non-substitutive derivative transformations (e.g., parodies or critical analyses) without eroding the original's market, as clarified in cases like Campbell v. Acuff-Rose Music (1994). Yet, fair use's fact-specific adjudication introduces uncertainty, potentially deterring risk-averse investments in borderline derivatives such as sampling in music or fan-derived media. Alternative mechanisms, including compulsory licensing schemes for certain derivatives (as in some mechanical reproduction rights under the U.S. Audio Home Recording Act of 1992), or reversion rights returning control to originators after a set period, aim to internalize externalities by sharing gains from successful adaptations while preserving incentives. Empirical critiques highlight that overreliance on expansive fair use claims risks underprotecting originals, as evidenced by stalled negotiations in industries like hip-hop sampling where clearance costs exceed 20-50% of production budgets, underscoring the need for term limits calibrated to genres' amortization rates—shorter for high-turnover media like software derivatives, longer for capital-intensive ones like films. Jurisdictional variations, such as the EU's 70-year post-mortem term versus proposals for life-plus-50, further illustrate ongoing debates, with data favoring reforms that prioritize public access post-recoupment to sustain innovation cycles.^[79]^[80]^[81]

Empirical Critiques of Overbroad Fair Use Claims

Empirical analyses have challenged claims that expansive interpretations of fair use substantially enhance economic output without undermining incentives for original creators, particularly in contexts involving derivative works that could supplant licensing markets. Studies examining international adoptions of U.S.-style broad fair use doctrines, such as in South Korea and Singapore following expansions around 2005, found no corresponding acceleration in GDP growth relative to counterfactual projections; instead, per-capita GDP trajectories suggested stagnation or deceleration, implying that overreliance on fair use may divert value from primary copyright holders to secondary users without net innovation gains.^[82] Core industries purportedly dependent on fair use, like software publishing, exhibit comparable or higher employment shares in fair use-limited regimes (e.g., Sweden's 0.22% vs. the UK's 0.03%), contradicting assertions that such doctrines are prerequisites for sector vitality and highlighting potential revenue leakage from creators via unlicensed derivatives.^[82] In derivative markets, overbroad fair use invocations risk eroding licensing revenues by treating potential commercial exploitations as non-harmful, even when they function as substitutes. Economic modeling indicates that fair use serves as a bargaining "threat point," enabling users to negotiate down licensing fees or bypass them entirely, thereby reducing creators' expected returns and disincentivizing investment in upstream works amenable to derivation.^[83] Experimental evidence from music sampling—a classic derivative use—demonstrates negative spillovers, where unauthorized reuse diminishes perceptions of the original work's quality and market value, amplifying harm beyond direct substitution.^[84] Recent applications to AI-generated derivatives underscore these effects, with unauthorized training on copyrighted inputs yielding outputs that compete directly with originals, depriving authors of income streams from adaptations or related products. For instance, generative models replicating stylistic elements of novels or articles can fulfill consumer demand for similar content, eroding the original's commercial viability without compensatory mechanisms, as evidenced in ongoing litigation where plaintiffs document lost licensing opportunities.^[85] Such dynamics favor large-scale secondary exploiters over individual creators, potentially contracting the supply of high-value originals if fair use boundaries expand unchecked, per causal analyses linking exception breadth to diminished upstream incentives.^[85]

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Court Rules AI Training on Copyrighted Works Is Not Fair Use
Feb 27, 2025 · The ruling marks a pivotal moment in the debate over AI training and copyright law and may set a significant precedent against unlicensed data use.
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Mid-Year Review: AI Copyright Case Developments in 2025
Aug 21, 2025 · The first half of 2025 saw major developments in some of the dozens of ongoing copyright lawsuits against AI companies, as well as the ...Missing: 2023-2025 | Show results with:2023-2025
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A Tale of Three Cases: How Fair Use Is Playing Out in AI Copyright ...
Jul 7, 2025 · In two recent Northern District of California decisions, AI companies prevailed on a fair use defense after being accused of infringing ...
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AI's Copyright Dilemma: Recent Lawsuits and Implications - Darrow AI
Apr 8, 2025 · Over 25 copyright infringement lawsuits against AI companies are currently pending in federal court. As AI advances, copyright law is being tested on two ...
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Copyright Office Stakes Out Position on Use of Works for AI Training
Jun 9, 2025 · The report discusses whether those uses may present prima facie cases of copyright infringement, the applicability of the fair use defense to AI training, and ...Missing: lawsuits | Show results with:lawsuits
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Copyright Office Weighs In on AI Training and Fair Use - Skadden Arps
May 15, 2025 · Using copyrighted works to train AI models may constitute prima facie infringement of the right to reproduce such works. Where AI generated ...
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[PDF] 6 AI Cases And What They Mean For Copyright Law
Jan 3, 2024 · If an AI tool produces an output that is substantially similar to an existing copyrighted work, does that infringe on the copyright? These are ...
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A New Look at Fair Use: Anthropic, Meta, and Copyright in AI Training
Jul 3, 2025 · Bartz v. Anthropic and Kadrey v. Meta offer the first significant judicial guidance on how courts will look to apply the fair use doctrine to AI training ...
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[PDF] An Economic Analysis of Copyright Law
The answer suggested by economic analysis is that, contrary to intuition, such principles reduce the incentive to create by preventing the author or artist ...
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[PDF] The Economic Structure of Intellectual Property Law
Jan 1, 1978 · In the next chapter we distinguish between copiers who make identical copies of a work and those who create derivative worlrs, since the former ...
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[PDF] EMPIRICAL TESTS OF COPYRIGHT TERM EXTENSION
While the creation of some kinds of derivative works from an original work will be valuable and increase social welfare, other kinds of derivative works.
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Full article: The true impact of shorter and longer copyright durations
This paper proposes to shorten the copyright duration and analyzes why this is likely to increase the earnings of authors from their works and to enhance ...
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[PDF] The true impact of shorter and longer copyright durations - ECIPE
The first section deals with the literature review on copyright duration and highlights the need for a new perspective that this paper under- takes. The second ...
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[PDF] FAIR USE AND INNOVATION POLICY - NYU Law Review
This Note analyzes the effects fair use has on the incentives to create copyrighted works and to invest in technologies that affect those works. INTRODUCTION.<|separator|>
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[PDF] The Derivative Work Right: Incentive or Hindrance for New Literature ...
The Copyright Act provides incentives to stimulate the production of artistic work for the good of the general public. These incentives include the exclusive.
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[PDF] COPYRIGHT POLICY, CREATIVITY, AND INNOVATION IN THE ...
Jul 24, 2013 · ... rights to creators. Protection by copyright law gives creators incentives to produce new works and distribute them to the public. In doing ...
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[PDF] Fair Use and the Economy - P E R S P E C T I V E S
Jun 27, 2018 · economic impact of broad fair use provisions might be detectable in aggregate economic outcomes. Here, I use per-capita GDP to measure economic.
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Fair Use and Fair Price - Southern California Law Review
Jul 5, 2025 · Fair use enables users to secure more favorable licensing terms from copyright owners by endowing users with a threat point in their negotiations.
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[PDF] Measuring Fair Use's Market Effect - Wisconsin Law Review
From there, our research uses a novel experimental design focused on music sampling to introduce empirical evidence of the economic effect of reusing ...Missing: revenues | Show results with:revenues
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'Artificially Intelligent' Economics of Fair Use - IP Watchdog
Jun 26, 2025 · Unauthorized secondary use can have notable economic effects on the copyright owner—it may deprive them of income, reduce the original work's ...Missing: revenues | Show results with:revenues