Chapter 08 – Intellectual Property and Unfair Competition
nature. Also note the emphasis placed by the Court on the Copyright Act’s language that
lists criticism or comment as examples of the types of uses that are candidates for fair use
treatment. Parody, of course, often employs humor as a way of conveying criticism or
commentary. The Court emphasized, however, that in order for a parody to have
potential entitlement to fair use protection, it must contain criticism of, or commentary
on, the substance or style of the copyrighted work–as opposed to reflecting nothing more
than borrowing from the copyrighted work as a means of gaining attention or “avoid[ing]
the drudgery in working up something fresh.” Although the Court considered the call a
close one, it concluded that 2 Live Crew’s parodic version of “Oh, Pretty Woman” did
contain comment on the original version’s substance or style.
Ask the students about the Court’s analysis of the fair use factors. Factor #1 is the
purpose and character of the use, including whether it was for commercial purposes or
for nonprofit educational purposes. The Court stated that even though commercial
character tends to cut against fair use, the court of appeals erred when it made
commercial character a conclusive bar to fair use entitlement. A defendant’s commercial
purpose will often cause factor #1 to be viewed in favor of the copyright owner, but the
other factors must still be examined. Depending on the relevant facts, a commercial use
may still obtain the protection of the fair use doctrine.
Note, also, the Court’s comments that the significance of the commercial character of
the defendant’s use will vary from case to case, and that the use of a parody to help sell
another product might not be viewed as favorably in the fair use analysis as the sale of
the parody itself (the situation in Campbell). Although the Court did not explain these
comments, it appeared to be signaling that the use of a parody in a TV commercial for a
product may not be as good a candidate for the fair use label as the use present in
Campbell, in which the parody itself–2 Live Crew’s version of “Oh, Pretty Woman”–was
the thing being sold. The Court also made it clear that a defendant’s parodic purpose is a
relevant consideration under factor #1. To the extent that the parody is designed to
constitute criticism of the copyrighted work, the parody would have a purpose consistent
with the objectives underlying the fair use defense.
Factor #2 is the nature of the copyrighted work. This factor plays a much more
important role when there has been a borrowing from an unpublished copyrighted work.
In that event, factor #2 tends to cut rather strongly against fair use. Where, as here, the
borrowing was from a published work, factor #2 tends not to have much significance
either way. Moreover, as the Court points out, familiar published works are logical,
typical targets of parodists. Factor #2 is effectively neutral in this case.
Factor #3 considers the amount and substantiality of the portion of the work used, in
relation to the work as a whole. The Court adopts a pro-parody approach to this factor,
stressing that in order make a parody effective, the parodist must be able to borrow
enough from the copyrighted original to be able to “conjure up” the original in the minds
of readers, viewers, or listeners. If the parody’s audience cannot identify what is being
parodied, the humor and point of the parody are likely to be lost. The Court’s approach to
factor #3 means that the parodist is likely to be able to get away with more borrowing
that is the nonparodist borrower. For example, parodists such as the members of 2 Live
Crew, if they succeed with the fair use defense, would not be liable even though they
deliberately borrowed from “Oh, Pretty Woman” what probably was more than what
nonparodist George Harrison subconsciously borrowed from “He’s So Fine.” (See the
earlier discussion of the infringement case in which Harrison was held liable.)
Factor #4 considers the effect of the use on the potential market for, or value of, the
copyrighted work. As a general rule, a parody is not likely to have an adverse effect on
the market for the original, because the parody will not be viewed by the public as a
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