Fair use (Poland)

The copyright holder has the exclusive right to use, dispose of, and receive remuneration for the use of a work. In certain cases, this monopoly may be limited by statutory provisions.{{Cite web |date=4 February 1994 |title=Obwieszczenie Marszałka Sejmu Rzeczypospolitej Polskiej z dnia 21 maja 2021 r. w sprawie ogłoszenia jednolitego tekstu ustawy o prawie autorskim i prawach pokrewnych |trans-title=Announcement of the Marshal of the Sejm of the Republic of Poland of 21 May 2021 on the Publication of the Uniform Text of the Act on Copyright and Related Rights |url=https://isap.sejm.gov.pl/isap.nsf/DocDetails.xsp?id=WDU20210001062 |access-date=2025-02-03 |website=isap.sejm.gov.pl |language=pl}} Some legal experts argue that this is not limited to the copyright and related rights act but also includes, among others, the civil code and treaties.{{Harvard citation text|Marcinkowska|2004|p=127}}

One such institution is fair use, regulated in Chapter III, Section 3 of the Copyright Act. Its purpose is to allow users free (to a certain extent) access to creative works, enabling the use of works without the need for explicit permission from the copyright holder and, as a rule, without payment of remuneration.{{Cite book |last=Błeszyński |first=J. |title=Prawo autorskie |publisher=Państwowe Wydawnictwo Naukowe |year=1988 |location=Warsaw |pages=132-134, 144-146 |language=pl |trans-title=Copyright Law}}

The justification for fair use is both practical (personal interests of users in the case of private fair use) and purposive (public interest in the case of public fair use).{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=569}} Fair use (exceptions and limitations to copyright in general) is considered a "classic institution of copyright law".{{Cite journal |last=Gienas |first=K. |date=2012 |title=Użytek dla celów osób niepełnosprawnych na tle prawa unijnego i polskiego |trans-title=Use for the Purposes of Persons with Disabilities in the Context of EU and Polish Law |journal=Prace z Prawa Własności Intelektualnej UJ |language=pl |issue=118 |page=41 |issn=0137-236X}}

The term "fair use" does not originate from legal writing. It was introduced as the title of a group of provisions in the Polish Copyright and Related Rights Act of 1994. Previously, in the acts of 1926 and 1952, such a term did not exist.{{Harvard citation text|Marcinkowska|2004|p=80}} Some have expressed the view that "fair use" is a functional rather than a strictly legal concept. Thus, it encompasses provisions that are connected not by their nature but by their intended purpose.{{Harvard citation text|Szczotka|2013|p=81}}

Since fair use is such a specific concept, discussions about the relationship between "fair use" and "copyright limitations" are not pursued. The distinction between terms such as "fair use" and "statutory licenses" also remains unclear. Scholars who propose a clear classification of broadly understood copyright limitations agree that it cannot be directly applied to existing regulations. While standardizing terminology would not affect the application of the provisions, it would be convenient.{{Harvard citation text|Marcinkowska|2004|p=83}}

Provisions on fair use were included in the copyright acts of 1926 and 1952. In the former, they were outlined in Articles from 13 to 17, within Chapter II, titled Limitations on Copyright.{{Cite web |title=Ustawa z dnia 29 marca 1926 r. o prawie autorskim |trans-title=Act of 29 March 1926 on Copyright |url=https://isap.sejm.gov.pl/isap.nsf/DocDetails.xsp?id=WDU19260480286 |access-date=2025-02-03 |website=isap.sejm.gov.pl |language=pl}} These provisions allowed, among other things, private use, reprinting, and the broadcasting of works on the radio.{{Cite journal |last=Rubisz |first=S. |date=2006 |title=Istota i proces kształtowania się instytucji dozwolonego użytku w prawie autorskim |trans-title=The Essence and Development Process of the Institution of Fair Use in Copyright Law |journal=Prace Instytutu Prawa Własności Intelektualnej UJ |language=pl |location=Kraków |publisher=Zakamycze |issue=93 |page=195 |issn=0137-236X}} In the 1952 act, fair use provisions were found in Articles from 18 to 22, within Chapter III, titled Content of Copyright.{{Cite web |title=Ustawa z dnia 10 lipca 1952 r. o prawie autorskim |trans-title=Act of 10 July 1952 on Copyright |url=https://isap.sejm.gov.pl/isap.nsf/DocDetails.xsp?id=WDU19520340234 |access-date=2025-02-03 |website=isap.sejm.gov.pl |language=pl}} The amendments made to this act were flawed – internally inconsistent and not adapted to technological developments. It was during the enforcement of the 1952 act that mass copying onto magnetic tapes emerged, leading to proposals for the introduction of private copying levys.

