DOCSLIB.ORG

Copyrighted Material

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Copyrighted Material bindex.qxd 2/28/05 2:45 PM Page 297 Index AAC (Advanced Audio Codec), 88 artist rights, 5, 108–109, 112–114, 147–149, Abbott, Tony, 185–186, 187, 188, 191 207–208, 212, 232, 262 ABC, 164 ASCAP, 249 Academy of Motion Picture Arts and AT&T Labs, 53–54 Sciences, 60 Atari, 251 Adams, Richard, 123 Atlantic Records, 72 Adams, Scott, 83 ATRAC format, 124 Adams, Thomas, 97–98 Attaway, Fritz, 74, 233 Adler, Warren, 104, 107, 108 Au,Wagner James, 244–245 Adobe Systems, 143–144, 246 Audio Home Recording Act, 187 adult entertainment, 93, 157–160 avatars, 243, 244–245, 249 advertising, 83, 176, 177 Aerosmith, 204, 210 BabyCenter (Web site), 82 Aho, Bill, 104 BadBlue, 223 Aimster, 171 Baez, Joan, 190 Akimbo, 161 Balogh, Stephen, 26, 30, 116 Alaska Airlines, 91 Barlow, John Perry, 39–40, 42 Albini, Steve, 194 BayTSP, 222 Allbritton, Christopher, 81 BBC, 83, 164, 180–181 Alliance for Digital Progress, 261 BearShare, 221, 223 AllYourTV.com, 120 Beatles, 211 Alperovich, Adrian, 61–62, 115 Beato, Greg, 12 Alsop, Stewart, 170, 174, 182, 197–198 Bender, Walter, 80 Altman, Robert, 104 beneaththecobweb, 52–58 Amazon.com, 82, 133, 202 Ben Folds Five, 195 American Library Association, 234, 261 Benkler, Yochai, 38 America Online (AOL), 45, 201, 222–223, Bennett, Vicki, 148 228 Berkman Center for Internet & Society, 38 Anderson, Chris, 3 Berman, Joe, 188 Anderson, PameCOPYRIGHTEDla, 159 BestBuy, MATERIAL 206 Anderson, Ross, 238 Betamax, 8, 10, 165 Anti-DMCA.org, 261 Betamax case, 110, 144, 177 APIC Worldwide, 159 Beth, Cora (violinist), 148 Apple, 26–27, 43, 69–70, 84, 88, 119, 189, BigChampagne, 49 197–198, 202, 209, 213, 218, 239 big media, 2, 4, 11, 12, 265–266 Apprentice, The (TV show), 234 convergence, 27–28, 236 Archos, 26, 117 copy protection, 116-118, 123-125, 144, Armstrong, Edwin, 110 228, 235-236. See also copyright Artemis Records, 72 Edge TV concerns, 173–184 artistic license, 21, 109 industry consolidation, 26, 30 artist-on-demand services, 201–202 open media and, 260 297 bindex.qxd 2/28/05 2:45 PM Page 298 298 ❘ INDEX big media (continued) sales of, 96, 196, 198, 209 personal broadcasting and, 154, 155–157 celestial media jukebox, 5, 21, 42, 43, 44, personal media vs., 13–14, 19–21, 71–79 173 public policy and, 29–32 music and, 198, 199, 206, 218 trusted computing and, 237 cellphones, 12, 27 See also Hollywood; music; recording censorship, 108–109, 224–227 industry Center for Democracy and Technology, 40, BitTorrent, 45–46, 223 261 Bjork, 210 Center for Digital Storytelling, 67–69, 85 Blair Witch Project, The (film), 84, 96 Center for Internet and Society, 35 Bleszinski, Cliff, 252 Centropy, 56, 57 blogs, 3, 80–82, 95, 153 certification, 116 Blubster, 223, 224, 232 Chernin, Peter, 29, 32 BMG Music, 72, 200, 204 Cherry Lane Digital, 205 Books, Rodney, 182 Chervokas, Jason, 171 borrowing, 15–16, 19, 20, 21, 36 China Airlines, 60 Bowie, David, 207, 210 Christian Copyright Licensing Interna- Bowman, Shayne, 78 tional, 131 Boyle, James, 261 Christian Music Trade Association, 194 Braxton, Toni, 194 Cinea, 117–118 