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What public performance rights cover
Public performance rights, often shortened to PPR, are permission to perform a copyrighted film publicly. Under U.S. copyright law, the copyright owner holds the exclusive right to perform the work publicly, subject to statutory exceptions. A screening license is the authorization for a specified use; it is not necessarily bundled with the film itself. The Copyright Office’s text of Chapter 1 of Title 17 sets out the owner’s exclusive rights and relevant exceptions.
That distinction matters even when the screening is free, organized by a nonprofit, followed by a discussion, or described as educational. The U.S. Copyright Office advises that a movie shown for entertainment requires clearance or a license, and institutional copyright guides likewise caution that access to a copy is different from permission to screen it publicly. Copyright Office Fair Use FAQ; Cornell University Library’s Film on Campus guide.
A copy and permission are separate
A retail DVD or Blu-ray, a borrowed disc, an institutional purchase, or personal streaming access may let you watch the film under the applicable terms. None of those facts alone establishes that you may show it to a public audience. Ask the rights contact whether the license includes a screening copy or delivery method, and whether you need to obtain a separate lawful copy. Do not infer screening permission from the playback format or the way you acquired the film. The Copyright Office FAQ and Cornell’s campus film guidance explain the distinction.
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Before you contact a rights holder, define the event
Licensing terms can vary according to where and how a film is shown, who may attend, whether money is collected, and how the event is promoted. Write down the facts below first. They will help the rights holder determine whether it can license the event and what permission or quote to offer. Georgetown University Library notes that distributor restrictions may address venue, audience, admission, and advertising. Georgetown’s Public Performance Rights guidance.
- Film: exact title, release or version if known, and any relevant language or cut.
- Date and location: proposed screening date or dates, country, venue, and room or campus if relevant.
- Format: in-person or online, and the copy or delivery method you expect to use.
- Audience: expected attendance or room capacity, and whether access is limited to a defined group or open to the public.
- Payment: whether you will charge admission, sell tickets, request donations, or show the film without charge.
- Promotion: how you plan to advertise, including whether the film title, images, or clips will appear in publicity.
- Event context: whether this is a class session, campus program, film-club event, fundraiser, or another kind of gathering.
Be candid about the actual event rather than describing it only as “educational” or “noncommercial.” Those labels do not establish an exemption or tell the licensor all the conditions it needs to assess. If a detail is undecided, say so and ask which terms depend on it.
How to find the authorized licensing contact
Start with the film’s official website, end credits, producer, or distributor. Ask whether the contact controls public performance rights for the film in your country and can authorize your intended screening format. A production company may have made the film but not retain or administer every right, and a distributor may have rights only for certain territories or uses. Verify title representation instead of assuming that a familiar distributor or licensing company can license any documentary.
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Georgetown University Library lists Swank Motion Pictures, Criterion Pictures USA, and Kino Lorber as possible contacts for public performance rights, while advising organizers to contact a film’s producer or distributor for other titles. These are leads, not a claim that any one company represents every film. Georgetown University Library’s guidance.
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Questions to ask the contact
- Do you control, or are you authorized to grant, public performance rights for this exact film and version in the country where the screening will occur?
- Can you license this specific event, including its date, venue, audience, and in-person or online format?
- Does the proposed use fit the license terms if admission is charged, donations are requested, or the event is advertised publicly?
- What fee applies, and what does it cover?
- Does the permission include a screening copy or delivery, or must the organizer supply a separate lawful copy?
- Are there restrictions on audience size, who may attend, publicity, the venue, or the number of screenings?
- Will the permission be documented in a license, contract, or written authorization, and are there reporting or other event requirements?
If the answer is that the contact does not represent the title, ask whether it can identify the appropriate rights holder, then return to the producer or distributor if necessary. A search that does not locate an agent is not permission to proceed. Georgetown notes that securing rights for independent, foreign, and older films can be difficult or impossible. Georgetown University Library’s guidance.
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Request a quote and permission in writing
Send the event details together and ask explicitly for a public performance license or written authorization for the identified film and event. A request for a fee quote is not itself permission to screen. Wait for a response that clearly authorizes the planned use and preserve the final license or written authorization with your event records.
You can adapt this short inquiry. Replace the bracketed text with your details before sending it.
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A free scan shows the junk files, broken settings and background clutter dragging Windows down - then fixes them in one click.Free scan · Windows 10 & 11Subject: Public performance license request — [film title], [screening date]
Hello,
I am seeking permission to screen [film title and version, if known] on [date] at [venue, city, country]. The event will be [in person/online] for approximately [expected audience or room capacity]. Attendance will be [free/ticketed/donation-based], and we plan to promote it by [brief description of publicity]. The event is [brief description, such as a campus program or community screening].
Do you control or administer public performance rights for this film in [country], and can you license this event? Please provide the fee and written terms, including any limits on audience, venue, admission or donations, publicity, screening dates, and format. Please also confirm what copy or delivery method is included and whether we must supply a separate lawful copy.
Thank you,
[Name and organization]
The more closely the written permission matches the actual event, the less room there is for assumptions. If your date, venue, format, audience, admission plan, or publicity changes, ask the rights contact whether the license needs to be amended before proceeding.
