公平使用如何改变了纪录片
How Fair Use Has Transformed Docuseries
2月，HBO发行了“ Allenv。Farrow”，这是一个由四部分组成的纪录片，研究了导致迪伦·法罗（Dylan Farrow）对父亲伍迪·艾伦（Woody Allen）的性虐待指控。同月，Skyhorse出版的出版威胁着针对高级电缆和纪录片的董事Kirby Dick and Amy Ziering的版权侵权诉讼，该系列在该系列的使用'使用艾伦（Allen）2020年回忆录中未经授权的音频摘录的使用中，“无所事事”。自从Skyhorse公开考虑提起诉讼以来，尚未出现，表面上是由于法律学说，称为公平使用。虽然这不是一个固定的边界的固定例外，但在过去的二十年中，合理使用学说成功地改变了纪录片的景观。这部电影遭受了预算的一部分，[因此无法使用]。 “如果公平使用did不存在，我们现在通过它们知道的纪录片的视觉语言会受到影响。因此，合理的使用学说不仅可以节省这种类型，而且还提高了它。在某些情况下，受版权保护的作品的作品。如果资产将上下文添加到一个项目，则电影制片人，新闻收集者，批评家或教育工作者可以使用受版权保护的作品（有声读物，电影，音乐，照片等）。公平使用中最复杂的部分是确定可以是多少无限制的内容可以是用过的。创作者只能在长度上调用受版权保护的材料的“合理适当”，以说明或充分支持所指出的点。没有指定的时间最小或最大时间。电影制片人与律师一起确定他们将给予无牌伴侣的屏幕时间娱乐律师迈克尔·唐纳森（Michael Donaldson）说：“ rials。 “因为在版权法中，它非常明确地说，公平使用不是版权的侵犯。在泰瑙尔（Tyrnauer）最近的Doc项目中，Showtime的四部分“ The Reagans”关于Ronald和Nancy Reagan的《从好莱坞到白宫的道路》中，他依靠档案片段和交谈来讲述他们的故事。尽管该系列预算的15％至20％用于获得受版权保护的材料的许可，但公平使用学说使董事可以包括由罗纳德·里根（Ronald Reagan）主演的旧电影的各个部分。蒂尔纳（Tyrnauer）说，他作为电影明星的职业生涯绝对至关重要。 “如果您无法做到这一点，那么您将无法讲述这个故事。而且，如果您无法支付许可方要求的高昂费用，那么您出于运气。”那是，除非您是Ken Burns。负责指导高度赞扬的PBS纪录片，包括今年的“海明威”，Burns和他的团队“许可他们确定的档案材料需要许可”，”董事的长期公关人员Joe Deplasco说，Burns由标志性的美国人共同指导的“ Hemingway”作家欧内斯特·海明威（Ernest Hemingway），与林恩·诺瓦克（Lynn Novack）一起。六小时的系列唱片鲜为人知的照片，档案片段和海明威的原始手稿。虽然尚不清楚公共领域是否在伯恩斯（Burns）访问作者的材料中发挥作用，但显然，该项目需要对大多数纪录片提供不满意的预算。确定版权材料的权利已在纪录片类型中实践，用于几十年。但是，确保此类材料的权利被证明是困难的，对于大多数制作而言，如果合法权利持有人认为其版权受到侵犯了UPO，则对大多数制作的昂贵和风险很高。n以任何方式。尽管是一个世纪历史的学说，但由于唐纳森（Donaldson）在柯比·迪克（Kirby Dick）的“这部电影尚未评分”中，电影制片人在2006年变得更加可行。唐纳森（Donaldson）在DOC社区中被称为“合理使用大师”，他与Dick合作，证明他合理地将134个电影片段纳入了“尚未尚未评级”的情况下。这些剪辑被用来说明和支持MPAA评级系统中的不一致之处。没有电影制片厂威胁要起诉或起诉迪克。虽然“尚未评分”和一本美国大学小册子，题为“纪录片电影制片人的最佳实践声明公平使用中的最佳实践声明”，在非小说电影中更经常利用，在非小说类电影中更经常使用的东西，竞争环境仍然没有水平。“那时，您无法获得根据合理使用的材料获得保险，”唐纳森说。 “因此，我开始与保险公司进行谈判。一年后，我终于有一家公司同意[保证公平使用]。纳尔保险。 2007年，它开始为电影制片人提供错误和遗漏（E＆O）保险，以与受版权保护的材料合理使用而产生的索赔。有了E＆O保险，版权持有人失去了上风，电影制片人能够捍卫自己的合理使用权。“明确：科学学和信仰监狱”，距离明星20英尺”和“我不是你的黑人” IMDB电视台的五部分纪录片“真实时刻”是无数无法制作或被提升的无数纪录片之一。这是另一个依赖于公平使用的非小说标题。该系列由克莱·约翰逊（Clay Johnson）和马修·佩尼亚罗（Matthew Perniciaro）执导，研究了1993年迈克尔·乔丹（Michael Jordan）父亲詹姆斯（James）的谋杀案。像泰瑙尔（Tyrnauer）一样，联合导演既有许可和公平用过的录像，包括与迈克尔·乔丹（Michael Jordan）有关的篮球材料和特定的国家新闻片段。历史，”佩尼亚罗说。“公平的使用使像我这样的电影制片人可以讲述故事的最佳版本，并为观众创造完整的360度体验。”
In February HBO released “Allen v. Farrow,” a four-part docuseries that examined the events that led up to Dylan Farrow’s sexual abuse allegations against her father, Woody Allen. That same month Skyhorse Publishing threatened a copyright infringement lawsuit against the premium cabler and the docuseries’ directors, Kirby Dick and Amy Ziering, over the series’ use of unauthorized audio excerpts from Allen’s 2020 memoir, “Apropos of Nothing.”
