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 works are copied.” Copyright protects works lying along a broad continuum between “creative or instructive” works at one end and works of comparatively little originality (such as factual compilations) at the other. The closer a work falls to the creative/expressive end of the continuum, the stronger the author’s claim of entitlement to restrict subsequent uses of the work, and the less room is available for colorable claims of fair use. So, too, in the DMCA context, the courts might usefully differentiate between circumvention aimed at allowing the circumventer to access and copy a creative, expressive work (such as the movies at issue in Reimerdes) and circumvention that merely enables access to less expressive, more utilitarian works (as in Chamberlain and Lexmark). Just as the fair use doctrine would do relatively little to defeat a claim of copyright infringement where works closer to the “core” of copyright protection are copied, a doctrine of fair circumvention would impose comparatively weak limits on the reach of DMCA liability in similar circumstances.

Risks to intellectual property markets, to take another example, are readily encompassed within both the first and, especially, the fourth fair use factors. Here, too, it is analytically useful to distinguish between cases in which circumvention of a DRM mechanism threatens to provide a complete substitute for authorized purchases of an expressive work (the situation in Reimerdes), and cases in which circumvention merely exposes a maker of consumer products to additional marketplace competition (as in Chamberlain and Lexmark). Copyright protects holders from certain types of economic injury—principally, those stemming from substitution of the defendant’s copy for the