Protecting U.S. Intellectual Property Rights and the Challenge of Digital
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Testimony of Authors Guild President Scott Turow Before the Senate
My name is Scott Turow. I’m the president of the Authors Guild, the largest society of published authors in the U.S., representing more than 8,500 book authors and freelance writers. Our members represent the broad sweep of American authorship, including literary and genre fiction, nonfiction, trade, academic, and children’s book authors, textbook authors, freelance journalists and poets.1 Guild members have won countless honors and all major literary awards, including the Nobel Prize for Literature.2 The Authors Guild promotes the professional interests of authors: we’re advocates for effective copyright protection, fair contracts, and free expression. It’s a pleasure and an honor to be here this morning. I’d like especially to thank this committee for recognizing the severity of the problem we all face and getting the ball rolling with COICA in the fall, which recognized this central and unavoidable truth: any serious attempt to address online piracy must address the third-party enablers of infringement. Anything that doesn’t address those enablers is, frankly, a pretend solution to a real problem. Our Copyright Policy Inadvertently Encourages Investments in Technologies and Services That Promote Trafficking in Stolen Books, Music, and Movies After 300 years as one of history's greatest public policy successes, copyright is coming undone. As we meet here this morning, our well-intended policy toward copyright online is 1 The Guild had its beginnings as the Authors League of America, which was founded in 1912 by a group of book authors (including Theodore Roosevelt, who served as the League’s founding vice president), short story writers, freelance journalists and a smattering of dramatists. -
Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D
College of William & Mary Law School William & Mary Law School Scholarship Repository Student Award Winning Papers Student Publications and Awards 2008 Illegal P2P File Sharing on College Campuses – What's the Solution? Antionette D. Bishop Repository Citation Bishop, Antionette D., "Illegal P2P File Sharing on College Campuses – What's the Solution?" (2008). Student Award Winning Papers. 4. https://scholarship.law.wm.edu/awardwinning/4 Copyright c 2008 by the authors. This article is brought to you by the William & Mary Law School Scholarship Repository. https://scholarship.law.wm.edu/awardwinning Illegal P2P File Sharing on College Campuses—What’s the Solution? Antionette D. Bishop* TABLE OF CONTENTS I. THE MUSIC INDUSTRY’S RESPONSE TO ILLEGAL P2P FILE SHARING............................................................................. 517 II. COLLEGE–STUDENT RELATIONSHIP .......................................... 518 III. PUBLIC POLICY CONCERNS ........................................................ 519 A. Efficient Use of College Funds ............................................ 519 B. Academic Freedom............................................................... 520 IV. ALTERNATIVE PROPOSED SOLUTION: COLLECTIVE LICENSING .................................................................................. 521 V. CONCLUSION............................................................................... 522 Since the introduction of Napster in 1999, illegal peer-to-peer (P2P) file sharing1 has been a continuously growing problem for -
Causes, Effects and Solutions of Piracy in the Computer Software Market
Review of Economic Research on Copyright Issues, 2006, vol. 4(1), pp. 63-86 CAUSES,EFFECTSANDSOLUTIONSOFPIRACYINTHE COMPUTER SOFTWARE MARKET AMY MARSHALL Abstract. Much literature has been devoted to exploring the protection of computer programs. The decreasing effectiveness of copyright and patents has been extensively examined and alternative forms of protection, both phys- ical and market-based, have been laid out. A large proportion of writings is dedicated to describing the significant network externalities that exist in thesoftwaremarket,andtheeffect that these have on the optimal level of protection. A large number of surveys have been undertaken to analyse the characteristics of software pirates and their incentives to pirate. This paper attempts to provide an overview of this literature. 1. Introduction The widespread incidence of unauthorised use and copying of computer software has had a devastating impact on the software industry in recent years. Significantly costly time and effort is invested by software programmers in developing a program and with software piracy preventing these developers from recouping remuneration from users, the incentives existing to produce new software may not be sufficient enough for any further development, causing the industry to stagnate. This would be costly to not only computer programmers but also to the government who would miss out on a significant amount of taxation revenue and society as a whole, whose software choices would be diminished. The traditional protector of intellectual property is copyright, defining the rights of ownership of creators and allowing for the enforcement of these rights. The basis behind copyright law is to provide the means for a creator to receive sufficient remuneration for development to occur. -
Stream-Ripping: Its Role in the UK Music Piracy Landscape Three Years On
