Copyfraud or legitimate concerns? Controlling further uses of online archival holdings

American Archivist

Volumn 74, Issue 2, 2011, Pages 522-543

  Dryden, Jean ^a  

^a NONE

Author keywords

[No Author keywords available]

Indexed keywords

EID: 82455186311     PISSN: 03609081     EISSN: None     Source Type: Journal    
DOI: 10.17723/aarc.74.2.d5g2700q5612l4w7     Document Type: Article

References (47)

1. Jean Dryden, "Copyright in the Real World: Making Archival Material Available on the Internet" (PhD diss., University of Toronto, 2008), http://hdl.handle.net/1807/11198, accessed 13 March 2011.
2. Jason Mazzone, "Copyfraud," New York University Law Review 81 (2006): 1026-100.
3. nd ed. (Port Melbourne, Aus.: Thorpe, 1993), 477.
4. Jaak Valge and Birgit Kibal, "Restrictions on Access to Archives and Records in Europe: A History and the Current Situation," Journal of the Society of Archivists 28, no. 2 (2007): 204.
5. Peter B. Hirtle, "Archives or Assets?," American Archivist 66, no. 2 (2003): 240.
6. Mazzone, "Copyfraud," 1052-58.
7. Hirtle, "Archives or Assets?," 235-47;
8. Teresa Grose Beamsley, "Securing Digital Image Assets in Museums and Libraries: A Risk Management Approach," Library Trends 48, no. 2 (1999): 359-78;
9. Diane M. Zorich, Introduction to Managing Digital Assets Options for Cultural and Educational Organizations (Los Angeles: Getty Information Institute, 1999);
10. Lisa Brower, Cathy Henderson, Michael North, and Tara Wenger, "Licensing the Use of Special Collections Materials," Rare Books and Manuscripts 3, no. 2 (2002): 124-44;
11. Nancy E. Loe, "Avoiding the Golden Fleece: Licensing Agreements for Archives," American Archivist 67, no. 1 (2004), 58-85;
12. Richard Fyffe and Beth Forrest Warner, "Where the Giants Stand: Protecting the Public Domain in Digitization Contracts with Commercial Partners," Journal of Library Administration 42, nos. 3-4 (2005): 83-102.
13. Simon Tanner and Marilyn Deegan, "Exploring Charging Models for Digital Cultural Heritage in Europe," D-Lib Magazine 9, no. 5 (2003);
14. Tanner and Deegan, "Exploring Charging Models for Digital Library Cultural Heritage," Ariadne 34 (2002-2003).
15. Peter J. Astle and Adrienne Muir, "Digitization and Preservation in Public Libraries and Archives," Journal of Librarianship and Information Science 34, no. 2 (2002): 74.
16. Maxine K. Sitts, ed., Handbook for Digital Projects: A Management Tool for Preservation and Access (Andover, Mass.: Northeast Document Conservation Center, 2000);
17. Paula de Stefano, "Selection for Digital Conversion," in Moving Theory into Practice: Digital Imaging for Libraries and Archives, ed. Anne R. Kenney and Oya Y. Rieger (Mountain View, Calif.: Research Libraries Group, 2000);
18. Stuart D. Lee, Digital Imaging: A Practical Handbook (London: Library Association Publishing, 2001).
19. Michael Moss and James Currall, "Digitisation: Taking Stock," Journal of the Society of Archivists 25, no. 2 (2004): 131-32.
20. Amy L. Johnson, "Implications of American Copyright Law for Policies and Practices Regarding the Digitization of Manuscript Collections" (master's thesis, University of North Carolina, 2009), 41-42.
21. Alexandros Koulouris, and Sarantos Kapidakis, "Access and Reproduction Policies of University Digital Collections," Journal of Librarianship and Information Science 37, no. 1 (2005): 25-33;
22. Melanie Schlosser, "Unless Otherwise Indicated: A Survey of Copyright Statements on Digital Library Collections," College and Research Libraries (2009): 371-85;
23. Nathaniel Poor, "Copyright Notices in Traditional and New Media Journals: Lies, Damned Lies, and Copyright Notices," Journal of Computer-Mediated Communication 14 (2008): 101-26.
24. Kristin R. Eschenfelder, "Every Library's Nightmare? Digital Rights Management and Licensed Scholarly Digital Resources," College and Research Libraries 69, no. 3 (2008): 205-25;
