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"In this article the author examines the impact that copyright law has on the issue of censorship and government regulation of mass media. The author states that copyright legislation pits international media conglomerates that control the availability of their products, against the consumer right to have access to information resources at a reasonable charge. It is suggested that the court cases Huntsman v. Soderbergh and Universal Studios v. Reimerdes tilted the advantage toward the proprietors of mass media outlets and away from consumers."

Examples of Indian government using social media tools.

There is a growing debate about the best successor model to commercial newspapers, with many contending proposals. I will mention three, each of which assigns a large role to an electronic public sphere: (1) private foundations or donors either provide endowment for newspapers or for nonprofits that employ political journalists (Propublica is the leading example, with editors and twenty-eight journalists who provide content to print and online media); (2) a public system that would extend the public broadcasting model to print media; and (3) a national endowment for journalism, with support tied to audience size (proposed by Bruce Ackerman and Ian Ayres). This is not the time or place to explore these alternatives. But in this fourth arena, cyber-utopianism-a celebration of the dispersed, decentralized, egalitarian, Jeffersonian, participatory, deliberative electronic public sphere-is not only misplaced but dangerous.

Sony has been sued for patent infringement for its Blu-Ray technology once again, this time by California intellectual property company Orinda IP USA.In May 2007, a company called Target Technology sued Sony, alleging that Blu-ray infringed on patents discussing the reflective materials used on optical discs. The suit from Orinda, filed on August 20, involves the method of reproducing data on "disk-shaped media," namely Blu-ray discs.

"The six classes of works are: (1) Motion pictures on DVDs that are lawfully made and acquired and that are protected by the Content Scrambling System when circumvention is accomplished solely in order to accomplish the incorporation of short portions of motion pictures into new works for the purpose of criticism or comment, and where the person engaging in circumvention believes and has reasonable grounds for believing that circumvention is necessary to fulfill the purpose of the use in the following instances: (i) Educational uses by college and university professors and by college and university film and media studies students; (ii) Documentary filmmaking; (iii) Noncommercial videos (2) Computer programs that enable wireless telephone handsets to execute software applications, where circumvention is accomplished for the sole purpose of enabling interoperability of such applications, when they have been lawfully obtained, with computer programs on the telephone handset. (3) Computer programs, in the form of firmware or software, that enable used wireless telephone handsets to connect to a wireless telecommunications network, when circumvention is initiated by the owner of the copy of the computer program solely in order to connect to a wireless telecommunications network and access to the network is authorized by the operator of the network. (4) Video games accessible on personal computers and protected by technological protection measures that control access to lawfully obtained works, when circumvention is accomplished solely for the purpose of good faith testing for, investigating, or correcting security flaws or vulnerabilities, if: (i) The information derived from the security testing is used primarily to promote the security of the owner or operator of a computer, computer system, or computer network; and (ii) The information derived from the security testing is used or maintained in a manner that does not facilitate copyright infringement or a violation

OnMobile Global Limited is India's largest value-added service (VAS) company.[2][3][4] The company offers contest management, content aggregation and distribution, voice short codes, mCommerce solutions, missed call alerts, multimedia push services, mobile advertising, mobile search, ringtones, ringback tones, personalized music greetings, mobile media portals, phone backup, voiceportals, and voice SMS.

His show also marks a new high point for China's "shanzhai" culture. Shanzhai, which literally means "mountain fortress" and implies banditry and lack of state control, refers to China's vast array of name-brand knockoffs. Shanzhai versions of Apple Inc.'s iPhone, for example, include the HiPhone, the SciPhone and the deliberately misspelled citrus-themed iOrgane. Recently, the definition of shanzhai has expanded. On China's Internet, blogs, bulletin boards and news sites carry photos of automobiles jerry-rigged to run on railroad tracks ("shanzhai trains"), fluffy dogs trimmed and dyed to look like the national mascot ("shanzhai pandas") and models of the Beijing Olympic Games' National Stadium made out of sticks ("shanzhai Bird's Nest"). A property developer in Nanjing, hoping to lure business and buzz, set up storefront facades with logos such as "Haagon-Bozs," "Pizza Huh," "Bucksstar Coffee," "KFG" and "McDnoald's." Images of what became known as "Shanzhai Street" spread rapidly online. Once a term used to suggest something cheap or inferior, shanzhai now suggests to many a certain Chinese cleverness and ingenuity. Shanzhai culture "is from the grass roots and for the grass roots," says Han Haoyue, a media critic in Beijing, who sees it as a means of self-expression. "It gives people another choice and the possibility of resisting dominant cultural values." Chinese authorities appear to regard shanzhai warily, especially when it comes to intellectual property issues. "The shanzhai culture as a celebration of the DIY [do it yourself] spirit or as a parody to mainstream culture can add fun to our daily lives," said one recent editorial in an official state newspaper. "However, we should remain vigilant against it as a justification for rip-off products."

