Estimating Displacement Rates of Copyrighted Content in the EU

Total Page:16

File Type:pdf, Size:1020Kb

Estimating Displacement Rates of Copyrighted Content in the EU Estimating displacement rates of copyrighted content in the EU Final Report [Written by Martin van der Ende, Joost Poort, Robert Haffner, Patrick de Bas, Anastasia Yagafarova, Sophie Rohlfs, Harry van Til] [May – 2015] EUROPEAN COMMISSION Directorate-General for Internal Market, Industry, Entrepreneurship and SMEs Unit 0.1 — Chief Economist Team Contact: Kamil Kiljanski E-mail: [email protected] European Commission B-1049 Brussels EUROPEAN COMMISSION Estimating displacement rates of copyrighted content in the EU Final Report Directorate-General for Internal Market, Industry, Entrepreneurship and SMEs Chief Economist Team 2014 EUR [number] EN Europe Direct is a service to help you find answers to your questions about the European Union. Freephone number (*): 00 800 6 7 8 9 10 11 (*) The information given is free, as are most calls (though some operators, phone boxes or hotels may charge you). LEGAL NOTICE This document has been prepared for the European Commission however it reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. More information on the European Union is available on the Internet (http://www.europa.eu). Luxembourg: Publications Office of the European Union, 2014 ISBN [number] doi:[number] © European Union, 2014 Reproduction is authorised provided the source is acknowledged. Printed in [Country] PRINTED ON ELEMENTAL CHLORINE-FREE BLEACHED PAPER (ECF) PRINTED ON TOTALLY CHLORINE-FREE BLEACHED PAPER (TCF) PRINTED ON RECYCLED PAPER PRINTED ON PROCESS CHLORINE-FREE RECYCLED PAPER (PCF) Image(s) © [artist's name + image #], Year. Source: [Fotolia.com] (unless otherwise specified) TABLE OF CONTENTS EXECUTIVE SUMMARY ................................................................................................... 7 1 RESEARCH QUESTIONS ........................................................................................ 19 1.1 Background ............................................................................................... 19 1.2 Research questions ..................................................................................... 20 1.3 Content ..................................................................................................... 20 1.4 Internet using population ............................................................................ 21 1.5 Representation of results for the EU28 .......................................................... 23 2 STUDY OUTLINE .................................................................................................. 27 2.1 General overview of the study ...................................................................... 27 2.2 How to define the counterfactual .................................................................. 28 2.3 Truth and recall .......................................................................................... 30 2.4 Econometric challenges ............................................................................... 33 2.5 Further steps within the approach ................................................................. 35 2.6 First literature review .................................................................................. 36 2.7 Interviews ................................................................................................. 36 2.8 Questionnaires ........................................................................................... 37 2.9 Econometric analysis ................................................................................... 40 2.10 Methodological challenges and solutions ........................................................ 42 3 COPYRIGHT REGULATIONS ................................................................................... 47 3.1 Legal Framework in France .......................................................................... 48 3.2 Legal Framework in Spain ............................................................................ 52 3.3 Legal Framework in Germany ....................................................................... 57 3.4 Legal Framework in Poland .......................................................................... 61 3.5 Legal Framework in the United Kingdom ........................................................ 64 3.6 Legal Framework in Sweden......................................................................... 67 3.7 Conclusions ............................................................................................... 71 4 SALES DEVELOPMENTS ........................................................................................ 73 4.1 Approach ................................................................................................... 73 4.2 Music ........................................................................................................ 73 4.3 Audio-visual ............................................................................................... 76 4.4 Books........................................................................................................ 77 4.5 Games ...................................................................................................... 79 4.6 Conclusions ............................................................................................... 80 5 INITIAL LITERATURE SCAN ................................................................................... 81 5.1 Literature covered ...................................................................................... 