How might this use of the Star Wars logo and universe be legal? A French book about Star Wars recently came out, giving a psychological approach on the films and characters. The book doesn't contain images, but on the cover, the Star Wars logo is visible, and there's a drawing of Sigmund Freud holding Darth Vader's helmet. I believe the names of the characters are used throughout the book, as well as names of planets, spaceships, or other fictional elements from the films. I believe the author thinks they are in their own right to use these elements, and I assume the publishing company also did some research before putting out this book. But I also know that Lucasfilms and Disney love suing all sorts of people, from their own former employees to Ronald Reagan. To me, the line isn't clear between the two. So I am wondering if this use of the Star Wars universe respects copyright and trademarks regulations, and on what legal grounds. (I am asking because I would like to write and sell derivative works as well, and I don't know how I could be sure to never break a law). EDIT: I asked the author yesterday if they had to pay to use the trademarked logo, derivative visuals, etc, and he said "Copyrights for Star Wars only applies to images taken from the film. Not on the logo, font or drawing inspired from". JURIDICTION: France &amp; USA
You are confusing two separate concepts: trademark and copyright. I'll give you a broad overview of both of these, although the details will differ depending on what country's law we're talking about. A copyright is held by the creator of a work of artistic expression. It gives the creator certain exclusive rights, including the right to create copies of the work and to prepare derivative works. For example: The movie "Star Wars" is a work of artistic expression. You cannot copy "Star Wars," or any significant part of it--including the script, the music, etc.--without the permission of the copyright owner, unless your use fits into one of the exceptions to copyright in your jurisdiction. Likewise, you cannot write your own book featuring the Star Wars characters: that would be a derivative work, a work based on the original work, and would violate the rights of the copyright holder. Without having read the book in question, I'm not going to comment on whether it does or doesn't infringe the film's copyright. But ideas can't be copyrighted. A film review, for instance, isn't a copyright violation--and a longer work discussing the ideas involved in a film isn't necessarily a copyright violation, either. Copyright only protects the expression itself--the language, the images. You are very limited in how much of that you can copy, but as long as you're using your own words, copyright protection is less of a concern. Trademarks, on the other hand, are intended to protect a business from customer confusion. Trademarks are not protected in the same way as copyrights; the key analysis of a trademark infringement lawsuit is: does it create confusion about the origin of the goods? For example: if you slap a swoosh on a shoe, Nike will sue you. If you use a swoosh in a political cartoon criticizing Nike, they won't, because nobody is going to think Nike wrote the political cartoon. So: If you write a book and call it: "Ewoks Gone Wild: A Star Wars Story," Disney will sue you, because it would be reasonable for someone who saw that book in a store to think that Disney authorized that book. If you wrote a book called "Forcing the Issue: The Hermeneutics of Science Fiction Movies from Star Wars to Inception", the case would be less clear-cut. But the important thing to understand is that these issues are complicated. There are exceptions to these rules; there are applications that may not be obvious to the non-lawyer ("initial interest confusion" is one minefield in U.S. trademark law), there are national and EU-specific considerations, there are safe harbors, and there are practical considerations, like whether you can afford to fight a lawsuit even if you're in the right. Therefore, I'm not going to tell you whether your hypothetical work would infringe anyone's copyright or trademark, and I'm not going to give you a set of rules on how to avoid it. The only person you should be listening to that sort of advice from is a real, non-anonymous-internet lawyer, licensed to practice in your jurisdiction, who is familiar with the specific details of your specific situation.
