WILLIAM MITCHELL COLLEGE OF LAW
FINAL EXAMINATION
COPYRIGHT LAW
Professor Niels Schaumann
Saturday, May 7, 1994 - 1:00 p.m.
3 Hours
STUDENT TEST NO.
1. For anonymity, use your assigned test number which was mailed to you.
2. Put your test number on this page and on all bluebooks.
3. If you do not know your test number, you may obtain it at the Communication Center or in the Records Office (Cindy Boyum) during the first 30 minutes of the exam period.
4. If you do not use your test number, you will be deemed to have waived your privilege of anonymous grading.
5. TURN IN YOUR BLUEBOOKS AND THIS EXAM AT THE END OF THE PERIOD.
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STUDENT CONDUCT CODE
IT IS A VIOLATION OF THE CODE:
1. To use any sources which are forbidden by the instructor to complete an exam.
2. To submit as one's own work the work of another.
3. To engage in any conduct which tends to give an unfair advantage to any student in any academic matter.
Knowledge of any violation should be promptly reported.
VIOLATION OF THE STUDENT CONDUCT CODE MAY RESULT IN EXPULSION
OR SUSPENSION FROM THE COLLEGE OR DISMISSAL FROM THE CLASS.
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GRADUATING SENIORS: IF YOU ARE A GRADUATING SENIOR, NOTE THIS FACT ON ALL BLUEBOOKS AND THIS EXAM PAPER. DO SO CONSPICUOUSLY.
TYPING AREA: If you are going to type your examination, the typing area is located in the Boardroom. You must return the exam to this room at the conclusion of the exam period.
GENERAL INSTRUCTIONS
READ ALL THE INSTRUCTIONS!!!!
MATERIALS PERMITTED FOR THIS TEST: Gorman & Ginsburg, Copyright for the Nineties (4th ed. 1993), with 1992 statue supplement. In addition, you may use class notes, outlines and other materials prepared by you or by other students, and any material distributed by the instructor. NO OTHER MATERIAL IS PERMITTED.
1. This examination consists of two Parts, numbered I and II. Each Part is worth 50% of the total test score. No matter how long you spend on a Part, you can earn no more than half the total test score for your answer.
2. Answer all questions only according to the materials we studied in this class this semester.
3. BUDGET YOUR TIME.
Part I--Essays
(50% Total)
ESSAY INSTRUCTIONS
1. WRITE ON ONLY ONE SIDE OF THE PAGE. WRITE ON EVERY OTHER LINE.
2. Try to write legibly. I cannot give credit for an answer I cannot read.
3. Take some time to organize your answer. All other things being equal, a coherent response will earn more credit than one that rambles aimlessly.
4. The essays consist of one long answer and two short answer questions.
They are NOT each worth the same number of points. The moral of the story
is: BUDGET YOUR TIME.
Essay Question 1.
(Long Answer: 35%)
Frank is a notorious pornographer, convicted numerous times of federal obscenity-related offenses. Last month, Andrea, a local leader of the national political advocacy group Women Against Pornography ("WAP") purchased a videocassette copy of a pornographic film produced by Frank. Andrea intends to show the film at a meeting of the local chapter of WAP, to illustrate graphically WAP's contention that pornographic films are degrading to the "actors" and "actresses" appearing in them. The WAP meeting at which the film is to be shown is open to the public, and has been heavily advertised in the local media. After the film is shown, WAP plans to have an extensive discussion, moderated by experts, concerning the effects of pornography as well as issues of censorship and free speech. No admission will be charged.
Frank learned of the upcoming showing of the film, and wrote to Andrea, stating that: (1) WAP's showing of the film will amount to a public performance, (2) Section 106(4) of the Copyright Act of 1976 provides that the unlicensed public performance of a film violates the exclusive rights of the copyright owner, and (3) offering to sell a license to WAP for the performance "at our usual single-showing rate."
