https://www.copyrightevidence.org/wiki/api.php?action=feedcontributions&user=Andrea&feedformat=atomCopyright EVIDENCE - User contributions [en]2024-03-28T17:21:54ZUser contributionsMediaWiki 1.34.2https://www.copyrightevidence.org/wiki/index.php?title=Banerjee,_Khalid_and_Sturm_(2005)&diff=5110Banerjee, Khalid and Sturm (2005)2015-08-27T11:56:29Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Banerjee, Khalid and Sturm (2005)<br />
|Author=Banerjee, D.; Khalid, A.M.; Sturm, J.E.<br />
|Title=Socio-economic development and software piracy. An empirical assessment<br />
|Year=2005<br />
|Full Citation=Banerjee, D., Khalid, A. M., & Sturm, J. E. (2005). Socio-economic development and software piracy. An empirical assessment. Applied Economics, 37(18), 2091-2097.<br />
|Abstract=The high rate of software piracy is a growing concern for software developers as well as businesses and governments. It is argued here that the piracy rate is influenced by expected benefits and costs to the pirates. A model is developed using a set of variables that may affect such benefits and costs and hence piracy rate in a country, and tested for a large sample of 53 countries. The results of this paper suggest that the existing socio-economic conditions and the lack of proper institutions in developing and emerging economies may be responsible for high software piracy rates. One may, therefore, infer that the current trends of globalization and socio-economic development may help software piracy in developing countries.<br />
|Authentic Link=http://dx.doi.org/10.1080/00036840500293276<br />
|Reference=Gopal and Sanders (1997); Gopal and Sanders (2000); Shin, Gopal, Sanders and Whinston (2004); Marron and Steel (2000); Cheng, Sims and Teegen (1997);<br />
|Plain Text Proposition=Main results: <br />
<br />
*Higher per capita income improves the ability to pay for new software, and therefore will lower the piracy rate.<br />
<br />
*The piracy rate is not influenced by changes in the Gini coefficient, a measure of income inequality. This is because of the differing effects of inequality on piracy rates. <br />
<br />
*In the presence of LNYCAP (Logarithm of per capita gross domestic product in USD), which is a strong measure of ability to pay, the effect of income inequality is dampened.<br />
<br />
*Total revenue from the retail software market, as a share of GDP, has a positive and statistically significant effect on piracy rate.<br />
<br />
*The results on the inclusion of Openness (OPEN) as an economic factor show that a more open economic environment reduces the incentive to pirate. <br />
<br />
*If the market is open, and both legitimate and pirated software are available, buyers can easily see the benefits of buying the legitimate software, which comes with a warranty and an after-sale service. Obviously, this will reduce the demand and shrink the market for pirated software.<br />
<br />
*The results show a negative and statistically significant relationship between Corruption Perception Index and the piracy rate. <br />
<br />
*The results suggest that greater civil liberty suppresses the incentive for software piracy.<br />
<br />
*Countries such as USA and Australia, which have better record of civil liberties, experience a very low piracy rate as compared to very high software piracy in countries like China where civil liberty is often violated. <br />
<br />
*Inclusion of economic freedom indicates that economically free economies experience a low piracy rate. It is also true that economic freedom enhances market competition and eliminates distortions. This implies a depressed market for pirated software.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=K: Law and Economics, K4: Legal Procedure; the Legal System; and Illegal Behavior, K42: Illegal Behavior and the Enforcement of Law<br />
|Intervention-Response=Policy implications: <br />
<br />
*Economic development, more openness, less corrupt governments, softening of political and civil rights would directly influence the benefits or cost of pirating and would thus lead to a reduction in software piracy. <br />
<br />
*The recent trend towards globalization and trade liberalization will force the ruling regimes to move from control to a market economy as well as to design and implement policies to control corruption, more economic freedom, civil and political rights. <br />
<br />
*China’s accession to the World Trade Organisation (WTO) has important implications for China to take steps towards more transparent policies to control software piracy. <br />
<br />
*It may be expected that these measures will help to reduce the rate of software piracy throughout the globe. This will develop a more competitive market for software development.<br />
|Description of Data=The authors track per capita income, Gini coefficient, total revenue from the retail software sector, openness of the economy, degrees of corruption, civil rights and economic freedom on the rate of software piracy using data from 53 countries covering the period 1994 to 1999. The authors specify the sources for the data () but do not go in to any more detail. They do not specify the type of data, or which countries it originated in.<br />
|Data Year=1994-1999<br />
|Data Type=Secondary data<br />
|Data Source=Business Software Alliance; World Economic Outlook, IMF; UNDP World Income Inequality Database; Internet Center for Corruption Research; Freedom House; Heritage Foundation; World Trade Organization;<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting)<br />
|Method of Analysis=Quantitative Analysis Methods, Correlation and Association, Multivariate Statistics, Regression Analysis<br />
|Industry=Software publishing (including video games);<br />
|Cross-country=Yes<br />
|Comparative=No<br />
|Government or policy=No<br />
|Literature review=No<br />
|Funded By=None stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=53<br />
|Level of Aggregation=Country,<br />
|Data Material Year=1994-1999<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kretschmer,_Klimis,_and_Choi_(1999)_2&diff=5108Kretschmer, Klimis, and Choi (1999) 22015-08-27T11:50:57Z<p>Andrea: Andrea moved page Kretschmer, Klimis, and Choi (1999) 2 to Kretschmer, Klimis, and Choi (1999)</p>
