Author: Jessica Meindertsma (page 1 of 4)

Workshop this week! Protecting and Promoting Your Research: From Copyright to Commercialization

Concerned about retaining ownership of your research output or getting assistance with publisher’s agreements? Interested in turning your intellectual property into business opportunities or products? Join the Copyright Resources Center and the Technology Commercialization Office for a discussion of important things to consider for protecting and promoting original research.

Who: OSU faculty, graduates, and postdocs
When: Thursday, March 26, 1:00 – 3:00pm
Where: Thompson Library, Room 150A/B
Register now for this free workshop.

Fair Use in Digital Storytelling

 “…(A) digital story is a short (3-5 minute) movie which uses images, voice, and music to tell a story. There are a variety of media that can be used to create digital stories and a variety of reasons for creating them. ” – The Ohio State University Digital Storytelling Program

Authors of digital stories remix and reuse materials to create something new: a short video with a personal narrative. Authors write and record their own narration and often use personal photos, video, and sound; however, they frequently incorporate copyrighted materials from other sources in order to develop powerful digital stories. For example, a narrative may require abstract images to help convey a particular idea or emotion, or a specific element of meaningful culture such as a quote from a favorite book or photo of a particular event.

The stories produced in connection with the OSU Digital Storytelling Program are posted on YouTube and shared on campus through occasional viewings. In order to promote legal use of third party materials and avoid takedown requests, participants in the OSU Digital Storytelling Program are encouraged to source materials as much as possible from the public domain, licensed collections (e.g. Creative Commons photos on Flickr), or create things themselves. However, there are times when an author wants or needs to use copyrighted material, and wants to rely on fair use or seek permission in order to proceed.

As defined in Section 107 of the U.S. Copyright Act, fair use is a defense against charges of copyright infringement determined through the analysis and application of the four fair use factors:

  1. the purpose and character of the use, including whether such use is of a commercial nature or is for nonprofit educational purposes;
  2. the nature of the copyrighted work;
  3. the amount and substantiality of the portion used in relation to the copyrighted work as a whole; and
  4. the effect of the use upon the potential market for or value of the copyrighted work.

The fair use exception is quite broad and can apply to a wide variety of uses (which could include digital storytelling) but the lack of specificity can make it difficult to ascertain whether or not a particular use may qualify as fair use.  Those considering fair use, should employ a fair use checklist to conduct an analysis and weigh the criteria favoring and opposing fair use (our video provides more information and an example of doing a fair use analysis).

Fair use and your role as a digital storyteller

As a digital storyteller, you may have the option to rely on fair use depending on what material you are using, and how and why you are using it. A fair use analysis will help you evaluate your answers to those questions.

The first factor of fair use is concerned with the purpose and character of a proposed use. As an author, you should think carefully about the purpose of your digital story. Is it educational? Are you commenting on, criticizing, or parodying the copyrighted work you wish to use? These types of purposes favor fair use.  Transformative use also weighs in favor of fair use. If you use a copyrighted work in your digital story for a purpose other than which it was originally intended for, you may be able to make an argument for transformative use of that material. Using your favorite song as a soundtrack to your digital story is not a transformative use, but criticizing the lyrics of another song for its message of oppression or intolerance could be a transformative use.

Ask yourself whether you need a particular work in order to accomplish the purpose of your digital story. If you simply need some piece of material that depicts archery as a recreational activity, then you do not need to use a clip of Katniss Everdeen from The Hunger Games.  You can likely find a public domain or Creative Commons licensed photo, or even take your own photo. On the other hand, if your digital story critiques or comments on the character of Katniss Everdeen specifically and how she contributes to the reversal of traditional gender roles in the Hunger Games, then you may actually need a clip or photo from the films to support your narrative.

The second factor of fair use requires you to assess the nature of the work you are using. Is it factual or fiction? Published or unpublished? Is it highly creative? Many materials likely to appear in a digital story, such as music and photos, are considered highly creative works; this weighs against fair use, but it could potentially be balanced out by the other factors.

The third factor of fair use considers the amount and substantiality of the portion of the copyrighted work being used. Ask yourself how much of a particular work you need to use in order to accomplish your purpose. In your digital story about how the television show The Walking Dead saved your life because it inspired you to prepare for emergencies, will a still image from the show suffice, or does your story comment on a particular scene that you need to show as a video clip in order to fulfill your purpose? To strengthen your argument in favor of fair use, use only the amount necessary to fulfill the purpose of your story.