Stream-ripping: Its role in the UK music piracy landscape three years on September 2020 PRS for Music Foreword Stream-ripping: its role in the UK music piracy landscape three years on builds on research we published with the Intellectual Property Office three years ago. The initial research, Stream-ripping: How it works and its role in the UK music piracy landscape, came at a time when little work had been done to understand the size of problem posed by stream-ripping. The previous report allowed us to map the landscape of online music piracy and to gain insight into the functioning and the business model of stream-ripping services. We found evidence to support our assumption that stream-ripping was on course to become the dominant mode of online infringement. This second wave of research shows that our expectation is now the reality: stream-ripping services account for more than 80% of the top 50 music specific piracy sites. We can see that the services are becoming more sophisticated, offering better quality downloads, evolving their revenue streams, and becoming more adept at operating beneath the radar, with many using the popular content delivery network Cloudflare to obfuscate the location of their servers. But what we can also see is that concerted efforts by the industry do work: a reduction of more than 50% of BitTorrent sites can be attributed to increased geo-blocking and enforcement efforts over the past three years. Since this research was conducted, the world has changed beyond what anyone could have imagined. Amidst the massive societal changes, the almost global lockdown caused by the COVID-19 pandemic has also accelerated the acculturation of digital services. -
You Are Not Welcome Among Us: Pirates and the State
International Journal of Communication 9(2015), 890–908 1932–8036/20150005 You Are Not Welcome Among Us: Pirates and the State JESSICA L. BEYER University of Washington, USA FENWICK MCKELVEY1 Concordia University, Canada In a historical review focused on digital piracy, we explore the relationship between hacker politics and the state. We distinguish between two core aspects of piracy—the challenge to property rights and the challenge to state power—and argue that digital piracy should be considered more broadly as a challenge to the authority of the state. We trace generations of peer-to-peer networking, showing that digital piracy is a key component in the development of a political platform that advocates for a set of ideals grounded in collaborative culture, nonhierarchical organization, and a reliance on the network. We assert that this politics expresses itself in a philosophy that was formed together with the development of the state-evading forms of communication that perpetuate unmanageable networks. Keywords: pirates, information politics, intellectual property, state networks Introduction Digital piracy is most frequently framed as a challenge to property rights or as theft. This framing is not incorrect, but it overemphasizes intellectual property regimes and, in doing so, underemphasizes the broader political challenge posed by digital pirates. In fact, digital pirates and broader “hacker culture” are part of a political challenge to the state, as well as a challenge to property rights regimes. This challenge is articulated in terms of contributory culture, in contrast to the commodification and enclosures of capitalist culture; as nonhierarchical, in contrast to the strict hierarchies of the modern state; and as faith in the potential of a seemingly uncontrollable communication technology that makes all of this possible, in contrast to a fear of the potential chaos that unsurveilled spaces can bring. -
Online Piracy and Consumer Affect to Pay Or Not to Pay
Online Piracy and Consumer Affect To pay or not to pay Master Thesis Psychology: Consumer Behavior Matthias W. Kampmann Online Piracy and Consumer Affect 1 Running head: ONLINE PIRACY AND CONSUMER AFFECT Online Piracy and Consumer Affect: To pay or not to pay Matthias W. Kampmann University of Twente Master Thesis Psychology: Consumer Behavior Instructors: Dr. M. Galetzka & Dr. P.W. de Vries June 2010 Online Piracy and Consumer Affect 2 Abstract Online music piracy is a growing problem for the economy. Yet research on the underlying processes that govern online music piracy behavior is limited. This study addresses this shortcoming by combining insights from research on appraisal theory and consumer reactance into a conceptual framework. The results of an online survey study with N = 160 participants indicate that a price increase that leads to more profits for the music industry instead of more profits for young artists is seen as less fair and music files are perceived to have less value. Price affect could however not be confirmed as a significant predictor of consumer behavior. Ethical beliefs did not moderate the appraisal process but they have a strong negative influence on online piracy behavior. An adjusted model explains 35% of variance in the online piracy intention measure. Theoretical and managerial implications and possibilities for future research are discussed. Online Piracy and Consumer Affect 3 Online Piracy and Consumer Affect: To pay or not to pay Digital piracy has been a byproduct of the digitalized world since the early days of personal computers (Gopal, Sanders, Bhattacharjee, Agrawal, & Wagner, 2004). With the rise of the internet digital piracy has shifted from illegal copies of physical goods like floppy disks, CDs or DVDs towards the theft of intangible goods like music files, video files and computer software (Wall, 2005). -