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<div>#REDIRECT [[Kretschmer, Klimis, and Choi (1999)]]</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kretschmer,_Klimis,_and_Choi_(1999)&diff=5107Kretschmer, Klimis, and Choi (1999)2015-08-27T11:50:55Z<p>Andrea: Andrea moved page Kretschmer, Klimis, and Choi (1999) 2 to Kretschmer, Klimis, and Choi (1999)</p>
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<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Kretschmer, Klimis and Choi (1999)<br />
|Author=Kretschmer, M.; Klimis, G. M.; Choi, C. J.;<br />
|Title=Increasing Returns and Social Contagion in Cultural Industries<br />
|Year=1999<br />
|Full Citation=Kretschmer, M., Klimis, G. M., & Choi, C. J. (1999). Increasing returns and social contagion in cultural industries. British Journal of Management, 10(s1), 61-72.<br />
|Abstract=A formal definition of cultural industries is developed following four distinct features of cultural goods: (a) oversupply, (b) quality uncertainty, (c) network effects and (d) demand reversal. Drawing on economic and socio-psychological notions of ‘network’, increasing returns and social contagion effects are distinguished. Increasing returns may govern the adoption of standards when choices are binary, social contagion explains the diffusion of cultural goods when choices are multiple. Together, the four structural features delineating cultural industries account for curious competitive dynamics prevalent in cultural markets, such as the notorious 10 : 90 proportionality (under which 10% of cultural goods account for 90% of the market), causal ambiguity about the reasons for success, and the formation of fashions. Six managerial recommendations are advanced, focusing on a criticial circulation point triggering self-sustaining diffusion patterns. Finally ‘project-based enterprises’ and ‘network forms of governance’ are identified as the organizational forms most suited to the dynamics of the cultural markets.<br />
|Authentic Link=http://onlinelibrary.wiley.com/doi/10.1111/1467-8551.10.s1.6/abstract<br />
|Reference=Burt (1987); Powell (1990); Abrahamson and Fombrun (1994); Bovasso (1996); Jones, Hesterly, and Borgatti (1997);<br />
|Plain Text Proposition=* In order to benefit from social contagion and increasing returns, goods in cultural industries have to reach a critical mass of circulation. <br />
* The managerial recommendations researchers derived from the structural features of the cultural industries are consistent with organizational forms favoring rapid responses in a climate of competition. <br />
* Analysis suggests that ‘critical mass management’ relies heavily on the integration of social structure in at least two ways (1) cultural industries draw from a pool of professionals that is not organized as a market; and (2) cultural industries are organized around ‘boundary spanning’ contacts who have the ability to cross social networks. <br />
* Analysis suggests that cultural exchange conditions favor a particular form of network governance.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z11: Economics of the Arts and Literature, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Data Year=Data includes an assessment of creative industries in comparison with market trends and competition. Several examples are presented to support economic theory and proposition.<br />
|Method of Collection=Qualitative Collection Methods, Ethnography<br />
|Method of Analysis=Qualitative Analysis Methods, Discourse Analysis, Grounded Theory<br />
|Industry=Publishing of books, periodicals and other publishing; Film and motion pictures; Sound recording and music publishing; Creative, arts and entertainment;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=Yes<br />
|Literature review=No<br />
|Funded By=Economic and Social Research Council;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kretschmer,_Klimis,_and_Choi_(1999)&diff=5106Kretschmer, Klimis, and Choi (1999)2015-08-27T11:47:15Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Kretschmer, Klimis and Choi (1999)<br />
|Author=Kretschmer, M.; Klimis, G. M.; Choi, C. J.;<br />
|Title=Increasing Returns and Social Contagion in Cultural Industries<br />
|Year=1999<br />
|Full Citation=Kretschmer, M., Klimis, G. M., & Choi, C. J. (1999). Increasing returns and social contagion in cultural industries. British Journal of Management, 10(s1), 61-72.<br />
|Abstract=A formal definition of cultural industries is developed following four distinct features of cultural goods: (a) oversupply, (b) quality uncertainty, (c) network effects and (d) demand reversal. Drawing on economic and socio-psychological notions of ‘network’, increasing returns and social contagion effects are distinguished. Increasing returns may govern the adoption of standards when choices are binary, social contagion explains the diffusion of cultural goods when choices are multiple. Together, the four structural features delineating cultural industries account for curious competitive dynamics prevalent in cultural markets, such as the notorious 10 : 90 proportionality (under which 10% of cultural goods account for 90% of the market), causal ambiguity about the reasons for success, and the formation of fashions. Six managerial recommendations are advanced, focusing on a criticial circulation point triggering self-sustaining diffusion patterns. Finally ‘project-based enterprises’ and ‘network forms of governance’ are identified as the organizational forms most suited to the dynamics of the cultural markets.<br />
|Authentic Link=http://onlinelibrary.wiley.com/doi/10.1111/1467-8551.10.s1.6/abstract<br />
|Reference=Burt (1987); Powell (1990); Abrahamson and Fombrun (1994); Bovasso (1996); Jones, Hesterly, and Borgatti (1997);<br />
|Plain Text Proposition=* In order to benefit from social contagion and increasing returns, goods in cultural industries have to reach a critical mass of circulation. <br />