The fair use provisions of the 1994 Copyright Act have been amended multiple times. In 2004 and 2015, changes were introduced to align Polish law with European Union regulations (Directive 2001/29/EC).{{Cite web |date=22 May 2001 |title=Dyrektywa 2001/29/WE Parlamentu Europejskiego i Rady z dnia 22 maja 2001 r. w sprawie harmonizacji niektórych aspektów praw autorskich i pokrewnych w społeczeństwie informacyjnym |trans-title=Directive 2001/29/EC of the European Parliament and of the Council of 22 May 2001 on the Harmonisation of Certain Aspects of Copyright and Related Rights in the Information Society |url=https://eur-lex.europa.eu/legal-content/PL/ALL/?uri=CELEX:32001L0029 |access-date=2025-02-03 |website=eur-lex.europa.eu |language=pl}} For private fair use, a requirement was added that only "single copies" of works could be used. Additionally, several new provisions regarding public fair use were introduced.{{Cite web |title=Rządowy projekt ustawy o zmianie ustawy o prawie autorskim i prawach pokrewnych |trans-title=Government Bill Amending the Act on Copyright and Related Rights |url=http://orka.sejm.gov.pl/proc4.nsf/opisy/2465.htm |access-date=2025-02-03 |website=orka.sejm.gov.pl |language=pl}}{{Cite web |title=Rządowy projekt ustawy o zmianie ustawy o prawie autorskim i prawach pokrewnych oraz ustawy o grach hazardowych |trans-title=Government Bill Amending the Act on Copyright and Related Rights and the Act on Gambling Games |url=http://www.sejm.gov.pl/Sejm7.nsf/PrzebiegProc.xsp?nr=3449 |access-date=2025-02-03 |website=www.sejm.gov.pl |language=pl}}

Fair use applies only to certain ways of using specific groups of works. These uses are difficult to systematize or generalize. It is widely accepted that there are no universal criteria for fair use, and formulating them appears impossible.{{Harvard citation text|Machała|2003|p=34}} However, some legal scholars disagree. Although the provisions vary in terms of permitted use, they share a common regulatory approach. Based on this, eight legal principles have been proposed to aid in interpreting the provisions:

• Principle of a closed list of fair use forms
• Principle of using a published work
• Principle of universality – fair use must be accessible to all (e.g., private fair use) or to everyone within a defined group (e.g., library fair use){{Harvard citation text|Machała|2003|p=37}}
• Principle of loyalty – fair use must not interfere with the normal exploitation of a work (the Berne three-step test)
• Principle of respecting moral rights
• Principle of use without remuneration
• Principles of either limiting freedom or limiting the scope of copyright enforcement, depending on the adopted concept
• Principle of the user's subjective right – a proposal from one scholar

Since no general concept of fair use exists, some propose aligning Polish regulations with the American fair use doctrine. However, adopting a foreign legal concept would slow down court proceedings.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=571}} A potential solution could be drawing from Canada's experience, where fair dealing has been adapted to resemble the American fair use.

The Polish Copyright Act, like the laws of other droit d'auteur systems and European Union law, employs a case-specific approach to regulating copyright exceptions and limitations. Experts conclude that, since the principle is the exclusivity of the author's rights, fair use is an exception to this rule. Therefore, the legal maxim exceptiones non sunt extendae applies, meaning that exceptions should be interpreted strictly, without drawing analogies between different forms of fair use.{{Harvard citation text|Marcinkowska|2004|p=84}} Some legal scholars, however, allow for analogy, provided that the legitimate interests of creators and the function of a given provision are taken into account. They argue that the prohibition of analogy "lacks normative grounds and is not justified on axiological grounds".{{Harvard citation text|Barta|Markiewicz|2016|p=191}}

Fair use does not infringe upon moral rights, including the author's right to decide on the first public release of a work (the right of dissemination). In other words, fair use applies only to published works. This rule has traditionally been upheld in droit d'auteur systems.{{Harvard citation text|Machała|2003|p=86}} During the enforcement of the 1926 Polish Copyright Act, legal scholars were uncertain whether this rule applied, as it was not explicitly stated in the legislation.{{Harvard citation text|Machała|2003|p=85}} The 1994 Act introduced various fair use provisions requiring prior dissemination, publication, or public display of a work.{{Harvard citation text|Barta|Markiewicz|2016|p=212}} However, amendments in 2004 and 2015 reduced the number of fair use provisions that required prior publication (i.e., the availability of physical copies such as books or CDs).{{Harvard citation text|Barta|Markiewicz|2016|p=215}}

There is uncertainty regarding the use of works received directly from the author that have not been previously published. It could be argued that such works fall under fair use only for the recipient but not for others. Another question arises as to whether, by privately sharing a work, the author implicitly grants the recipient the right to decide on its first public release. A further issue concerns cases where a user is unaware that a work has not been published with the author's consent – particularly regarding quotation rights and reprinting. A strict interpretation would deem such use illegal, even if the user cannot determine whether the work has been disseminated. However, some argue that such use could be legal if the user is not at fault (i.e., they have no reasonable way of verifying the work's publication status).{{Harvard citation text|Barta|Markiewicz|2016|p=213}}

The Berne three-step test is included in copyright law acts and regulates the creation and interpretation of provisions related to exceptions and limitations (fair use). In 1994, it was included in Article 35 of the Polish Copyright Act.{{Harvard citation text|Machała|2003|p=92}} The wording "fair use must not interfere with" (normal use of a work or harm the legitimate interests of the creator) means that Article 35 limits the scope of fair use provisions. A copyright holder can invoke it if a user infringes on copyright, even if this does not arise directly from the provision regulating that particular form of fair use.{{Harvard citation text|Barta|Markiewicz|2016|p=14}}{{Harvard citation text|Szczotka|2013|p=384}}

Although this regulation has been part of Polish copyright law for many years, it still raises doubts and presents interpretive challenges due to the lack of legal definitions and the vagueness of the terms used. Legal scholars' views on the subject are not uniform, leading to different conclusions. Courts also do not provide a clear answer.{{Cite journal |last=Rubisz |first=S. |date=2021 |title=Normalne korzystanie z utworu i słuszne interesy twórcy jako ograniczenia dozwolonego użytku w prawie autorskim |trans-title=Normal Use of a Work and the Legitimate Interests of the Creator as Limitations on Fair Use in Copyright Law |journal=Zeszyty Prawnicze |language=pl |volume=21 |issue=3 |pages=141–167 |doi=10.21697/zp.2021.21.3.05 |issn=1643-8183|doi-access=free }}

