By Rob Scott
February 11, 2013
Filmmaker Simon Klose released his documentary on the founders of The Pirate Bay last week. “TPB AFK: The Pirate Bay Away From Keyboard” follows the founders over a four year period of time, through their ongoing legal struggles, technical issues and battles with large corporations. In an interview with The Verge, Klose shares his thoughts about online piracy, file-sharing, Kim Dotcom, politics and international copyright laws. Continue reading Pirate Bay Documentary Filmmaker on Politics of File-Sharing
February 1, 2013
It is now illegal for U.S. customers to unlock phones to enable them to work on different networks. “The U.S. Copyright Office is no longer granting unlocking an exemption to the Digital Millennium Copyright Act. The DMCA makes it illegal to ‘circumvent a technological measure that effectively controls access’ to copyrighted material, in this case software embedded in phones that controls carrier access,” explains Wired. Continue reading U.S. Copyright Office Says it is Illegal to Unlock Phones
By David Tobia
January 30, 2013
Kim Dotcom, the founder of defunct Megaupload.com, has launched a new website called “Mega.” The file-sharing site drew half a million users within its first 14 hours of operation. Dotcom, who has been battling prosecutors since Megaupload’s assets were seized, claims the new site is legal and compliant with copyright law. However, U.S. prosecutors declined to comment. Continue reading Kim Dotcom Debuts File-Sharing Service to Replace Megaupload
By Rob Scott
January 18, 2013
Do Aereo’s search marketing tactics prove that the TV service infringes copyright? A coalition of networks suing the company “says in court papers that it needs to examine records from Google about Aereo’s AdWords campaigns. That advertising information allegedly ‘bears directly’ on whether Aereo’s $8-a-month service potentially harms the market — which can be a factor in copyright infringement,” reports MediaPost. Continue reading Aereo: Will AdWords Campaign Prove Copyright Infringement?
By Rob Scott
January 1, 2013
From Kim Dotcom and the rise of patent troll lawsuits to Apple v. Samsung and the public outcry against SOPA/PIPA, 2012 was a dramatic year in terms of copyright law, tech-related legislation and Internet policy. Response to the SOPA/PIPA bills in January helped set the tone as the debate in Washington raged, and consumers and companies took to the Internet in protest. At one point, politicians were flooded with a record eight million e-mails from regular Internet users in just a few days. So what were the top tech policy stories for 2012 — and how will they impact us moving forward? Continue reading Year in Review: Top Tech Policy Stories of 2012
By Rob Scott
December 17, 2012
We’ve been following this year’s legal battles of Aereo as major broadcast networks have sued the online TV startup over copyright infringement. Since the service streams TV signals of New York stations for a monthly fee without paying for the right to carry signals, Aereo has created an uproar in the television industry. Now Aereo has begun paying for content, after adding Bloomberg TV to its program lineup.
“We believe that our members will see deep value adding in Bloomberg Television as their ‘go-to’ source for financial news,” said Aereo founder and CEO Chet Kanojia in a written statement. The service also plans to announce expansion to 15 new cities early next year. Kanojia recently said that Aereo is pursuing additional content deals.
“Meanwhile, Aereo and major broadcasters are awaiting a critical decision from an appeals court in their legal battle,” notes the Wall Street Journal. “Last month broadcasters argued their appeal of a lower court’s decision in July denying the broadcasters’ request for a preliminary injunction shutting down Aereo’s service.”
The legal battle could take years to be resolved. “Without a preliminary injunction, Aereo has time to expand and streaming competitors also have a chance to emerge,” notes WSJ.
By Rob Scott
December 4, 2012
A federal appeals court panel is skeptical whether streaming service Aereo has the right to retransmit broadcast television content without permission, but has yet to issue a decision. Three judges of the 2nd U.S. Circuit Court of Appeals appeared ready to reverse July’s lower court decision that reluctantly gave Aereo approval.
ABC, CBS, Fox and NBC are among the networks appealing the lower court judge’s decision that cited a Cablevision DVR case to allow Aereo to operate.
“Cablevision was a storage service, not a retransmission service,” says Bruce Keller, the networks’ attorney. “Aereo is a retransmission service by its own design. Without a license, it violates copyrights.” Paul Smith, another lawyer for the broadcasters, told the panel that the startup was trying to turn the Cablevision case “into a complete carte blanche where people can violate copyrights.”
Meanwhile, Aereo insists that it is complying with copyright laws and provides a legal, alternate platform for free TV broadcasts. Attorney R. David Hosp argued that Aereo lets customers “rent remotely located antennas to access content they could receive for free by installing the same equipment at home,” notes the Wall Street Journal.
“Aereo has grown from 100 users to more than 3,500 in the last year and has expanded from Apple devices such as the iPhone and iPad to devices including Windows computers,” reports WSJ. “It lets customers capture broadcasts from 29 local channels with subscriptions starting at $8 a month.”
By Bryan Gonzalez
November 14, 2011
The following are some notable comments from a panel at last week’s Futures of Entertainment conference at MIT.
Panel: “The Futures of Serialized Storytelling”
- Science fiction is perfect for serialized storytelling because of a large story world that can generate.
- Today’s distractions are forcing TV to focus on its best skill, large live events.
- Serialized drama is really moving to time-shifted. About 50-60 percent of a drama (in theUK) is moving to time-shifted viewing.
- The large challenge for storytellers is how to deal with asynchronous drama. Do writers and show runners still use mechanisms such as cliffhangers, when a large amount of viewing happens 6-12 months after the show?
- Three types of audiences: skimmers, dippers and divers. Skimmers watch the show but offer no other engagement. Dippers will engage beyond the TV, and watch clips and other content online. And divers are the hardcore fans that engage with each other and all the content you put out.
- You spend the most time and energy to produce content for divers. Even though divers are a small slice of the audience, they are the most active. They are the core of your “word of mouth campaign.”
- TV producers are out of touch, they have been too focused on ratings. They have to get back into the crowd. They have to rebuild their skills of “listen and response.”
- For the past five years dramas have been produced in a bubble, driven by executives and ratings. Or copying formulas that may have worked in the past. Very little has happened to create new stories.
- It’s important to pace your engagement with the audience. It’s not always about putting out loads of content up front. You must fold in content for the hardcore fans but not alienate the regular fans.
- The more we move into a digital world, the more important the physical tangible experience becomes. It can be a great tool to engage with audiences. For example, “Game of Thrones” food trucks. But on the flip-side, distribution is very difficult.
- Twitter (social media) serves to amplify the liveliness of TV.
- Dramas are not built for Twitter during the show; we see much more Twitter activity after the show.
- “The X-Factor” seems to be designed for half of your attention. It allows for audiences to tweet during the show.
- In social media, we know that the audience members aren’t directing their comments to the show, they are talking to their friends.
- We’re going back 150-200 years ago, during the age of Shakespeare, when a story was told in front of an audience that reacted and talked and commented openly.
- The TV or the movie screen should be the primary source of storytelling. The reason being, those sources will build the most attention from audiences.
- The primary source has to be the best place that can cut into the audience’s attention. With time, that may shift away from the TV screen.
Laurie Baird (Georgia Tech)
Matt Locke (Storythings, UK)
Steve Coulson (Campfire)
Lynn Liccardo (Soap opera critic)
Denise Mann (University of California-Los Angeles)