Copyright Issues There are several issues here. The Original Rose Image and its Derivatives The image was apparently first posted to Stack Exchange as part of this question by user &quot;Ongky Denny Wijaya&quot;. That user did not say where the image came from. If that user created the image, whether by taking a photograph, or in an image drawing program (or in any other way), then s/he owns the copyright, and licensed it under the CC-BY-SA (4.0) free license by posting it to SE. However, if that user did not create the image but got it from somewhere else, it was quite probably protected by copyright and used without permission. If &quot;Ongky Denny Wijaya&quot; did not have the rights to the image, then s/he could not license them, and all uses on SE and deriving from SE are copyright infringements, and the copyright holder, whoever that is, could sue for damages. The first two answers to your SE question give LaTeX code for rose images only slightly resembling the original rose image. They are not derivatives of the original image. The third seems to be a transformation of the original, and so is a derivative work. It may not lawfully be used without the permission of the original copyright holder whoever that may be. Unless you can reliably determine who that is, and seek permission, you may not lawfully use that image, nor LaTeX code for it. Original SE Content When a user posts original contest to SE, it is automatically released under the CC-BY-SA (4.0) Creative Commons free license. That license allows anyone to reuse the content, and to create modified (derivative) versions of the content, but under some conditions. The most important of these are 1) that the content must be attributed properly to the copyright holder, and any copyright notice must be preserved. (That is the &quot;BY&quot; part.) And 2) the reused or modified work must be provided to others under exactly the same license. (That is the &quot;SA&quot; part.) The first part can be done by listing the user name of the original SE poster, and providing a link to the post. The second part is potentially trickier. If the modified work is &quot;merged into&quot; a new work, the entire new work must be released under CC-BY-SA, which would hinder any commercial publication. If the re-used or modified work is kept separate, at the very least it needs to have a separate license statement, making it clear that anyone can re-use or further modify the work, and making it clear just what is included in that release. That should be associated with the credit or attribution statement mentioned above. That would apply both to an image, and to LaTex code for generating the image. If this is not done, reuse of any such content is an infringement of copyright, and could be the subject of a lawsuit. Fair Use Use of the whole or the majority of an SE question or answer, or of the whole of an original image posted to SE, would probably not constitute fair use in the US, although that would depend on the rest of the facts. If such use did not qualify as fair use, that it must be used in accordance with the stated license, as described above.
Let’s work it through Is the work copyright? Yes. Are you making a copy or a derivative work? Yes. Do you have permission? No. At this point, it is prima facie copyright violation. However, various copyright laws have defences for breach. You don’t say where you are but as the USA is the most permissive in this regard we’ll use the USA. If it’s not legal there, it’s not legal anywhere. If it is legal there, it’s still likely to be not legal everywhere else. is it fair use? Almost certainly not. Wizards of the Coast (the copyright owner) already do this. While this service is free for creatures from the Monster Manual, it does drive traffic to their web site where they sell stuff. They also licence (presumably for money) others to do the same. Your usage would negatively affect the copyright owners market. This counts against fair use. Because it’s already being done, your work has virtually nil transformative value. This counts against fair use. You are copying a substantial part of the work. This counts against fair use. You are not using it commercially but neither is it for educational use. This is unlikely to matter. On balance: not fair use. TL;DR This is copyright violation.
No, this is not true. Copyright can be enforced selectively. You are confusing copyright with trademark. Company can lose its trademark if they aren't protecting it. All the meanwhile they can choose to ignore some copyright infringement while enforcing their rights on others with no legal problems what-so-ever. In order to illustrate the difference: for example, if someone would make a clone of Super Mario and would call their clone as well "Super Mario" and maybe even would call themselves "Nintendo", even if they have programmed the whole game by themselves from scratch and the art and music would be all different, they wouldn't be infringing the copyright but challenging protected trademarks. In your case, the naming was identical, the art and everything was too similar to the original and therefore the clone was challenging the trademark that needs constant protecting.
Yet I publicly wear shirts with copyrighted designs all the time. I'm unclear about this; do you mean T-shirts you have made yourself using copyrighted images or T-shirts you have bought? If the former then it is a prima facie breach and you could be sued by the copyright holder. You would probably not be as it would be impracticable. If the latter then there are 2 possibilities: The manufacturer/distributer/retailer chain all hold valid licences to put the image on a T-shirt and display it in the usual way so there is no breach involved. The manufacturer/distributer/retailer chain does not hold a valid licence in which case there is a breach and the copyright holder would target, say Wall-Mart rather than you. what about displaying ... works of art in my yard? Notwithstanding that it can be viewed from a public space, your yard is not public; therefore this is not public display.
