Professional Documents
Culture Documents
Monique Lloyd
Introduction
various situations and scenarios. This is certainly true for archivists, special collection
librarians, and museum curators who may be responsible for a wide range of materials
including personal papers, artifacts, photographs, oral and visual recordings, and
historical legal documents, among other types of items, in both physical and digital
formats.
institutions obtain when they accession new materials into their collections as well as
being concerned with protecting ownership rights while at the same time ensuring and
preserving fair use and use of works which are in the public domain.
This paper will examine some of these issues and will also look at the special
Archives
In his address at the 67th Annual Meeting of the Society of American Archivists in
Los Angeles in 2003, President Peter Hirtle discussed how copyright law makes a
distinction between physically owning an item and owning the copyright to that item
(Hirtle, 2003).
Copyright and Archives 3
He describes four possible scenarios. The first possibility is that archives do not own
the physical item or the copyright to it. This situation could occur if the item was merely
placed on deposit with the archives. He describes the three remaining scenarios which
…the archives can own the intellectual property in the piece, third parties can own
the intellectual property, or the work is in the public domain. (Hirtle, 2003)
Hirtle also discusses the rights of the owner. Among these is the right of
reproduction, including the right to reproduce for sale, an important consideration for
archives and repositories who may be struggling financially. In addition, archives and
libraries also have the right to make copies of unpublished works in order to preserve
His most important point in this address was that the strength of archives and their
ability to profit monetarily is through value-added services. In other words, the real value
in archives is not the physical items themselves, but instead the value archivists provide
users through their skills and knowledge. It is this information archives have about their
records and other holdings; the abilities, knowledge, and skills of the archivists and not
The effective administration of archives and services to donors and users requires
2001, p. 63)
Copyright and Archives 4
including understanding fair use, how ownership is transferred and what is transferred in
that process, the meaning of exclusive rights, and especially the differences in copyright
provisions for published and unpublished works (Maher, 2001). His primary concern is
the balancing of providing access with respecting the rights of the original creators.
Some types of formats bring their own unique challenges to the archival world
and copyright laws. This includes moving image and oral recordings, especially with
the additional factor of the availability of these digitally where they can easily be
downloaded from as well as uploaded to web sites. In an article entitled Archives and
Access in the 21st Century, Prelinger discusses ownership rights as well as access
concerns to these collections. While enthusiastic about the popularity of moving images
and oral recordings, he states that there are some archivists who insist on placing hurdles
causing unnecessary anxiety and over-cautiousness and thus doing a serious disservice to
their users. (Prelinger, 2007). He also makes the point that scholars are now looking at
moving image and oral recordings materials freely and easily available from the Internet
including YouTube, the BBC Creative Archive, the Library of Congress American
Memory Project, and the Internet Archive, among others, and that archivists must
Digital records and websites have had an enormous impact on how archives
Archivists are concerned both with the copyright repercussions of placing digital copies
of existing records, especially photographs, on websites, and with the large increase
Museums
….copyright law exists to serve the world of hard currency and commerce. A
test: does a situation exist that denies the owner of a protected work an
opportunity to profit financially from the copying of it? (Bielstein, pg. 33)
Yet there is still a pull towards the rights and needs of users to access and this leads to
limits of copyright.
In his article, Warwick points to the increasing use of licensing schemes that
are much stricter than copyright laws by those who believe that copyright laws do not
offer them sufficient protection or the ability to profit (Warwick, 2002). And while
some believe that copyright can continue to exist in a global, digital world, that the reality
Copyright and Archives 6
is that “information wants to be free” and will indeed be free at some point in the future,
others believe that even fair use rights will be eliminated reducing even more individuals
Museums are in a special position as they not only use works created by others,
they also create original works as well as own collections in trust for the public.
Developing policies, examining and evaluating rights in the digital and electronic
media as well as exploring outreach activities are important for both archives and
book written using focus groups from a variety of museums in collaboration with a legal
ownership rights while still protecting and preserving fair use and the use of works which
are in the public domain by understanding copyright laws, developing policies for both
staff and volunteers, and monitoring copyright issues. The author recommends
The care and use of American Indian archival materials held by non-tribal
organizations is an issue that involves differences between Western copyright laws and
The Protocols for Native American Archival Materials was developed in 2006 by
Native American and non-Native American representing fifteen Native American, First
Nation, and Aboriginal communities. The purpose was to develop best practices for care
One concern discussed in the protocols is the idea of copyright and ownership.