The “substantiality” component of the third fair use factor refers to the significance of the material you want to use in relation to the entire copyrighted work. Could the scene you want to use from The Walking Dead be considered particularly significant to the show or a particular episode? This is sometimes referred to as using the “heart of the work”. Another way to phrase this could be: “how big of a spoiler is it?” Showing the death of a main character or major events from a season finale could be considered the heart of the work and weaken your argument for fair use (particularly if you did not necessarily need to use that particular scene to accomplish the purpose of your digital story).

The fourth factor of fair use considers the effect your use of the material could have on the potential market for or value of the original work. Could your use impact the copyright owner’s ability to profit from his or her work? Digital stories have the potential to cause a detrimental effect on the market for a work because they are accessible to the public online, and they will remain available for a long time. For example, using a popular copyrighted song as a soundtrack for your video could impair the market for that song by providing a substitute for purchasing the song as an MP3. Viewers could simply play the digital story whenever they wanted to listen to the song, as opposed to going out to buy their own copy.

You must consider all four factors of fair use when evaluating whether or not you have a strong argument in favor of fair use. No single factor is more important than the others; for example, an educational purpose does not automatically qualify a proposed use as fair use. Additionally, although each factor is equally important to a fair use analysis, checklist criteria should not be tallied up with a simple “majority rules” determination. You should keep an eye out for significant problems that could outweigh other criteria, such as a particularly damaging effect on the market for a work.

Still have questions about fair use? Contact the OSU Libraries’ Copyright Resources Center for assistance:


Phone: 614-688-5849


Twitter: @OSUCopyright


By Jessica Meindertsma, Rights Management Specialist at the Copyright Resources Center, The Ohio State University Libraries


Articles of interest: July-December 2014

This post highlights articles published in the last six months with a focus on copyright, especially as it pertains to libraries, higher education, and scholarly communication. Links to the full-text articles are provided when available; [OSU full-text] links will connect authenticated users through The Ohio State University Libraries, while [OA full-text] links point to an open access version of the article that should be available to all users.

Did we miss an interesting article? Please share the citation in the comments!


Abdenour, J. (2014). Documenting fair use: Has the statement of best practices loosened the fair use reins for documentary filmmakers? Communication Law & Policy19(3), 367-398. [OSU full-text]

Collins, S. (2014). YouTube and limitations of fair use in remix videos. Journal of Media Practice, 15(2), 92-106. [OSU full-text]

Cowart, T. W., Gershuny, P., & Hawk, G. B. (2014). A survey of state copyright law. Southern Law Journal24(2), 311-335. [OSU full-text]

Glushko, R., Graham, R., Ludbrook, A., & Martin, H. (2014). Understanding “large and liberal” in the context of higher education. Feliciter60(4), 14-21. [OSU full-text]

Heald, P. J. (2014). How copyright keeps works disappeared. Journal of Empirical Legal Studies11(4), 829-866. [OSU full-text]

Hua, J. J. (2014). Construction of digital commons and exploration of public domain. Journal of International Commercial Law & Technology, 9(3), 148-164. [OA full-text] / [OSU full-text]

Olson, K. K. (2014). The future of fair use. Communication Law & Policy19(4), 417-432. [OSU full-text]


Anderson, R. (2014). Asserting rights we don’t have. Library Journal139(15), 12. [OA full-text]

Behnk, R. b., Georgi, K., Granzow, R., & Atze, L. (2014). Testing the HathiTrust copyright search protocol in Germany: A pilot project on procedures and resources. D-Lib Magazine20(9/10), 1. [OA full-text]

Dougan, K. (2014). “YouTube has changed everything”? Music faculty, librarians, and their use and perceptions of YouTube. College & Research Libraries75(4), 575-589. [OA full-text]

King, R. (2014). House of Cards: The Academic Library Media Center in the Era of Streaming Video. Serials Librarian67(3), 289-306. [OSU full-text]

McKinnon, L. l., & Helge, K. S. (2014). Copyright, open access and library instruction. Library Hi Tech News31(10), 13-16. [OSU full-text]

Owen, V. (2014). The librarian’s role in the interpretation of copyright law: Acting in the public interest. Feliciter60(5), 8-12. [OSU full-text]

Rodriguez, J. E., Greer, K., & Shipman, B. (2014). Copyright and you: Copyright instruction for college students in the digital age. Journal of Academic Librarianship40(5), 486-491. [OSU full-text]

