U.a. Zahlen zu Umsatz und Beschäftigten in Teilmärkten der deutschen Kulturwirtschaft.

Rhapsody-Gründer Rob Reid at einen wundebaren Standup-Auftritt, in dem er das Feld des ›Copyrigh Math‹ erläutert: jenes faszinierende Zahlenwerk der Verwerterindustrie, nach dem die US-Medienindustrie im letzten Jahrzehnt durch Piraterie mehr Arbeitsplätze verloren hat, als es gegeben hat. /via wirres.net, http://wirres.net/article/articleview/6222/1/6/

Wunderbar unaufgeregter Text zur aktuell ins hysterische schlagenden Urheberrechtsdebatte. Brüggemann plädiert, as Konsument wie als Produzent urheberrechtlich geschützten Gutes, für mehr Gelassenheit, weniger Verallgemeinerung, der Anerkennung de in kreativen Leistungen steckenden Arbeit und – auch das – eine vorsichtige Loslösung aus dem rechtlichen Klammergriff der Verwertungsindustrie. Toll auch seine Wortschöpfung ›Liebeskopie‹ für die aus der Wertschätzung für die Kunst entstandenen, unbezahlten Kopien.

»A total of 145 companies and organizations lobbied the House of Representatives for and against the Stop Online Piracy Act (SOPA), while 157 groups lobbied for and against its sister bill in the Senate, the Protect Intellectual Property Act (PIPA), according to the Center for Responsive Politics.«

»According to figures compiled by the Center For Responsive Politics, the film, music and TV industries have spent more than $91m so far this year lobbying for the approval of the bill.«

Andy Ihnatko lotet den feinen Grat zwischen »die Contentindustrie treibt die Leute in die Arme illegaler Downloadsites« und »ich zahle nur, wenn es mit passt« aus. Lesenswert. /via http://twitter.com/migueldeicaza/status/172064404584677376, @codinghorror

"Sie kommen zu dem Schluss, dass sich ein außergewöhnlicher Einbruch der Kartenverkäufe auf dem heimischen US-Markt seit dem Aufkommen von BitTorrent nicht nachweisen lässt. Die meisten Filmfans kaufen also nach wie vor lieber eine Kinokarte, als sich eine illegale Kopie desselben Films anzusehen. Ganz anders sieht das aber auf dem internationalen Markt aus. Dort ist der Schaden durch die Piraterie laut Danaher und Waldfogel tatsächlich signifikant (nach ihrer Schätzung sind die Einnahmen im Schnitt um mindestens 7 Prozent geringer als sie es ohne Piraterie wären).

Dies nun allerdings eher nicht, weil das Überseepublikum so viel unmoralischer wäre. Je länger aber die Zeitspanne zwischen der US-Premiere und dem Kinostart in einem anderen Land ist, desto weniger wird dort in den Filmtheatern eingenommen, dieser Effekt ist nachweisbar. Und nachweisbar ist auch, dass er sich seit BitTorrent noch einmal erheblich verstärkt hat."

Tja – das Urheberrecht schützt die Rechteinhaber … mit den tiefsten Taschen. /via @doktordab, http://twitter.com/doktordab/status/169750932266037248, @netzpolitik

»But it seems to us that [RIAA CEO Cary Sherman’s NYT] op-ed's really unfortunate message is that Hollywood still thinks the way forward is for a few executives to sit down together and make a deal. He calls on “the companies” that opposed the bills to come up with “constructive alternatives” and then have a "fact-based conversation" with the entertainment industries. MPAA chair Chris Dodd made a similar call a few weeks ago. Even New York Times op-ed columnist Bill Keller seems to think this comes down to a few "players": in his own piece on the battle against the bills, he seemed to assume that Wikipedia's Jimmy Wales is the only person who matters on the other side of this debate.«

Der Samurai Knitter hat die Nase voll: »I WOULD DEARLY LOVE TO BUY SOME SHIT BUT THESE MOTHERFUCKERS WON'T SELL IT. Then they whine and piss and moan and try to pass draconian laws and make up ridiculous figures of money lost. They are living in the 1960s with their business model, and they deserve to loose revenue for the way they AREN'T SELLING their content. FUCK THEM.« Recht hat (und seine Beispiele sind gut gewählt). /via @elliottcable @timbray

Wie Heise.de berichtet, beendete das Bundesverfassungsgericht einen langjährigen Rechtsstreit zwischen dem Heise-Verlag (c’t, iX) und der Musikindustrie.