* The managerial recommendations researchers derived from the structural features of the cultural industries are consistent with organizational forms favoring rapid responses in a climate of competition. <br />
* Analysis suggests that ‘critical mass management’ relies heavily on the integration of social structure in at least two ways (1) cultural industries draw from a pool of professionals that is not organized as a market; and (2) cultural industries are organized around ‘boundary spanning’ contacts who have the ability to cross social networks. <br />
* Analysis suggests that cultural exchange conditions favor a particular form of network governance.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z11: Economics of the Arts and Literature, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Data Year=Data includes an assessment of creative industries in comparison with market trends and competition. Several examples are presented to support economic theory and proposition.<br />
|Method of Collection=Qualitative Collection Methods, Ethnography<br />
|Method of Analysis=Qualitative Analysis Methods, Discourse Analysis, Grounded Theory<br />
|Industry=Publishing of books, periodicals and other publishing; Film and motion pictures; Sound recording and music publishing; Creative, arts and entertainment;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=Yes<br />
|Literature review=No<br />
|Funded By=Economic and Social Research Council;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Bently_(2002)&diff=5105Bently (2002)2015-08-27T11:40:43Z<p>Andrea: Saved using "Save and continue" button in form</p>
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<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Bently (2002)<br />
|Author=Bently, L.<br />
|Title=Between a Rock and a Hard Place: The Problems Facing Freelance Creators in the UK Media Market-place<br />
|Year=2002<br />
|Full Citation=Bently, L. (2002). Between a rock and a hard place: The problems facing freelance creators in the UK media market–place. London: Institute of Employment Rights. ii. Canada.<br />
|Abstract=The Creators’ Rights Alliance (CRA) is an affiliation of organizations, established in October 2000, representing copyright creators and content providers throughout the media, particularly television, radio and the press.<br />
These organizations represent an important section of the UK’s cultural and economic resources. Their members produce the work that is at the heart of the information technology society, and vital to the future of the economy. However, increasingly concentrated corporations which control the media industries confront individual creators with ever more economically and socially unfair and abusive practices.<br />
The CRA is particularly concerned that the interests and rights of its freelance members (who include authors, playwrights, journalists, directors, photographers, composers, songwriters and musicians) are being trampled upon throughout the media sector.<br />
These abuses are perpetrated not only by the traditional pirates and counterfeiters but also, more significantly, by legitimate businesses: publishers, broadcasting companies, Internet Service Providers, data banks and the like who are undermining the work and livelihoods of the very people who are creators of all the content they wish to exploit.<br />
Not only are these problems economic, but fundamental rights of free expression are also under threat. Unlike the majority of their European counterparts, UK freelance creators are frequently coerced into waiving their moral rights, often irrevocably, to grant unlimited rights to publishers and broadcasters to edit, copy, alter, add to, take from, adapt or translate their contributions.<br />
In commissioning this report, the CRA aims to highlight practices which are not only detrimental to the future of the UK’s economy but are presently devaluing and demoralizing the vast majority of creators and thus discouraging ingenuity, originality and innovation throughout the media.<br />
|Authentic Link=http://creatorsrights.org.uk/media/between.pdf<br />
|Link=http://creatorsrights.org.uk/media/between.pdf<br />
|Plain Text Proposition=* A number of abusive practices have been documented in various studies and consultations over works and in contradiction of the rights of authors, which are not illegal or even criminal under the law of the UK. <br />
* Because UK copyright is transferable like any other property, authors are vulnerable to the effects of the market. This puts freelancers in a difficult position as they are often bound by individual contracts imposed on them by publishers, broadcasting organizations and other entrepreneurs whose businesses have been created expressly for the exploitation of the works and who usually have the benefit of legal opinion. <br />
* The transfer of rights is becoming a standard business practice, often through forms that require authors to transfer their rights on a perpetual basis for a one-off payment. <br />
* The current UK system permits waiver of moral rights, which undermines the protections and calls into question their effectiveness. <br />
* UK contract laws are in conflict and often overcome intended copyright protections.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 3. Harmony of interest assumption between authors and publishers (creators and producers/investors),<br />
|EvidenceBasedPolicy=E. Fair remuneration (levies; copyright contracts),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, O33: Technological Change: Choices and Consequences • Diffusion Processes, O34: Intellectual Property and Intellectual Capital, O38: Government Policy<br />
|Intervention-Response=Without widespread awareness of individual rights and ideal contracting practices, legal reforms would possibly prove ineffective. If reforms are to have a significant impact, this will be through the adoption of collective agreements in particular sectors of the cultural industries.<br />
<br />
Three reasons why reform of the law of authors’ contracts is desirable at a global level are: <br />
* creators’ rights are human rights, and therefore strong moral rights and rights to <br />