Piracy Landscape Study
Piracy Landscape Study: Analysis of Existing and Emerging Research Relevant to Intellectual Property Rights (IPR) Enforcement of Commercial-Scale Piracy Prepared for the U.S. Patent and Trademark Office Solicitation Number: 1333BJ19Q00142004 Brett Danaher Michael D. Smith Rahul Telang Chapman University Carnegie Mellon University Carnegie Mellon University This Version: March 20, 2020 Table of Contents Executive Summary ...................................................................................................................... 3 1. The Piracy Ecosystem........................................................................................................... 4 1.1 Piracy of Physical Goods................................................................................................ 6 1.1.1 Manufacturing......................................................................................................... 7 1.1.2 Discovery ................................................................................................................ 7 1.1.3 Distribution ............................................................................................................. 8 1.1.4 Communication, Payment Processing and Fulfillment ......................................... 11 1.2 Piracy of Digital Goods ................................................................................................ 11 1.2.1 Sources.................................................................................................................. 12 1.2.2 -
The Effect of Film Sharing on P2P Networks on Box Office Sales
The effect of film sharing on P2P networks on box office sales Kęstutis Černiauskas Faculty of Computing Blekinge Institute of Technology SE-371 79 Karlskrona Sweden i This thesis is submitted to the Faculty of Computing at Blekinge Institute of Technology in partial fulfillment of the requirements for the degree of Master in Informatics (120 credits). Contact Information: Author(s): Kęstutis Černiauskas E-mail: [email protected] University advisor: Sara Eriksén Department Faculty of Computing Internet : www.bth.se Blekinge Institute of Technology Phone : +46 455 38 50 00 SE-371 79 Karlskrona, Sweden Fax : +46 455 38 50 57 ii ABSTRACT Context. Online piracy is widespread, controversial and poorly understood social phenomena that affects content creators, owners, and consumers. Online piracy, born from recent, rapid ITC changes, raises legal, ethical, and business challenges. Content owners, authors and content consumers should benefit from better understanding of online piracy. Improved, better adapted to marketplace and ITC changes content distribution models should benefit content owners and audiences. Objectives. Investigate online piracy effect on pirated product sales. Improve understanding of online piracy behaviors and process scale. Methods. This observational study investigated movie-sharing effect on U.S. box office. Movie sharing was observed over BitTorrent network, the most popular peer-to-peer file-sharing network. Relationship between piracy and sales was analyzed using linear regression model. Results. File sharing was found to have a slightly positive correlation with U.S. box office sales during first few weeks after film release, and no effect afterwards. Most of newly released movies are shared over BitTorrent network. -
KPMG FICCI 2013, 2014 and 2015 – TV 16
#shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 kpmg.com/in ficci-frames.com We would like to thank all those who have contributed and shared their valuable domain insights in helping us put this report together. Images Courtesy: 9X Media Pvt.Ltd. Phoebus Media Accel Animation Studios Prime Focus Ltd. Adlabs Imagica Redchillies VFX Anibrain Reliance Mediaworks Ltd. Baweja Movies Shemaroo Bhasinsoft Shobiz Experential Communications Pvt.Ltd. Disney India Showcraft Productions DQ Limited Star India Pvt. Ltd. Eros International Plc. Teamwork-Arts Fox Star Studios Technicolour India Graphiti Multimedia Pvt.Ltd. Turner International India Ltd. Greengold Animation Pvt.Ltd UTV Motion Pictures KidZania Viacom 18 Media Pvt.Ltd. Madmax Wonderla Holidays Maya Digital Studios Yash Raj Films Multiscreen Media Pvt.Ltd. Zee Entertainmnet Enterprises Ltd. National Film Development Corporation of India with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars FICCI-KPMG Indian Media and Entertainment Industry Report 2015 with KPMG International Cooperative (“KPMG International”), a Swiss entity. All rights reserved. entity. (“KPMG International”), a Swiss with KPMG International Cooperative © 2015 KPMG, an Indian Registered Partnership and a member firm of the KPMG network of independent member firms affiliated and a member firm of the KPMG network of independent member firms Partnership KPMG, an Indian Registered © 2015 #shootingforthestars: FICCI-KPMG Indian Media and Entertainment Industry Report 2015 Foreword Making India the global entertainment superpower 2014 has been a turning point for the media and entertainment industry in India in many ways. -
Steal These Policies: Strategies for Reducing Digital Piracy
