<b>Peter B. Hirtle, Emily Hudson, and Andrew T. Kenyon.</b> <i>Copyright & Cultural Institutions: Guidelines for Digitization for U.S. Libraries, Archives, & Museums</i>. Ithaca, N.Y.: Cornell University Library, 2009. 259p. $39.95 (ISBN 9780935995107). LC2010-459022.

tion from the typical copyright page you might expect in a scholarly book. Instead, what you find is a Creative Commons license (Attribution-Noncommercial-No Derivative Works 3.0). Right away, the reader may suspect that this work about copyright might itself exemplify the complex issues it examines within. Indeed, as the preface of the book states in " A Note on Copyright Ownership " : " The intricacies of copyright ownership are discussed in some detail in Chapter 2. This manual serves as a good example of some of the principles discussed in this chapter. " In short, this work is based on an Australian publication titled Copyright and Cultural Institutions: Guidelines for Digitisation by Emily Hudson and Andrew T. Kenyon. Hudson and Kenyon published their work using a Creative Commons license. Realizing that an American audience would benefit from a version of this manual informed by Ameri-Museums with the permission and assistance of Hudson and Kenyon. This is a joint work with Hirtle, Hudson, and Kenyon serving as coauthors sharing copyright, for Hudson and Kenyon granted Hurtle " a nonexclusive license to use the original Guidelines in any subsequent noncommercial editions or works that are derived from this manual. " As the preface points out, cultural institutions are deeply invested in and concerned about understanding, interpreting , and complying with the complexities of copyright law; and, as such, the purpose of Hirtle, Hudson, and Kenyon's work is to educate and assist American cultural institutions with copyright compliance. The manual is divided into twelve chapters covering topics ranging from the duration and ownership of copyright , to exclusive rights and infringement, to permissions and licenses, to risk management. The final two chapters contain case studies, which helpfully highlight the legal issues that arise in each instance and practical suggestions that result. Each chapter engages the reader with " Tricky Areas, " " Tips, " " Questions, " and " Key Points, " which helpfully highlight and emphasize practical issues of importance or attention. Chapter 6, for example, addresses questions that often come up in academic libraries: " Can I legally make a backup copy of a movie published on VHS tape or on DVD? " and " Can patrons give copies made for them to other insti-tutions? " The answers to these questions are not as straightforward as perhaps the reader would like, but with an issue as complex and nuanced as …