Some languages have no word for “self” as everything is community owned and
restricted.
American archival material, the Protocols state that there can be both philosophical and
Brown, in his book Who Owns Native Culture? discusses a fundamental principle
of copyright law that has worked against the protection of indigenous peoples. That
principle is that a work can only be protected when it has been translated to a “tangible
medium”. It must be fixed in some way as text or image, in clay, wood, or some other
fixable medium. The problem for indigenous peoples comes from the reality that in these
cultures information was conveyed orally or through physical action and thus is not
“fixed” in the sense that is required by copyright law. This has led to the exploitation of
Many indigenous populations view property rights in different ways than their Western
discussing Native American intellectual property issues states “We belong to the
‘property”; it doesn’t belong to us” (Protocols, p. 14) and James D. Nason (Comanche)
property and most especially esoteric knowledge are vital components of the
Problems result because Western copyright laws are based on principles opposite
information; protection of older or ancient works (e.g. rock art); the antiquity and
The Protocols propose three guidelines. One is that it is necessary that “right to
important to recognize that the entire discussion of “property” can be a difficult one in
communities which do not conform with the Western idea that an item can be owned
only by one person or entity. The third is to consider the idea of moral rights (droit
Conclusion
Archives and museums face continuing challenges reconciling the goal of access
to materials along with protecting the rights of the original creators as well as respecting
The recently released Section 108 Study Group Report, sponsored by the
Copyright Office and the National Digital Information Infrastructure and Preservation
Program of the Library of Congress, is the latest step that may in the future lead to
• Museums should be covered by Section 108 as they have many of the same
functions as libraries and archives and often partner with them in activities
relating to our Nation's historical, scientific and cultural heritage.
• Add fragile copies , defined as “those copies which exists in a medium that is
reason for this is that many items in archives are one of a kind and thus it is
necessary to find some way to preserve them and make them available to
researchers.
It is important to note that these recommendations are only advisory. The U.S.
Copyright Office will need to evaluate the recommendations and then propose legislative
changes and it will be up to Congress to decide whether or not to enact those changes.
Copyright laws will continue to evolve as we deal with these challenges in our
diverse world and continue to find, redefine, and share best practices with each other on
that journey.
Copyright and Archives 11
References
Bailey, C. (1989). Archival theory and electronic records. Archivaria, 29, 180-196.
Brown, M.F. (2003). Cultures and copyright. In M.F. Brown, Who owns Native
Bielstein, S.M (2006). Permissions, a survival guide: Blunt talk about art as
Maher, W. J. (2001). Between authors and users: Archives in the copyright vise.
Prelinger, R. (2007). Archives and access in the 21st century. Cinema Journal, 46, (3),
114-118.
Protocols for Native American archival materials. Retrieved April 8, 2008 from
http://www.firstarchivistscircle.org/files/index.html
Warwick, S. (2002). Copyright for libraries, museums, and archives. In T.A. Lipinski
(Ed.), Libraries, museums, and archives: Legal issues and ethical challenges in
the new information era (pp. 235-236). The Scarecrow Press, Lanham, MD
Winn, K. (1984) American archivists’ experience with copyright. Archivaria 19, 99-
104.
Copyright and Archives 12
Program of the Library of Congress. The Section 108 Study Group Report.
http://fairuse.stanford.edu/blog/2008/03/libraries-archives-and-museums.html
Copyright and Archives 13
Annotated Bibliography
Bielstein, S.M (2006). Permissions, a survival guide: Blunt talk about art as intellectual
Written by Susan M. Bielstein, the executive director for art, architecture, classical
studies, and film at the University of Chicago Press, this well-written and entertaining
book examines the topics of copyright and ownership with a focus on the museum world.
Her use of examples and stories are both useful and timely. Included are samples of
copyright permission letters, sample use permission letters, and a sample permission, log
and summary. A source page listing image banks and artists rights organizations is
included as well as an extensive list of materials for further reading. She also includes a
summary list of fees paid for the use of images in the book.
