“Watch TV for Free” screamed the online ad. What? No more cable bills? Never again pay for content? How is this possible? Well my friend, just buy this “fully loaded” streaming TV box and let the era of free entertainment begin! Continue reading ““Free” TV or “Free Riding”?”
In my last blog, I talked about Taiwan’s history of weak intellectual property protection going back to the days of the “ingenious rascals”, the industrial-scale book pirates of Chungking Street in the 1950s and 1960s, but also about the remarkable change that has taken place in recent years as it has climbed the ladder of creativity and innovation. At the same time, I noted concerns expressed by the US copyright industries over a “stalling” of Taiwan’s progress in terms of protecting IP, particularly copyright. How serious is this stalling, and what factors are at play? Nothing happens in isolation. The intellectual property situation in Taiwan is affected by broader political developments internally—and has to be viewed in the context of its challenging relations with China. Continue reading “Copyright in Taiwan: the China Factor”
Taiwan, 23 million people, lives in the shadow of its huge cousin on the mainland, China (the Peoples’ Republic), population 1.3 billion…more or less. In many ways Taiwan years ago was a microcosm of what China is today, and is today what China may one day become. There are many elements to the complicated and complex Taiwan-China relationship, and copyright is just a tiny slice of that relationship. But it is illustrative. Continue reading “From the Pirate Booksellers of Chungking Street to Taiwan Today (Taiwan Blog #1)”
In my blog last week, I talked about the growing role of China as an essential revenue generator for foreign content producers. The most recent projections indicate that China will become the world’s largest film market by revenue as early as next year. This offers great opportunity for foreign content producers, notably the Hollywood studios, but throws into relief the range of market access restrictions imposed by China, despite its membership in the World Trade Organization (WTO). Foreign content producers, particularly in the area of films, would dearly love to remove or at least whittle away at these barriers. There will be an opportunity to do so in 2017 when a US-China agreement on films comes up for renewal. Continue reading “China and the Content Industry: Friend or Foe? (Part Two)”
Chinese Box Office: Global No. 1?
In the 2015 edition of its global media and entertainment outlook for 2016-2020, PwC reported that China’s box office growth will “see it pull ever nearer to the US”. PwC estimated that China’s box office revenue would rise at a 15.5% cumulative annual growth rate (CAGR), moving from US$4.31bn in 2014 to US$8.86bn in 2019 as its cinema-building boom continues and rising disposable incomes make the cinema more affordable. Fast forward to June of this year, and PwC is predicting that China’s box office will replace the US as the world’s largest film market measured by box office revenue as early as next year, reaching revenues of US$10.3 billion in 2017, moving to revenues of $US15.08 billion by 2020. Continue reading “China: Friend or Foe of the Content Industry? (Part One)”
If an infinite number of monkeys on an infinite number of typewriters worked long enough they could produce the works of Shakespeare. Or that at least is how the infinite monkey theorem credited to the noted French mathematician Emile Borel (who sadly is more remembered for his monkey example than his other considerable contributions to the science of mathematics) was used to illustrate his thoughts on probability in 1913. However, as we know, the works of Shakespeare are not subject to copyright protection since they have long been in the public domain–but what if, instead of the works of Shakespeare, those simian creators produced an original work? Would that work be protected by copyright and if so, who would own it? Would it be the owner of the typewriter(s) who conceived of and organized the event and thus made the outcome possible, and who then sifted through the disorganized mass of typed papers to select certain material to compile an intelligible work from the random keying of the band of monkeys? Or would it be the monkeys? Or perhaps no-one? And supposing an infinite number of monkeys, or even a few monkeys, or even one monkey, could produce another form of art, like a painting or a photograph? Who would own the copyright? That of course is at the heart of the famous (or infamous) “Monkey Selfie” case and the controversy surrounding the noted wildlife photographer David Slater. Continue reading “The Monkey Selfie Case: Applying the Common Sense Test”
Bigger is better, right? More choice, economies of scale, lower costs. That at least is the approach the European Commission is taking with its proposed strategy for a Digital Single Market. But is bigger necessarily better? There is good reason to think that in the area of digital content, this is not the case. Continue reading “The European Digital Single Market: Why Bigger is not necessarily Better”