You're right that this is an issue that only very, very rarely arises so there's really no need to split hairs, but for posterity's sake, this is the opposite of how the process actually works.
In the case that a creator discovers a fan work and feels it is not fair use, it is up to the complainant, typically the corporation or the creator, to challenge the legality of the fan work and prove that it is a copyright infringement. In essence, fanart is innocent until proven guilty. In copyright infringement cases for something like fan art, the burden of proof would be, for the most part, on the prosecution to disprove the fan artist's fair use defense by successfully proving that the derivative work is 1) not sufficiently transformative, 2) intended to supersede or substitute the original work, 3) was intended for commercial profit, and 4) the profit gained by the derivative work would substantially impact the profit made by the original creator. (That's a key point--you will even have a hard time stopping people from selling fan art if you can't also demonstrate it has an impact on your own products' sales, and good luck doing that.) And because this is actually a very high set of standards to meet when it comes to presenting proof, it is very, very rarely worth the effort to pursue any legal action against fan creators--and even in cases where a creator does pursue legal action, the court rules more often in favor of the derivative artist than the original creator. So it isn't "fanart = bad until found okay in the court;" it's "fanart = not illegal until proven to be infringement." The reason that fair use is determined on a case-by-case basis is because a work only ever formally receives this label after it has been challenged.
Nevertheless, the assumption today (based on precedent and, as you note, the tacit approval of original creators because of free advertising) is usually that not-for-profit fanart is fair use. Some companies are more aggressive about protecting their copyrights (i.e. Disney), but even then, many of their copyright infringement cases are actually trademark infringement cases dealing with the use of logos and names, and many of their cases get thrown out. (Most often, they never get to court at all because major corporations have the capacity to bully derivative work creators into ceasing--whether or not ordering them to cease is actually legal.)
The idea that derivative work is inherently "bad" isn't supported by any U.S. law or policy, and indeed the significant number of hurdles placed on those attempting to disprove fair use suggests that derivative works are, to a certain extent, protected by the law. Parody, criticisms, homages both in writing and visually, and extended universe/mythos building have been part of human storytelling and art for centuries upon centuries, and are a beloved feature of our media that many legal representatives and judges have readily defended in the past.



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