Limitations and exceptions to copyright only concern economic rights, not moral rights. Legal experts agree on this, although it is not explicitly stated in the provisions.{{Harvard citation text|Machała|2003|p=101}} In the 1926 Act, this could be inferred from the public fair use provision, which required the attribution of the creator and source of the work and prohibited altering the work. It was unclear whether this rule applied to private use as well.{{Harvard citation text|Machała|2003|p=102}} In the 1994 Act, the requirement to mention the creator and the source of the work is stipulated in Article 34. The principle of respecting moral rights is so firmly established that it has been argued that explicitly stating the obligation to mention the author and source in the law is "somewhat redundant".{{Cite book |last=Stanisławska-Kloc |first=S. |title=Prawo autorskie i prawa pokrewne |date=2015 |publisher=Wolters Kluwer |isbn=978-83-264-3326-9 |editor-last=Targosz |editor-first=Tomasz |location=Warsaw |language=pl |trans-title=Copyright and Related Rights |chapter=Komentarz do art. 29 |trans-chapter=Commentary on Article 29 |editor-last2=Stanisławska-Kloc |editor-first2=Sybilla |editor-last3=Bukowski |editor-first3=Marek |editor-last4=Flisak |editor-first4=Damian |editor-last5=Okoń |editor-first5=Zbigniew |editor-last6=Raglewski |editor-first6=Janusz |editor-last7=Podrecki |editor-first7=Paweł}}

Article 34 applies to all forms of fair use. This assessment is not changed by the difficulty of ensuring the creator and source are mentioned in private use cases.{{Harvard citation text|Machała|2003|p=103}}

Attributing the creator means providing their full name or pseudonym. If the work is published anonymously, revealing the creator's identity might infringe upon their moral rights. For collaborative works, such as films, it is unnecessary to list all co-creators. The term "source" can refer to different information. In the case of a citation, it refers to the title of the work, but it may also refer to the location of the work (e.g., the name and issue number of a journal, or a website address).{{Harvard citation text|Barta|Markiewicz|2016|p=216}} Citing the source may involve providing the name of the editor of a collective work or the publisher's name. These examples are not exhaustive, and it is not necessary to provide all of them simultaneously.

In practice, attributing the author and source can vary depending on the available information. In some cases, full knowledge of authorship or source may not be accessible, while in others, it may not be possible to convey such information when using the work (e.g., citing during a concert). The way the author and source are provided also depends on customary practices.

As a general rule, users are not required to pay the copyright holder for using works under fair use provisions. This principle is established in Article 34 of the Copyright Act.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=603}} Exceptions are designed to balance the protection of both user and copyright holder interests. One way of balancing these interests is the implementation of private copying levys. These levys serve as compensation to copyright holders for mass private fair use.{{Harvard citation text|Barta|Markiewicz|2016|p=220}}{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=600}} Some provisions of public fair use allow copyright holders to receive remuneration. These include the right of reproduction, permission for using works in creating textbooks, excerpts, and anthologies, as well as encyclopedias and atlases, and library fair use provisions.{{Harvard citation text|Barta|Markiewicz|2016|p=218}}

The issue of no payment is tied to the user's financial gain. Certain provisions require that the use be non-commercial. Some legal experts interpret this to mean that, in such cases, the user not only does not pay the copyright holder but also cannot use the work for commercial purposes (to gain financial benefit).{{Harvard citation text|Barta|Markiewicz|2016|p=230}}{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=570}} Some specialists argue that this principle applies to all forms of fair use.

Others assert that this conclusion is incorrect, as the requirement for no payment is specified only in some provisions. Furthermore, it is pointed out that certain forms of fair use typically involve gaining benefits (e.g., creating an anthology). Therefore, it is concluded that earning a profit is legal as long as the relevant provision does not prohibit it and as long as the three-step test is not violated.{{Harvard citation text|Barta|Markiewicz|2016|p=217}} Courts also permit legal situations where the user gains profit, provided the profit is not the sole purpose of using the work.

A limitation (or boundary) of the content of copyright refers to what lies outside the scope of the copyright holder's rights. On the other hand, a limitation on the freedom to exercise copyright is what the author cannot effectively enforce (in court). During the period of the 1926 Act, there was an interpretation suggesting that private fair use was considered a limitation of the content of copyright, while public fair use was a limitation on the exercise of copyright.{{Harvard citation text|Machała|2003|p=127}} In the period of the 1952 Act, various opinions were presented on this matter.{{Harvard citation text|Machała|2003|p=128}} Some legal experts believe that under the 1994 Act, fair use is a limitation on the exercise of copyright,{{Harvard citation text|Machała|2003|p=137}} while others strongly advocate for the alternative view.{{Harvard citation text|Barta|Markiewicz|2016|p=193}}

A proposal has been made to grant an entitlement to fair use, or even more broadly, an entitlement for users to the copyrights.{{Harvard citation text|Machała|2003|p=109}}{{Cite journal |last1=Riis |first1=T. |last2=Schovsbo |first2=J. |date=2007 |title=Users' rights: reconstructing copyright Policy on utilitarian grounds |journal=European Intellectual Property Review |volume=29 |issue=1 |pages=1–5}}{{Harvard citation text|Barta|Markiewicz|2016|p=195}} Currently, users do not have such a right and cannot demand permission to use a work.