Can a system include such information? it is surely technically possible. Would it be a violation of copyright? That depends. First of all, any such information can be included if the copyright holder has granted permission, probably in the form of a license. But in that case this question would probably not have been asked. I therefore assume that no permission has been granted. (It doesn't matter if a request was made and the answer was &quot;no&quot;, a request was made but ignored, or no request was ever made. No permission is still no permission.) The names of fictional locations are nor protected by copyright. Including, say, &quot;Rivendell&quot; or &quot;Hobbiton&quot; in the selection list for a timezone setting would not infringe the copyrights held by the Tolkien estate. But a map is a different thing. If the OS includes and can display a map of a fictional region, one that is copied from or based on a map published with the fiction, or by some third party, then that would almost surely be copyright infringement, and the copyright holder could choose to sue for infringement. S/he might choose not to sue, but that is a risky gamble to take. If this is in the US, statutory damages could be awarded, and could intheory go as high as $150,000, although they are not likely to be as high as that, that is just the maximum legal limit (per work infringed, not per copy). The standard is whatever amount the court thinks &quot;just&quot;, up to the maximum. (If proof of willful infringement is not made, the upper limit is $30,000, still a sizable sum.) If the OS designer created the map independently, using names from the fiction, but not otherwise basing it on the fiction, and in particular not imitating any map created by anyone else, then it may well not be infringement, but it would still be wise to consult a copyright lawyer. The question would be more helpful if it made clear just what would be hypothetically included in the OS, and to what extent it would be based on someone else's work. There is also the question of why someone would want to include fictional places, but that really doesn't change the legal issue.
It's not fair use. Fair use is when you do something that normally only the copyright holder can do. Playing a video game is the ordinary, intended use of the work. In the United States, ordinary use is not protected by copyright. 17 USC 106 sets out the rights protected by copyright. The include copying the work, producing derivative works, distributing the work, and so on. None of these are ordinary use. Someone could perhaps argue that you are creating a derivative work. I doubt that argument would work because you are not taking any protectable elements from the work. But if anyone did argue that, it would make sense to also argue that if that's so, your use would still be covered under fair use because it's transformative, does not substitute for the original work in any way, and takes very little of the work.
Using the setting and characters of an existing and current book would probably, indeed almost surely, make it a derivative work. Creating a derivative work from a work protected by copyright requires permission from the copyright holder, unless an exception to copyright applies. In US law 17 USC 101 defines a derivative work as: A “derivative work” is 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. A work consisting of editorial revisions, annotations, elaborations, or other modifications, which, as a whole, represent an original work of authorship, is a “derivative work”. and 17 USC 106 provides in pertinent part that: Subject to sections 107 through 122, the owner of copyright under this title has the exclusive rights to do and to authorize any of the following: ... to prepare derivative works based upon the copyrighted work; This means that creating such a fanfic without permission would be copyright infringement, and Rowling could sue for damages. Fair use In the US the primary exception to copyright available is fair use. Whether a work is a fair use of another is always a case-by-case decision, and often a complex one. There have not been many published US cases on whether fanfiction is or may be fair use. This depends on the details, but from the description I do not think such a fanfic as the question describes would be likely to be held to be a case of fair use. See Is this copyright infringement? Is it fair use? What if I don&#39;t make any money off it? In general fanfiction has not fared very well under US copyright law. See this Wikipedia article. A recent Law Review article on this topic, one of the few available, is The Better Angels of Our Fanfiction: The Need for True and Logical Precedent, 33 Hastings Comm. &amp; Ent. L.J. 159](https://repository.uchastings.edu/hastings_comm_ent_law_journal/vol33/iss2/1) by Stacey M. Lantagne. [Footnotes in the original shown here in {braces}.] On pages 168-9 Lantagne wrote: Although fanfiction is a flourishing medium, there has been no true case evaluating it under a fair use analysis. For instance, Warner Bros. Entertainment Inc. v. RDR Books 575 F.Supp.2d 513 (SDNY 2008) involved a work created by a fan, but the work in question was an encyclopedic reference book about the original copyrighted material, not a piece of fiction spun off from the original copyrighted work in some way. The fan work's inconsistently transformative character swayed the court's fair use analysis{The court noted that at times the fan work lapsed into mere verbatim copying of the original copyrighted material, which detracted from its transformative nature}, and the fact that it used more of the original copyrighted work than was necessary.