Schopfel, J., Chaudiron, S., Jacquemin, B., Prost, H., Severo, M., & Thiault, F. (2014). Open access to research data in electronic theses and dissertations: An overview. Library Hi Tech32(4), 612-627. [OSU full-text]

Soltau, C., & Farrell, A. (2014). Copyright and the Canadian for-profit library. Feliciter60(6), 9-14. [OSU full-text]

Williams, L. A., Fox, L. M., Roeder, C., & Hunter, L. (2014). Negotiating a text mining license for faculty researchers. Information Technology & Libraries33(3), 5-21. [OA full-text]

Publishing & scholarly communication

Dawson, D. D. (2014). The scholarly communications needs of faculty: An evidence based foundation for the development of library services. Evidence Based Library & Information Practice, 9(4), 4-28. [OA full-text]

Dutta, G., & Paul, D. (2014). Awareness on institutional repositories-related issues by faculty of University of Calcutta. DESIDOC Journal of Library & Information Technology34(4), 293-297. doi:10.14429/djlit.34.5138 [OSU full-text]

Rahmatian, A. (2014). Make the butterflies fly in formation? Management of copyright created by academics in UK universities. Legal Studies, 34(4), 709-735. [OSU full-text]



By Jessica Meindertsma, Rights Management Specialist at the Copyright Resources Center, The Ohio State University Libraries

Taking our show on the road with ODEE’s iTunes U Bootcamp in Cupertino, CA

Last week, I teamed up with the Office of Distance Education and eLearning (ODEE) to provide copyright assistance to OSU faculty and staff participating in ODEE’s Digital First iTunes U Bootcamp, which took place at Apple’s corporate headquarters in Cupertino, CA. Over the course of four days, I had a blast learning the ins and outs of the iTunes U platform, researching the always-interesting copyright queries that seem to crop up especially in relation to distance education, and getting to know my fellow Buckeyes along with our gracious hosts from Apple.

Group photo of OSU faculty and staff at Apple Headquarters

Ohio State University faculty and staff (including yours truly) outside Apple corporate headquarters.
Photo via Kevin Kula (@KulaOSU)

Rest assured, you don’t need to travel to California for copyright assistance if you’re developing an online course. With holidays coming to an end and faraway bootcamps concluded, your roaming copyright mavens have returned to Thompson Library. Feel free to give us a call, drop by our office, or we’d be happy to pay you a visit. If you’re looking for copyright information of the self-serve variety, many of our resources are also available online.

Copyright resources for distance education



By Jessica Meindertsma, Rights Management Specialist at the Copyright Resources Center, The Ohio State University Libraries

Public Domain Day – 2015

Image is a four panel comic strip titled “Public Domain Day – 2015”. First panel: Two people in an office setting exclaim: “Happy Public Domain Day!!!” and a caption states: “Many countries welcome new works into the public domain each year as copyrights expire on January 1st.” Second panel: One of the people from the first panel says: “This year’s collection of works entering the public domain in some countries** includes notable works like the famous painting “The Scream” by Edvard Munch.” Third panel: Shows a map of the United States with a caption that says: “However, due to the copyright extension included in the 1976 Copyright Act, no new works will enter the public domain in the USA until 2019. Fourth Panel: The other person from the first panel is shown in a posture and setting reminiscent of the painting “The Scream.”

It’s that time again! We celebrate Public Domain Day each year as many countries welcome new works into their public domain when the copyrights  for those works expire on January 1st.

Read our blog post on the public domain and its cultural importance, and visit these sites around the Web for more coverage of Public Domain Day 2015 and the works entering the public domain for various countries around the world:



By Jessica Meindertsma, Rights Management Specialist at the Copyright Resources Center, The Ohio State University Libraries

Open Access Week 2014

Happy Open Access Week to all! I hope you’ve been taking advantage of the vast array of educational events and joining in celebrations around the world this week in the name of Open Access. I’ve collected a few of the things that caught my eye for those still looking for another dose of OA:

Ohio artists remix the public domain: Q&A with Celia C. Peters, producer of Public Domain pop-up exhibit

As previously mentioned, a pop-up exhibit of new works by Ohio artists incorporating public domain materials will be on display October 11 at the Homeport Gallery in Columbus:

Event flyer: Public Domain art of the people, by the people. Ohio artists create from the public domain! Presented by Artistic Freedom Ltd.