Practical advantages of granting users an entitlement would include, for instance, enabling them to present a positive claim of fair use (shifting the burden of proof to those who assert legal consequences due to the absence of fair use). Fair use would be assessed in light of Article 5 of the Civil Code.{{Harvard citation text|Machała|2003|p=122}} This would resolve uncertainties related to circumstances such as removing technical protection measures that prevent copying works{{Cite book |last=Gienas |first=Krzysztof |title=Systemy Digital Rights Management w świetle prawa autorskiego |date=2008 |publisher=Wolters Kluwer Polska |isbn=978-83-7526-921-5 |location=Warsaw |page=198 |language=pl |trans-title=Digital Rights Management Systems in the Context of Copyright Law}} and the effectiveness of contractual modifications to fair use.

However, the disadvantages of this solution are substantial. It would marginalize the author and other rights holders. It would also be difficult to define the scope of such a right.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=610}} Users granted an entitlement would have greater potential to weaken their own rights (simply making the entitlement inalienable would not suffice). Furthermore, there is the issue of contractual modification of the scope of fair use, which could reduce rights deliberately granted by the legislator.{{Cite journal |last=Gienas |first=K. |date=2009 |title=Ograniczanie dozwolonego użytku w drodze kontraktowej – szkic problematyki |trans-title=Limiting Fair Use through Contractual Means – An Outline of the Issues |journal=Prace z Prawa Własności Intelektualnej Uniwersytetu Jagiellońskiego |language=pl |issue=104 |page=65 |issn=1689-7080}} Granting an entitlement to fair use would increase transactional costs, particularly those related to users seeking protection.{{Cite book |last=Nowak-Gruca |first=Aleksandra |title=Cywilnoprawna ochrona autorskich praw majątkowych w świetle ekonomicznej analizy prawa |date=2013 |publisher=Wolters Kluwer |isbn=978-83-264-4502-6 |location=Warsaw |page=145 |language=pl |trans-title=Civil Law Protection of Economic Copyrights in the Light of Economic Analysis of Law}}

The basic division of fair use provisions is based on the addressees and the types of interests being satisfied. This is the division into private and public fair use. Private fair use allows individuals to use works in the private sphere. In addition to the user, people close to them may also use the work. The manner of use is generally at the user's discretion. Before the mass copying of works for private use began, it was assumed that copyright protection did not naturally apply to users' private sphere.{{Harvard citation text|Szczotka|2013|p=387}} On the other hand, public fair use allows specific entities to use others' works for the cultural and educational needs of society. The scope of public fair use provisions is based on current social needs,{{Harvard citation text|Szczotka|2013|p=438}} including usage for informational and educational purposes.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=629}}

Another criterion is the possibility of obtaining compensation for fair use by the copyright holder. Yet another is the manner of use: some provisions relate only to traditional use, while others apply to both traditional and digital use.{{Harvard citation text|Marcinkowska|2004|p=87}}

The first Polish copyright law was the Act of 1926, organizing public fair use by creative fields to meet informational, scientific, educational, and cultural needs while respecting authors' rights.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=573}} The 1952 Act retained this structure (Articles 18–21){{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=577}} but faced criticism for interpretive difficulties, lack of uniformity, and loopholes. The 1994 Act replaced it with a purpose-based system distinguishing informational, educational, scientific, and cultural uses.{{Harvard citation text|Małek|2011|pp=29-30}}{{harvard citation text|Marcinkowska|2004|p={{page needed|date=March 2025}}}} Amendments in 2004 aligned with EU law (Directive 2001/29/EC), introducing digital reproduction and accessibility provisions,{{Cite web |title=Uzasadnienie projektu ustawy o zmianie ustawy o prawie autorskim i prawach pokrewnych z dnia 19 stycznia 2004 (druk sejmowy nr 2465) |trans-title=Justification for the Draft Bill Amending the Copyright and Related Rights Act of 19 January 2004 (Sejm Paper No. 2465) |url=http://orka.sejm.gov.pl/proc4.nsf/opisy/2465.htm |access-date=2025-02-11 |website=orka.sejm.gov.pl |language=pl}}{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=659}} while 2015 changes further refined regulations, including remuneration for library loans.{{Cite web |title=Uzasadnienie projektu ustawy o zmianie ustawy o prawie autorskim i prawach pokrewnych oraz ustawy o grach hazardowych z dnia 22 maja 2015 (druk sejmowy nr 3449) |trans-title=Justification for the Draft Bill Amending the Copyright and Related Rights Act and the Gambling Act of 22 May 2015 (Sejm Paper No. 3449) |url=http://www.sejm.gov.pl/Sejm7.nsf/PrzebiegProc.xsp?nr=3449 |access-date=2025-02-11 |website=www.sejm.gov.pl |language=pl}}