{The court found it telling that the fan work contained a great deal of verbatim copying of &quot;highly aesthetic expression,&quot; which tipped this factor away from a finding of fair use} These two factors would necessarily dictate a different analysis when a work of fiction is involved as opposed to a reference work.{Warner Bros., 575 F. Supp. 2d at 544. The court found troubling the excessive copying of &quot;distinctive original language from the Harry Potter works,&quot; using &quot;Rowling's original expression,&quot; in the work's entries. Id. Presumably, much less direct copying of original language would happen in a work of fiction. A similar implication occurs when considering the &quot;verbatim copying&quot; of whole sentences from the Harry Potter books. Id. at 547. Works of fanfiction seldom copy verbatim language, focusing on characters, settings, and plots.} Lantagne next discussed mthe case of Salinger v. Colting, 607 F.3d 68, 70. That case dealt with a novel called 60 Years Later: Coming Through the Rye, whose protagonist, &quot;Mr. C&quot;, is a 76-year-old Holden Caulfield, (the protagonist of the J.D. Salinger novel The Catcher in the Rye. Lantagne wrote: The defendant's novel embodies typical fanfiction activity: taking a recognizable character and re-imagining them at a different stage of life.&quot; The court determined that the work was not permissible fair use and enjoined its publication.{This case [on appeal] recently settled, with Colting agreeing not to publish the book in the United States or Canada until the copyright on The Catcher in the Rye expires, but being able to publish it in other international territories, as long as it was not marketed using reference to Salinger, The Catcher in the Rye, or the litigation between the parties.} First, the court concluded that 60 Years Later was not a parody because it &quot;contain[ed] no reasonably discernible rejoinder or specific criticism of any character or theme of Catcher. Rather than commenting on Holden Caulfield as a character, the purpose of 60 Years Later was to &quot;satisfy Holden's fans' passion&quot; for his character. The insertion of J.D. Salinger as a character in 60 Years Later was possibly, the court conceded, a criticism and commentary of Salinger, but not of The Catcher in the Rye. While the court admitted that there was some transformative element in the Salinger character in 60 Years Later, it was limited by the character's minor role in a work that was largely not transformative. The court concluded that merely aging the main character of a novel and altering the novel's setting was not sufficient to make the use transformative. Finally, because 60 Years Later was to be sold for profit, the court found that the first factor weighed against a finding of fair use. After finding The Catcher in the Rye to be an expressive work, which weighed the second factor against a finding of fair use, the court then concluded that 60 Years Later took much more from The Catcher in the Rye than was necessary for whatever transformative commentary it was trying to make. The court disapproved mainly of the use of the main character of The Catcher in the Rye. 60 Years Later also was similar to The Catcher in the Rye in structure, in a way that was not necessary to offer a commentary on Salinger (the only transformative purpose the court had found the work to have). Finally, the court found that 60 Years Later harmed the potential market for any permissible The Catcher in the Rye sequels. The court found that fair use should not protect the ability to publish unauthorized sequels: [B]ecause some artists may be further incentivized to create original works due to the availability of the right not to produce any sequels. This might be the case if, for instance, an author's artistic vision includes leaving certain portions or aspects of his character's story to the varied imaginations of his readers, or if he hopes that his readers will engage in discussion and speculation as to what happened subsequently.&quot; Although 60 Years Later may be classified as fanfiction, the overtly commercial purpose of the work makes it an imperfect representation of the genre because most fanfiction is not-for-profit.{See Tushnet, supra note 16, at 664. A recent development in fanfiction that has led to clashes is the rise of the use of fanfiction for charitable purposes. &quot;Fanfic auctions&quot; in which readers bid for the services of fanfiction authors to write a story based on their specifications, with the proceeds to benefit charity, are becoming more common. See Gabaldon, supra note 7 (&quot;Recently, a couple of people have drawn my attention to a person who's been posting on various boards about fund-raising for an uninsured friend named Stacie who has breast cancer. Her (the poster's) idea for fund-raising is to auction off a customer-written piece of fan-fic. . . .