81 5.2 Methodology scan – displacement rates ......................................................... 81 5.3 Methodology scan - willingness to pay ........................................................... 86 6 SURVEY STATISTICS ............................................................................................ 89 6.1 Sample selection ........................................................................................ 89 6.2 Sample description ..................................................................................... 90 6.3 Use of creative content ................................................................................ 92 6.4 Proportion of illegal downloaders / streamers ................................................. 93 6.5 Numbers of transactions .............................................................................. 99 Estimating displacement rates of copyrighted content in the EU 5 6.6 100 films ..................................................................................................105 6.7 Willingness to pay......................................................................................108 6.8 Truthfulness of self-reported legal and illegal consumption .............................109 6.9 Conclusions ..............................................................................................113 7 DISPLACEMENT RATES ........................................................................................117 7.1 Introduction ..............................................................................................117 7.2 Econometric specification of the model .........................................................118 7.3 OLS regressions ........................................................................................119 7.4 Instrumental variables approach .................................................................125 7.5 IV regressions ...........................................................................................133 7.6 Comparison with previous literature .............................................................140 7.7 Conclusions ..............................................................................................148 8 DISPLACEMENT RATES 100 FILMS ........................................................................151 8.1 The approach ............................................................................................151 8.2 The displacement of first legal views by first illegal views ...............................152 8.3 The displacement of second legal views by first and second illegal views .......................................................................................................155 8.4 Total displacement effect and conclusions ..................................................... 158 9 WILLINGNESS TO PAY .........................................................................................161 9.1 Willingness to pay questions .......................................................................161 9.2 Analysis....................................................................................................162 9.3 Interpretation of the ordered logit model: ..................................................... 166 9.4 Conclusions ..............................................................................................170 10 METHODOLOGICAL CONCLUSIONS .......................................................................171 A: LITERATURE LIST ...................................................................................................173 B: INTERVIEWED ORGANISATIONS ..............................................................................177 C: INTERVIEW TOPIC LISTS ........................................................................................179 Questions National Authorities and copyright collecting organisations
Recommended publications
  • Uila Supported Apps
    Uila Supported Applications and Protocols updated Oct 2020 Application/Protocol Name Full Description 01net.com 01net website, a French high-tech news site. 050 plus is a Japanese embedded smartphone application dedicated to 050 plus audio-conferencing. 0zz0.com 0zz0 is an online solution to store, send and share files 10050.net China Railcom group web portal. This protocol plug-in classifies the http traffic to the host 10086.cn. It also 10086.cn classifies the ssl traffic to the Common Name 10086.cn. 104.com Web site dedicated to job research. 1111.com.tw Website dedicated to job research in Taiwan. 114la.com Chinese web portal operated by YLMF Computer Technology Co. Chinese cloud storing system of the 115 website. It is operated by YLMF 115.com Computer Technology Co. 118114.cn Chinese booking and reservation portal. 11st.co.kr Korean shopping website 11st. It is operated by SK Planet Co. 1337x.org Bittorrent tracker search engine 139mail 139mail is a chinese webmail powered by China Mobile. 15min.lt Lithuanian news portal Chinese web portal 163. It is operated by NetEase, a company which 163.com pioneered the development of Internet in China. 17173.com Website distributing Chinese games. 17u.com Chinese online travel booking website. 20 minutes is a free, daily newspaper available in France, Spain and 20minutes Switzerland. This plugin classifies websites. 24h.com.vn Vietnamese news portal 24ora.com Aruban news portal 24sata.hr Croatian news portal 24SevenOffice 24SevenOffice is a web-based Enterprise resource planning (ERP) systems. 24ur.com Slovenian news portal 2ch.net Japanese adult videos web site 2Shared 2shared is an online space for sharing and storage.