Article 232 of the Act on Copyright and Related Rights limits an author's exclusive right to reproduce copies of a work, aligning with Article 5(2)(d) of Directive 2001/29/EC and Article 11 bis(3) of the Paris version of the Berne Convention. It allows radio and television broadcasters to fix and use works for a short time, legalizing the common practice of broadcasting pre-recorded content.{{Cite book |last1=Czajkowska-Dąbrowska |first1=M. |title=Prawo autorskie i prawa pokrewne. Komentarz |last2=Ćwiąkalski |first2=Z. |last3=Markiewicz |first3=R. |last4=Traple |first4=E. |year=2005 |page=304 |language=pl |trans-title=Copyright and Related Rights: Commentary}}{{Harvard citation text|Klafkowska-Waśniowska|2008|p=269}} This applies only to wireless broadcasters, excluding cable broadcasters, and requires the destruction of fixations, though the timing of destruction is unspecified.{{Cite book |last=Czajkowska-Dąbrowska |first=M. |title=Prawo autorskie i prawa pokrewne |date=2011 |publisher=Wolters Kluwer Polska |isbn=978-83-264-1493-0 |editor-last=Barta |editor-first=Janusz |edition=5th |location=Warsaw |page=234 |language=pl |trans-title=Copyright and Related Rights |chapter=Autorskie prawa majątkowe |trans-chapter=Economic Copyright Rights |editor-last2=Markiewicz |editor-first2=Ryszard}} Before 2015, fixations of programs with exceptional documentary value could be archived, but the amendment clarified that only fixations entering national archives are exempt from destruction.{{Cite web |title=Obwieszczenie Marszałka Sejmu Rzeczypospolitej Polskiej z dnia 13 grudnia 2019 r. w sprawie ogłoszenia jednolitego tekstu ustawy o narodowym zasobie archiwalnym i archiwach |trans-title=Announcement of the Marshal of the Sejm of the Republic of Poland of 13 December 2019 regarding the Publication of the Consolidated Text of the Act on the National Archival Resource and Archives |url=https://isap.sejm.gov.pl/isap.nsf/DocDetails.xsp?id=WDU20200000164 |access-date=2025-02-11 |website=isap.sejm.gov.pl |language=pl}}

Article 24(1) of the Act on Copyright and Related Rights limits an author's right to publicly distribute a work, facilitating access to radio and television broadcasts, supporting commercial cable networks, reducing infrastructure costs, and improving urban aesthetics by minimizing antennas.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=657}}{{Cite book |last=Stanisławska-Kloc |first=S. |title=Prawo autorskie i prawa pokrewne |date=2015 |publisher=Wolters Kluwer |isbn=978-83-264-3326-9 |editor-last=Targosz |editor-first=Tomasz |location=Warsaw |language=pl |trans-title=Copyright and Related Rights |chapter=Komentarz do działu 3 rozdziału 3 |trans-chapter=Commentary on Title 3, Chapter 3 |editor-last2=Stanisławska-Kloc |editor-first2=Sybilla |editor-last3=Bukowski |editor-first3=Marek |editor-last4=Flisak |editor-first4=Damian |editor-last5=Okoń |editor-first5=Zbigniew |editor-last6=Raglewski |editor-first6=Janusz |editor-last7=Podrecki |editor-first7=Paweł}} This fair use also relates to the private sphere of users.{{Harvard citation text|Szczotka|2007|p=104}} Recipients must form a closed group, restricting applicability.{{Cite journal |last=Matlak |first=A. |year=2002 |title=Prawo autorskie w europejskim prawie wspólnotowym |trans-title=Copyright Law in European Community Law |journal=Zeszyty Naukowe UJ. Prace z Wynalazczości i Ochrony Własności Intelektualnej |language=pl |location=Kraków |publisher=Zakamycze |page=269 |issn=0137-236X}}{{Harvard citation text|Klafkowska-Waśniowska|2008|p=276}} While the provision mentions "another radio or television organization", re-broadcasting is not limited to such entities; anyone can re-broadcast under its terms. Re-broadcasting must be simultaneous and unaltered, distinct from fragmented or pre-recorded broadcasts, or programs offering user choice.{{Harvard citation text|Klafkowska-Waśniowska|2008|p=221}} If users incur costs or fees are charged, re-broadcasting is considered paid, though defining permissible actions remains complex. Some legal experts view this provision as reaffirming a copyright holder’s right to share in user benefits.{{Harvard citation text|Traple|2011|pp=245–246}}

Article 24(2) of the Act on Copyright and Related Rights regulates "receptive" fair use, distinguishing it from "broadcasting" use.{{Harvard citation text|Golat|2002|p=249}} It covers users who receive radio or television broadcasts,{{Cite web |title=Obwieszczenie Marszałka Sejmu Rzeczypospolitej Polskiej z dnia 5 sierpnia 2022 r. w sprawie ogłoszenia jednolitego tekstu ustawy o radiofonii i telewizji |trans-title=Announcement of the Marshal of the Sejm of the Republic of Poland of 5 August 2022 regarding the Publication of the Consolidated Text of the Broadcasting and Television Act |url=https://isap.sejm.gov.pl/isap.nsf/DocDetails.xsp?id=WDU20220001722 |access-date=2025-02-11 |website=isap.sejm.gov.pl |language=pl}} but prohibits financial gains, whether direct or indirect. In business settings, consumer influence matters,{{Harvard citation text|Szczotka|2007|p=106}} as seen in shopping malls playing music, which likely extends to transport and hospitality services.{{Harvard citation text|Gienas|2016|p=272}}

Based on Article 25 of the Copyright and Related Rights Act, the press, radio, and television can use specific categories of others' works related to topics of current public interest.{{Harvard citation text|Gienas|2016|p=278}} Unlike other forms of fair use, creators can prohibit the use of certain categories of works and have the right to receive remuneration for their use.