&quot;). Fanfiction written for such a commercial purpose may change the analysis. But see Tushnet, supra note 16, at 672-73 (quoting Gene Rodenberry).} Because the court weighed the novel's commercial nature against a finding of fair use, Salinger is not an ideal fanfiction precedent Lantagne goes on to discuss the case of Suntrust Bank v. Houghton Mifflin Co 268 F.3d 1257, 1259 (11th Cir. 2001). In that case a novel The Wind Done Gone, retelling Gone With the Wind from the PoV of the black characters, was held to be a parody as well as a sequel, to be &quot;highly transformative&quot;, and allowable as fair use. Sequels as Derivative Works A sequel uses the characters and/or setting of an existing work of fiction. It often constitutes a derivative work. The more distinctive and original the setting and characters are, and the more of those distinctive characteristics that are used in the sequel, the more likely the sequel is to be treated as a derivative work. On the matter of sequels, see the case of Anderson v. Stallone, 11 U.S.P.Q.2d 1161 (C.D. Cal. 1989). In that case, a Mr. Timothy Anderson prepared a sequel to the film Rocky III which he hoped would become Rocky IV. He presented it to MGM and Stallone. They eventually declined to buy it, and Anderson sued, claiming that the film Rocky IV that was made infringed his script. The district court held that Anderson's script was an infringing work not entitled to copyright protection. The court, citing Nichols v. Universal Pictures Corp.. 45 F.2d 119 (2d Cir. 1930), ruled that the characters in a copyrighted work are protected when they are &quot;developed with enough specificity to constitute protect able expression.&quot; Holding that the Rocky III characters met this standard, the court ruled that the Anderson script was a derivative work created without permission, and thus was not entailed to any copyright protection at all. Anderson appealed, and the case was settled out of court while this appeal was in progress. Details of the settlement were not disclosed. An unauthorized sequel to Harry Potter would probably face the same rule and reach the same result as in the Anderson case.It would depend on how much of the &quot;distinctive&quot; nature of JKR's characters and settings were used in the fanfic sequel. The Ethical and Emotional Arguments against Fan Fiction In This comment on the question user &quot;RedSonja&quot; writes: I know this is Law and you are looking for legal answers. But what you are proposing is plagiarism by the back door. JKR went to a lot of trouble inventing her universe. Why should you be able to just plug in and milk someone else's cow? If you are that highly original, write your own universe. Leaving aside the point that if the source is acknowledged it cannot be plagiarism, although it may be copyright infringement, this is essentially an ethical argument that the law should be different than it currently is. Some authors make an essentially emotional argument, saying that their works or their characters are in effect &quot;children of the mind&quot; and that others should not touch them without permission, whatever the law may say. Some find such arguments persuasive or powerful.. I disagree with these arguments. Lantagne on pages 172-179 of the law review article linked above, responds to such arguments, writing [Some footnotes omitted, others in {braces}]: Fanfiction is frequently devalued as not being &quot;real&quot; writing. This is closely related to the aesthetic argument. Copyright only protects creative expression.{See Eldred v. Ashcroft, 537 U.S. 186, 219 (2002)} If the fanfiction is not creative expression, then it is not copyrightable. That, however, is a different question from whether it is infringing.{See Tushnet, supra note 16, at 681 (&quot;Fan fiction may not be copyrightable, but that does not make it an infringing use....&quot;).} It could be that the &quot;not real writing&quot; argument, translated into legalese, really expresses the idea that the work of fanfiction is not transformative enough.{See Campbell v. Acuff-Rose Music, 510 U.S. 569, 580 (1994) (&quot;If, on the contrary, the commentary has no critical bearing on the substance or style of the original composition, which the alleged infringer merely uses to get attention or to avoid the drudgery in working up something fresh, the claim to fairness in borrowing from another's work diminishes accordingly (if it does not vanish), and other factors, like the extent of its commerciality, loom larger.&quot;). Importantly, however, a work does not have to be transformative to be protected under fair use. See id. at 579. The fair use test is not forgiving of shortcuts.} However, this alone does not automatically make the work a copyright infringement because other fair use factors remain. Many authors frequently describe fanfiction as being the equivalent of an affront against their relatives.{See Gabaldon, supra note 7 (&quot;[L]et us just say that there's a difference between someone dating red-haired men, and the same someone trying to seduce my husband.... I wouldn't like people writing sex fantasies for public consumption about me or members of my family-why would I be all right with them doing it to the intimate creations of my imagination and personality?