Pop-Up Exhibit & Reception
October 11, 2014
Homeport Gallery
779 East Long Street
Columbus, OH 43215
​(Adjacent to the Lincoln Theater)

We reached out to the exhibit’s founder and producer, Celia C. Peters, to learn more about the upcoming show and the relationship between artists, art, and the public domain.

Copyright Resources Center: What inspired you to curate an exhibit featuring artwork that incorporates public domain materials?

Celia C. Peters: I thought it would be an interesting creative challenge to present artists with: asking them to choose an element that speaks to them and use that to create something new. I like the idea of artists being inspired by the work of creators who came before them —- not to plagiarize, but to create something completely unique. I call it ‘recycling creativity.’

Also, before coming here, I lived on the East Coast for some years before (I’m still pretty new to Columbus) and I wanted to bring a bit of the vibe I’m used to — something a little different — to the Columbus art scene. This show felt like just the thing.

CRC: In your experience, why is the public domain important to artists and art in general?

Peters: The public domain is important to artists because it connects us to artists from the past and our shared drive to create; there’s something very powerful about that. It also removes the barrier of licensing fees from the equation. Depending on the nature of a project, an artist may need to access music, imagery or other creative elements from outside sources….and that can be cost prohibitive or challenging in terms of tracking down who actually owns the rights and paying to use the content. But, in the case of public domain content, though, it belongs to all of us!

CRC: You required participating artists to verify that the works they used are in the public domain; how did this process work?

Peters: We initially provided artists with links to a plethora of public domain material that they could use for their pieces. Artists in the show are providing me with links to sources that confirm that either the expired copyright of the content they’ve used was not renewed or that the work has been put into the public domain by the copyright owner.

CRC: Have you encountered any confusion or misconceptions from artists or your audience about what the public domain actually is? Has this exhibit helped you to educate people about the public domain? 

Peters: There were a couple of artists who (like many others in the general public) weren’t quite clear on the boundaries of copyright.  I think feel it’s very important for all of us as artists to know what protection our own work has as well as making sure we don’t violate anyone else’s intellectual property rights, in particular having access to something versus having permission to use it. I. So I try to shed light on copyright and also clarify where the public domain comes into play. And of course, having the support of the Copyright Resource Center was a great resource! [Editor’s Note: Thanks! It was our pleasure.] In talking to people about the show, I’ve found that lots of folks have heard the term ‘public domain,’ but they weren’t really sure what it means. That’s why I decided to include the definition on the show’s web site!

CRC: Can you share a few details about the new art that will be on display at this exhibit, and/or the public domain works that were incorporated in the art on display?

Peters: Well, I don’t want to give too much away…but I will say that Public Domain is a group show and that it features artists working in a mix of media: illustration, 3D art, painting, graphic art, video and even paper sculpture. There are very diverse aesthetics and very distinctive perspectives represented in the show, which is exactly what I’d hoped for. The artists have pulled from very different areas of the public domain for inspiration and, something else that I’m quite excited about: many of them chose to use public domain content in a different medium than the one their piece is in. I love that they’ve mixed it up. It’s all about imagination!

CRC: Thanks Celia– We look forward to the exhibit!

headshot photo of Celia C. Peters

Photo of Ms. Peters
© 2014 Celia C. Peters

Celia C. Peters is an avant-garde filmmaker creating compelling stories of authentically diverse characters. Peters is a member of New York Women in Film and Television and the Writers Guild of America. Her psychologically inspired, character-driven screenwriting has been both prize-winning and recognized in competition otherwise. She is the founder of Artistic Freedom Ltd., and her graphic art, photography and video work have shown at galleries in New York, Dallas, Detroit and London. She is completing post-production of her science fiction short film, Roxë15 and developing her sci-fi feature film project, Godspeed. See her full bio at ARTISTIC FREEDOM LTD.


By Jessica Meindertsma, Rights Management Specialist at the Copyright Resources Center, The Ohio State University Libraries


Identifying United States federal government documents in the public domain

According to the Office of Management and Budget, the United States government “is the largest single producer, collector, consumer and disseminator of information in the United States.”  United States copyright law places works of the U.S. federal government in the public domain in the United States upon creation.

Works in the public domain are not protected by copyright; either copyright has expired or the work was never protected by copyright.  Changes to copyright law have increasingly limited the amount of works entering the public domain in the United States, which increases the importance of U.S. government documents as a source of new public domain materials.