Article 26 of the Copyright and Related Rights Act introduces an exception allowing individuals preparing reports on events to quote works made available at those events. This regulation is based on Article 10bis(2) of the Berne Convention and Article 5(3)(c) of Directive 2001/29/EC. The provision can be invoked by anyone preparing a report on a current event, provided the report serves an informational purpose and is published immediately.{{Harvard citation text|Golat|2002|p=265}}{{Harvard citation text|Traple|2011|p=263}} While the provision appears broad, it mainly applies when works serve as background to the event, as interpreted in the Berne Convention.{{Harvard citation text|Traple|2011|p=262}} The ability to quote works aims to prevent the removal of elements of reality.

As part of the 2015 amendment, Article 25(1)(4) of the Copyright and Related Rights Act was repealed, and Article 26¹was added to align Polish regulations with Article 5(3)(f) of Directive 2001/29/EC. This provision can now be invoked by anyone, not just the press, radio, and television.{{Harvard citation text|Gienas|2016|p=283}} It permits the use of certain types of publicly delivered speeches, including political speeches, those made at public hearings, and excerpts from public addresses, lectures, and sermons. A speech is considered public when the audience is an open group,{{Harvard citation text|Traple|2011|p=261}} and it is not deemed delivered if recorded for public reproduction. The use of such speeches is permitted within limits justified by the purpose of information, including live broadcasts and publishing summaries.{{Harvard citation text|Gienas|2016|p=284}} However, any dissemination of collections of such works is excluded.

Article 27 of the Copyright and Related Rights Act allows institutions engaged in educational or scientific activities to use works to a certain extent. This facilitates the dissemination of knowledge and scientific development.{{Harvard citation text|Szczotka|2007|p=100}} Educational institutions, universities, and scientific entities may invoke this provision, while non-governmental organizations that do not operate such institutions cannot.

Article 27¹ of the Copyright and Related Rights Act aims to facilitate access to small creative educational materials used for teaching or scientific research.{{Cite journal |last1=Barta |first1=J. |last2=Markiewicz |first2=R. |date=2009 |title=Dozwolony użytek: antologie i wypisy |trans-title=Fair Use: Anthologies and Excerpts |journal=Prace z Prawa Własności Intelektualnej UJ |language=pl |issue=104 |pages=5, 7, 11 |issn=0137-236X}} Before 2015, this form of fair use was regulated under Article 29(2–3), and it is not considered a special form of the right of quotation,{{Harvard citation text|Golat|2002|p=280}} which is why it was moved to Article 27¹. The law does not define textbooks, extracts, or anthologies, but legal experts generally view the purpose of a work as the decisive factor in classifying it, rather than its title.{{Harvard citation text|Traple|2011|p=277}} The regulation uses the term "chrestomathy" from the Brussels revision of the Berne Convention, equating extracts with educational and scientific anthologies. Educational materials created for personal learning or hobbies are excluded from this provision. Textbooks, extracts, and anthologies may include published minor works or excerpts from larger works, and the size of the included work depends on the purpose of use.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=448}} The citation of creative databases is excluded under Article 30¹, and some legal experts argue that omitting this exclusion could violate the Berne three-step test.{{Harvard citation text|Traple|2011|p=278}} Authors are entitled to compensation for the inclusion of their work in these materials.{{Harvard citation text|Traple|2011|p=274}}

Under Article 28 of the Copyright and Related Rights Act, certain institutions may, without the consent of copyright holders, provide non-commercial access to works (loan copies of works) as part of their statutory activities. As part of the 2015 amendment, a right to remuneration for copyright holders was introduced for public lending. This remuneration applies only to printed copies of literary works expressed in Polish, loaned externally by public libraries, with the exception of the National Library of Poland.

Article 29 of the Copyright and Related Rights Act permits the inclusion of "excerpts" from other works within one's own, including entire visual, photographic, and "minor" works. An "excerpt" refers to a small portion of a work, smaller than a fragment,{{Harvard citation text|Golat|2002|p=279}} and must be placed within a work that remains independent without the quotations.{{Cite journal |last=Michalski |first=B. |date=1987 |title=Uprawnienia do cytowania w polskim prawie autorskim |trans-title=Quotation Rights in Polish Copyright Law |journal=Prasa Techniczna |language=pl |volume=1 |page=18}}{{Harvard citation text|Małek|2011|p=239}}{{Harvard citation text|Barta|Markiewicz|2016|p=238}} Quotation is allowed when justified by the citation's function. The 2015 amendment removed the exhaustive list of permissible citation purposes.{{Cite journal |last=Mania |first=G. |date=2017 |title=Cytat w muzyce – o potrzebie reinterpretacji przesłanek |trans-title=Quotation in Music – On the Need to Reinterpret the Premises |journal=Zeszyty Naukowe Uniwersytetu Jagiellońskiego |language=pl |volume=1 |page=66 |issn=0137-236X}}

Until the 2015 amendment, the fair use of works for parody, pastiche, and caricature was derived from the fair use of quotations within the artistic genre's limits. Parodies humorously reference existing works, while pastiches reference a style without being humorous, and caricatures exaggerate features of the subject.{{Harvard citation text|Małek|2011|p=304}} The 2015 amendment introduced Article 29¹ of the Copyright and Related Rights Act, aligning with Directive 2001/29/EC. The Court of Justice of the European Union ruled that parodies must be distinguishable and cannot replace the original work, and must not discriminate based on race or ethnicity.{{Harvard citation text|Gienas|2016|p=312}} Pastiche and caricature, which do not rely on quoting but on modifying works, were previously flawed under the "right to quote" framework.{{Cite book |last=Łętowska |first=E. |title=Oblicza prawa cywilnego. Księga Jubileuszowa dedykowana profesorowi Janowi Błeszyńskiemu |date=2013 |publisher=Wolters Kluwer |isbn=978-83-264-4485-2 |editor-last=Banaszczyk |editor-first=Zbigniew |location=Warsaw |page=237 |language=pl |trans-title=Faces of Civil Law: Jubilee Book Dedicated to Professor Jan Błeszyński |chapter=O pastiszu operowym na marginesach prawa autorskiego |trans-chapter=On Operatic Pastiche in the Margins of Copyright Law |editor-last2=Szczepanowska-Kozłowska |editor-first2=Krystyna}} Since 2015, the scope of these genres has become more clearly defined, especially for parody.{{Harvard citation text|Barta|Markiewicz|2016|p=246}}