remuneration should be available to all authors; <br />
<br />
* reforming authors’ contracts and moral rights at an international level will significantly resolve the problems of “conflicts of law”; and<br />
<br />
* international harmonization of these provisions will prevent exploiters electing to commission work in countries where the law protecting authors is weak.<br />
|Description of Data=Many of the datasets referenced are documented through various reports and consultations, especially through representatives of the various members of the CRA. <br />
<br />
Various secondary data sources are used as support for recommendations and findings.<br />
|Data Year=Not stated<br />
|Data Type=Primary and Secondary data<br />
|Data Source=Various;<br />
|Method of Collection=Qualitative Collection Methods, Ethnography, Life History, Historical Methods<br />
|Method of Analysis=Qualitative Analysis Methods, Textual Content Analysis, Ethnographic/narrative analysis<br />
|Industry=Creative, arts and entertainment; Film and motion pictures;<br />
|Country=United Kingdom; France; Germany;<br />
|Cross-country=No<br />
|Comparative=Yes<br />
|Government or policy=Yes<br />
|Literature review=No<br />
|Funded By=The Creators’ Rights Alliance;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Liebowitz_(2006)&diff=4552Liebowitz (2006)2015-08-21T14:58:46Z<p>Andrea: Andrea moved page Liebowitz (2006) to Liebowitz (2006a)</p>
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<div>#REDIRECT [[Liebowitz (2006a)]]</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Liebowitz_(2006a)&diff=4551Liebowitz (2006a)2015-08-21T14:58:45Z<p>Andrea: Andrea moved page Liebowitz (2006) to Liebowitz (2006a)</p>
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<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Liebowitz (2006a)<br />
|Author=Liebowitz, S. J.;<br />
|Title=Economists Examine File-Sharing and Music Sales<br />
|Year=2006<br />
|Full Citation=Liebowitz, S. J. (2006). Economists examine file-sharing and music sales.Industrial organization and the digital economy, 145-174.<br />
|Abstract=NA<br />
|Authentic Link=http://www.utdallas.edu/~liebowit/intprop/MIT.pdf<br />
|Reference=Liebowitz (1985); Watt (2004);<br />
|Plain Text Proposition=* The theory underlying the analysis of file-sharing has not received the attention it deserved. It has always been clear that some possible aspects of file-sharing would harm copyright owners, such as the substitution of copies for the purchase of originals. <br />
* What has not been understood is that the use of file-sharing to sample products is also likely to lead to harm to copyright owners. Theoretical conditions under which file-sharing might be beneficial to copyright holders seem farfetched. <br />
* A broad analysis of the various theoretical factors at work supports a view that file-sharing is likely to cause serious damage to the owners of copyright materials that are shared. <br />
* Empirical examinations need to meet a higher hurdle than normal before they might be considered to over tern the expectation that the birth of file sharing leads to the subsequent decline in CD sales. <br />
* The political arena is impatient in its search for an answer and for academics to reach unanimity. In any case, it seems that file-sharing hurts copyright owners and that it is responsible for most, if not all, of the recent decline in sales.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=A10: General, K: Law and Economics, O3: Technological Change • Research and Development • Intellectual Property Rights, Z1: Cultural Economics • Economic Sociology • Economic Anthropology<br />
|Intervention-Response=More empirical studies are needed to fully understand the impact of file-sharing.<br />
|Description of Data=Data includes a literature review of various recent studies and analyses examining the impact of file-sharing on record sales.<br />
|Data Year=Prior to 2006<br />
|Data Type=Primary and Secondary data<br />
|Method of Collection=Qualitative Collection Methods, Document Research, Qualitative content/text mining<br />
|Method of Analysis=Qualitative Analysis Methods, Textual Content Analysis, Discourse Analysis, Grounded Theory<br />
|Industry=Film and motion pictures; Television programmes; Sound recording and music publishing;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=No<br />
|Literature review=Yes<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Liebowitz_(2006a)&diff=4550Liebowitz (2006a)2015-08-21T14:58:20Z<p>Andrea: Saved using "Save and continue" button in form</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Liebowitz (2006a)<br />
|Author=Liebowitz, S. J.;<br />
|Title=Economists Examine File-Sharing and Music Sales<br />
|Year=2006<br />
|Full Citation=Liebowitz, S. J. (2006). Economists examine file-sharing and music sales.Industrial organization and the digital economy, 145-174.<br />
|Abstract=NA<br />
|Authentic Link=http://www.utdallas.edu/~liebowit/intprop/MIT.pdf<br />
|Reference=Liebowitz (1985); Watt (2004);<br />
|Plain Text Proposition=* The theory underlying the analysis of file-sharing has not received the attention it deserved. It has always been clear that some possible aspects of file-sharing would harm copyright owners, such as the substitution of copies for the purchase of originals. <br />
* What has not been understood is that the use of file-sharing to sample products is also likely to lead to harm to copyright owners. Theoretical conditions under which file-sharing might be beneficial to copyright holders seem farfetched. <br />
* A broad analysis of the various theoretical factors at work supports a view that file-sharing is likely to cause serious damage to the owners of copyright materials that are shared. <br />
* Empirical examinations need to meet a higher hurdle than normal before they might be considered to over tern the expectation that the birth of file sharing leads to the subsequent decline in CD sales. <br />
