Who owns copyright of Chaplin&#39;s movies (The Kid) I wanted to ask whether it is legal to screen publicly Chaplin's The Kid (1921). In US according to Wikipedia, all movies made before 1923 are in the public domain. In UK I think the srory is different and the copyright lasts for the author's lifetime + 70 years. Charlie Chaplin was born in London, but spent most of his movie making years in US. Wiki says that The Kid was made by Chaplin (directed and produced) in his studio in US. So which copyright law is in power here, US or UK? I would think that in this case US law is in power as the movie was made in US under a contract with US distributor, and thus the movie is in the public domain but then there is this company which claims it owns copyright to all movies made by Chaplin after 1918. So who is right and what are the ways to find out. US copyright registry is digitized only for the period after 1978 :(
I think it is probably public domain. I would suggest contacting Jon Mulvaney at the Criterion Collection. They recently remastered "The Kid" and will know all about the rights for public showings. Also, if you want to show their remastered version, which is very high quality, they can explain the process.
Yes So far so good. This is a copyright violation but it is probably fair use - certainly there is case law permitting a copy of a backup digital asset to be made so I don’t see why a similar argument wouldn’t work with backing up a physical book. Clear copyright violation. Alice can rent out the original under the first sale doctrine but the ‘backup’ is not so protected. It’s not fair use because it’s use is commercial, the work is a type of work the author expects to profit from, the entire work has been copied and the use is deleterious to the market i.e. the renters are less likely to buy an original - it falls foul of all four factors of the fair use test.
If I lock you in a room without access to anything and tell you &quot;Write a novel&quot; and you write a novel with characters, you have copyright in the work. But it's not absolute: If you use your own characters, you own all the copyright in the work, but not in the idea, as ideas are not copyrightable, see Feist v Rural. If you use someone else's characters extensively (as in more than a short hommage/cameo), you very likely make a derivate. You own a copyright in your part, as in the expression of the story or pictures you created, but you do not gain property interest in the existing characters' expression. Since the copyright to the characters lies with the owner of their IP, you need their OK to release (and also to even make) your work - as with the owner of a copyright is the sole right to decide on distribution and creation of derivates under 17 USC § 106 (2). Also remember that making an unlicensed derivate work risks having nothing you can sue for in case the original copyright owner lifts your ideas and scenes-a-faire parts and adapts them for their own derivate, see Anderson v Stallone The strange case of fanfiction chains... Now, there is a strange situation when a work is based on a work which is based on a work... Then, publishers and editors start with red ink and the result is, that what people know as Twilight now has nothing to do with the fanfiction it started as (It wasn't Vampires in the original draft), and 50 Shades of Grey ended up striking any and all supernatural from it, despite it having been a Twilight fanfiction originally. By making own characters and own expression of the world, there could be no copyright infringement. US law vs Egypt law? Both Egypt and the US have signed the Berne convention, meaning that copyright is very very similar in the broad strokes that the right to allow or disallow derivates is with the copyright holder. Also, since Ben10's copyright owners are to the best of my knowledge in the US (Cartoon Network Studios &amp; Men of Action Studios), they will sue in a US federal court.
I assume you are talking about United States federal copyright law. You can freely use any: material published before 1923 material published between 1923 and 1963 for which the copyright was not renewed material explicitly placed in the public domain material not copyrightable (such as any US government publication) material whose copyright has been abandoned (for example the author died with no heir)
Such an image is copyrighted, as part of the movie. You cannot legally use it without permission from the copyright holder, unless the use of the image falls under fair use (note that fair use is a strictly US legal concept. It does not apply anywhere else) or a similar exception to copyright, such as "fair dealing". There are multiple factors which must be considered in making a fair use judgement. No one factor ever totally controls the decision. It is a case-by-case decision. But several things about your proposed use suggest to me that it will not qualify as a fair use. The image is part of a creative work, not a work of non-fiction such as a news report or a textbook. That weighs against fair use. You seem to be using the whole image, although it is only part of the movie. That probably weighs against fair use to some extent. A use in "a social media post regarding a sales vacancy" sounds commercial to me. If so, that would weigh against fair use. The copyright owner might well wish to market images from the film. If so, and if many people used images from the film as you propose to use this one, that might harm the market. This weighs against fair use. You don't seem to be making any comment on the image, or using it in any significantly transformational way. That weighs against fair use. Use of the image does not seem vital or even important to the message you intend to communicate. That also weighs against fair use. In short, I think you would be wiser to use an image that you have or can get permission to use in this way. If you use this image, it is possible that the copyright holder would sue for copyright infringement, or issue a DMCA take-down notice, or both.