Article 292 of the Copyright and Related Rights Act aligns with Article 5(3)(i) of Directive 2001/29/EC and is related to the right to quote under Article 29. It allows for the intentional inclusion of a work, similar to "informational quotation" (Article 26), without requiring the user to remove elements of the work. This applies when the included work serves as background for the main elements of the new work, meaning the external work can be replaced without affecting the use of the incorporated work.{{Harvard citation text|Gienas|2016|p=317}}{{Harvard citation text|Barta|Markiewicz|2016|p=243}}

Article 23¹of the Copyright and Related Rights Act, based on Article 5(1) of Directive 2001/29/EC, regulates the creation of temporary copies of digital works. Revised in 2015, it clarifies that such copies, necessary for accessing digital works, may infringe copyright.{{Harvard citation text|Barta|Markiewicz|2016|p=136}} The regulation sets three key conditions for permissibility:

• Temporary, incidental, or necessary reproduction within a technological process.
• Reproduction without independent economic significance.
• Reproduction for lawful transmission or use.

These conditions have been interpreted by the European Court of Justice, especially in relation to temporary or incidental reproduction, such as caching on servers.{{Harvard citation text|Barta|Markiewicz|2016|p=473}} The 2015 revision improved implementation by adjusting terminology, making the provision more flexible for IT services.{{Harvard citation text|Gienas|2016|p=260}} The conditions ensure that temporary copies are not used for independent economic gain and do not replace the use of the final work.{{Harvard citation text|Barta|Markiewicz|2016|p=474}}{{Harvard citation text|Gienas|2016|p=258}}

Article 31 of the Copyright and Related Rights Act permits the use of copyrighted works during certain public events. It distinguishes between two forms of fair use:

• §1 aligns with Article 5(3)(g) of Directive 2001/29/EC, allowing the use of works at religious ceremonies and official public authority events without financial gain. It also permits various forms of use (e.g., public performance, reproduction, and public display).{{Harvard citation text|Gienas|2016|p=324}}
• §2 allows the use of publicly disseminated works at school and academic events, including live performances and prior recordings, as long as there is no financial gain or remuneration for performers.{{Harvard citation text|Gienas|2016|p=323}}

Both sections emphasize non-commercial use. §3 excludes uses tied to commercial purposes or political affiliation. Some argue this provision is unnecessary, as the list of allowed events is now non-exhaustive.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=641}}

Article 32 of the Copyright and Related Rights Act addresses the use of copies of visual works. It contains two provisions:{{Harvard citation text|Traple|2011|p=210}}

• §1 allows the owner of a copy of a visual work to publicly disseminate it, including photographic works and industrial designs (proposed for extension). This provision is an exception to the rule in Article 50(3) and aligns with the principle of exhaustion of rights. It prohibits financial gain but permits fees for covering operational costs.
• §2 governs the exercise of ownership rights over a copy of a work, mainly protecting the personal interests of the creator and is not considered fair use.

The financial gain restriction in §1 is debated, with some experts arguing it applies only to the owner, while others believe it extends to indirect profits.{{Harvard citation text|Szczotka|2007|p=108}}{{Harvard citation text|Traple|2011|p=281}}

Article 33(1) of the Copyright and Related Rights Act allows for the dissemination of works permanently displayed in publicly accessible roads, streets, squares, or gardens. Freedom of panorama in Poland does not extend to works located indoors or on private property that is not open to the public.{{Harvard citation text|Gienas|2016|p=330}} The perspective from which an image is captured is irrelevant – an aerial view is just as permissible as a ground-level perspective.{{Harvard citation text|Gienas|2016|p=331}}

Article 33(3) of the Copyright and Related Rights Act permits, under certain conditions, the dissemination of visual and photographic works in encyclopedias and atlases without the author's consent. The term "atlas" is interpreted broadly.{{Harvard citation text|Traple|2011|p=285}} This use is only allowed when the user encounters "difficult-to-overcome obstacles". This can mean either an inability to establish any contact with the author or a failure to reach an agreement. The first interpretation links this regulation to orphan works and the concept of "diligent searches". Some experts, however, advocate for the second interpretation.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=636}}

Article 33¹of the Copyright and Related Rights Act aligns with Article 5(3)(b) of Directive 2001/29/EC and the Marrakesh Treaty of WIPO (2013).{{Cite web |title=Traktat z Marrakeszu o ułatwieniu dostępu do utworów opublikowanych dla osób niewidomych, niepełnosprawnych wzrokowo, z dysfunkcjami uniemożliwiającymi zapoznanie się z drukiem |trans-title=The Marrakesh Treaty to Facilitate Access to Published Works for Persons Who Are Blind, Visually Impaired, or Have Print Disabilities |url=http://www.prawoautorskie.gov.pl/media/Traktat_z_Marrakeszu_-_polska_wersja_jezykowa_finalna.pdf |access-date=2025-02-12 |website=prawoautorskie.gov.pl |language=pl}} It aims to reduce social exclusion and enhance access to knowledge and culture for people with disabilities. The provision does not specify which works are covered but excludes computer programs based on Article 77.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=661}}