* The political arena is impatient in its search for an answer and for academics to reach unanimity. In any case, it seems that file-sharing hurts copyright owners and that it is responsible for most, if not all, of the recent decline in sales.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=A10: General, K: Law and Economics, O3: Technological Change • Research and Development • Intellectual Property Rights, Z1: Cultural Economics • Economic Sociology • Economic Anthropology<br />
|Intervention-Response=More empirical studies are needed to fully understand the impact of file-sharing.<br />
|Description of Data=Data includes a literature review of various recent studies and analyses examining the impact of file-sharing on record sales.<br />
|Data Year=Prior to 2006<br />
|Data Type=Primary and Secondary data<br />
|Method of Collection=Qualitative Collection Methods, Document Research, Qualitative content/text mining<br />
|Method of Analysis=Qualitative Analysis Methods, Textual Content Analysis, Discourse Analysis, Grounded Theory<br />
|Industry=Film and motion pictures; Television programmes; Sound recording and music publishing;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=No<br />
|Literature review=Yes<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Liebowitz_(2004)&diff=4549Liebowitz (2004)2015-08-21T14:56:38Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Liebowitz (2004)<br />
|Author=Liebowitz, S. J.<br />
|Title=Will MP3 downloads Annihilate the Record Industry? The Evidence so Far<br />
|Year=2004<br />
|Full Citation=Liebowitz, S. (2004). Will MP3 downloads annihilate the record industry? The evidence so far. Advances in the Study of Entrepreneurship, Innovation, and Economic Growth, 15, 229-260.<br />
|Abstract=This paper investigates the impact of unauthorized downloading of MP3 files on the recording industry. Although the no longer extant Napster was the most famous system used for such downloading, its progeny have continued to allow millions of music listeners to download music (and other) files without remuneration to the copyright owners. Using data on the historical sales of prerecorded music I examine in detail the recent decline in record sales and attempt to gauge the importance of various alternative factors that have been put forward to explain this decline. I conclude that the evidence supports a claim that MP3 downloads decrease sales.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=414162<br />
|Reference=Liebowitz (1985);<br />
|Plain Text Proposition=* MP3 downloads are causing significant harm to the record industry, but it is not clear whether such downloading in the current legal environment will cause a mortal blow to the industry. <br />
* One of the causes of the decline in record sales is the decline of singles that has been ongoing for quite some time.<br />
* Changes in media might be thought to lead to changes in demand due to a ‘librarying’ motive that would consist of individuals wishing to update some of their favorite recordings to the new medium, though empirical support for this is mixed. <br />
* Prices for records have remained consistent during the last 20 years; another reason for changes in record sales might be due to decline in income.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=K0: General, L0: General, L5: Regulation and Industrial Policy, L8: Industry Studies: Services<br />
|Intervention-Response=* It is important to understand the impact of MP3 downloads if we, as a society, are to determine appropriate responses to allow the record companies to take in defending their economic position from the encroachments brought about by MP3 downloads.<br />
|Description of Data=Data on quantities of records sold in the US on a yearly basis and on revenues is taken from the Recording Industry Association of America.<br />
|Data Year=Not stated<br />
|Data Type=Secondary data<br />
|Data Source=Recording Industry Association of America;<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting)<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Correlation and Association, Regression Analysis, Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data)<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=No<br />
|Literature review=Yes<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Liebowitz_(2006b)&diff=4548Liebowitz (2006b)2015-08-21T14:53:31Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Liebowitz (2006b)<br />
|Author=Liebowitz, S. J.;<br />
|Title=File-Sharing: Creative Destruction or just Plain Destruction?<br />
|Year=2006<br />
|Full Citation=Liebowitz, S. J. (2006). File Sharing: Creative Destruction or Just Plain Destruction?*. Journal of Law and Economics, 49(1), 1-28.<br />
|Abstract=The impact of copying, in the form of file-sharing, has become a stormy policy issue. Previous copying technologies have mostly failed to live up to the extravagant predictions of harm that arose with those new technologies although precise measurements of copying's impact was rarely accomplished or attempted. One impediment to measuring the impact of copying with prior technologies was the difficulty of measuring copying activity. File-sharing is the newest technology for making copies and carries with it the possibility of more precise measurement of copying than has been possible in the past. This paper examines the measurement of file-sharing activity, the theory of file-sharing's likely impact, and the impact of file-sharing. Analysis of various data sets indicate that they do not yet live up to their hoped for precision. Data limitations not withstanding, the evidence seems compelling that file-sharing is responsible for the recent large decline in CD sales for which it has been blamed.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=646943<br />
|Reference=Blackburn (2004); Boorstin (2004); Liebowitz (2004); Michel (2004); Oberholzer and Strumpf (2004); Peitz and Waelbroeck (2004); Rob and Waldfogel (2004); Zentner (2004);<br />
|Plain Text Proposition=- Given the flawed setup of recent surveys, it is likely that the impact of file-sharing is larger than what has been reported.<br />
<br />