25. Kristin R. Eschenfelder, "Controlling Access to and Use of Online Cultural Collections: A Survey of U.S. Archives, Libraries and Museums for IMLS" (Madison: University of Wisconsin-Madison School of Library and Information Studies, 2009);
26. Kristin R. Eschenfelder and Grace Agnew, "Technologies Employed to Control Access to or Use of Digital Cultural Collections: Controlled Online Collections," D-Lib Magazine 16, nos. 1-2 (2010).
27. Pennsylvania State University, Visual Image User Study, http://www.libraries.psu.edu/vius/summary. html (2003), accessed 13 March 2011;
28. Jennifer Trant and David Bearman, Amico On-Line User Survey: Preliminary Results (PowerPoint, 2003), www.amico.org/univ/docs/AMICO.AMM0305UserSurvey.pdf, 11, accessed 13 March 2011;
29. Daniel G. Dorner, Chern Li Liew, and Yen Ping Yeo, A Textured Sculpture: The Information Needs of End-Users of Digitised Collections of New Zealand Cultural Heritage Resources (Wellington, N.Z.: School of Information Management, Victoria University of Wellington, 2005), 29;
30. Daniel G. Dorner, Chern Li Liew, and Yen Ping Yeo, "A Textured Sculpture: The Information Needs of Users of Digitised New Zealand Cultural Heritage Resources," Online Information Review 31, no. 2 (2007), 179.
31. Peter Hirtle, "Removing All Restrictions: Cornell's New Policy on Use of Public Domain Reproductions," Research Library Issues: A Bimonthly Report from ARL, CNI, and SPARC, no. 266 (October 2009): 1-6.
32. Kathleen Connolly Butler, "Keeping the World Safe from Naked-Chicks-in-Art Refrigerator Magnets: The Plot to Control Art Images in the Public Domain through Copyrights in Photographic and Digital Reproductions," Hastings Communication and Entertainment Law Journal 21, no. 1 (1998-99): 55-127;
33. Susan M. Bielstein, Permissions, a Survival Guide: Blunt Talk About Art as Intellectual Property (Chicago: University of Chicago Press, 2006);
34. Mary Campbell Wojcik, "The Antithesis of Originality: Bridgeman, Image Licensors and the Public Domain," Hastings Communication and Entertainment Law Journal 30, no. 2 (2007-2008): 257-86;
35. Kenneth D. Crews and Melissa A. Brown, Control of Museum Art Images: The Reach and Limits of Copyright and Licensing, Social Science Research Network (2010), http://ssrn.com/abstract=1542070.
36. Rights and Reproductions Information Network (RARIN) of the Registrars Committee of the American Association of Museums, "Draft Report of the AAM Member Museums Rights and Reproductions Survey 2003-04 Results" (2004), http://www.panix.com/~squigle/rarin/RCAAMSurvey2003-4.pdf, accessed 13 March 2011;
37. Simon Tanner, "Reproduction Charging Models and Rights Policy for Digital Images in American Art Museums: A Mellon Foundation Study" (London: King's Digital Consultancy Services, 2004), http://www.kdcs.kcl.ac.uk/ fileadmin/documents/USMuseum-SimonTanner.pdf, accessed 13 March 2011.
38. Canadian Archival Information Network, http://www.archivescanada.ca
39. Dryden, "Copyright in the Real World," Appendix D, 278-95.
40. Dryden, "Copyright in the Real World," Appendix M, 304-9.
41. Dryden, "Copyright in the Real World," 165-89;
42. Jean Dryden, "Copyright Issues in the Selection of Archival Material for Internet Access," Archival Science 8, no. 2 (2009): 129-36.
43. Dryden, "Copyright Issues," 136.
44. NISO Framework Working Group, A Framework of Guidance for Building Good Digital Collections, 3rd ed. (Baltimore, Md.: NISO, 2007), http://www.niso.org/ publications/rp/framework3.pdf, 7-8, 11, 13-18, 81-82, accessed 13 March 2011.
45. NISO, http://framework.niso.org/node/5, accessed 13 March 2011.
46. Anne Kenney, "The Collaborative Imperative: Special Collections in the Digital Age," Research Library Issues: A Bimonthly Report from ARL, CNI, and SPARC, no. 267 (December 2009), 20-29, http://www.arl. org/resources/pubs/rli/archive/rli267.shtml, accessed 13 March 2011.
47. Jean Dryden, "What Canadian Archivists Know About Copyright and Where They Get Their Knowledge," Archivaria 69 (Spring 2010): 77-116.