WAP unequivocally rejected Frank's offer of a license. Shortly after receiving WAP's rejection, Frank filed a lawsuit against WAP, alleging copyright infringement and seeking a preliminary injunction against the showing of the film.
WAP has retained you, a nationally-known copyright lawyer, to prepare
its defense. What defenses will you raise? What are the strengths and weaknesses
of each defense? Explain. You must assume that: (a) WAP indeed plans a
public performance of the film within § 106(4), (b) the performance
will not be licensed, and (c) a preliminary injunction would be an appropriate
remedy if you do not successfully raise a defense on the merits (i.e. confine
your argument to the merits, and do not address remedies).
Essay Question 2.
(Short Answer: 5%)
The United States Constitution provides, in relevant part: "The Congress shall have power ... To promote the Progress of Science and useful Arts, by securing for limited Times to Authors and Inventors the exclusive Right to their respective Writings and Discoveries."
In light of the foregoing language, should an author have to establish
that a work promotes the "progress of science and useful arts" in order
to obtain a copyright? Why or why not?
Essay Question 3.
(Short Answer: 10%)
Section 304(c) of the Act provides that a transfer of the renewal interest
can be terminated under certain circumstances. In light of the fact that
the renewal interest itself cuts off prior equities and constitutes a "new
estate," vesting in the author or her statutory successors, why does the
Act provide that a transfer of this interest can be terminated? Does this
provision defeat the reasonable expectations of transferees? Explain.
[CONTINUE WITH PART II ON THE NEXT PAGE]
PART II--Multiple Choice
( 50%)
MULTIPLE CHOICE INSTRUCTIONS
A. For each question in Part II, choose the most accurate answer (whether or not you think it fits perfectly). Print (do not write in script) the letter for your answer on the examination paper in the space provided immediately to the left of the question.
B. Each multiple-choice question is worth the same number of points (1.35 points).
C. Unless otherwise specified:
1. All references to the "Act" are to the Copyright Act of 1976, as in effect at the time specified. If no time is specified, references to the "Act" mean the Copyright Act of 1976 as in effect today. All references to the "1909 Act" are to the Copyright Act of 1909 (what else?).
2. All references to "sections" are to sections of the Act.
3. All references to "statutory successors" are to the persons specified in §§ 304(a)(1)(C) and 203(a)(2), as the context requires.
4. Words defined in the Act have the meanings assigned to them under the Act.
5. All actions taken and works created are governed by the Act.
D. Although I have diligently tried to make the questions as clear as possible, objective questions are very difficult to write. Moreover, law students under exam pressure are extraordinarily adept at spotting lurking ambiguities.
For these reasons, below each question there are three lines. If you consider it necessary to qualify your answer, you may use those lines to write in any additional information that you believe I should have.
The foregoing should not be construed as encouragement to qualify your answer. No "extra credit" will be given for material written in these spaces. Similarly, no points will be deducted for incorrect statements made in a qualification. If, however, students identify a material flaw in a question, I may allow more than one answer or, if necessary, not score the question at all.
E. With all that out of the way, I wish each of you a good summer. To those who are graduating, my best wishes for a successful career!
____ 1. The 1909 Act remains significant, even after passage of the 1976 Act, because:
A. A work that entered the public domain under the 1909 Act cannot be copyrighted under the 1976 Act.
B. Duration of copyright is determined by the 1909 Act for works created before January 1, 1978.
C. Whether a work is "published" is determined by the definition contained in the 1909 Act for all works.
D. All of the above.
E. A. and B. above, but not C.
A. Has never been amended since its passage.
B. Was actually passed in 1977.
C. Did not become effective until 1978.
D. All of the above.
E. None of the above.
A. The primary purpose of copyright was reinterpreted as the securing of the maximum financial benefit to the author.
B. Copyright protection extends as far (and wide) as the Constitution permits.
C. Creativity cannot be dismissed as irrelevant, because at least a tiny amount of creativity is required by the Constitution.
