Film theft in the UK - Future of Copyright

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Member States to ensure the confidentiality of
communications.
52 Ginsburg – WIPO Group of Experts, December
1998 – Geneva – Private International Law
Aspects of the Protection of Works and
Objects of Related Rights Transmitted through
Digital Networks.
53 Prof. Lucas – Aspects de droit international
privé de la protection d’oeuvres et d’objets de
droits voisins transmis par réseaux numériques
mondiaux – December 1998 – Geneva.
54 See Chapter 4.
55 Night vision surveillance was, for example,
used in the UK by the distributor Warner
Brothers to protect screenings of Harry Potter
and the Prisoner of Azkaban. However, the
film was unfortunately camcorded in one UK
cinema that had apparently declined to use
the equipment provided. See also discussion in
later section on local enforcement.
56 One of the main exceptions is the work of the
Digital Video Broadcasting (DVB) Group’s Copy
Protection Commercial and Technical Module
groups. The DVB project is an important
“voluntary standards body” formed in part at
the insistence of the European Commission as
a forum wherein industry could promote the
“harmonious and market-driven development
of digital broadcasting via cable, satellite and
terrestrial means, including broadband
wireless (MMDS, LMDS, etc.), [and] interactive
services”. The DVB essentially operates as a
“giant patent pool”. While still somewhat
Euro-centric, DVB has grown to become an
international body with over 300 members
(CE, IT, broadcast, content owners, regulatory
bodies, etc). All DVB specifications have been
adopted by European standards bodies
(mostly ETSI). A number of DVB specs have
been adopted beyond Europe.
57 While the Government-sponsored Broadband
Stakeholder Group has authored a report on
DRM, this organisation has very few members
from the film industry.
58 DRM – Missing links in the broadband value
chain. The Broadband Stakeholder Group.
www.broadbanduk.org
59 www.era.org.uk
60 www.screenonline.org
61 See www.ieg-uk.org
62 In support of the measures proposed by the
Alliance Against Counterfeiting and Piracy.
63 Digital Rights Management: Missing links in
the broadband value chain, Broadband
Stakeholder Group. www.broadbanduk.org
64 The British Phonographic Industry Piracy
Report 2003, 16 May 2003
65 The BPI Piracy Report 2003, 16 May 2003.
66 For the study, commissioned by the RIAA, Field
Research polled 3,218 college students from
May 10 to May 24. In the survey, 482 of the
500 who had used Napster said they
downloaded music so they didn't have to buy
CDs and 33% said they had downloaded more
than 75 songs over the past four months.
More than 40% said their Napster use has had
“some” or “a great deal of impact” on their
music purchases.
67 In a consumer study Jupiter communications
surveyed 2,300 online music users and
concluded that 46% of Napster users are more
likely to buy music. Billboard, 29 July 2000.
68 Forrester Research, From Disc to Download,
August 2003
69 http://www.testaankoop.be
70 Entertainment & Leisure Software Publishers
Association
71 Online Music Report, published by IFPI 22
January 2004. See http://www.ifpi.org/sitecontent/press/20040122.html
72 http://www.mycokemusic.com
73 A ‘white label’ service is a ready-to-go service
that is supplied on a wholesale basis for
another company (in this case Coca Cola) to