British Sky Broadcasting, 180 CinemaNow, 99 broadband, 160, 162, 165, 171, 181, 184, Circuit City, 90, 118 259–260 Clark, Gene, 190 broadcast flag, 59, 176, 180, 215, 233–235 Clarke, Ian, 224–228, 229, 230 broadcast networks, 155–156, 175 Clarke, Richard A., 145 Brown, Glenn Otis, 147 Clayman, Gregory L., 157–160 Brown, John Seely, 266 Clayton, David, 101–102, 105, 106, 107, Brown, Sheldon, 16–17, 20 108, 109 Bull, Michael, 198 Clean Flicks, 105 Burger, James M., 24, 123, 180, 194–195 clearing rights, 69, 248 Bush, George W., 81, 112, 137, 141, 233 ClearPlay, 102, 104, 105 BuyMusic.com, 202 Clinton, Bill, 139 cloaking devices, 223 cable television, 112, 120, 155–156, 160, CNN, 49, 156 161, 164, 165, 170, 173, 174, 177, 208 codecs, 88–94 Cablevision, 120 Codename: Gatling (mod), 251 Cahn, Sammy, 207 Cohen, Bram, 223 Caltech, 32, 60 Cohen, Lyor, 206 Cam Jam technology, 117–118 collaborative filtering systems, 173, 176, Campaign Desk (blog), 81 188 Campaign for Digital Rights, 261 Collins, Judy, 190 Canter, Marc, 13 Columbia Pictures, 165 Capitol Records, 188, 200 Columbia TriStar Home Entertainment, Carpenter, Karen and Richard, 113 61, 73, 176 CBS, 81, 83, 164 Comcast, 177 CD-DVD hybrids, 219 Command and Conquer Generals (game), CDs, 96–97, 188, 193, 206, 213 251 burning of, 144, 190, 199 commentaries, do-it-yourself, 76, 78 demise of, 219 Committee for Economic Development, digital music vs., 187, 188, 202 80, 262 encrypted, 140, 213, 215 community publishing projects, 80 bindex.qxd 2/28/05 2:45 PM Page 299 INDEX ❘ 299 compression technology, 87–97, 156, 165 online games and, 248–249 compulsory (statutory) licenses, 208–209, personal media and, 37, 68–69, 70, 263 71–78, 85, 96 computers, 13, 17–18, 79, 133, 266 “substantial similarity” and, 10 convergence and, 236 violation investigation, 59 digital filmmaking and, 69–70, 71 Copyright Act (1976), 74, 77, 123, 138, 144 “kill switches” for, 261 Counter-Strike (game), 250 music recording and, 84, 189 Crawford, Susan, 262 personal networks, 134 Creative Commons, 35, 147–149, 190, 210, recording television on, 119–120 248–249, 265 trusted computing, 26, 32, 140, 233, creative control, 104–106, 109 236–240 creative culture. See personal media Congress, U.S., 73, 139, 149–150, 174, 194 creativity, 13, 34–37, 187 copyright law and, 30, 32, 34–35, 36, 138, Cringely, Robert X., 238 144 Crosby, David, 190 digital media law and, 30, 32, 260–261 Cuban, Mark, 180 digital rights affirmation, 263 culture war, 3, 16 high-tech sector and, 26, 133 cut-and-paste culture, 15, 36 MPAA and, 77, 235 Cutter, Chris and Katie, 129 music licensing and, 109, 208 CyberChef, 222 Napster hearings, 190 cyberlaw, 35–36 Webcasting royalties and, 214 Constitution, U.S., 34, 143, 227 dance clubs, 2, 14–15, 16, 114 consumer electronics industry, 23, 26, Danger Mouse (Brian Burton), 211 31–32, 91, 115–116, 122 Darknet, 44–46, 125, 149, 184, 240–241 consumer rights, 26, 115, 116, 262 definition of, 45 Consumers Union, 40, 261 encrypted file sharing and, 223–230, 232, Content Scramble System, 121 233 convergence, 27–28, 160, 236 as equalizing force, 264 copy controls. See encryption mash-ups