D. All of the above.
E. Both B. and C. above, but not A.
_____ 5. John copied an article from the William Mitchell Law Review by writing out the text and footnotes in longhand. John's act is an example of:
A. non-literal copying
B. verbatim copying
C. reverse engineering
D. all of the above
E. A. and B. above, but not C.
A. The title of a work is per se uncopyrightable.
B. The title of a work may be copyrightable, but few titles can meet the test for originality.
C. The title of a work is per se copyrightable.
D. The title of a work may be copyrightable, but only if the work is illustrated, so that the title, taken together with the illustrations, can be said to constitute "trade dress."
E. The title of a work may be copyrightable, but only if it is first registered as a trademark with the Patent and Trademark Office.
A. Allie might win a lawsuit for copyright infringement against Beth, but she (Allie) must also prove that she is the author of the poem.
B. Allie might win a lawsuit for copyright infringement against Beth, but she (Allie) must also prove that she published the poem first.
C. Allie might win a lawsuit for copyright infringement against Beth, but she (Allie) must also prove that Beth copied her poem from Allie.
D. All of the above.
E. A. and C. above, but not B.
A. Leaves intact the author's right to consent to the use of the work, but removes control over remuneration for such use.
B. Removes the author's right to consent to the use of the work, and reduces control over remuneration for such use.
C. Removes the author's right to consent to the use of the work, and removes control over remuneration for such use.
D. Leaves intact the author's right to consent to the use of the work, and enhances control over remuneration for such use.
E. Is required by the Constitution for certain classes of works.
A. A derivative work.
B. A compilation.
C. A collective work.
D. B. and C. above, but not A.
E. None of the above.
A. A derivative work.
B. A collective work.
C. A joint work.
D. All of the above.
E. A. and C. above, but not B.
A. Is a compilation.
B. Is copyrightable, if at all, only to the extent that Barry contributed "authorship" in the form of selection, arrangement and coordination of the data.
C. Might be copyrightable, but even if it is, it would not be infringed by an unlicensed public performance.
D. All of the above.
E. A. and B. above, but not C.
A. Infringes the 1993 translation, unless it is a "fair use" of B's volume of poetry.
B. Infringes the 1993 translation, if it copies protected expression from B's volume of poetry.
C. Infringes the 1993 translation, if it copies protected expression from the 1993 translation.
D. B. and C. above, but not A.
E. None of the above.
A. A useful article.
B. A pictorial work.
C. A compilation.
D. All of the above.
E. B. and C. above, but not A.
A. Is probably copyrightable, because Anne exercises enough judgment in selecting and arranging plates in the different categories to meet the copyright requirement of originality.
B. Is probably copyrightable, because it consists of text printed on pages and is therefore a literary work.
C. Is probably not copyrightable, because the contents are merely data concerning plates that have been assembled by Anne according to her opinions.
D. Is probably not copyrightable, because the idea of the catalog has merged with its expression.
E. Is probably not copyrightable, because after the Feist case
catalogs are not copyrightable.
A. Such works are usually not considered to be artistic enough to warrant copyright protection.
B. Permitting copyright in such works might inhibit the ability of other authors to create works based on the same historical facts.
C. Copyright in such works cannot be registered, because of a Copyright Office rule.
D. All of the above.
E. None of the above.
A. An innovative new skyscraper being built at the corner of Broadway and 34th Street in New York City.
B. The book "Less Than Zero," by Bret Easton Ellis (a work of fiction).
C. The song "Crucify," by Tori Amos (a popular song).
D. All of the above.
E. B. and C. above, but not A.
A. Anne is the owner of copyright in the poem "Placard."
B. John is the owner of copyright in the poem "Placard."
C. Anne and John are co-owners of the copyright in the poem "Placard."
D. The poem "Placard" is not copyrighted.
E. None of the above.
A. May resemble the original paintings too closely to be considered derivative works of the originals.
B. Are not derivative works because while a derivative work must be based on a preexisting work, the original paintings in this case are in the public domain, and are therefore not "preexisting works" under the Act.
