You, as well, have missed the point. I'll go over it again:Jesus|Fael wrote:Yeah this also requires a lot of money from the record label. A lot of money no record label would EVER spend. Sorry to disappoint, but anime music videos are not significant enough to matter.
[economics]
Copyright comprises exclusive rights with a few obvious exemptions, none of which, in my opinion, are applicable to the case at hand. (If you think you can make that case, I encourage you to present it here AND go tell EFF's lawyers, Dr. Lawrence Lessig, the executive board Creative Commons, free-culture.org, and so forth. I would love to know, and I'm sure they'd love to know. Now, I'm not a lawyer, but a good number of the entities I named are either lawyers or have lawyers, and I'm pretty sure they'd give you some great debate.)
Fair use is not an obvious exemption, and U.S. copyright law makes that clear by integrating into fair use criteria the nature of the infringing work. It is therefore an exemption that must be decided on a case-by-case basis.
The copyright holders of the music involved in this case have already demonstrated that they do not approve of the activities being done with their creative properties. (They can let some infringements slide, for they are entitled, not required, to pursue remedies.) If pressed, they most likely will reinforce this position, and the only real way to change that is by legal force.
This costs money. Irrespective of how much it costs the record label, it is almost certainly prohibitively expensive for e.g. Phade to take it on.
This is part of the reason why the fair use argument is irrelevant. (If we had a legal team, it might not be that way, although I think any sane lawyer would agree that there just isn't really a defensible case here.) The other part is that people have already pointed out numerous times that there exists a critical split between the activities of creation and distribution. We are not in the former; we are in the latter.
I do not approve of the C&D order. I have made this clear several times.
However, irrelevant arguments just don't do anything. That's what I'm getting frustrated at.
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You have failed to distinguish the problem of distribution. I'll show how this makes things quite thorny.Jesus|Fael wrote:Yeah the embedded thing wouldn't work if the AMVs were truely persecutable... which they arn't...
There is indeed no proven negative nor positive effect, which...really does nothing for the legal status of AMVs.Jesus|Fael wrote:Not only are the producers and distributers of said works doing such with no monitary gain, there is no proven effect upon the work's value.
Distribution exacerbates the problem in at least the following ways:
- The music in the AMV may very well be a derivative work of its own; say, the AMV creator has made some audio edits. This can easily affect the value of the original work when distributed: for example, an editor may edit the audio to fit his or her artistic vision, which may distort the original work. (Note that section 107 leaves the definition of "value" quite open, which makes your statement
questionable.)Jesus|Fael wrote:Remember again that the artist's work loses no value because its product is not being replaced.
- Both unmodified copies and derivatives do compete with the original work when distributed. Can you prove that there is zero or negligible negative effect?
- Distribution of transformative works like AMVs that may otherwise fall under "fair use" is neither explicitly mentioned nor hinted at in section 107, so that may very well blow the entire fair use defense out of the water. Without that, you are guilty under (at least) section 106(2).