and, 210, 212 copy protection, 36–37, 39, 114, 116–118, as metaphor, 3 123–125, 142, 144, 228, 235–236 music file sharing and, 191, 222, 223–224 copyright, 2, 4, 9, 33–41, 44, 227 underground media and, 44, 46, 47–62, adult entertainment sites and, 159 122, 241 artistic expression and, 113–114 video compression technology and, broadcast flag and, 233–235 96–97 censorship and, 226 darknets, 45–46, 132 criminalization and, 127–150, 261, 263 definitions of, 2–3, 45 current legislative initiatives and, Dawson, Rhett, 31–32 261–262 Daytonabeach-live (Internet TV show), Edge TV and, 173, 174, 177, 183, 184 152–153 extensions of, 30, 32, 34–35, 265 decryption programs, 128, 129 fair use and, 4, 26, 68, 70, 73–78, 111, DeCSS (software), 136, 137 117, 123, 128, 138, 139–141, 143, Dell, 26, 236 144–145, 168, 216, 233, 263 Designer, 103 Hollywood concerns about, 30, 31, 32, desktop publishing, 79 35, 72–74, 96, 111, 121, 139, 149, Diamond Multimedia, 26, 110–111, 197 168–169, 262 Diebold Election Systems, 141, 226 infringement on, 33–34, 78 DiFranco, Ani, 197 license customization, 147–149 Digital Clubhouses, 70 Machinima and, 248 DigitalConsumer.org, 40, 111, 261 bindex.qxd 2/28/05 2:45 PM Page 300 300 ❘ INDEX digital culture, 1–18, 150, 261, 266 Doom9, 122, 131 convergence and, 27–28, 160, 236 Dozier, Lamont, 195 public policy and, 3, 29–32 DreamWorks, 9, 89 sensible policies for, 5, 20, 21, 262–265 Dube, Bryan, 252 threats to, 2, 19, 114 Dust to Dust (documentary), 154–155 youth creativity and, 5–13, 71 DVD Copy Control Association, 23, 24 See also personal media DVD Decrypt, 128 Digital Future Coalition, 142–143, 149–150 DVD jukeboxes, 121 digital identity, 231 DVD Movie Writer, 28 digital locks, 29, 44, 45, 123, 137, 213 DVDs, 11–12, 16, 54, 61, 89, 98–99, 140 Digital Millennium Copyright Act, 39, backing up of, 122 139–145, 150, 226, 227 copy protection and, 116–117 hardware mods and, 252, 253 interactive, 101–102, 103 Hollywood and, 30, 32 licensing standards, 70, 115–116 Internet radio programs and, 201 region coding and, 23–24, 25, 106, 253 movie mash-ups and, 212 ripping software, 78, 141, 144 overhaul of, 263 seamless branching, 107 tech companies and, 29 video compression and, 88, 97 violation of, 111, 122, 123, 128, 129, 132, DVDTracks.com, 76 136, 137, 139–145 Dye, Morris, 187 Webcasting royalties and, 214 Dying to Tell the Story (documentary), digital movie clubs, 71 171–172 digital rights, 2, 25, 28–29, 35–42, 99, 111, 116–120, 133, 135, 144–145, 149, 234, Earthstation5, 229 261, 263 Eastman, Marlene, 72 digital rights management, 111, 115, 118, Easton, Steve, 159 125, 182, 210, 213, 228 eBay, 202, 246 digital shoplifting, 266 Ebert, Roger, 76, 84, 90, 104 Digital Speech Project, 261 eBook Reader, 143, 144 digital storytelling, 67–73 e-books, 114, 140, 143 digital television, 116, 119–120, 122–123, Edge TV, 2, 169–184 179–180, 181, 233, 235, 262 eDonkey, 56, 213, 221 digital vaults, 55, 116 Edwards, Bob, 188 digital video recorders (DVRs). See per- Eisner, Michael, 32 sonal video recorders ElcomSoft, 143–144 Directors Guild of America, 104, 105 Eldred, Eric, 29, 33 DirecTV, 88, 176 Eldred v.