In the four months since Skyhorse publicly contemplated a lawsuit, one has yet to appear, ostensibly due to a legal doctrine called Fair Use. While it’s not a fixed exception with clearly defined borders, the Fair Use doctrine has successfully transformed the documentary landscape in the past two decades.
“Film is a visual medium and if key material, say a film clip, is exorbitantly priced and takes up an outsized fraction of your budget and [therefore can’t be used], the film suffers,” says director Matt Tyrnauer. “If Fair Use didn’t exist, the visual language of documentaries as we now know through them would suffer. So, the Fair Use doctrine not only saves the genre, but also elevates it.”
Fair Use makes it clear that copyright cannot become a form of private censorship by promoting freedom of expression and permitting the unlicensed — i.e., the unauthorized, free use — of copyright-protected works in certain circumstances. Filmmakers, news gatherers, critics or educators can use copyrighted works (audiobooks, movies, music, photographs, etc.) without permission if the asset adds context to a project.
The most complicated part of Fair Use is determining how much unlicensed content can be used. Creators can only invoke what is “reasonably appropriate” of the copyrighted material, in terms of length, to illustrate or sufficiently support the point being made. There are no stated time minimums or maximums. Filmmakers alongside their lawyers must determine how much screen time they will give unlicensed materials.
“There is nothing protected by copyright law which is not also subject to Fair Use,” says entertainment lawyer Michael Donaldson. “Because in the copyright law, it says very explicitly that Fair Use is not an infringement of copyright. It’s an exception.”
In Tyrnauer’s most recent doc project, Showtime’s four-part “The Reagans” about Ronald and Nancy Reagan’s path from Hollywood to the White House, he relied on archival footage and talking heads to tell their story. While 15% to 20% of the series’ budget went toward licensing copyright-protected materials, the Fair Use doctrine allowed the director to include various segments of old movies starring Ronald Reagan.
“If you want to show the work of your main character in his career as a movie star, it is absolutely essential to incorporate” those film clips, Tyrnauer says. “If you’re not able to do that, you are not able to tell the story. And if you’re not able to pay the exorbitant fees that the licensor is asking for, then you’re out of luck.”
That is unless you are Ken Burns. Responsible for directing the highly lauded PBS documentaries including this year’s “Hemingway,” Burns and his team “license the archival material they determine requires permission,” says the director’s longtime publicist Joe DePlasco.
Burns co-directed “Hemingway,” about the iconic American author Ernest Hemingway, alongside Lynn Novack. The six-hour series features rarely seen photographs, archival footage and Hemingway’s original manuscripts. While it isn’t clear if public domain played a role in Burns’ accessing the author’s materials, it’s apparent that the project required a hefty budget not afforded to most documentarians.
Licensing the rights to copyrighted materials has been in practice in the documentary genre for decades. But securing the rights to such materials proved difficult, prohibitively expensive to most productions and risky if the legal rights holders felt that their copyright had been infringed upon in any way.
Despite being a century old doctrine, Fair Use became more feasible to filmmakers in 2006 thanks to Donaldson’s work on Kirby Dick’s “This Film Is Not Yet Rated.” Known in the doc community as the Fair Use guru, Donaldson worked with Dick to justify his incorporation of 134 movie clips into “Not Yet Rated” under Fair Use. The clips were employed to illustrate and support the inconsistencies within the MPAA ratings system. No movie studios threatened to sue or ever sued Dick.
While “Not Yet Rated” and an American University booklet entitled “Documentary Filmmaker’s Statement of Best Practices in Fair Use” set things in motion for Fair Use to be utilized more often in nonfiction films, the playing field still wasn’t level.
“At that time, you could not get insurance for material used pursuant to Fair Use,” says Donaldson. “So, I started negotiating with insurance companies. After a year I finally got one company to agree [to insure Fair Use].”
The company was Media/Professional Insurance. In 2007 it began providing filmmakers with Error and Omissions (E&O) insurance against claims arising out of Fair Use of copyrighted material. With E&O insurance in place, copyright holders lost the upper hand and filmmakers were able to stand up for their Fair Use rights.
“Going Clear: Scientology and the Prison of Belief,” 20 Feet From Stardom” and “I am Not Your Negro” are among the countless documentaries that could not have been made or were elevated by Fair Using footage.
IMDb TV’s five-part docuseries “Moment of Truth” is yet another nonfiction title that relied on Fair Use. Directed by Clay Johnson and Matthew Perniciaro, the series examines the 1993 murder of Michael Jordan’s father, James. Like Tyrnauer, the co-directors both licensed and Fair Used footage including basketball material pertaining to Michael Jordan and specific national news segments.
“Right now, in our society, documentaries have the ability to reach audiences more than they ever have before in history,” Perniciaro says. “Fair Use allows filmmakers like me to tell the best version of the story and create that full 360-degree experience for a viewer.”
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发表于 2022-7-5 08:24:05
发表于 2022-10-15 19:53:05