- The pattern of file-sharing’s birth and rapid growth followed immediately by the unusually large decline in the sound recording market supports a claim that file-sharing is responsible for the decline in sales. Add to this the predictions of economic theory that file-sharing should lead to a decline in sales and we have what appears to be a very strong case that file-sharing is the cause of the decline.<br />
<br />
- Overall, the evidence appears to be that the lawsuits had an initial negative impact on files-haring, as hoped by the RIAA, but after this initial decline the impact of the lawsuits appears to be wearing off.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=K0: General, L0: General, L5: Regulation and Industrial Policy, L8: Industry Studies: Services<br />
|Intervention-Response=- Economists are often merely consumers of data but particularly in markets that are new, or where data vendors have not yet created and demonstrated the value of their methodologies, we need to heed the caveat emptor warning before we accept the numbers that we are all so eager to put to use.<br />
|Description of Data=Data are taken from various reports and compared against each other to test conclusions.<br />
|Data Year=Various<br />
|Data Type=Secondary data<br />
|Data Source=Big Champagne; NPD; comScore; BGLM; Recording Industry Association of America; PEW;<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting)<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Correlation and Association<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=No<br />
|Literature review=Yes<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kretschmer,_Deazley,_Edwards,_Erickson,_Schafer_and_Zizzo_(2014)&diff=4547Kretschmer, Deazley, Edwards, Erickson, Schafer and Zizzo (2014)2015-08-21T14:52:45Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Kretschmer, Deazley, Edwards, Erickson, Schafer and Zizzo (2014)<br />
|Author=Kretschmer, M.; Deazley, R.; Edwards, L.; Erickson, K.; Schafer, B.; Zizzo, D. J.<br />
|Title=The European Commission’s public consultation on the review of EU copyright rules: a response by the CREATe Centre<br />
|Year=2014<br />
|Full Citation=Kretschmer, M., Deazley, R., Edwards, L., Erickson, K., Schafer, B., & Zizzo, D. J. (2014). The European Commission's Public Consultation on the Review of EU Copyright Rules: A Response by the CREATe Centre. European Intellectual Property Review, 36(9), 547-553.<br />
|Abstract=The European Commission consulted between December 5, 2013 and March 5, 2014 on a wide-ranging review of EU copyright rules. This response by the CREATe Centre attempts to make two contributions: (1) the process of policy formation matters for the evolution of the EU legal framework, and so we offer a short critique of the consultation format; (2) we summarise available evidence in seven thematic areas where CREATe has developed or is developing research (term of protection, libraries and archives, disabilities, text and data mining, user-generated content, fair remuneration for authors and performers, and respect for rights). CREATe understands evidence here as empirically grounded, but open to historical and comparative approaches.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2509186<br />
|Reference=Favale and Kretschmer, 2012;<br />
|Plain Text Proposition=* Though most economists and intellectual property scholars contend the term of copyright protection excessive, the recent extension for sound recordings from 50 to 70 years presents an opportunity to investigate whether the extended term does, in fact, support arguments made in favor of the 70-year term. <br />
<br />
* Much of the questions in the consultation do not adequately consider the unique issues dealt with by an archive; rather they are focused on copyright rules as they impact the use of and access to library collections. <br />
* Making optional the disability exception creates the danger of impeding free movement for EU citizens with disabilities. In addition, more attention should be paid to citizens with mental health problems and learning disabilities. <br />
* A Hargreaves-like exemption should be implemented as part of an EU regulatory instrument, but consideration should also be given to taking text mining entirely out of the copyright arena. <br />
* Unlawful file sharing evidence is predominantly supported by studies focusing on music files. There is further evidence to suggest that such welfare implications may not apply equally to all types of media, including movies and software and especially videogames, books or TV content. Policy decisions based upon evidence generated by music files should not be applied to all mediums in general.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption), 5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right), B. Exceptions (distinguish innovation and public policy purposes; open-ended/closed list; commercial/non-commercial distinction), F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z11: Economics of the Arts and Literature<br />
|Intervention-Response=The previously mentioned main propositions are all based policy.<br />
|Description of Data=Data is based off of copyright evidence among various disciplines and subject matter. It is summarized in response to a consultation seeking input from the community regarding a structured survey.<br />
|Data Year=Not stated<br />
|Data Type=Secondary data<br />
|Data Source=Various;<br />
|Method of Analysis=Qualitative Analysis Methods, Legal Analysis<br />
|Industry=Software publishing (including video games); Film and motion pictures; Television programmes; Sound recording and music publishing; Creative, arts and entertainment; Cultural education;<br />
|Country=European Union;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=Yes<br />
|Literature review=No<br />
|Funded By=CREATe;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kretschmer,_Deazley,_Edwards,_Erickson,_Schafer_and_Zizzo_(2014)&diff=4546Kretschmer, Deazley, Edwards, Erickson, Schafer and Zizzo (2014)2015-08-21T14:52:17Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Kretschmer, Deazley, Edwards, Erickson, Schafer and Zizzo (2014)<br />
|Author=Kretschmer, M.; Deazley, R.; Edwards, L.; Erickson, K.; Schafer, B.; Zizzo, D. J.<br />