The Long Tail was a response to an essay by Clay Shirky, a prominent technology writer who also teaches at New York University. Shirky's argument dampened much of the nascent utopianism about blogs, pointing out that the readership of early blogs followed what economists call a Pareto curve, or "power curve": a small number of sites (the "head") attracted a huge number of readers, but most (the "tail") had few or none. This jarred with the utopian notion of the internet as a new kind of democracy. Why bother to participate if our fates were decided for us by a few block votes? So Anderson turned the notion upside down. The blockbuster was over, he proclaimed, and, like a man possessed, he began to see long tails everywhere. It was the Guardian that lauded this logic by comparing Anderson to Copernicus. The implicit message was that the little people would win. Many people were so keen to believe that Web 2.0 would make the world fairer that they rejected any evidence to the contrary. It was only last year, with an exhaustive study of online music sales by the economist Will Page and an experienced digital retailer, Andrew Bud, that a more useful picture of digital markets begin to emerge. Page and Bud found that most of the songs available for purchase had never been downloaded, and that the concentration of hits was more pronounced than ever before. On the file-sharing networks, the same pattern emerged. So, carrying a huge retail inventory, though cheaper than before, was of little or no value. Now, with Free, Anderson has turned to the criticism that the internet destroyed the value of movies, newspapers and music. Firms could, and now should, cross-subsidise this unprofitable activity, he argues. But cross-subsidies aren't new: they have been the subject of decades of observation by economists. Nor are they a panacea. Alan Patrick, co-founder of the Broadsight media and technology consultancy, points out that despite falling marginal costs, th

"This [three-strikes law] is such a good idea that it should be applied to other media as well. Here is my modest proposal to extend three-strikes to the medium of print, that is, to words on paper. My proposed system is simplicity itself. The government sets up a registry of accused infringers. Anybody can send a complaint to the registry, asserting that someone is infringing their copyright in the print medium. If the government registry receives three complaints about a person, that person is banned for a year from using print. As in the Internet case, the ban applies to both reading and writing, and to all uses of print, including informal ones. In short, a banned person may not write or read anything for a year."

63% of urban students spend over an hour online daily; 93% are aware of social networking; Orkut and Facebook are most popular online destinations; 46% use online sources to access news; TV, Newspaper users at 25%; 62% have a personal computer at home; 1 in 4 students own laptops in metros; 2 of 3 own music players; IT and engineering remain overwhelming popular career choices; Media & Entertainment, Travel and Tourism are emerging careers; USA, UK top list of international destinations for higher studies.

A landmark study by the Institute of European Media Law (EML) found that a levy on internet usage legalising non-commercial online exchanges of creative works conforms with German and European copyright law, even though it requires changes in both. The German and European factions of the Green Party who had commissioned the study will make the "culture flat-rate," as the model is being called in Germany, an issue in their policies. The global debate on a new social contract between creatives and society is getting more pronounced by the day. Two models are emerging: a free-market approach based on private blanket licences and voluntary subscriptions, and a legal licence approach based on exceptions in copyright law and mandatory levies, that now has been proven legally feasible and appropriate by the EML study.

There are two common assumptions about the relationship between age and technical competency that rear their heads whenever the internet is discussed. The first assumption is that young people have a natural affinity for technology and both understand and use it in ways that older people cannot. The second is that anyone over the age of 60 is not only technically incompetent but also uninterested in the internet, using it only under protest. Both of these assumptions are flawed, yet have worked their way firmly into the public consciousness. Because they seem like 'common sense', these concepts are spread by policy makers, the media and technology companies alike. But if civil society associations take them at face value, they risk forming strategies and policies that are as flawed as the assumptions they are based on.

Account of a professor finding it difficult to get permission to use material for education "I couldn't get permission to use a particular article and it turns out that the publisher of the journal is a colleague of mine," the professor said. "So I called him ... he was perfectly willing to give me personal permission to use articles of his journal."

London: "New regulations that came into force last week - requiring telephone and internet companies to keep logs of what numbers are called, and which websites and email services and internet telephony contacts are made - have left some wondering if investigative journalism, with its need to protect sources (and its sources' need, often, for protection), has been dealt a killer blow."

Worth reading! "Such enthusiastic assessments also grace the rapidly growing body of academic and popular literature on digital natives in the United States and Western Europe. Books such as Born Digital by John Palfrey and Urs Gasser, Grown Up Digital by Don Tapscott, iBrain by Gary Small and Gigi Vorgan, and The Pirate's Dilemma by Matt Mason, as well as a recent three-year study on digital youth by the MacArthur Foundation, come to mind. In these already-democratic societies, optimism about the Internet's impact on the civic engagement of young people-even the notion of "digital citizenship"-is a justified, if not particularly new, intellectual thread. "However, outside of the prosperous and democratic countries of North America and Western Europe, digital natives are as likely to be digital captives as digital renegades, a subject that none of the recent studies address in depth. If the notion that the Internet could dampen young people's aspirations for democracy seems counterintuitive, it is only because our media is still enthralled by the trite narrative of bloggers as a force for positive change. Recent headlines include: "Egypt's growing blogger community pushes limit of dissent," "From China to Iran, Web Diarists Are Challenging Censors," "Cuba's Blogger Crackdown," "China's web censors struggle to muzzle free-spirited bloggers.""

CNN, copyright and censorship? It is a kind of censorship, I think we can say by now, to cynically use the copyright laws to shut down embarrassing publication of obviously non-infringing works. It's particularly ugly when media outlets do it, though. Yet that's what Patterico says is going on right now with a video that showed a CNN reporter being a little too partisan at a "tea party," formerly available on YouTube (most recently reposted here). Let's cut to the legal mumbo-jumbo, which is what we're all about here after all - as Patterico puts it, "As to the validity of the copyright claim, let me turn over the megaphone to Ben Sheffner of Copyrights and Campaigns":

Along with alarmist predictions of the death of film, "She added that the industry is moving away from the anti-piracy campaigns based around social stigma, such as "Knockoff Nigel", with a more positive campaign called "You make the Movies" launched earlier this month emphasising that DVD sales and cinema tickets are part of the funding process for high quality content."