International Inconsistencies In Copyright: What’s Available To The Public
International Inconsistencies In Copyright: Why It's Hard To Know What’s Really Available To The PUBLIC
Today, Santa Clara University is hosting a gathering of tech platform companies to discuss how they actually handle content moderation questions. Many of the participants have written short essays about the questions that are being discussed at this event. We've published a bunch of essays this week from the conference, and will continue with more next week.
Have you ever wondered why it can be hard to find out what some old paintings look like? Why there seem to be so few pictures of artistic works available from many countries even though they're filled with public sculptures and murals? Or why prices for books and movies can be so wildly different in different countries? The answer is that copyright law is different all over the world, and these differences can make figuring out what to do with these works so difficult or risky that most websites are not willing to have them around at all. This essay talks about a few of these works and why they add a major challenge to content moderation online.
To begin, Wikipedia and the Wikimedia Foundation that hosts it have a mission to host freely available educational content, which means that one of the areas that comes up for us quite often when we receive content moderation requests is whether something is truly free or not. This can come up in a bunch of different ways, and I'd like to talk about a few of them, and why they make it quite difficult to figure out what's really available to the public and what's not.
The first one is old pictures and manuscripts. It's generally accepted that if a work was published before 1923, then it's old enough that the author's rights have expired and the ability to freely copy, share, and remix the work shouldn't be limited by the law anymore. But that raises a couple questions. First, how do you know when something was published, especially back then? There's a whole swath of old pictures and writings that were prepared before 1923, but may have never been published at all until later, which then requires figuring out a different timing scheme or figuring out when the work was published: a sometimes very difficult affair due to records lost during the World Wars and various upheaval in the world over the last century. For just one example, a dispute about an old passport photo recently came down to whether it was taken in Egypt or Syria during a time when those national borders were very fluid. If it had been in Egypt, it would have been given U.S. copyright and protected because it was after 1923, but if it had been in Syria at the time, it would not have been protected because that country wasn't extended recognition for copyrights at the time.
A second example is works from countries with broad moral rights. All the works on Wikimedia projects that were made recently are dedicated by their authors to the public domain or licensed under free culture licenses like Creative Commons. However, these sorts of promises only work in some countries. There are international copyright treaties that cover a certain agreed-upon set of protections for every country, but many countries add additional rights on top of the treaties such as what are called moral rights. Moral rights in many countries give the creator the power to rescind a license and they cannot give up that power no matter how hard they try. It ends up looking something like this: "I promise that you can use my work forever as long as you give me attribution, and anyone else can reuse it too, and I want this to be irrevocable so that the public can benefit without having to come back to me." And then a couple years later, it's "oh, sorry, I've decided that I changed my mind, just forget my earlier promise." In some places that works, and because of that possibility, people can't always be sure that the creative works being offered to them are reliable.
A third problem is pictures of artwork. This one applies, though a bit differently, to both new and old works. With new photos of old works, it's a question of creativity. Copyrights are designed to reward people for their original creativity: you don't get a new "life of the author plus 70 years" of protection for making a photocopy. But in some places, they again go past the international rights agreed upon in the copyright treaties and add extra protections. In this case, many countries offer a couple decades worth of protection for taking a straight on 2-D photograph of an old work of art. The Wikimedia Foundation is currently in a lawsuit about this with the Reiss Engelhorn Museum in Germany, where the museum argues that photographs on its website are copyrighted even though the only thing shown in the photo is a public domain painting such as a portrait of Richard Wagner.
The other variation of problems with photos of art is photographs of more recent works out in the public. Did you know that in many places if you're walking in a park and you take a snapshot with a statue in it, you're actually violating someone's copyright? This varies from country to country: some places allow you to photograph artistic buildings but not sculptures or mosaics, other places let you take photographs of anything out in public, and others prohibit photographs of anything artistic even if it's displayed in public. This issue, called freedom of panorama, is one that many Wikimedians are concerned over, and is currently being debated in the European Parliament, but in the meantime can lead to very confused expectations about what sorts of things can be photographed as the answer varies depending on where you are.
The difficulty around so many of these types of works is that they put the public at risk. The works on Wikipedia, and works in the public domain or that are freely licensed more generally are supposed to be free for everyone to use. Copyright is built on a balance that rewards authors and artists for their creativity by letting them have a monopoly on who uses their works and how they're used. But the system has become so strong that even when the monopoly has expired and the creator is long dead, or when the creator wants to give their work away for free, it's extremely difficult for the public to understand what is usable and to use it safely and freely as intended. The public always has to be worried that old records might not be quite accurate, or that creators in many places will simply change their minds no matter how many promises and assurances they provide that they want to make something available for the public good.
These kinds of difficulties are one of the reasons why the Wikimedia Foundation made the decision to defer to the volunteer editors. The Wikimedia movement consists of volunteers from all over the world, and they get to decide on the rules for each different language of Wikipedia. This often helps to avoid conflicts, such as many languages spoken primarily in Europe choosing not to host images that might be allowed under U.S. fair use law, whereas English language does allow fair use images. It's difficult for a small company to know all the rules in hundreds of different countries, but individual volunteers from different places can often catch issues and resolve them even where the legal requirements are murky. As just one example, this has actually led Wikimedia volunteers who deal with photographs to have one of the most detailed policies for photographs of people of any website (and better than many law textbooks). In turn, volunteers handling so many of the content issues means that the Foundation is able to dedicate time from our lawyers to help clarify situations that do present a conflict such as the Reiss Engelhorn case of freedom or panorama issues already mentioned.
That said, even with efforts from many dedicated people around the world, issues like these international conflicts leave some amount of confusion and conflict. These issues often don't receive as much attention because they're not as large as, say, problems with pirated movies, but they present a more pernicious threat. As companies shy away from dealing with works that might be difficult to research or uncertain as to how the law applies to them, the public domain slowly shrinks over time and we are all poorer for it.