    [Show full text]
  • My Friend P2p
    MY FRIEND P2P Music and Internet for the Modern Entrepreneur Lucas Pedersen Bachelor’s Thesis December 2010 Degree Program in Media Digital Sound and Commercial Music Tampereen ammattikorkeakoulu Tampere University of Applied Sciences 2 ABSTRACT Tampere University of Applied Sciences Degree Program in Media Digital Sound and Commercial Music PEDERSEN, LUCAS: My Friend p2p – Music and Internet for the Modern Entrepreneur Bachelor’s thesis 81 pages December 2010 _______________________________________________________________ The music industry is undergoing an extensive transformation due to the digital revolution. New technologies such as the PC, the internet, and the iPod are empowering the consumer and the musician while disrupting the recording industry models. The aim of my thesis was to acknowledge how spectacular these new technologies are, and what kind of business structure shifts we can expect to see in the near future. I start by presenting the underlying causes for the changes and go on to studying the main effects they have developed into. I then analyze the results of these changes from the perspective of a particular entrepreneur and offer a business idea in tune with the adjustments in supply and demand. Overwhelmed with accessibility caused by democratized tools of production and distribution, music consumers are reevaluating recorded music in relation to other music products. The recording industry is shrinking but the overall music industry is growing. The results strongly suggest that value does not disappear, it simply relocates. It is important that both musicians and industry professionals understand what their customers value and how to provide them with precisely that. _______________________________________________________________ Key Words: Music business, digital revolution, internet, piracy, marketing.
    [Show full text]
  • Piratez Are Just Disgruntled Consumers Reach Global Theaters That They Overlap the Domestic USA Blu-Ray Release
    Moviegoers - or perhaps more accurately, lovers of cinema - are frustrated. Their frustrations begin with the discrepancies in film release strategies and timing. For example, audiences that saw Quentin Tarantino’s1 2 Django Unchained in the United States enjoyed its opening on Christmas day 2012; however, in Europe and other markets, viewers could not pay to see the movie until after the 17th of January 2013. Three weeks may not seem like a lot, but some movies can take months to reach an international audience. Some take so long to Piratez Are Just Disgruntled Consumers reach global theaters that they overlap the domestic USA Blu-Ray release. This delay can seem like an eternity for ultiscreen is at the top of the entertainment a desperate fan. This frustrated enthusiasm, combined industry’s agenda for delivering digital video. This with a lack of timely availability, leads to the feeling of M is discussed in the context of four main screens: being treated as a second class citizen - and may lead TVs, PCs, tablets and mobile phones. The premise being the over-anxious fan to engage in piracy. that multiscreen enables portability, usability and flexibility for consumers. But, there is a fifth screen which There has been some evolution in this practice, with is often overlooked – the cornerstone of the certain films being released simultaneously to a domestic and global audience. For example, Avatar3 was released entertainment industry - cinema. This digital video th th ecosystem is not complete without including cinema, and in theaters on the 10 and 17 of December in most it certainly should be part of the multiscreen discussion.
    [Show full text]
  • Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States
    Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Buonocore, Cathryn E. 2016. Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States. Master's thesis, Harvard Extension School. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:33797406 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Comparative Life Cycle Impact Assessment of Digital and Physical Distribution of Video Games in the United States Cathryn E. Buonocore A Thesis in the field of Sustainability for the Degree of Master of Liberal Arts in Extension Studies Harvard University November 2016 Copyright 2016 Cathryn E. Buonocor Abstract This study examines and compares the environmental footprint of video game distribution on last generation consoles, current generation consoles and personal computers (PC). Two different methods of delivery are compared on each platform: traditional retail on optical discs and digital downloads in the U.S. Downloading content has been growing and is used to distribute movies, music, books and video games. This technology may change the environmental footprint of entertainment media. Previous studies on books, music, movies and television shows found that digital methods of distribution reduced emissions. However, prior research on video games, looking only at previous generation consoles, found the opposite conclusion.