The provision is meant for use by entities acting on behalf of persons with disabilities (not necessarily the disabled individuals themselves).{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=660}}{{Harvard citation text|Barta|Markiewicz|2016|p=272}} It overlaps with private fair use regulations, and a disability certificate is not required. The two main conditions are that the use must depend on the type of disability, and the number and size of the works should enable access to them.{{Harvard citation text|Gienas|2016|p=287}} There are concerns about the ambiguity of these conditions, particularly regarding non-profit organizations. However, charging fees to cover expenses is allowed.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=662}}

Article 33² aligns with Article 5(3)(e) of Directive 2001/29/EC and allows the use of works for public safety and legal proceedings. It applies to all works except computer programs and does not require distribution, preventing moral rights violations. The provision can be invoked by entities ensuring public safety or involved in legal proceedings.{{Harvard citation text|Gienas|2016|p=289}} It does not cover preparatory proceedings, and works can be used as evidence or in reports, but case materials cannot be disclosed to unauthorized persons.{{Harvard citation text|Golat|2002|p=111}}{{Cite journal |last=Koellner |first=T. |date=2012 |title=Dostęp do informacji publicznej a prawo autorskie |trans-title=Access to Public Information and Copyright Law |journal=Kwartalnik Prawa Prywatnego |language=pl |volume=21 |page=741 |issn=1230-7173}}

Article 33³implements Article 5(3)(j) of Directive 2001/29/EC and allows the use of works for advertising publicly accessible exhibitions or the public sale of copies, excluding computer programs. Before the 2015 amendment, this provision partially overlapped with Article 33(2), which was repealed and consolidated. The use of works for advertising exhibitions or online sales was previously unclear.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=663}} The current regulation allows promoting the sale of copies or copyrights but excludes other commercial uses. It limits use to promoting the exhibition or sale itself, not related events or entities.{{Harvard citation text|Gienas|2016|p=293}}

Article 33⁴ corresponds to Article 5(3)(l) of Directive 2001/29/EC and applies to all works, except computer programs. It permits the use of works for presenting or repairing equipment used for accessing them,{{Harvard citation text|Szczotka|2007|p=111}} including technical works like manuals and designs.{{Harvard citation text|Golat|2002|p=113}}{{Harvard citation text|Gienas|2016|p=295}} Some view this provision as overly protective of copyright holders. The use of works in this context is seen as a means to demonstrate equipment functionality rather than an end itself. The provision clarifies issues related to equipment presentation or repair but doesn't address playing music in stores.{{Harvard citation text|Traple|2011|p=286}}

Article 33⁵ corresponds to Article 5(3)(m) of Directive 2001/29/EC, regulating the use of works for construction purposes. However, the directive's provision was not fully implemented.{{Harvard citation text|Preussner-Zamorska|Marcinkowska|Laskowska|2017|p=664}} The term "building structure" in the act, defined by Construction Law, is broader than the "architectural work" mentioned in the directive. This leads to inconsistencies, as the act allows the use of works for both reconstruction and renovation, while the directive only permits reconstruction. These differences may cause contradictions in application, with the directive's provisions taking precedence in such cases.

• Private fair use (Poland)
• Fair use

{{reflist}}

• {{Cite book |last1=Barta |first1=J. |title=Prawo autorskie |last2=Markiewicz |first2=R. |publisher=Wolters Kluwer |year=2016 |isbn=978-83-264-9694-3 |location=Warsaw |language=pl |trans-title=Copyright Law}}
• {{Cite book |last=Gienas |first=K. |title=Ustawa o prawie autorskim i prawach pokrewnych: komentarz |publisher=C. H. Beck |year=2016 |isbn=978-83-255-8504-4 |editor-last=Drzewiecki |editor-first=A. |location=Warsaw |language=pl |trans-title=The Copyright and Related Rights Act: Commentary |chapter=Dozwolony użytek chronionych utworów |trans-chapter=Fair Use of Protected Works}}
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• {{Cite book |last1=Preussner-Zamorska |first1=J. |title=Prawo autorskie |last2=Marcinkowska |first2=J. |last3=Laskowska |first3=E. |publisher=C.H. Beck |year=2017 |isbn=978-83-255-8754-3 |editor-last=Barta |editor-first=J. |location=Warsaw |language=pl |trans-title=Copyright Law |chapter=Dozwolony użytek chronionych utworów |trans-chapter=Fair Use of Protected Works}}
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• {{Cite book |last=Szczotka |first=J. |title=Najem i użyczenie egzemplarzy utworu jako odrębne pola eksploatacji |publisher=Wolters Kluwer Polska |year=2013 |isbn=978-83-264-4142-4 |location=Warsaw |language=pl |trans-title=Rental and Lending of Copies of a Work as Separate Fields of Exploitation}}
• {{Cite book |last=Traple |first=E. |title=Prawo autorskie i prawa pokrewne |publisher=Wolters Kluwer |year=2011 |isbn=978-83-264-1493-0 |editor-last=Czajkowska-Dąbrowska |editor-first=M. |edition=5th |location=Warsaw |language=pl |trans-title=Copyright and Related Rights |chapter=Dozwolony użytek chronionych utworów |trans-chapter=Fair Use of Protected Works}}

Category:Law of Poland

Category:Copyright law by country