Why poor countries lead the world in piracy | Technology | guardian.co.uk - 0 views
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Media Piracy's core thesis is simple: people in the poor world don't pay for software, games, music and movies because these goods cost too much. Whereas a DVD here might cost you an hour's wage, the same DVD in a poor country could cost a day's work, or a week's, or even more
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But that's not what the media companies say they believe. In their official narrative – bolstered by a long line of studies with undocumented methodologies and assumptions – is that poor countries simply lack a "culture of copyright" that can be reinforced through education and enforcement.
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Karganis and co have much to say on this score. They document the way that the airwaves and newspapers in poor countries are dominated by the official, Hollywood view of piracy, presented uncritically and at length. The message is even integrated into the school curriculum through official teaching units produced by American entertainment conglomerates and given to teachers to be delivered verbatim to their students.On the enforcement side, entertainment companies often secure a kind of rough, streamlined justice that allows them to race to the head of the justice line, pushing past criminal and civil cases of much larger magnitude. They get their own police forces tasked to them, and their own special high-grade punishments that treat offences against them as inherently graver than offences against local firms and people.
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Rebecca Tushnet's 43(B)log: Is copying theft? - 0 views
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Jonathan M. Barnett, What’s So Bad About Stealing? The paper skips straight to the proposition that any kind of unauthorized copying (including copying of ideas and expression, but also and of more present interest mechanical reproduction) is theft, then concludes that “Some positive level of tolerated theft is an essential component of any transaction structure that maximizes the social wealth generated by creative production.” I don’t quite understand how you can call copying theft without first establishing that the copied thing is owned.
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What really struck me here about the language of theft (second-comer side), rather than the more apparently neutral language of property (first-comer side), was the ways in which it highlights that intellectual property isn’t about theft.
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This paper is also another datum for my theory that copyright restrictionists like to talk about “readers” and maximalists like “users.” Or anyway, they like to use that name for them.
Illegal Art: Articles - 0 views
Repackaging fan culture: The regifting economy of ancillary content models | Scott | Tr... - 1 views
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n particular, recent work on online gift economies has acknowledged the inability to engage with gift economies and commodity culture as disparate systems, as commodity culture begins selectively appropriating the gift economy's ethos for its own economic gain.
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My concern, as fans and acafans continue to vigorously debate the importance or continued viability of fandom's gift economy and focus on flagrant instances of the industry's attempt to co-opt fandom, is that the subtler attempts to replicate fannish gift economies aren't being met with an equivalent volume of discussion or scrutiny.
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There are a number of important reasons why fandom (and those who study it) continue to construct gift and commercial models as discrete economic spheres. This strategic definition of fandom as a gift economy serves as a defensive front to impede encroaching industrial factions. H
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Project MUSE - Cinema Journal - Introduction - 1 views
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These fans feel a deep sense of community and are engaged in a complex subcultural economy—using work time to write about copyrighted characters, teaching one another how to use complex technological equipment to create zines for free, and so on
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fan vids address many of the issues raised during my search for a perfect cover image: each draws from a variety of sources that may be familiar to a particular community of media fans but often are more obscure to other TV viewers. Explaining how and why a particular scene resonates for a fan may indeed rely on the shared knowledge of a story, vid, or central fan discussion.
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The story of media fandom is one steeped in economic and gender concerns, from the beginning, when women began creating the narratives commercial media wouldn't offer—dominated as it is by male producers—
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Project MUSE - Cinema Journal - Should Fan Fiction Be Free? - 0 views
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This situation deserves scrutiny, especially because fan fiction is becoming [End Page 118] increasingly visible to non-initiates through major media outlets in the United States and the United Kingdom, indicating that the genre is moving away from the margins of American and British culture
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The mainstreaming of an alternative form of cultural production is nearly always synonymous with commercialization;
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Over the past decades of sharing their transformative works, fan fiction readers and writers have generally felt wary of commodifying a form of cultural production that is essentially derivative and perhaps subject to copyright infringement lawsuits.
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When Piracy Becomes Promotion - 0 views
Aestheticism Articles: HP doujinshi - 0 views
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Japanese doujinshika---at least at this sort of amateur level---are often very leery of publicity. This might be a reaction to the arrests of several doujinshika in apparently random, token copyright enforcement cases in recent years (such as the infamous Pokemon doujinshika incident), or it might simply be a sign of how negatively "fringe" behavior is viewed in Japanese society
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Snape is gorgeous---or at least that's what the djka at this show seemed to believe.
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Doujinshika are infamous for "prettifying" real-life (or real-text) actors/characters, and who can blame them?
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Doujin's Commercial Evolution - 1 views
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Over the first years of the new millennium these trends continued, with a robust market emerging that combined improved distribution with wider interest to generate revenue for some circles that could no longer be termed “amateur” in any meaningful sense.
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The doujinshi market grew steadily via promulgation through the internet and pop culture media. This resulted in the viability of the doujin as a means of part time and increasingly full time employment. “Kojin circles” emerged, consisting of a sole creator (kojin) who handled all aspects of production and received all the benefits of income from publications. Larger circles formed semi-professional units to produce doujin software that would compete with professional releases. Otaku goods shops expanded their scope as doujin vendors, acting as proxy sellers for hundreds of circles both via brick and mortar outlets and via online mail order. Online-only doujin shops such as DLsite emerged, selling digital copies of doujinshi via download. Advances in printing technology and cheap, high quality labor (mostly Chinese) allowed for the proliferation of doujin items to media beyond the traditional books (and less tradtional CD-Rs), including towels, pillowcases, fans, cups, trinkets, and figures.
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new class of semi-pro and professional creators
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Cultures of music piracy - 0 views
同人関係諸問題の基礎知識・同人活動と著作権 - 0 views
Japan to Legalise Dojinshi? - 0 views
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