At first glance, 17 U.S.C. §105, the section of the United States Copyright law that places works of the U.S. federal government in the public domain seems straightforward: “Copyright protection under this title is not available for any work of the United States Government”; but, as with many aspects of this law, things are rarely as simple as they seem.

Online Sources of U.S. Government Materials

As more United States government works become available digitally, many are conveniently made available online for public use. As always, just because a work is publicly available (e.g. online) it is not necessarily in the public domain.  Many websites providing access to U.S. government works also provide rights and permissions information that may indicate whether the works are in the public domain.

A few resources for finding U.S. government public domain materials are listed below; however, as always, be sure to check the copyright information for any specific item you want to use because many of these sites also contain materials that are not in the public domain.

I.   What the law says

17 U.S.C. §105 places “any work of the United States Government” in the public domain.  The law defines “work of the United States Government” in 17 U.S.C. §101 as (1) a work prepared by “an officer or employee of the United States Government” (2) “as part of that person’s official duties.”  A United States government work does not enter the public domain unless it satisfies both parts of this definition.

Section 105 is subject to several additional restrictions. It only applies to United States federal government works – it does not place state, local or foreign government works in the public domain.  And §105 only places U.S. government works into the public domain within the United States. Other countries are subject to their own copyright laws, which may provide copyright protection to United States government works in those countries.  Nor does §105 mean that all U.S. government works are available for use within the United States without restriction.  Even if a work meets the §105 requirements for entering the public domain, other limitations may apply such as an individual’s publicity or privacy rights, trademark limitations, Freedom of Information Act restrictions, or a prohibition against using information the materials to imply a government endorsement.

II.   Exploring the Definition

Even though §105 places many U.S. government works in the public domain, many other U.S. government works do not meet the statutory definition “work of the United States government” and receive copyright protection.  How could a United States government work fail to satisfy this definition?

Not all government works are created by employees or officials of the government.  If someone other than a U.S. government officer or employee, like a contractor, prepared a work for the agency, the work would not enter the public domain under §105.

Another situation where a possible U.S. government work does not enter the public domain under §105 occurs when a U.S. government official or employee prepares a work outside of their official duties.  In that instance, the U.S. government official or employee receives the same copyright protection as anyone else, since §105 only applies to those works prepared by a government officer or employee as part of their official duties.

For example, a U.S. Admiral received copyright protection for a speech he prepared on his own time while employed by the government because “the writing and delivery of the speeches formed no part of Admiral Rickover’s official duties and that the speeches are the Admiral’s private property which he was entitled to copyright” Public Affairs Associates, Inc. v. Rickover, 268 F.Supp. 444, 450 (1967).  Section 105 also does not apply to “personal narratives written by public servants after they leave Government service” Harper & Row Publishers v. Nation Enterprises, 471 U.S. 559, fn. 6 (1985).

III.   Applying the Definition

As a practical matter, it can be difficult to tell whether a United States government work falls within §105 and therefore belongs to the public domain.  Some documents do explicitly indicate whether the contents are in the public domain.  Many do not.

If a document does not indicate whether it is in the public domain, someone wanting to use the document in a way that might implicate copyright must try to make an informed decision about whether or not the document is in the public domain.  The following bullet points provide suggestions on what to look for and things to think about when investigating the copyright status of a U.S. government document.

  • Look for a copyright notice on the work. A notice indicates that someone is claiming a copyright in the work, whether the copyright is claimed by the government or a third party.  Section 105 does not prohibit the U.S. government from holding a copyright in the United States.  Although §105 places items created by the government in the public domain, the law also permits the United States government to hold copyrights “transferred to it by assignment, bequest, or otherwise” (17 U.S.C. §105).
  • Look for a statement indicating that the work is in the public domain (as seen in the image below), but keep in mind that the government is not required to put a public domain notice on works, and not all works with public domain status under §105 will display a notice.

    Photograph of a public domain notice on a US federal government publication: Public Domain Notice: All material appearing in this publication is in the public domain and may be reproduced or copied without permission from SAMHSA. Citation of the source is appreciated. However, this publication may not be reproduced or distributed for a fee without the specific, written authorization of the Office of Communications, SAMHSA, HHS.

    Center for Substance Abuse Prevention (U.S.), & ICF International (Firm). (2010). Focus on prevention. Rockville, MD: U.S. Dept. of Health and Human Services, Substance Abuse and Mental Health Services Administration, Center for Substance Abuse Prevention.