    [Show full text]
  • Who Pays Soundexchange: Q1 - Q3 2017
    Payments received through 09/30/2017 Who Pays SoundExchange: Q1 - Q3 2017 Entity Name License Type ACTIVAIRE.COM BES AMBIANCERADIO.COM BES AURA MULTIMEDIA CORPORATION BES CLOUDCOVERMUSIC.COM BES COROHEALTH.COM BES CUSTOMCHANNELS.NET (BES) BES DMX MUSIC BES ELEVATEDMUSICSERVICES.COM BES GRAYV.COM BES INSTOREAUDIONETWORK.COM BES IT'S NEVER 2 LATE BES JUKEBOXY BES MANAGEDMEDIA.COM BES MEDIATRENDS.BIZ BES MIXHITS.COM BES MTI Digital Inc - MTIDIGITAL.BIZ BES MUSIC CHOICE BES MUSIC MAESTRO BES MUZAK.COM BES PRIVATE LABEL RADIO BES RFC MEDIA - BES BES RISE RADIO BES ROCKBOT, INC. BES SIRIUS XM RADIO, INC BES SOUND-MACHINE.COM BES STARTLE INTERNATIONAL INC. BES Stingray Business BES Stingray Music USA BES STORESTREAMS.COM BES STUDIOSTREAM.COM BES TARGET MEDIA CENTRAL INC BES Thales InFlyt Experience BES UMIXMEDIA.COM BES SIRIUS XM RADIO, INC CABSAT Stingray Music USA CABSAT MUSIC CHOICE PES MUZAK.COM PES SIRIUS XM RADIO, INC SDARS 181.FM Webcasting 3ABNRADIO (Christian Music) Webcasting 3ABNRADIO (Religious) Webcasting 8TRACKS.COM Webcasting 903 NETWORK RADIO Webcasting A-1 COMMUNICATIONS Webcasting ABERCROMBIE.COM Webcasting ABUNDANT RADIO Webcasting ACAVILLE.COM Webcasting *SoundExchange accepts and distributes payments without confirming eligibility or compliance under Sections 112 or 114 of the Copyright Act, and it does not waive the rights of artists or copyright owners that receive such payments. Payments received through 09/30/2017 ACCURADIO.COM Webcasting ACRN.COM Webcasting AD ASTRA RADIO Webcasting ADAMS RADIO GROUP Webcasting ADDICTEDTORADIO.COM Webcasting ADORATION Webcasting AGM BAKERSFIELD Webcasting AGM CALIFORNIA - SAN LUIS OBISPO Webcasting AGM NEVADA, LLC Webcasting AGM SANTA MARIA, L.P.
    [Show full text]
  • Raider of the Lost Art - What Kind of a Product Is Film?
    Raider of the Lost Art - What Kind of a Product is Film? Marketing Master's thesis Niklas Rinne 2013 Department of Marketing Aalto University School of Business Powered by TCPDF (www.tcpdf.org) Abstract Purpose of this study Film is a complex product that can be used in many different ways. The age of the digitalization has affected not only the product itself, but the way we consume it as well. If once film could be seen as a magical experience, then nowadays it reminds more of a disposable product. New innovations give us the freedom of enjoying it whenever and wherever. My objective in this research is to reveal the current value of film. How do we perceive films nowadays, how do we watch them and in the end what kind of a product film is in 2013? Methodology The theoretical framework discussed the literature relating to postmodernism, consumer culture theory, hedonic consumption, and downloading. The empirical part of the study is of the qualitative manner. The long interviews (McCracken, 1988) were used as data collection for the study. The ten participants all had a different approach to film, some worked with film and some studied film. Through these discussions I found ten different perceptions of film and ways of using film. The discussions revealed not only interesting ideas and concepts about the format of art itself. The question “how we use film “eventually lead to a much more fascinating question “why is it that we use film in that specific way”… Findings Every time an individual puts a film on, he/she has a goal.
    [Show full text]
  • Stable Repositories: Sudo Dnf Install Mellowplayer
    MellowPlayer Documentation Release 3.6.8 Colin Duquesnoy Jan 09, 2021 Contents 1 User documentation 3 1.1 About MellowPlayer...........................................3 1.2 Installation................................................3 1.3 Features..................................................5 1.4 Getting started..............................................6 1.5 FAQ & Known issues.......................................... 16 2 Developer documentation 19 2.1 Coding guidelines............................................ 19 2.2 Project structure............................................. 19 2.3 Plugins.................................................. 20 2.4 Contributing to MellowPlayer...................................... 24 3 Indices and tables 27 i ii MellowPlayer Documentation, Release 3.6.8 Contents 1 MellowPlayer Documentation, Release 3.6.8 2 Contents CHAPTER 1 User documentation Contents: 1.1 About MellowPlayer MellowPlayer is born from the need of a Qt-based alternative to NuvolaPlayer for the KaOS linux distribution Here are the initial goals: • the application should embed a web view of the music streaming service (the same as you see in a regular browser) and should provide an integration with the desktop (media keys support, global shortcuts, notifica- tions,. ). • the application should be able to support more than 1 streaming service • we (the core team) will only support the streaming services that we are actively using. Other services should be added and maintained by contributors. The main reason is that we won’t be able to support non-free services (even those who have a trial period). Support for free services (even with limitations) might be added by the team after the release 1.0. • adding a new service/extension should be easy: you just write a javascript plugin 1.2 Installation This page will guide you throught the installation of MellowPlayer on the supported operating systems.
