May 8, 2013

SCMS Defends Fair Use

Curators:

We discussed fair use of images in educational contexts. Below is succinct recap of that issue, along with an update on a current and important  legal case pending. 

DS

Begin forwarded message:

From: <office@cmstudies.org>
Date: May 8, 2013, 11:33:19 AM EDT
To: <dan.streible@nyu.edu>
Subject: May News Update: SCMS Defends Fair Use

 

SCMS Continues to Defend Educational Fair Use

 

Film and Media scholars rely on copyrighted material for teaching and research, and SCMS has a long history of defending fair use in the U.S. The Society has recently participated as a friend of the court (amicus curiae) on behalf of our members in a fair use appeal.

 

In the 1980s, John Belton represented the Society before the Copyright Office of the United States when it considered expanding the authorial rights of film directors. In 1993, a committee led by Kristen Thompson drafted a report that made the case that fair use permitted reproductions of films stills in academic work. That document was adopted as policy by many university presses, and permitted decades of well-documented books and articles by media scholars. A decade and a half later, SCMS's public policy committee wrote a new statement, identifying fair use best practices in film and media teaching and publication. In 2006, Society member Peter Decherney successfully argued for an exemption to the Digital Millennium Copyright Act, making it legal for media professors to make clips from DVDs for teaching. SCMS submitted a letter of support, and in 2009 and 2012 the Society joined Peter and others to expand the exemption to encompass students, educators in all fields, and documentary and noncommercial filmmakers.

 

This April 2013, SCMS joined another effort to protect educational fair use and signed onto an amicus brief in the 11th Circuit Court of appeals. Academic publishers Cambridge, Oxford, and Sage all sued Georgia State University over its e-reserve practices, i.e. making teaching materials available though courseware. The university won a big victory in the first round of the case. The district court found that 70 of 75 examples under question were clearly not infringing. The material was used for education and the amounts assigned were small. It was a triumph, but the decision was also overly narrow. Represented by the USC Intellectual Property and Technology Law Clinic, SCMS joined the American Association of University Professors, the Modernist Studies Association, and University of Pennsylvania professors Peter Decherney and Tsitsi Jaji to argue that course reserves can also be "transformative." As many courts, including the Supreme Court, have held, even the use of entire works can be protected by fair use when the purpose of the use is different than the originally intended purpose. When works made by the entertainment industry, for example, are used for teaching, comment, and criticism, they are likely to be fair uses. Briefs by academic authors and library associations made very similar points.

 

This is a case that affects everyone teaching film and media. Arguments are expected to take place in late May, and a decision will follow. We will update you as soon as we learn of any decision. In the meantime, because we know how vital such issues are to our members, we want to keep you informed of our work on your behalf.

 

 

 

 


Apr 29, 2013

black mariah films review

I meant to post on the blog last month about Austin's ongoing series/final project Black Mariah films but got sidetracked and never did. The most recent program was this past Sunday, so I wanted to put in a plug and encourage people to check them out. Unlike last months' screening—the mesmerizing Spirit of the Beehive, paired with a short called Bees and Spiders from the Museum of Natural History…which suited the dreary rainy night perfectly—Sunday's program consisted of curated short films, organized around the theme of drugged state/altered consciousness. In a diverse lineup that began with Buster Keaton field and stream antics (The Balloonatic) and ended with a surreal advertisement for a tranquilizer entitled The Relaxed Wife, there were many different iterations on the affects of drugs on the body (which is always a fun ride). Along with the classic Nicotine Princess from 1909, there was a truly bizarre Betty Boop short in which the animated Betty draws laughing gas that then spreads to the "real world," and my favorite film on the program, The Mystery of the Leaping Fish. This latter film, starring Douglas Fairbanks and co-written by Todd Browning and D.W. Griffith, followed the misadventures of a drug-addicted detective "Coke Ennyday," who took down his Chinatown foes (there is a white slavery plot, naturally) by blowing Cocaine into their faces. I never knew this film existed, but its incredible use of Fairbanks' kinetic energy and outrageous costume design made it unforgettable. The diversity of these films made for a compelling program, and a very different experience than last month's screening. The beautiful Clemente Soto Vélez Cultural & Educational Center in the L.E.S.—where they host the screenings—is inauspicious and intimate; the creak of the screening room chairs and sight of the single projector add to the low-key cineclub ambiance that gives the series its interesting quality. I recommend everyone check out https://www.facebook.com/BlackMariahFilm

to see what Austin and his colleagues are up to—the screenings (I've been to the 8 o'clock ones) varied in traffic, but both times were (different, but) interesting and laidback experiences. They also have free wine and PBR, which no one in the audience takes enough advantage of. I've attached the program notes from Sunday's screening so you can get a sense what they do (sorry for the poor quality, my scanner hates me)

 

Madeline Ostdick

Apr 24, 2013

[Curating MIs] Presentation dates assigned.



Fred says:

Below is the promised P.S. about our final 2 course meetings.  Please read the details carefully.

Not enough people agreed to present on April 30 (though anyone I ask to do so should be able to do so).  As I mentioned, if you are presented a week earlier than others, I/we know that you have had less time to prepare and therefore are presenting a more preliminary version of what you will submit in the end.  But everyone who has kept up with the coursework and taken advantage of consultations should be perfectly able to give an excellent presentation on the first week. Your challenge should not be "do I have enough to say?," but "how can I limit my presentation to 15 minutes?"

Below is the roster as I have it. Let me know if you see an error.
(The names on each date are not necessarily in a required sequence of presentations for that date.)