  • Are the authors identified as employees or staff of the government agency? This may be an indication that the work qualifies as a “work of the United States Government” and belongs to the public domain.
  • Look for information indicating that the author(s) was not a government employee or official. For example, works prepared by a contractor, commissioned by the agency from another organization, or created by some other third party. Author affiliations and biographies may provide additional clues.If the document provides the authors’ names, but not their affiliation(s), researching the author(s) may reveal whether they work for the government.
  • Contact the government agency and ask for additional information about the document.  Even if they are not able or willing to tell you whether it is in the public domain, they may be able to provide additional information about the creation of the document that will help you determine its status.

IV.   Conclusion

Government information is a valuable national resource.  Section 105 places U.S. government works in the public domain to facilitate use of this important resource.   If users cannot clearly determine that a U.S. government document belongs in the public domain, they may have to treat the work as protected by copyright – which seems contrary to the reason Congress placed such works in the public domain.

Ideally, U.S government agencies would clearly indicate whether a work belongs in the public domain. Historically, this has not been the case; however as more works become available digitally, U.S. government agencies may increasingly provide rights information indicating whether the works fall within the public domain.

Despite the challenges involved in determining the copyright status of some U.S. government works, it is possible to identify many U.S. government works as part of the public domain.  Although it may not be as simple as it should be to identify public domain “work[s] of the United States Government”, the U.S. government remains an important source of public domain material.


Marc Jaffy is a graduate of the Kent State University School of Library and Information Science and former practicum student at the OSU Libraries Copyright Resources Center 

Upcoming copyright workshops offered through the University Libraries’ Research Commons

The University Libraries’ Copyright Resources Center is partnering with our colleagues at the Research Commons and other experts across campus to bring you three new workshops this fall! These workshops are intended to support OSU researchers at specific stages of the research process. Find descriptions of the copyright-related sessions and registration links below, and visit the Research Commons events page to peruse the complete schedule of upcoming workshops.

Fair Use and You: Copyright Considerations for Writing Theses and Dissertations

Want to know more about how copyright law and fair use affect what you can and can’t use in your work? Have you hit a wall with your writing and need some support to get back on track? Join the Copyright Resources Center and the Writing Center for an overview of author’s rights, copyright, and the services offered to help keep you productive as a writer.

Who: OSU graduates and undergraduates
When: Tuesday, October 21, 3:00 – 4:30pm
Where: Thompson Library, Room 165
Register now for this free workshop.

Protecting and Promoting Your Research: From Copyright to Commercialization

Concerned about retaining ownership of your research output or getting assistance with publisher’s agreements? Interested in turning your intellectual property into business opportunities or products? Join the Copyright Resources Center and the Technology Commercialization Office for a discussion of important things to consider for protecting and promoting original research.

Who: OSU faculty and postdocs
When: Wednesday, October 29, 2:00 – 4:00pm
Where: Thompson Library, Room 165
Register now for this free workshop.

Publishing Images in the Digital World

Interested in learning more about the basics of digital imaging, including image quality, reproduction, and file types? Need to know how to locate and clear rights to use images in a publication? Join the Fine Arts Librarian and the Copyright Resources Center for an overview of issues associated with preparing and publishing images in print and electronic formats.

Who: This workshop is primarily aimed at graduate and undergraduate researchers in Art, Art Education, Art History, Cinema Studies, Design, and Material and Visual Culture, but is open to researchers in all disciplines interested in learning more about formatting and publishing images.
When: Wednesday, November 5, 5:00 – 6:30pm
Where: Fine Arts Library (located on the lower level of The Wexner Center for the Arts)
Register now for this free workshop. (Due to limits on available technology, this workshop will be capped at 15 attendees.)



By Jessica Meindertsma, Rights Management Specialist at the Copyright Resources Center, The Ohio State University Libraries

Back to School Workshop: Copyright and Fair Use in the Classroom

Please join the OSU Libraries’ Copyright Resources Center and the Health Sciences Library Copyright Coordinator for a session on copyright in the classroom that will help you understand your rights and responsibilities as an educator. We will review the principles of fair use, suggest tools to help evaluate the rights involved with using copyrighted materials, and utilize case examples to illustrate common copyright questions related to teaching and learning. Bring a laptop or mobile device to participate in interactive portions of the session.

This workshop will be offered twice, and instructors will be available for an additional 30 minutes at the end of each session for optional Q&A.

September 11, 2014
Health Sciences Library (Prior Hall), Room 400

September 22, 2014
Thompson Library, Room 150B

Please RSVP at the following link:

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