Annemarie Bridy is a Professor of Law at the University of Idaho. She is also an Affiliated Fellow at the Yale Law School Information Society Project and a former Visiting Associate Research Scholar at the Princeton University Center for Information Technology Policy. Professor Bridy specializes in intellectual property and information law, with specific attention to the impact of new technologies on existing legal frameworks for the protection of intellectual property and the enforcement of intellectual property rights. She has testified before Congress on the safe harbor provisions of the Digital Millennium Copyright Act and is widely published on the shifting landscape of intermediary copyright liability and online anti-piracy/anti-
Professor Bridy holds a BA, summa cum laude and with distinction, from Boston University; an MA and a PhD from the University of California, Irvine; and a JD, magna cum laude, from the Temple University James E. Beasley School of Law. At the University of California, she was a Humanities Predoctoral Fellow and an Andrew W. Mellon Research Fellow in the Humanities.
The Fourth Circuit has issued its decision in BMG v. Cox. In case you haven’t been following the ins and outs of the suit, BMG sued Cox in 2014 alleging that the broadband provider was secondarily liable for its subscribers’ infringing file-sharing activity. In 2015, the trial court held that Cox was ineligible as a matter of law for the safe harbor in section 512(a) of the DMCA because it had failed to reasonably implement a policy for terminating the accounts of repeat infringers, as required by section 512(i). In 2016, a jury returned a $25M verdict for BMG, finding Cox liable for willful contributory infringement but not for vicarious infringement. Following the trial, Cox appealed both the safe harbor eligibility determination and the court’s jury instructions concerning the elements of contributory infringement. In a mixed result for Cox, the Fourth Circuit last week affirmed the court’s holding that Cox was ineligible for safe harbor, but remanded the case for retrial because the judge’s instructions to the jury understated the intent requirement for contributory infringement in a way that could have affected the jury’s verdict.
(NB: This headline does not obey Betteridge’s Law.)
Hollywood studios, led by Universal, have sued TickBox TV in federal district court in California, bringing their campaign against set-top box (STB) piracy stateside after a big win earlier this year in the EU. Last spring, the Dutch film and recording industry trade association BREIN prevailed in copyright litigation against the distributor of a STB called the Filmspeler. The CJEU held that the Filmspeler’s distributor, Wullems, directly infringed the plaintiffs’ copyrights—specifically, their right of communication to the public—by selling STBs loaded with software add-ons that provided easy access to infringing programming online. (I blogged about the Filmspeler case here.)
The US Supreme Court issued opinions in two important First Amendment cases this week, one of which obviously had to do with intellectual property law (Matal v. Tam) and one of which didn’t (Packingham v. North Carolina). There is, however, an implicit IP angle in Packingham that’s worth exploring, and it relates to online copyright enforcement.
The Pirate Bay (TPB), that perennial nemesis of copyright holders, is on the ropes again following the CJEU's decision this week in BREIN v. Ziggo. BREIN, the Dutch entertainment industry trade group, sued two ISPs—Ziggo and XS4ALL—seeking a court order to compel them to block the domain names and IP addresses of the legendary torrent sharing site. The Supreme Court of the Netherlands referred two questions to the CJEU: (1) whether TPB’s operation of a searchable index of torrent files violates copyright holders’ right of communication to the public under Article 3(1) of the EU InfoSoc Directive; and (2), in the event that it does, whether the requested injunctions are appropriate against intermediaries under Article 8(3) of the InfoSoc Directive and Article 11 of the IPR Enforcement Directive. This post will focus on the first question, concerning TPB’s liability for unauthorized “communication to the public.”
These comments were prepared and submitted in response to the U.S. Copyright Office's November 8, 2016 Notice of Inquiry requesting additional public comment on the impact and effectiveness of the DMCA safe harbor provisions in Section 512 of Title 17
Making Sense of the Recent Upheaval at the U.S. Copyright Office
These comments were prepared and submitted in response to the U.S. Copyright Office's December 31, 2015 Notice and Request for Public Comment on the impact and effectiveness of the DMCA safe harbor provisions in Section 512 of Title 17.
"However, Judge’s book likely falls under fair use, says Annemarie Bridy, professor of law at the University of Idaho. For one, Judge’s book is out of print, so the Internet Archive is not making revenue or taking revenue away from the author or publisher. Wasted is also a memoir, and copyright is stronger in creative works of fiction.
"Annemarie Bridy, an affiliate scholar at the Center for Internet and Society at Stanford University echoed that, telling the Daily Dot that “the First Amendment limits only the government’s ability to restrict freedom of speech. It doesn’t limit what corporations that own social media platforms can do.”
Bridy also brings up a second important point: that social media users agree to abide by the terms of service of the site they’re posting on.
"“Even if you think Spotify should be making content moderation decisions based on artists’ off-platform conduct, it’s pretty clear that they lack in-house competence and capacity to make fair judgments about that conduct,” said Annemarie Bridy, professor of law and affiliate scholar at the Stanford University Center for Internet and Society."
"Another law professor, Annemarie Bridy of the University of Idaho, lamented gCaptain's situation.
"It's a shame, really, to see people with meritorious defenses give up solely because they can't afford their day in court," she emailed Ars. "But that's how trademark bullying and IP trolling work. Right holders know that it's much cheaper and less stressful for an accused infringer to capitulate or settle than it is to try to win a case in federal court."
One of the most dangerous aspects of SOPA and other copyright proposals is the idea of moving enforcement and liability further down the stack of technology that powers the internet, even all the way to the DNS system. Although SOPA's DNS-blocking proposals were heavily criticized and the bill ultimately defeated, the idea of deep-level copyright enforcement has lived on and been implemented without changes to the law.
We've been talking about internet platform regulation for a long time, but in the past year these issues have gotten a huge amount of increased focus — for a bunch of fairly obvious reasons.