THE INFORMAtiON TECHNOLOGY & INNOVAtiON FOUNDAtiON Steal These Policies: Strategies for Reducing Digital Piracy BY DANIEL CASTRO, RICHARD BENNETT AND SCOTT ANDES | DECEMBER 2009 We need to open a broad Executive Summary dialogue that engages all stakeholders, including he rise of broadband Internet access and cheap storage, along government, content with the growth of digital content, has enabled digital pi- owners, website racy to flourish around the world. Piracy enables the unau- operators, technolog y T thorized distribution of music, movies, television programs, software, developers, and ISPs video games, books, photos, and periodicals quickly and easily, to the and other intermediaries, detriment of creative artists and legitimate rights holders. These prac- on how to improve the global response to piracy. tices threaten not only the robust production of digital content in the future, but U.S. jobs in the present. Unfortunately, many advocates, believing that information should be free, would have government not only turn a blind eye to digital piracy, but actively tie the hands of companies who seek to limit digital piracy. This report makes the case that digital piracy is a serious problem with significant ramifica- tions for the U.S. economy, that a number of approaches, including technical solutions such as content identification, are needed to reduce piracy, and that governments should support legitimate industry ef- forts to reduce digital piracy, including those that focus on the revenue streams of those engaging in piracy. There is no “silver bullet” that will solve controls such as locks, closed-circuit the piracy problem—no single technical TV, and anti-theft packaging as well or legislative proposal will completely as a government-funded system of law solve such a complex issue—but there enforcement, digital piracy requires a are many “lead bullets” that can help coordinated approach. -
Music Piracy and the Audio Home Recording Act
MUSIC PIRACY AND THE AUDIO HOME RECORDING ACT In spite of the guidance provided by the Audio Home Recording Act1 (AHRA) of 1992, music companies are once again at odds with consumer electronics manufacturers. This time around, the dispute is over certain information technology products that enable consumers to copy digital music and transfer them to different formats, or exchange them over the Internet. This article will discuss anti-piracy measures being taken by digital content owners and the United States legislature to combat piracy and evaluate them in light of the AHRA. The Promulgation of Music Piracy Over the last two years, the music industry has fed the media stark statistics about “piracy,” the act of copying digital music content to a blank CD, or uploading or downloading it on the Internet. According to various newspaper articles, an estimated 3.6 billion songs are illegally downloaded each month in the United States.2 In 1999, the music industry estimated that one in four compact discs of new music was actually an unauthorized copy.3 By the end of 2001, it was estimated that as many CDs were burned and copied as were bought.4 In Europe, blank CDs are outselling recorded CDs (although these blank CDs might have also been purchased for legitimate reasons, such as to back-up personal computer files).5 And since 1999, ownership of CD burners has nearly tripled.6 This trend of consumers sharing their music rather than purchasing it may be attributable to many factors, including the slow economy. However, the music industry seems to believe that the most likely culprit in this trend is the rise of digital music,7 i.e., free online file sharing, and the growing popularity of CD burners.8 In an act of self-defense, the largest record companies are developing anti-piracy technology to protect their copyrighted music against the information technology industry’s 1 17 U.S.C. -
Peer-To-Peer File Sharing As User Rights Activism Michael A
Western Journal of Legal Studies Volume 5 Article 3 Issue 3 State Encroachment on Personal Lives February 2015 Peer-to-Peer File Sharing as User Rights Activism Michael A. Gunn University of Western Ontario, [email protected] Follow this and additional works at: https://ir.lib.uwo.ca/uwojls Part of the Civil Law Commons, Civil Rights and Discrimination Commons, Common Law Commons, Communications Law Commons, Communication Technology and New Media Commons, Comparative and Foreign Law Commons, Computer Law Commons, Consumer Protection Law Commons, E-Commerce Commons, Economic History Commons, European Law Commons, Human Rights Law Commons, Intellectual Property Law Commons, International Law Commons, Internet Law Commons, Law and Economics Commons, Law and Philosophy Commons, Law and Society Commons, Legal History Commons, Science and Technology Law Commons, and the Science and Technology Policy Commons Recommended Citation Michael A. Gunn , "Peer-to-Peer File Sharing as User Rights Activism", (2015) 5:3 online: UWO J Leg Stud 3 <https://ir.lib.uwo.ca/ uwojls/vol5/iss3/3>. This Article is brought to you for free and open access by Scholarship@Western. It has been accepted for inclusion in Western Journal of Legal Studies by an authorized editor of Scholarship@Western. For more information, please contact [email protected], [email protected]. Peer-to-Peer File Sharing as User Rights Activism Abstract The pre-digital marketplace is no longer sustainable. With the imposition of digital rights management restrictions on the distribution of media, the Internet cannot promote intellectual freedom. Peer-to-peer file sharing technology helps expose the work of artists and authors to a much wider audience than previously possible.