Load more

Recommended publications
  • Control Content, Not Innovation: Why Hollywood Should Ebrace Peer-To-Peer Technology Despite the MGM V
    Loyola of Los Angeles Entertainment Law Review Volume 25 Number 3 Article 2 6-1-2005 Control Content, Not Innovation: Why Hollywood Should Ebrace Peer-to-Peer Technology Despite the MGM v. Grokster Battle Timothy K. Andrews Follow this and additional works at: https://digitalcommons.lmu.edu/elr Part of the Law Commons Recommended Citation Timothy K. Andrews, Control Content, Not Innovation: Why Hollywood Should Ebrace Peer-to-Peer Technology Despite the MGM v. Grokster Battle, 25 Loy. L.A. Ent. L. Rev. 383 (2005). Available at: https://digitalcommons.lmu.edu/elr/vol25/iss3/2 This Notes and Comments is brought to you for free and open access by the Law Reviews at Digital Commons @ Loyola Marymount University and Loyola Law School. It has been accepted for inclusion in Loyola of Los Angeles Entertainment Law Review by an authorized administrator of Digital Commons@Loyola Marymount University and Loyola Law School. For more information, please contact [email protected]. CONTROL CONTENT, NOT INNOVATION: WHY HOLLYWOOD SHOULD EMBRACE PEER- TO-PEER TECHNOLOGY DESPITE THE MGM V. GROKSTER BATTLE Written December 2, 2004* I. INTRODUCTION Despite Napster's legal defeat in 20011 and thousands of lawsuits against individual file sharers,2 peer-to-peer ("P2P") file sharing has continued to flourish. Estimates of the economic impact of illegal file sharing on music album sales vary considerably. The recording industry largely blames P2P file sharing for the drop in revenue from sales of CDs from $13.2 billion in 2001 to $11.2 billion in 2003. 5 However, a recent * This Comment was written prior to the decision of the United States Supreme Court handed down on June 27, 2005.
    [Show full text]
  • Webc/Im/Ge/03/1 Rev
    replace June 2003 Tom McGrath, Paramount Enterprises 1 Overview of Viacom/Paramount June 2003 Tom McGrath, Paramount Enterprises 2 1 Movielink June 2003 Tom McGrath, Paramount Enterprises 3 What is Movielink? • Movielink, LLC is the Internet-based movie rental service formed as a joint venture among Metro-Goldwyn-Mayer Studios, Paramount Pictures, Sony Pictures Entertainment, Universal and Warner Bros. • Offers broadband customers in the United States a broad selection of recently released theatrical films as well as additional content from extensive film libraries that span all genres. • 350 titles are currently available, of which 73 were released in 2002. • Movies become available during their “pay per view window” (i.e., after home video but before cable TV). • Customers rent movies for a limited time on a transactional (versus subscription) basis and legally download them to their computer. • Cost per download typically ranges between $2.95 - $4.95. June 2003 Tom McGrath, Paramount Enterprises 4 2 Movielink New Releases Title Released Title Released 24 Hour Party People 2002 Mad Love 2002 Abandon 2002 Maid in Manhattan 2002 All or Nothing 2002 My Big Fat Greek Wedding 2002 Auto Focus 2002 Paper Soldiers 2003 Ballistic: Ecks vs. Sever 2002 Possession 2002 Barbershop 2002 Quitting 2001 Blood Work 2002 Red Dragon 2002 Blue Crush 2002 Roger Dodger 2002 City by the Sea 2002 Running 7 Dogs 2001 Evelyn 2002 Say Yes 2001 Far From Heaven 2002 Secret Ballot 2001 Fear Dot Com 2002 Stealing Harvard 2002 Femme Fatale 2002 Swept Away 2002 Formula
    [Show full text]
  • The Political Economy of Independent Film: a Case Study of Kevin Smith Films