|Title=The European Commission’s public consultation on the review of EU copyright rules: a response by the CREATe Centre<br />
|Year=2014<br />
|Full Citation=Kretschmer, M., Deazley, R., Edwards, L., Erickson, K., Schafer, B., & Zizzo, D. J. (2014). The European Commission's Public Consultation on the Review of EU Copyright Rules: A Response by the CREATe Centre. European Intellectual Property Review, 36(9), 547-553.<br />
|Abstract=The European Commission consulted between December 5, 2013 and March 5, 2014 on a wide-ranging review of EU copyright rules. This response by the CREATe Centre attempts to make two contributions: (1) the process of policy formation matters for the evolution of the EU legal framework, and so we offer a short critique of the consultation format; (2) we summarise available evidence in seven thematic areas where CREATe has developed or is developing research (term of protection, libraries and archives, disabilities, text and data mining, user-generated content, fair remuneration for authors and performers, and respect for rights). CREATe understands evidence here as empirically grounded, but open to historical and comparative approaches.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2509186<br />
|Reference=Favale and Kretschmer, 2012;<br />
|Plain Text Proposition=* Though most economists and intellectual property scholars contend the term of copyright protection excessive, the recent extension for sound recordings from 50 to 70 years presents an opportunity to investigate whether the extended term does, in fact, support arguments made in favor of the 70-year term. <br />
<br />
* Much of the questions in the consultation do not adequately consider the unique issues dealt with by an archive; rather they are focused on copyright rules as they impact the use of and access to library collections. <br />
* Making optional the disability exception creates the danger of impeding free movement for EU citizens with disabilities. In addition, more attention should be paid to citizens with mental health problems and learning disabilities. <br />
* A Hargreaves-like exemption should be implemented as part of an EU regulatory instrument, but consideration should also be given to taking text mining entirely out of the copyright arena. <br />
* Unlawful file sharing evidence is predominantly supported by studies focusing on music files. There is further evidence to suggest that such welfare implications may not apply equally to all types of media, including movies and software and especially videogames, books or TV content. Policy decisions based upon evidence generated by music files should not be applied to all mediums in general.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption), 5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right), B. Exceptions (distinguish innovation and public policy purposes; open-ended/closed list; commercial/non-commercial distinction), F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z11: Economics of the Arts and Literature<br />
|Intervention-Response=The previously mentioned main propositions are all based policy.<br />
|Description of Data=Data is based off of copyright evidence among various disciplines and subject matter. It is summarized in response to a consultation seeking input from the community regarding a structured survey.<br />
|Data Year=Not stated<br />
|Data Type=Secondary data<br />
|Data Source=Various;<br />
|Method of Analysis=Qualitative Analysis Methods, Legal Analysis<br />
|Industry=Software publishing (including video games); Film and motion pictures; Television programmes; Sound recording and music publishing; Creative, arts and entertainment; Cultural education;<br />
|Country=European Union;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Government or policy=No<br />
|Literature review=No<br />
|Funded By=CREATe;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Zentner_(2008)&diff=2730Zentner (2008)2015-08-18T18:37:48Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Zentner (2008)<br />
|Author=Zentner, A.<br />
|Title=Online sales, Internet use, file sharing, and the decline of retail music specialty stores<br />
|Year=2008<br />
|Full Citation=Zentner, A. (2008). Online sales, Internet use, file sharing, and the decline of retail music specialty stores. Information Economics and Policy, 20(3), 288-300.<br />
|Abstract=This paper uses phonebook records of music retailers for the entire US in the years 1998 and 2002 to examine how music downloads and online sales of records have affected the entry and exit of brick and mortar music specialty retailers. Merging music stores information with data on internet activity and broadband connectedness at the Metropolitan Statistical Area (MSA) level, with data on the number of broadband providers at the zip code level, and with a database of the location of universities, I analyze how online purchases and file-sharing affected the survival probability and the change in the number of music stores between the years 1998 and 2002. I use store characteristics to further study how the new economy has affected the market structure of the retail music business<br />
|Authentic Link=http://www.serci.org/2006/zentner.pdf;<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=985115<br />
|Reference=Liebowitz (2003); Sinai and Waldfogel (2004); Emre, Hortacsu, and Syverson (2005);<br />
|Plain Text Proposition=* The number of traditional music specialty experienced a decline of around 7% between the years 1998 and 2002. <br />
* The results suggest that file sharing may have increased the death rate of brick and mortar music stores and reduced its number. However, they do not support that online purchases of CDs have also negatively affected traditional music specialty stores. <br />