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Compare the possible authorization routes
There is no single route that fits every documentary. Choose based on who controls the title and whether the terms cover your particular use—not simply on which contact is easiest to find.
| Route | When it may fit | What to verify |
|---|---|---|
| Film’s producer or distributor | A strong first contact when the film’s official producer or distributor is identifiable. | That it can authorize public performance rights for your territory, version, format, and event. A producer or distributor is not automatically authorized for every right or territory. Georgetown University Library guidance. |
| Screening agent or licensing company | Useful if it represents the title and administers the rights you need. | Confirm that it represents this documentary and can license the intended audience, venue, dates, and format. Georgetown names Swank Motion Pictures, Criterion Pictures USA, and Kino Lorber as possible contacts, not universal representatives. Georgetown University Library guidance. |
| Existing institutional license or collection | Potentially relevant when a school, library, or other institution already has a license or collection that covers the film. | Have the institution confirm that its actual terms cover this title, event, audience, venue, and method of showing. Do not assume a library copy or institutional purchase includes unrestricted public screening rights. Cornell University Library guidance; Georgetown University Library guidance. |
| Statutory classroom exception | Only where the statutory conditions for qualifying face-to-face teaching are met. | Check each condition; this is an exception, not a license that can be obtained by paying a fee. It is not a general authorization for a public community or entertainment screening. Copyright Act, Chapter 1; University of Kansas Libraries guidance. |
The available sources do not establish a universal fee schedule or identify who controls rights for an unspecified documentary. Request a title-specific quote and written terms from the party that can authorize your event. Documentary Educational Resources, for example, directs screening organizers to request a quote for its films. DER Purchase Options.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.Check the license before you announce or screen the film
Read the authorization against the event details you supplied. A general statement that a film is “licensed” may not answer whether your particular screening is included. Georgetown’s guidance notes that restrictions vary by distributor and may concern audience, venue, admission, and advertising. Georgetown University Library Public Performance Rights.
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- Title and version: Make sure the film authorized is the one you intend to show.
- Date and number of screenings: Check whether permission is for one date, multiple dates, or a defined period.
- Place and format: Verify the named venue and whether the permission covers in-person, online, or both.
- Audience: Confirm any cap or eligibility restriction, such as access limited to a campus or organization.
- Admission and fundraising: Check whether ticket sales, suggested donations, or fundraising are permitted.
- Publicity: Confirm what advertising is allowed and whether there are limits on using artwork, stills, or clips.
- Copy and delivery: Confirm what media or access is provided and whether you must obtain a separate lawful copy.
- Other conditions: Note reporting, cancellation, or other requirements stated in the authorization.
If one of these terms is missing or ambiguous, ask the licensor to clarify it in writing before you rely on it. Keep the correspondence and final authorization with the event’s records so the organizer can check the permitted scope later.
When the classroom exception may apply
U.S. copyright law provides a limited exception for performance in the course of face-to-face teaching activities at a nonprofit educational institution, in a classroom or similar place devoted to instruction, using a lawfully made copy. The statutory text supplies the legal conditions; the University of Kansas Libraries summarizes the exception for screening media. Copyright Act, Chapter 1; University of Kansas Libraries: Public Performance Rights for Screening Media.
This is not a blanket exemption for anything an organizer calls educational. A public community program, fundraiser, film club, or entertainment event does not qualify solely because it is free or includes a discussion. Nor does the fact that an event takes place at a school establish that it meets every statutory condition. If the screening’s circumstances are close to the statutory boundary, consult the educational institution’s counsel rather than treating the exception as a substitute for permission. The Copyright Office’s Fair Use FAQ also distinguishes entertainment screenings that require clearance or a license. Copyright Office Fair Use FAQ.
Common mistakes and how to avoid them
- Assuming a purchase includes public screening rights: Ask the rights holder what the purchase or license actually permits; ownership of a disc is not proof of screening permission. Cornell University Library guidance.
- Treating free admission as an exemption: Free entry does not by itself authorize a public screening. Identify the applicable license or, if relevant, verify every condition of a specific statutory exception. Copyright Act, Chapter 1.
- Assuming an educational purpose is enough: The classroom exception has specific institutional, instructional-place, teaching, and lawful-copy requirements. A discussion or school affiliation alone does not establish that they are met. University of Kansas Libraries guidance.
- Assuming a licensing company represents the film: Ask for confirmation of title and territory representation. Suggested contacts are starting points, not proof that they can grant rights for your documentary. Georgetown University Library guidance.
- Promoting an event before checking the terms: Confirm audience, admission, venue, and publicity limits before committing to public announcements. If plans change, request written confirmation that the permission still covers them. Georgetown University Library guidance.
- Using a personal streaming account or institutional copy as the license: Ask separately about public performance permission and the authorized delivery or copy. Copyright Office FAQ.
If you cannot find a rights contact
Return to the producer, distributor, or copyright owner and document your attempts to identify the authorized licensing party. Ask whether rights are administered by another agent or whether the film is unavailable for licensing in your territory or format. Difficulty locating an agent is not evidence that the screening is allowed; some independent, foreign, or older films may be difficult or impossible to clear. Georgetown University Library guidance.
If no party can confirm authorization, do not treat silence, an unanswered message, or the absence of a listed agent as permission. Consider choosing a different film for which the authorized contact can confirm the event terms. For a specific legal question about a borderline exception or disputed rights, consult counsel familiar with U.S. copyright law.
Territory matters
This guide concerns screenings in the United States because the cited authorities are U.S. law and U.S. institutional guidance. A screening in another country may be governed by different copyright rules, and a U.S. contact may not control the film’s rights there. State the screening country in your inquiry and obtain permission from someone authorized for that territory; do not assume a U.S. license or exception applies abroad.
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