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Blanch It, Mix It, Mash It - Thomas M. Cooley Law School

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2011] FAIR USE FRAMEWORK 517<br />

presumptively privileged. 212 In general, mashups “‘almost invariably<br />

copy publicly known, expressive works’” 213 and “can only exist with<br />

a high level of appropriation; anything less would be insufficient.” 214<br />

Although mashups “do not strictly meet the definition of a parody,”<br />

they should be analyzed in the same manner as parodies. 215<br />

Essentially, when addressing these two factors, mashups should<br />

receive the same presumptive privilege as parodies earn. 216<br />

C. Market<br />

Under the fourth factor of the analysis, courts determine both the<br />

market harm caused by the alleged infringer and the aggregate effect<br />

that this type of conduct would produce. Therefore, the inquiry<br />

considers any possible harm to the derivative market of the<br />

original. 217 The only concern when discussing the derivative market<br />

for the original is the possibility of market substitution. 218<br />

Some courts maintain the view “‘that the fourth factor will favor<br />

the secondary user when the only possible adverse effect occasioned<br />

by the secondary use would be to a potential market or value that the<br />

copyright holder has not typically sought to, or reasonably been able<br />

to, obtain or capture.’” 219 Therefore, “if the copying was not of the<br />

type that an author reasonably would have foreseen” prior to the<br />

alleged infringement, then the copying cannot be construed as<br />

encroaching on the intentions of the original artist. 220 In <strong>Blanch</strong>,<br />

<strong>Blanch</strong> admitted that Niagara did not cause any harm to her career or<br />

plans for the photograph. 221 Furthermore, <strong>Blanch</strong> conceded that the<br />

value of her photography was not lowered by its use in Niagara. 222<br />

212. Lange & Anderson, supra note 35, at 145.<br />

213. Mongillo, supra note 50, at 29 (quoting Campbell v. Acuff-Rose Music,<br />

510 U.S. 569, 586 (1994)).<br />

214. Power, supra note 40, at 598.<br />

215. Id. at 592.<br />

216. See Lange & Anderson, supra note 35, at 145 (discussing how parodies<br />

became presumptively privileged).<br />

217. See NXIVM Corp. v. Ross Institute, 364 F.3d 471, 482 (2d Cir. 2004).<br />

218. Id. at 593.<br />

219. <strong>Blanch</strong> v. Koons, 396 F. Supp. 2d 476, 482 (S.D.N.Y. 2005) (quoting Am.<br />

Geophysical Union v. Texaco, Inc., 60 F.3d 913, 930 (1994)).<br />

220. Christopher Sprigman, Copyright and the Rule of Reason, 7 J. TELECOMM.<br />

& HIGH TECH. L. 317, 321 (2009).<br />

221. <strong>Blanch</strong> v. Koons, 467 F.3d 244, 258 (2d Cir. 2006).<br />

222. Id.

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