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 The Political Economy of Independent Films: A Case Study of Kevin Smith Films Grace Kathleen Keenan Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF COMMUNICATION THE POLITICAL ECONOMY OF INDEPENDENT FILMS: A CASE STUDY OF KEVIN SMITH FILMS By GRACE KATHLEEN KEENAN A Thesis submitted to the Department of Communication in partial fulfillment of the requirements for the degree of Master of Arts in Media Degree Awarded: Spring Semester, 2009 The members of the Committee approve the Thesis of Grace Kathleen Keenan defended on April 9, 2009. ____________________________________ Jennifer M. Proffitt Professor Directing Thesis ____________________________________ Stephen D. McDowell Committee Member ____________________________________ Andrew Opel Committee Member __________________________________________________ Stephen D. McDowell, Chair, Department of Communication __________________________________________________ Gary R. Heald, Interim Dean, College of Communication The Graduate School has verified and approved the above named committee members. ii For my parents, who have always seen me as their shining star iii ACKNOWLEGEMENTS Dr. Proffitt: Without your dedication to learning and students, this thesis would have been impossible. You truly have the patience of an angel. Much love. Dad: How do you put up with me? Thank you for all your emotional and financial support. Mom: You are always striving to understand. I think I get that from you. Newton Hazelbaker: Again, how do you put up with me? Thank you for your absolute and unconditional love. Laura Clements: Perhaps the most fun person I’ve ever met.
    [Show full text]
  • Marketing Violent Entertainment to Children: a Review of Self-Regulation and Industry Practices in the Motion Picture, Music Recording & Electronic Game Industries
    Marketing Violent Entertainment to Children: A Fourth Follow-up Review of Industry Practices in the Motion Picture, Music Recording & Electronic Game Industries A Report to Congress Federal Trade Commission July 2004 FEDERAL TRADE COMMISSION Timothy J. Muris, Chairman Mozelle W. Thompson, Commissioner Orson Swindle, Commissioner Thomas B. Leary, Commissioner Pamela Jones Harbour, Commissioner Report Contributors Richard F. Kelly, Bureau of Consumer Protection, Division of Advertising Practices Elizabeth Delaney, Bureau of Consumer Protection, Division of Advertising Practices Kial Young, Bureau of Consumer Protection, Division of Advertising Practices Mark Eichorn, Bureau of Consumer Protection, Division of Advertising Practices Lesley A. Fair, Bureau of Consumer Protection, Division of Advertising Practices Mary K. Engle, Associate Director, Bureau of Consumer Protection, Division of Advertising Practices. Assistants Sallie Schools, Bureau of Consumer Protection, Division of Advertising Practices Katherine Zownir, Bureau of Consumer Protection, Division of Advertising Practices Kerry Constabile, Bureau of Consumer Protection Stefano Sciolli, Bureau of Economics Interns Chadwick Crutchfield, Bureau of Consumer Protection, Division of Advertising Practices Jamie Gentry, Bureau of Consumer Protection, Division of Advertising Practices Nicholas A. James, Bureau of Consumer Protection, Division of Advertising Practices Jonathan Longobardi, Bureau of Consumer Protection, Division of Advertising Practices Marketing Violent Entertainment to Children:
    [Show full text]