Copyright in the US has changed Prior to 1978 copyright lasted 28 years and could be renewed for another 28 (hence 1936 and 1964). Anything that was still under copyright then now has copyright for 70 years after the authors death so this will enter the public domain on 1/1/2026. The 1981 work is a derivative work with its own copyright by the new author(s). The original parts will enter the public domain on 1/1/2026 but the new parts will be copyright for 70 years after the new author(s) death.
The text and content (including all diagrams and illustrations) of the 1847 work (and of any other work published in 1847) are in the public domain in the US and everywhere in the world. You may freely use them verbatim or in any modified form that you wish. You are not even legally required to credit your source, although not to do so would be unethical, in my view. The version by Nicholas Rougeux that is linked to in the question has the licensing statement: Posters and website design are copyright Nicholas Rougeux. All other content and diagrams are under the Creative Commons Attribution-ShareAlike 4.0 International license (CC BY-SA 4.0). This will not apply to any content copied from the 1847 version, of course. You may use any of the new content and diagrams so released, or make and use derivative works based on those elements, provided that you comply with the CC BY-SA 4.0 license. This has a number of provisions, but the major ones are that you must release your work under the same license, must acknowledge your source work, and must not impose any additional conditions or restrictions on users of your derived work. These are spelled out in sections 3.a and 3.b of the license (linked above). Please read the full terms if you intend to use this license. If this procedure will satisfy your purpose, you do not need any further permission from Nicholas Rougeux, nor to pay any fees or royalties to him. If you do not choose to place your work under a CC BY-SA 4.0 license, then you must not use the diagrams from Rougeux's version, nor modified versions directly based on them, nor an overall design clearly and directly based on the original design of that version, unless you secure permission from Rougeux (or the current copyright holder of Rougeux's version, whoever that may be). Given that Rougeux chose to release under a CC BY-SA 4.0 license, he may well be unwilling to grant permission under a different license, but that is his choice to make. Exception: in the US, you may use content from the Rougeux version to the limited extent permitted by fair use. This is not likely to cover the use of all or a large number of diagrams, particularly for a competing version of the same base work. Without specific information on how much content you would be using from that version, and how similar it would be to the original, no one can reliably determine if fair use would apply or not, but fair use is most likely to apply when a strictly limited amount of content is reused, and particularly when it is used for a different purpose than the original. Also, fair use is a strictly US legal content, and a work that might be held to be fair use by a US court might be considered an infringement by the courts of some other counties. Other countries have their own exceptions to copyright which are different in scope and terms from fair use. Many of them are significantly narrower. Note that a work posted to the internet is in effect published in all countries, and a copyright holder might choose to sue in any country s/he pleases. US courts might well enforce such a judgement even if it would not have been the judgement of a US court. Rogeux (or any other creator of a new edition) can have no copyright in elements already present in Byrne's 1847 work. Any similarity to Rogeux's work that is because of a similarity to Byrne's 1847 work is not copyright infringement. But any new elements introduced by Rogeux (or anyone else), including the manner of adding interactivity to a diagram, may well be protected by copyright (although the idea of having an interactive version of the diagram will not be). Any new or significantly modified text or diagrams introduced in a later version will be protected. As to any other versions of the 1847 &quot;Byrne's Euclid&quot; that may have been published, the publishers gain no copyright over the original 1847 work or any of its elements, including text, diagrams, or color scheme. Provided you do not use any original content newly introduced in such editions, you do not need to secure any permission from, or pay any fee to, the copyright holders of such editions. However, you may not use any such original content, or modified versions clearly based on such original content, without permission, unless an exception to copyright, such as fair use, applies. All that I said above about fair use would then apply. A copyright holder may grant or refuse permission to use a protected work or create a derivative work on any terms that s/he chooses, and charge any fee or royalty rate s/he thinks proper. Lack of response to a request for permission must be treated as if the response was &quot;No&quot;.
One reason could be because of the scènes à faire doctrine. Many of the things you notice as similarities are not infringement. I don't know the counts of lawsuits for music infringement vs screenwriting infringement. There may just be more songs than screenplays. Screenwriters/producers do get sued, though. See Cinar Corporation v. Robinson 2012 SCC 25.