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Davethebrave private msg quote post Address this user | |
Completely distinguishable. The case (claim) cited below is more like claiming a CGC graded slab constitutes a potential copyright violation (encasement and fee/cost for the encasement that now includes information in addition to the original work). Obviously it doesn’t (and thanks to the case you cite, precedent is established).
Quote:
Originally Posted by dielinfinite @Byrdibyrd @Jesse_O
Annie LEE v. A.R.T. COMPANY is an interesting case to look at. A company bought notecards and lithographs from an artist then mounted them on tiles, glazed them with resin and resold them. The case was rules in favor of the company.
Part of the rationale was that the company “bought the work legitimately, mounted it on a tile, and resold what it had purchased. Because the artist could capture the value of her art's contribution to the finished product as part of the price for the original transaction, the economic rationale for protecting an adaptation as "derivative" is absent…An alteration that includes (or consumes) a complete copy of the original lacks economic significance. One work changes hands multiple times, exactly what [the law] permits, so it may lack legal significance too”
Where I can a legal opening is later on in the opinion. The case was decided whether the alteration was sufficient to make it a derivative work. In this case the court did not find that mounting and glazing the art was sufficient to meet the standard for a derivative work, particularly the portion saying if the “work may be recast, transformed, or adapted.” In this case, the court did not find the mounting process to rise to the standard of a derivative work however similar cases (see MIRAGE EDITIONS v. ALBUQUERQUE A.R.T. CO) have ruled differently.
I can definitely see the argument of the copyrighted work being “recast” and thus becoming a derivative work where Marvel would have rights but I also can’t say it’s such a sure thing that they would surely prevail, though I’d imagine Marvel simply threatening legal action, regardless of it’s chances of prevailing, would be enough to get Black Flag to change its behavior Quote:
Originally Posted by dielinfinite @Byrdibyrd @Jesse_O
Annie LEE v. A.R.T. COMPANY is an interesting case to look at. A company bought notecards and lithographs from an artist then mounted them on tiles, glazed them with resin and resold them. The case was rules in favor of the company.
Part of the rationale was that the company “bought the work legitimately, mounted it on a tile, and resold what it had purchased. Because the artist could capture the value of her art's contribution to the finished product as part of the price for the original transaction, the economic rationale for protecting an adaptation as "derivative" is absent…An alteration that includes (or consumes) a complete copy of the original lacks economic significance. One work changes hands multiple times, exactly what [the law] permits, so it may lack legal significance too”
Where I can a legal opening is later on in the opinion. The case was decided whether the alteration was sufficient to make it a derivative work. In this case the court did not find that mounting and glazing the art was sufficient to meet the standard for a derivative work, particularly the portion saying if the “work may be recast, transformed, or adapted.” In this case, the court did not find the mounting process to rise to the standard of a derivative work however similar cases (see MIRAGE EDITIONS v. ALBUQUERQUE A.R.T. CO) have ruled differently.
I can definitely see the argument of the copyrighted work being “recast” and thus becoming a derivative work where Marvel would have rights but I also can’t say it’s such a sure thing that they would surely prevail, though I’d imagine Marvel simply threatening legal action, regardless of it’s chances of prevailing, would be enough to get Black Flag to change its behavior |
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