  • Examining the Dialogic Construction of Women In
    “TAKE HER CLOTHES OFF AND BRING HER TO ME!”: EXAMINING THE DIALOGIC CONSTRUCTION OF WOMEN IN ROBERT ALTMAN’S FILMS A DISSERTATION SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE GRADUATE SCHOOL OF THE TEXAS WOMAN’S UNIVERSITY DEPARTMENT OF ENGLISH, SPEECH, AND FOREIGN LANGUAGES COLLEGE OF ARTS AND SCIENCES BY CHARLENE SMITH GREEN B.A., M.A. DENTON, TEXAS DECEMBER 2017 Copyright © 2017 by Charlene Smith Green DEDICATION For my daughters, Christianne and Natalie Build your castles in the air, and then put foundations under them. ii ACKNOWLEDGEMENTS I would like to express deep and sincere gratitude to my advisor and director Dr. Lou Thompson for her support and encouragement throughout my academic journey, which began so many years ago. I am especially grateful for her thoughtful insight and tireless dedication to my research and writing about films, most especially her guidance with this project on the women in Robert Altman’s films. I would have never completed this project without her unwavering commitment to my research and writing. I would also like to thank my committee members Dr. Genevieve West and Dr. Brian Fehler for providing invaluable comments and feedback on my work. I am especially grateful for the tough questions they asked because those questions made me dig deeper and think harder when I made revisions. Their comments and questions have also led me toward ideas for future research and writing, and that is a priceless contribution indeed. Finally, there are two additional professors I would like to thank for their contributions to my research, writing, and academic growth.
    [Show full text]
  • Blockbuster Fights for Survival Against Intense Competition
    Blockbuster Fights for C A S E Survival Against Intense 5 Competition Synopsis: Blockbuster has consistently faced competitive challenges throughout its history. However, changing technology and shifting customer preferences with respect to movie distribution have become Blockbuster’s biggest challenges to date. Today, the company finds itself trapped in its bricks-and-mortar business model of the past, while strong competitors have emerged to dominate movie distribution via the mail (Netflix), kiosks (Redbox), and online (Apple, Amazon, Hulu, and others). Looking to the future, Blockbuster’s very survival depends on its ability to adapt to and adopt new technology and marketing practices— issues the company has struggled with in the past because of its reactive, rather than proactive, stance toward a rapidly changing market. Themes: Changing technology, changing consumer preferences, competition, competitive advantage, product strategy, services marketing, pricing strategy, distribution strategy, nonstore retailing, customer relationships, value, implementation lockbuster has recently been described as a dinosaur—some say a dinosaur on life support. What a dramatic change from the company’s peak only a few years ago. BIn 2005, Blockbuster, Inc. sat at the top of the global home video rental industry. However, that dominant position has quickly eroded in the face of stiff competition on a number of fronts. Until recently, Blockbuster dealt with a change in competition fueled by changes in technology and consumer preferences. Whether it involves movies delivered via mail, cable on-demand, or online, Blockbuster has struggled to figure out the best way to compete against Netflix, Apple, Amazon, cable providers, and a host of online services.