    [Show full text]
  • Sonos Connect:Amp
    SONOS® CONNECT Product Guide THIS DOCUMENT CONTAINS INFORMATION THAT IS SUBJECT TO CHANGE WITHOUT NOTICE. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including but not limited to photocopying, recording, information retrieval systems, or computer network without the written permission of Sonos, Inc. SONOS and all other Sonos product names and slogans are trademarks or registered trademarks of Sonos, Inc. SONOS Reg. U.S. Pat. & Tm. Off. Sonos products may be protected by one or more patents. Our patent-to-product information can be found here: sonos.com/legal/patents iPhone®, iPod®, iPad® and iTunes® are trademarks of Apple Inc., registered in the U.S. and other countries. Windows® is a registered trademark of Microsoft Corporation in the United States and other countries. Android™ is a trademark of Google, Inc. MPEG Layer-3 audio decoding technology licensed from Fraunhofer IIS and Thomson. Sonos uses MSNTP software, which was developed by N.M. Maclaren at the University of Cambridge. © Copyright, N.M. Maclaren, 1996, 1997, 2000; © Copyright, University of Cambridge, 1996, 1997, 2000. All other products and services mentioned may be trademarks or service marks of their respective owners. August 2014 ©2004-2014 by Sonos, Inc. All rights reserved. SONOS CONNECT:AMP The SONOS CONNECT:AMP (formerly ZonePlayer 120) includes a built-in state-of-the-art digital amplifier that can power large or small speakers, allowing you to enjoy superior audio quality in every room. • Includes a multi-port Ethernet switch to enable direct connections to routers, computers, or other Sonos products.
    [Show full text]
  • Mysqueezebox Setup Request Server Setup
    Streaming Services Quick Start Enabling and configuring streaming music on your Serious Play 7 server MySqueezebox Setup You must have a MySqueezebox account to use streaming audio and music services on your ReQuest server. Create your account at www.MySqueezebox.com Changes made in your MySqueezebox account may take up to 5 minutes to show up on your ReQuest sytem. Once logged in, click on App Gallery Browse to each app you are interested or any of the featured app icons. in and click the Install button.. Supported Apps Only the following MySqueezebox apps currently work with ReQuest. This list is subject to change. Absolute Radio UK, AccuRadio, BBC, CBC, CBS Radio, Classical.com, Digitally Imported, Last.fm Radio, Live365, Live Music Archive, MOG, Orange Liveradio, Pandora, Podcasts, RadioFeeds UK & Ireland, RadioIO, Radionomy, SHOUTcast, SiriusXM Internet Radio, SKY.fm, Slacker, SomaFM, Sounds & Effects, Spotify, TuneIn Radio ReQuest Server Setup Screen Saver ReQuest.com | Remote | Settings Use a computer to browse to your Status ReQuest web server. Streaming Services If you don’t know the address of your System Info webserver, use a computer on the same Task Manager network as your ReQuest and go to: Click on Settings at the bottom Choose Streaming Services from the top request.com/findmyserver pulldown menu. If Streaming Services is not an option, you may not be running Serious Play 7. Enter your MySqeezebox account information here. Status messages: Some MySqueezebox services require separate accounts. This list is subject to Valid
    [Show full text]
  • PDF Consolidated Financial Statement of CD
    1 Disclaimer This English language translation has been prepared solely for the convenience of English speaking readers. Despite all the efforts devoted to this translation, certain discrepancies, omissions or approximations may exist. In case of any differences between the Polish and the English versions, the Polish version shall prevail. CD PROJEKT, its representatives and employees decline all responsibility in this regard. Condensed interim consolidated financial statement of the CD PROJEKT Group for the period between 1 January and 31 March 2020 2 (all figures quoted in PLN thousands unless indicated otherwise) The appended information constitutes an integral part of this financial statement. CD PROJEKT Group – selected financial highlights (converted into EUR) PLN EUR 01.01.2020 - 01.01.2019 - 