Brown, M.F. (2003). Who owns Native Culture? Harvard University Press, Cambridge,
MA
College is the author of this book which discusses how indigenous peoples from around
the world are working to protect their cultural knowledge, much of which is oral and thus
not copyrightable, from those who are attempting to exploit their indigenous knowledge.
He examines a number of case studies regarding intellectual property laws and examines
Copyright and Archives 14
some of the challenges inherit in protecting cultural heritages. There is also a website
and serves as “a clearing house for information about the on-going global struggle
for control of knowledge and cultural productions originating in the world’s indigenous
societies”.
http://archivists.org/governance/presidential/hirtle.asp
In his address at the 67th Annual Meeting of the Society of American Archivists in
Los Angeles in 2003, President Peter Hirtle discussed how copyright law makes a
distinction between physically owning an item and owning the copyright to that item.
His main point in this address is that the attempts of repositories to monopolize the
holdings in their care and profit financially by exploiting works that are in
the public domain should not succeed, adding that “such efforts make a mockery of the
copyright balance between the interests of the copyright creator and the public”. He
suggests that the real value in archives is not the physical items themselves, but instead
the value added services archivists can provide users through their skills and knowledge.
Maher, W.J. (2001). Between authors and users: Archivists in the copyright vise.
historical and economic factors which impact archives and archivists. He offers a
balanced view of providing access to users while at the same time respecting the rights of
the original authors and creators. He states that it is imperative for archivists to acquire a
including that of fair use, how ownership is transferred and what is transferred in that
process, the meaning of exclusive rights, and especially the differences in copyright
Mahler, W.J. (2006). Ten things every archivist needs to know about copyright.
http://www.library.uiuc.edu/archives/workpap/TOPTEN2006.pdf
This list provides a basic, concise, and well-organized copyright information for
with links. The author is well aware of the limitations of such a list and includes a
disclaimer stating that he is offering only an overview of copyright laws and that one’s
Prelinger, R. (2007). Archives and access in the 21st century. Cinema Journal, 46, (3),
114-118
Prelinger discusses ownership rights as well as access concerns to moving image and oral
collections. While enthusiastic about the popularity of moving images and oral
recordings, he states that there are some archivists who insist on placing hurdles
Copyright and Archives 16
causing unnecessary anxiety and over-cautiousness and thus doing a serious disservice to
their users.
Protocols for Native American archival materials. Retrieved April 8, 2008 from
http://www.firstarchivistscircle.org/files/index.html
The Protocols for Native American Archival Materials was developed in 2006 by
Native American and non-Native American representing fifteen Native American, First
Nation, and Aboriginal communities. The purpose was to develop best practices for care
importance of recognizing that some materials are culturally sensitive, and that context
provided.
This resource, funded by the Pew Charitable Trusts and produced in collaboration with
the J. Paul Getty Trust, was written with input from those experienced in the museum
field along with advice from a legal advisory team. It provides museum administrators
with information about copyright and trademark issues essential to their making decisions
about intellectual property issues. This includes the development of institutional policy
Copyright and Archives 17
and procedural statements. The guide contains practical information on copyright laws
Warwick, S. (2002). Copyright for libraries, museums, and archives. In T.A. Lipinski
(Ed.), Libraries, museums, and archives: Legal issues and ethical challenges in
the new information era (pp. 235-236). The Scarecrow Press, Lanham, MD
This chapter provides basic information about copyright laws for archivists and museum
administrators including the purposes of copyright laws, an overview of fair use, the
displays, and reserves. It also includes extensive reference materials on topics such as
Winn, K. (1984) American archivists’ experience with copyright. Archivaria 19, 99-
104.
This author, a Canadian archivist, discusses American copyright law and the effect it may
have on Canadian archivists. Among the topics discussed are copyright law and
between copyright and privacy as there has sometimes been some confusion resulting in
copyright being used as a way to justify protecting privacy. The author believes that
Canadian archivists should be able to avoid some of the uncertainty facing American
Copyright and Archives 18
archivists when new laws are passed as in Canada archival concerns are discussed while