    [Show full text]
  • Movie Markets in the UK Annex 11 to Pay TV Market Investigation Consultation
    Movie markets in the UK Annex 11 to pay TV market investigation consultation Publication date: 18 December 2007 Annex 11 pay TV market investigation consultation – movie markets in the UK Annex 11 1 Movie markets in the UK This annex contains an Ofcom-commissioned independent report produced by Screen Digest which provides an overview of the UK industry for television rights for movie content, including: • Types of rights bought and sold for distribution in the UK • Relationships between broadcasters and rights holders in the UK • The way rights have been sold in the UK 1 Movie Markets in the UK A report commissioned by OFCOM screendigest Movie Markets in the UK Movie Markets in the UK screendigest Published November 2007 A report commissioned by OFCOM Screen Digest Limited Lymehouse Studios 30/31 Lyme Street London NW1 0EE telephone +44/20 7424 2820 fax +44/20 7424 2838 e-mail [email protected] Author Vincent Létang (TV), Marie Bloomfi eld (DVD), Tim Westcott (TV), Charlotte Jones (Cinema), David MacQueen (Mobile) Editor Ben Keen, Vincent Létang Layout Leander Vanderbijl, Ben Hackshaw, Tom Humberstone All rights reserved. No part of this publication may be reproduced, transmitted, or stored in a retrieval system, in any form or by any means without the prior written permission of the publisher, nor be otherwise circulated in any form of cover or binding other than that in which is it published and without a similar condition (including this condition) being imposed on the subsequent publisher. Copyright © Screen Digest 2007 Printed by Screen Digest (A) 2 Tables and charts Movie Markets in the UK 1 Prints & Advertising costs 27 Film Prints: Transportation 27 Tables and charts 3 Piracy 28 3.3 Market data 28 Executive summary 7 Market Revenues 28 Overall market trends 7 3.4 Flow of Funds 29 Cinema 9 Buena Vista International (UK) Limited 30 DVD 9 Sony Pictures Releasing 30 TV-based VOD (walled-garden VOD) 10 Twentieth Century-Fox 30 Internet-based VOD 10 Warner Bros.
    [Show full text]
  • Movielink Faces Several Challenges As It Pioneers the Emerging Market of Downloadable Movies
    Downloadable Movies are Here May 31, 2006 Matthew Chan Scott Hsieh Jon Seitel BEM 106 – Competitive Strategy Professor R. Preston McAfee Spring 2006 TABLE OF CONTENTS EXECUTIVE SUMMARY ................................................................................. 3 INTRODUCTION ............................................................................................. 3 STRENGTHS............................................................................................ 3 WEAKNESSES......................................................................................... 4 OPPORTUNITIES ..................................................................................... 4 THREATS................................................................................................ 4 INDUSTRY ANALYSIS.................................................................................... 4 COMPETITORS............................................................................................... 6 CINEMANOW ......................................................................................... 6 NETFLIX ................................................................................................ 7 NEW ENTRANTS..................................................................................... 7 STRATEGY RECOMMENDATIONS................................................................... 8 PRICING AND EMERGENT TECHNOLOGY ................................................ 8 HOLDOUTS............................................................................................
    [Show full text]
  • Free Preview
    First Digital Edition - Preview © 2008 Scott Kirsner / CinemaTech Books To purchase the complete book in digital or paperback form, please visit Amazon.com, CreateSpace.com, or Lulu.com. Cover design by Lisa Foulger. Images: Edison’s Kinetoscope, upgraded with audio (courtesy of the U.S. Department of the Interior); Gone with the Wind, in triumphant Technicolor (used with permission from Corbis); Apple chief executive Steve Jobs brandishing a new video iPod (used with permission from Reuters). All rights reserved. No part of this book may be reproduced in any form by any electronic or mechanical means without permission in writing from the author: [email protected]. This digital preview is distributed without digital rights management protection. Feel free to share it with friends or colleagues. Complete paperback and digital copies are available on Amazon.com, CreateSpace.com, or Lulu.com. 10 9 8 7 6 5 4 3 2 1 Contents Introduction 1 Chapter 1: Inventing the Movies 5 Chapter 2: ‘Who the Hell Wants to Hear Actors Talk?’ 11 Chapter 3: How Television Led to Smell-O-Vision 18 Chapter 4: Befriending the Boston Strangler 33 Chapter 5: From Shotguns to Software 40 Chapter 6: Movie Editors’ Slow Cross-Fade 50 Chapter 7: Digital Cinema Pioneers 57 Chapter 8: ‘Agreeing on the Weather’ 75 Chapter 9: Filming Without Film 97 Chapter 10: Coming to Terms with the Net 113 Afterword: Imagining the Future 124 Appendix A 131 Appendix B 132 Acknowledgments 133 A Note on Sources 134 Introduction henever you buy a ticket to see a movie on a Saturday night, the secret technological history of W Hollywood is included free with the purchase price.