01.01.2020 - 01.01.2019 - 31.03.2020 31.03.2019 31.03.2020 31.03.2019 Revenues from sales of products, services, goods and 192 972 80 878 43 894 18 818 materials Cost of products, services, goods and materials sold 47 491 28 691 10 802 6 676 Operating profit (loss) 97 625 20 495 22 206 4 769 Profit (loss) before tax 100 958 22 670 22 964 5 275 Net profit (loss) attributable to equity holders of parent 91 979 17 731 20 922 4 126 entity Net cash flows from operating activities 187 225 (2 042) 42 587 (475) Net cash flows from investment activities (90 031) 54 839 (20 479) 12 760 Net cash flows from financial activities (1 010) (1 667) (230) (388) Total net cash flows 96 184 51 130 21 878 11 897 Stock volume (thousands) 96 120 96 120 96 120 96
    [Show full text]
  • Voddler Launches Liveshelf Global Video Streaming Service, Featuring Viewshare, Legal Sharing of Films
    Voddler launches LiveShelf global video streaming service, featuring ViewShare, legal sharing of films Stockholm-based Voddler, the next-generation video service, today began its global roll-out of Voddler LiveShelf. This groundbreaking service connects viewers and content owners directly with each other, via an online LiveShelf, for video streaming to connected devices anywhere. It also allows users to invite their friends to watch the films they have on their LiveShelf, whether uploaded or purchased online, a feature named ViewShare. This makes Voddler the world’s first legal film sharing service and the first streaming service to offer premium content globally from the world’s leading content owners. Voddler LiveShelf is powered by VoddlerNet, Voddler’s patented and proprietary streaming solution, which has already been streaming movies to 1.2 million users across Scandinavia and Spain for the past few years. Voddler, the next-generation video platform and to date Scandinavia’s leading VOD-service, today began rolling out it global solution Voddler LiveShelf. The LiveShelf simplifies a fragmented and confusing home entertainment environment, allowing end-users to collect and watch their favorite content – both from online and offline sources – on their LiveShelf. Voddler’s patented streaming solution VoddlerNet makes every user’s LiveShelf accessible, with guaranteed streaming quality, on any connected device. - Today we launched the Voddler LiveShelf for global distribution. Content owners now have an unprecedented opportunity to stream their movies and series to consumers globally. Users decide which of these films to add to their individual LiveShelf by buying or renting them directly online. Users can also upload their own existing movie files.
    [Show full text]
  • Is Mistplay : Play to Win App Legit?
    Is Mistplay : play to win app legit? Mistplay is an extremely fun, interesting and amazingly profitable application that can help you to make some amazing money online. It is very popular as it is amongst some of the easiest playing games applications. But yes there are some people who have this question that, is Mistplay a legit app to play? It is totally fine to be concerned about the application you are ​ using in the hope to win money. So without beating around the bush, let us tell you that it is totally and amazingly genuine application to go on. And here are some of the important things that you should know if you are about to visit play on this app. How mistplay helps you to earn money? This application is super simple to use and provides an easy platform where you can earn money by playing games. The very first thing to do is sign up. It is a great thing to notice that this application doesn’t ask for any payment to join the application which is proof of its authenticity. All it requires is some basic details then you are good to go. You can choose any game and as you are winning, you are earning. Selection of games This application has a series of games to play. You can choose whichever game you want to play and each game is highly interesting. This application has many of the games genres that you can choose from and one important thing to notice is that every game comes with different reward values.
    [Show full text]