Reminder that everyone is expected to attend both sessions and listen to and respond to all presentations.


Present on  Tuesday, April 30
1.  Sylvie Vitaglione
2.  Rebecca Fraimow
3.  Dan Erdman and 4.  Kathryn Gronsbell
5.  Matt Prigge
6.  Jessica Pitcher
7.  Shira Peltzman
8.  Erica Titkemeyer


Present on Tuesday, May 7th
1.   Xin Zhou and 2. Pawarisa Nipawattanapong
3.  Juana Suárez
4.  Federica Liberi
5.  Jared Eisenstat
6.  Austin Kim
7.  Chris Banuelos
8.  Julia Kim
9.  Madeline Ostdick
10.  Kristin MacDonough


If the timing goes as expected, we will use the empty 15-20 minute slot on April 30 to fill out the department's required course evaluation forms. (Thank you, in advance.)

If the timing goes as expected, we might need to go a little past 4:30 on May 7, or shorten our mid-class break.  (I assume this is preferable to reconvening during what would be the NYU assigned day/time for an exam period, after May 7.)  However, if people arrive on time, we should be able to be finished on time. (Thank you, in advance.) 
I say this because MORE THAN HALF of the class population has been LATE to the start of recent class meetings, and usually more than a little bit late. So, thank you in advance for being diligent about getting the to class on time and also getting your computer files loaded expeditiously. 

If there is online content you would like your audience to view before your presentation, you might use the course blog to post descriptions and links to that material. Heck, you can use the blog to post as much text or pix relevant to your final project as you care to. It need not be terribly formal, so long as it's useful and smart. (You're all smart.) Since the Blogspot e-mail posting system is not working, please IDENTIFY YOURSELF BY NAME in the posting, and CC me on your e-mail to streible1.miap@blogger.com 

Please feel free to ask specific questions before our meeting if you are unclear about anything. 

Looking forward to seeing your good ideas in motion. 



Dan Streible
instructor of record



Apr 23, 2013

more more access, by Julia Kim


By limiting access to stag films, they are effectively ensuring that "the most orphaned of orphan film" will remain little known or understood (109). 

-This in turn will perpetuate the poor care they are in.  The films will continue degrading without appropriate care (no archivist!).  

-in this age of digital access, to not allow scholars (not a paying public) access to these controversial materials off-site will limit the ability of scholars to engage them for publication.  This is especially important in the case of these orphaned works.

-W/ the KKK Knight Riders, for example, Williams points out that however difficult the material is, "this film is an important historical document of the limits of female agency in stag films is that it reminds us of a history of actual sexual slavery that the term "sexworker" cannot encompass (126)."  This film offers a counterpoint to previous scholarly attempts to assert humor and some female agency.

-also, i would like to point out that the argument is not for opening this up to the paying public (nor am i necessarily going to address the argument for distribution by Kino), but for off-site access to scholars within the framework of scholarship.


-- Julia Kim







OCTOBER 27th




more access, by Anonymous [!!]


-By limiting access to stag films, they are effectively ensuring that "the most orphaned of orphan film" will remain little known or understood (109). 

-This in turn will perpetuate the poor care they are in.  The films will continue degrading without appropriate care (no archivist!).  

-in this age of digital access, to not allow scholars (not a paying public) access to these controversial materials off-site will limit the ability of scholars to engage them for publication.  This is especially important in the case of these orphaned works.

-W/ the KKK Knight Riders, for example, Williams points out that however difficult the material is, "this film is an important historical document of the limits of female agency in stag films is that it reminds us of a history of actual sexual slavery that the term "sexworker" cannot encompass (126)."  This film offers a counterpoint to previous scholarly attempts to assert humor and some female agency.

-also, i would like to point out that the argument is not for opening this up to the paying public (nor am i necessarily going to address the argument for distribution by Kino), but for off-site access to scholars within the framework of scholarship.





Madeline O. on Kinsey films, Zapruder film, Guerilla Manifesto

There is a certain degree of empowerment at the end of Linda William's "White Slavery Versus the Ethnography of Sex Workers" essay, in which the famous feminist film scholar gains access to films made exclusively "for private consumption by prurient men." We do have a history of sexuality, whether we bury it or try and bring it to the surface.

If the Zapruder film--on the on-air execution of Vietcong operatives--are "allowed" to exist in the popular consciousness, why is there censorship of sex? If there was an "art" pretense to these films would they be actively exhibited?

The Kinsey archive should have less restrictive access policies, contingent with the ICA's standards of access: the public has a right to access these artifacts. Films are meant to be seem, and these films reflect as much a part of the American landscape as the violent narratives and images that have shaped this nation. Even Linda Williams' discussion of the horrible KKK rape film reveals compelling historical tensions between race and sexuality. Feminists of color have spoken expansively about the conflation of slavery and sexual exploitation, and the myth of the inherent sexually lascivious black women persisits to this day. With this particular film, this theory is immediately apparent--white patriarchy used sexual abuse as a means of reasserting their dominance over racially "inferior" women....the women's complicity in the film can be seen as a potent example of that myth making.

Limiting the archive to "qualified researchers"  smacks of the exclusion Aaron Swartz spoke of in his "Guerilla Manifesto." While I think you could call Swartz naive, you cannot argue that his ideas are baseless. AFter all, this is what curating is about: the spread of information; making the public understand the importance of the archive and the significance of its holdings. This exclusion establishes who is "capable" of handling/understanding such material. The influence of capital (through education) in this circumstance cannot be ignored. I say, open the archives for anyone who wants to see these films, regardless of class or status.

Madeline Ostdick