&quot;); Someone Is Angry on the Internet, supra note 11 (&quot;My characters are my children, I have been heard to say. I don't want people making off with them, thank you.&quot;); Hobb, supra note 7 (comparing fanfiction to PhotoShopping a family photo).} While the artistic protectiveness for one's creation is understandable, it is not a valid argument in U.S. copyright law. Artists have the right to control derivative works of their creations. If the fair use factors come out the wrong way [for the reuser], artists can prevent that use of their work. However, the purpose of copyright is not to prevent all use by others of an artistic work.{See, e.g., Campbell, 510 U.S. at 574-77 (&quot;From the infancy of copyright protection, some opportunity for fair use of copyrighted materials has been thought necessary to fulfill copyright's very purpose ...)} It never has been. The very character of the fair use test illustrates this, as it protects most strongly those uses of an artist's creation that the artist would never permit.{See Suntrust Bank v. Houghton Mifflin Co., 268 F.3d 1257, 1282-83 (11th Cir.2001) (Marcus, J., concurring) (&quot;To the extent the Suntrust [sought to impose editorial restrictions] to preserve Gone With the Wind's reputation, or protect its story from 'taint,' however, it may not now invoke copyright to further that goal. Of course, Suntrust can choose to license its derivative however it wishes and insist that those derivatives remain free of content it deems disreputable. Suntrust may be vigilant of Gone With the Wind's public image-but it may not use copyright to shield Gone With the Wind from unwelcome comment, a policy that would extend intellectual property protection 'into the precincts of censorship,' in Pat Conroy's words.&quot;)} Arguably, the more that a fanfiction work criticizes or parodies the original work, the more that fanfiction is a fair use. Thus, the argument that fanfiction should not be permitted because it transforms the original authors' characters mirrors the argument for exactly why fanfiction should be permitted under copyright law. ... The arguments that authors advance when they argue against copyright belong in a regime without fair use-a regime that would ignore the central purpose of U.S. copyright.&quot;' Such a conclusion is not only potentially untenable under the Constitution, but is also undesirable.&quot;' &quot;The public's interest in free expression . . . is significant.&quot;&quot; There is no question that courts have, throughout the history of copyright law, sought to protect that public interest. However, there is also no question that courts are inevitably swayed by value arguments. This should not be the case, but such influence is inevitable. ' Furthermore, value is a chicken-and-egg argument: Campbell did not base its decision on the popularity of music sampling, but surely the popularity informed Campbell's understanding of the critical commentary value of &quot;Pretty Woman.&quot; ... [T]he use of the word &quot;fair&quot; in &quot;fair use&quot; does not mean that it is fair to the author's wishes. Rather, it means that it is fair to the purposes of copyright. None of the emotional arguments frequently raised against fanfiction support a blanket proclamation that none of it is fair use. Truthfully, much of fanfiction may very well not be fair use. However, a true test case of fanfiction, logically evaluating each factor, would be invaluable in moving the fanfiction debate past the emotions of the participants. The argument should focus not on the emotions of the author or the quality of the writing, but on the fair use factors: on the purpose, character, and possible transformative nature of the work, on the amount of the original copyrighted work used, on the nature of the original copyrighted work, and on the effect on the market of the original copyrighted work. These are the factors that best protect the advancement of the twin goals of U.S. copyright. I agree with Lantagne here, it is often exactly those uses that a copyright owner will not want to approve that should be permitted as an exception to copyright. The limited statutory monopoly is granted in return for a contribution to the clutural fabric, and such work should therefore be available for use in further developing that fabric where it does not deprive the copyright holder of financial rewards, and where such uses in general are of public benefit. I take it thatr current US copyright law follows that goal, more or less. Non-US Law The rule on derivative works is also contained in the Berne Copyright Convention and the WTO's TRIPPS Agreement, and so applies in almost every country. Exceptions to copyright, however, vary widely. The concept of Fair Use is originally a purely US concept, although it has been adopted by Israel, and in part by a few other countries. Other countries generally have more specific and narrower exceptions, but often have several different exceptions. India has some 28 different exceptions in its copyright law. Few of these seem likely to be any more favorable to a fanfiction sequel than the US concept of fair use.