    [Show full text]
  • Copyright Material – 9781844573806
    Copyright material – 9781844573806 © Tino Balio 2013 All rights reserved. No reproduction, copy or transmission of this publication may be made without written permission. No portion of this publication may be reproduced, copied or transmitted save with written permission or in accordance with the provisions of the Copyright, Designs and Patents Act 1988, or under the terms of any licence permitting limited copying issued by the Copyright Licensing Agency, Saffron House, 6–10 Kirby Street, London EC1N 8TS. Any person who does any unauthorised act in relation to this publication may be liable to criminal prosecution and civil claims for damages. The author has asserted his right to be identified as the author of this work in accordance with the Copyright, Designs and Patents Act 1988. First published in 2013 by PALGRAVE MACMILLAN on behalf of the BRITISH FILM INSTITUTE 21 Stephen Street, London W1T 1LN www.bfi.org.uk There’s more to discover about film and television through the BFI. Our world-renowned archive, cinemas, festivals, films, publications and learning resources are here to inspire you. Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited, registered in England, company number 785998, of Houndmills, Basingstoke, Hampshire RG21 6XS. Palgrave Macmillan in the US is a division of St Martin’s Press LLC, 175 Fifth Avenue, New York, NY 10010. Palgrave Macmillan is the global academic imprint of the above companies and has companies and representatives throughout the world. Palgrave® and Macmillan® are registered trademarks in the United States, the United Kingdom, Europe and other countries. Cover images: (front) Avatar (James Cameron, 2009), © 20th Century-Fox Film Corporation/© Dune Entertainment III LLC; (back) Justice League (Dan Riba/Butch Lukic/Joaquim dos Santos, 2001–6), Warner Bros.
    [Show full text]
  • Where Is the Popcorn?
    Where is the Popcorn? Report on the New Ways of Distributing of A/V content Compiled by Nenad Puhovski Chair, Cilect Standing Committee for New Technologies Beijing, 2008 2 Index FOREWORD......................................................................................................................................................... 7 DIGITAL CINEMA AND RELATED TECHNOLOGIES .............................................................................. 9 TECHNOLOGY...................................................................................................................................................... 9 DIGITAL CAPTURE ............................................................................................................................................. 10 DIGITAL POST-PRODUCTION .............................................................................................................................. 10 DIGITAL MASTERING ......................................................................................................................................... 10 DIGITAL CINEMA DISTRIBUTORS........................................................................................................................ 10 DIGITAL PROJECTION......................................................................................................................................... 10 LIVE BROADCASTING TO MOVIE THEATERS ....................................................................................................... 11 CURRENT
    [Show full text]
  • Stuart Cunningham, Jon Silver and John Mcdonnell
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Queensland University of Technology ePrints Archive Stuart Cunningham, Jon Silver and John McDonnell RAteS of ChAnge: online DiStRibution AS DiSRuptive teChnology in the filM inDuStRy Abstract Much debate in media and communication studies is based on exaggerated opposition between the digital sublime and the digital abject: overly enthusiastic optimism versus determined pessimism over the potential of new technologies. This inhibits the discipline’s claims to provide rigorous insight into industry and social change – which is, after all, continuous. Instead of having to decide one way or the other, we need to ask how we study the process of change. This article examines the impact of online distribution in the film industry, particularly addressing the question of rates of change. Are there genuinely new players disrupting the established oligopoly, and if so with what effect? Is there evidence of disruption to, and innovation in, business models? Has cultural change been forced on the incumbents? Outside mainstream Hollywood, where are the new opportunities and the new players? What is the situation in Australia? There is no more central issue in media and communications studies today than the proposition that we are in the middle of a rapid process of change that is seeing established or ‘old’ media being challenged for primacy in audiences’ and users’ attention by new modes and types of production, dissemination and display. Reworking the famous communications dictum of Harold Lasswell as ‘what’s going on, why, by whom, where and with what effect’ is what preoccupies us all today.
    [Show full text]