C. Are copyrightable as compilations, even though the original paintings are in the public domain, because a compilation need not be based on a copyrighted work.
D. All of the above.
E. None of the above.
A. Might have infringed the Stephen King novel, but only if the screenplay is sufficiently original to qualify as a derivative work.
B. Might have infringed the Stephen King novel, but if writing the screenplay did not infringe the right to make copies of the novel, then it did not infringe any other rights in the novel.
C. Did not infringe the Stephen King novel, because it is a joint work authored by Stephen King and Bill.
D. A. and B. above, but not C.
E. None of the above.
A. A map of Minneapolis.
B. A globe showing the world as it was politically divided in 1865.
C. A plush toy version of Barney (the television dinosaur).
D. All of the above.
E. A. and B. above, but not C.
A. Selling copies of the English translations in the United States will not infringe the copyright in the original versions of the poems, as long as Paul pays the statutory royalty to the United States owner of copyright in the original versions of the poems.
B. Selling copies of the English translations in the United States will not infringe the copyright in the original versions of the poems, as long as Paul does not claim a copyright in the English translations.
C. Selling copies of the English translations in the United States will not infringe the copyright in the original versions of the poems, as long as Paul acknowledges that his translations were not authorized by the poet.
D. Selling copies of the English translations in the United States will infringe the copyright in the original versions of the poems, but Paul may distribute copies of the translations to the public in the United States without infringing if he does not charge for the copies.
E. None of the above.
A. Are derivative works of the object, but only if they are sufficiently original to be copyrightable.
B. May infringe Sara's photograph of the object, but only if Sara can prove that the sculptor had access to the photograph, and that the copies are substantially similar to the photograph.
C. Are derivative works of Sara's photograph, but only if they are sufficiently original to be copyrightable.
D. All of the above.
E. A. and B. above, but not C.
A. Is not available.
B. Is available only if the design is not the subject of a design patent.
C. Is available only if, inter alia, the design incorporates pictorial, graphic or sculptural features that are capable of existing independently of the utilitarian aspects of the article.
D. Is available only if the design demonstrates sufficient aesthetic merit to warrant copyright protection.
E. None of the above.
A. Permits copyright registration of a Halloween mask, as long as it is sufficiently original to be copyrightable.
B. Does not permit copyright registration of any object that is a useful article.
C. Permits copyright registration of a useful article, but only upon a showing that the article contains separable pictorial, graphic or sculptural elements.
D. A. and C. above, but not B.
E. None of the above.
A. Has created a derivative work of the preexisting work.
B. Has created an original, copyrightable work, of which Dawn is the sole author.
C. Has infringed the copyright in the preexisting work, but only if the preexisting work was protected by copyright at the time that Dawn copied from it.
D. A. and C. above, but not B.
E. None of the above.
A. Has infringed Anna's photograph, because the wooden objects she carved were copied from the photograph.
B. Has infringed Anna's photograph, because the wooden objects she carved are a derivative work of the photograph.
C. Did not infringe Anna's photograph.
D. A. and B. above, but not C.
E. None of the above.
A. Infringed the copyright in the building, because he made a derivative work of the building.
B. Not infringed the copyright in the building, but only if he can establish that his photographing the building was a fair use of the building under the Act.
C. Not infringed the copyright in the building, but only if he does not attempt to exploit the photograph for purposes of commercial gain.
D. Not infringed the copyright in the building, but only if he does not publish the photograph.
E. None of the above.
A. Comic-book characters (e.g. Mickey Mouse) are likely to be copyrightable.
B. Literary characters are never copyrightable.
C. Literary characters may be copyrightable, but only if they are sufficiently delineated.
D. A. and C. above, but not B.
E. None of the above.
A. Fred has the right to license the song to an advertising agency for use in a margarine commercial, but only if the license is non-exclusive.