»No doubt piracy is costing the content industries something—or they wouldn't be throwing so much money at Congress in support of this kind of legislation. If we could wave a magic wand and have less piracy, obviously that would be good. But in the real world, where enforcement has direct costs to the taxpayer, regulation has costs on the industries it burdens, and the reduction in piracy they're likely to produce is very small, it seems important to point out that the credible evidence for the magnitude of the harm is fairly thin. As a rough analogy, since antipiracy crusaders are fond of equating filesharing with shoplifting: suppose the CEO of Wal-Mart came to Congress demanding a $50 million program to deploy FBI agents to frisk suspicious-looking teens in towns near Wal-Marts. A lawmaker might, without for one instant doubting that shoplifiting is a bad thing, question whether this is really the optimal use of federal law enforcement resources. The CEO indignantly points out that shoplifting kills one million adorable towheaded orphans each year. The proof is right here in this study by the Wal-Mart Institute for Anti-Shoplifting Studies. The study sources this dramatic claim to a newspaper article, which quotes the CEO of Wal-Mart asserting (on the basis of private data you can't see) that shoplifting kills hundreds of orphans annually. And as a footnote explains, it seemed prudent to round up to a million. I wish this were just a joke, but as readers of my previous post will recognize, that's literally about the level of evidence we're dealing with here.«

»restricting access to content is a bad business model in the age of a global network that costs practically nothing to distribute on.«

»If they went direct to their customers, offered their films at a reasonable price (say $5/view net to them), and if they made their films available day one everywhere in the world, I can't see how they wouldn't make more money.«

In a nutshell: »This is what happens in digital distribution. Prices come down, markets expand, customers see lower prices and broader availability. Producers do better. Everyone else does worse.«

»they lose transactions every night, to piracy, to competing forms of entertainment, and possibly to apathy brought about by frustration.«

wie die filmindustrie den amerikanischen kongress bescheisst und statistiken verfälscht. immer noch unbeantwortet, zumindest seriös: wie gross der schaden durch raubkopieren denn nun wirklich ist.

wenn man sich die zahlen der filmindustrie ansieht, wie das julian sanchez im von cory doctorow verlinmkten <a href="http://www.cato-at-liberty.org/how-copyright-industries-con-congress/">artikel</a> getan hat, kommt man schnell von jährlich 61 milliarden auf 446 millionen dollar schaden den amerikanische benutzer den filmstudios angeblich beigebracht haben sollen. <a href="http://www.cato-at-liberty.org/how-copyright-industries-con-congress/">julian sanchez</a>:

Of the total $6.1 billion in annual losses LEK estimated to MPAA studios, the amount attributable to online piracy by users in the United States was $446 million—which, by coincidence, is roughly the amount grossed globally by Alvin and the Chipmunks: The Squeakquel.

"The message I get is that Americans love the movies as much as ever. It's the theaters that are losing their charm. Proof: theaters thrive that police their audiences, show a variety of titles and emphasize value-added features. The rest of the industry can't depend forever on blockbusters to bail it out."

"In 2002, there were about 43,000 people employed in the actual production of movies and videos. In 2010? That number had jumped to 77,000. Not bad. So where are the few job losses coming from? Well, there are about 1,500 fewer jobs in "movie and video distribution," but that makes sense, since technology is making that area less important. Really, the only place in the industry that has seen a significant loss in jobs (and even then it's not that big) is in the movie theater business. Employment in movie theaters dropped from about 134,000 in 2002 to about 119,000 in 2010. That accounts almost entirely for the drop in total employment in the movie business from 392,000 down to 374,000 that the CRS report noted."

Amir Muhammad über die Unterschiede zwischen Film- und Buchproduktion

Mahnola Dargis