B. When Fred made the cassette tape, he infringed Bob's copyright in the poem, even though Bob apparently does not wish to pursue that cause of action.
C. The song, with words by Bob and music by Fred, is a derivative work of Bob's poem.
D. B. and C. above, but not A.
E. None of the above.
"The parties agree that the copyrighted work (the "Work") resulting from [Donna's] efforts pursuant to this Agreement shall be deemed, for all purposes under the copyright laws of the United States, a work for hire. The parties further agree that [Donna] shall, and hereby does, transfer all her copyright interest in and to the Work to [the Orchestra]."
Donna composed the Work, and it was highly successful. Under the Act:
A. Donna has the right to become the sole owner of copyright in the Work approximately 35 years from the date she signed the contract, assuming that she does not transfer the copyright to anyone else.
B. The work is a work for hire, because Donna signed a written contract to that effect.
C. The work is a work for hire, regardless of the contract, because Donna was an employee of the orchestra for the purpose of creating the Work.
D. B. and C. above, but not A.
E. None of the above.
A. Evelyn has forfeited any copyright interest she had in the article, because it was published without notice of such a copyright interest.
B. Foreign Affairs magazine has the right to license the article to another publisher, for use in a book on United States foreign policy.
C. Foreign Affairs magazine has the right to republish Evelyn's article in a "Best of Foreign Affairs Magazine" special edition.
D. B. and C. above, but not A.
E. None of the above.
A. Betty no longer owns the copyright in the songs subject to the agreement, but she can reclaim the copyright in about 35 years, if she complies with the requirements of the Act.
B. If Max purports to license the songs to a Hollywood production company for use in a movie, Betty will have a cause of action for copyright infringement against both Max and the production company.
C. The agreement is ineffective to transfer any copyright interest to Max.
D. B. and C. above, but not A.
E. None of the above.
A. Harry has a cause of action against the stores at the mall for copyright infringement.
B. Sally has a cause of action against the stores at the mall for copyright infringement.
C. Harry and Sally have a cause of action against the stores at the mall for copyright infringement, but only if they join together as plaintiffs.
D. A. and B. above, but not C.
E. None of the above.
A. If Bob did not record his license by March 15, 1993, then Molly is the exclusive licensee and Bob has no publishing rights in Dale's book.
B. Molly has infringed Bob's license by publishing Dale's book, whether or not Bob records his license.
C. Molly did not infringe Bob's license by publishing Dale's book, because she didn't know of Bob's license, but she will infringe Bob's license if she continues to publish the book with knowledge of Bob's license.
D. If Bob did not record his license, Molly did not infringe Bob's license by publishing Dale's book, but Molly will infringe Bob's license if she continues to publish the book after Bob records the license.
E. None of the above.
A. March 3, 1988.
B. March 3, 1969.
C. December 31, 1969.
D. December 31, 1988.
E. None of the above.
A. The book is still protected by copyright, but any licensee of the right to prepare derivative works may continue to exploit the works.
B. The book is still protected by copyright, and any license to exploit derivative works has reverted to the owner of the renewal copyright.
C. The book is still protected by copyright, but the owner of the renewal copyright may lose the renewal interest if the statutory successors of the author exercise their termination rights.
D. The book is in the public domain.
E. None of the above.
A. Hawkes is entitled to the renewal interest in the novel.
B. Belle's statutory successors are entitled to the renewal interest in the novel.
C. Ownership of the renewal interest is not governed by the Act, because copyright was established under the Copyright Act of 1909.
D. A. and C. above, but not B.
E. None of the above.
****Multiple Choice Exam Answers****
1. A
2. C
3. C
4. not scored
5. B
6. B
7. E
8. B
9. D
10. E
11. E
12. C
13. E
14. A
15. B
16. D
17. D
18. A
19. B
20. D
21. E
22. A
23. C
24. D
25. B
26. C
27. E
28. D
29. D
30. A
31. C
32. D
33. B
34. A
35. D
36. D
37. B