* Results showed a smaller survival probability for stores with a lower number of employees. However, the paper documents that the number of smaller music stores increased between 1998 and 2002, instead of being displaced by corporate music specialty chains. This suggests the creation rate of smaller music stores was even higher than the destruction rate.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=D02: Institutions: Design; Formation; and Operations, O3: Technological Change • Research and Development • Intellectual Property Rights, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Stores located in places with large increases in online purchases and high downloading activity may reconstitute themselves and circumvent death, for example, by adding new product lines, by participating in the online business, or by reducing the number of employees.<br />
|Description of Data=To address the decline of brick and mortar music stores, data was taken from InfoUSA and comprised of phonebook records of music retailers for the entire US for the years 1998 and 2002. <br />
<br />
To study how online purchases and file-sharing affected the survival probability of music stores, data was taken from the Current Population Survey (by the US Bureau of Labor Statistics) and comprised of internet activity and broadband penetration at the Metropolitan Statistical Area (MSA) level,. Data was also taken from the Federal Communication Commission (FCC) and comprised of information on the number of broadband providers at the zip code level. Finally, data from the Integrated Postsecondary Education Data System provided the location of universities.<br />
|Data Year=1998-2002<br />
|Data Type=Secondary data<br />
|Data Source=InfoUSA; Current Population Survey; Federal Communication Commission; Integrated Postsecondary Education Data System;<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting), Web analytic (online user trace data), Quantitative data/text mining<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Regression Analysis, Structural Equation Modeling<br />
|Industry=Film and motion pictures;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Center for the Analysis of Property Rights and Innovation (CAPRI);<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=4<br />
|Level of Aggregation=years,<br />
|Data Material Year=1998-2002<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Zentner_(2005)&diff=3958Zentner (2005)2015-08-18T18:37:31Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Zentner (2005)<br />
|Author=Zentner, A.<br />
|Title=File sharing and international sales of copyrighted music: An empirical analysis with a panel of countries<br />
|Year=2005<br />
|Full Citation=Zentner, A. (2005). File sharing and international sales of copyrighted music: An empirical analysis with a panel of countries. Topics in Economic Analysis & Policy, 5(1).<br />
|Abstract=Global music sales have substantially fallen in the last four years. This paper uses a panel of country-level data to investigate the extent to which this is a consequence of file sharing. I find that countries with higher internet and broadband penetration have suffered higher drops in music sales, suggesting that music downloads may explain at least part of the recent reduction in sales. I also find some evidence that file sharing may explain a change in the composition of sales by types of repertoires, with a higher reduction of sales of types of music that are being shared more heavily.<br />
|Authentic Link=http://www.degruyter.com/view/j/bejeap.2005.5.issue-1/bejeap.2005.5.1.1452/bejeap.2005.5.1.1452.xml?format=INT<br />
|Reference=Hui and Png (2003); Rob and Waldfogel (2004); Peitz and Waelbroeck (2004); Blackburn (2004);<br />
|Plain Text Proposition=* Countries with higher internet and broadband penetration have suffered higher reductions in music sales, suggesting that file sharing may explain at least part of the recent reduction in sales.<br />
* The recording industry may increase or decrease prices as a consequence of privacy. <br />
* File sharing may be behind the recent increase in the share of sales of domestic repertoire in total sales, with a higher reduction of sales of types of music that are being shared more heavily. The percentage increased in this share from 64% of all sales in 1997 to 67.5% in 2001 (within a sample limited to 51 countries).<br />
* File sharing has a negative effect on the share of sales of international repertoire on total music sales. The percentage decreased in this share between years 1997 and 1998 (within a sample limited to 51 countries).<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O14: Industrialization • Manufacturing and Service Industries • Choice of Technology, O34: Intellectual Property and Intellectual Capital, O57: Comparative Studies of Countries, P52: Comparative Studies of Particular Economies<br />
|Intervention-Response=* Knowledge of the estimates of the impact of file-sharing on sales is an essential part of the information needed to determine the strength of intellectual property rights.<br />
* The development of fast connections will very likely increase the importance of the impact of file sharing on sales of digital copyrighted goods.<br />
|Description of Data=This study combines the aggregate music sales by country for the years 1997-2002 for 65 countries with country-level data on internet and broadband usage. <br />
<br />
Data was obtained on music sales from the IFPI, which published a panel of sales for 71 countries for the years 1997-2002, and combined with a panel of data on internet and broadband usage by country from the International Telecommunication Union, with a panel of software piracy from the Business Software Alliance, and with panels of total and per capita GDP and exchange rates from the World Bank and IMF, respectively.<br />
|Data Year=Not stated<br />
|Data Type=Secondary data<br />
|Data Source=IFPI; International Telecommunication Union; Business Software Alliance;<br />
|Method of Collection=Quantitative Collection Methods, Quantitative data/text mining, Longitudinal Study<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Regression Analysis, Structural Equation Modeling<br />
|Industry=Software publishing (including video games);<br />
|Cross-country=Yes<br />
|Comparative=Yes<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Yoon_(2012)&diff=2740Yoon (2012)2015-08-18T18:36:53Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Yoon (2012)<br />
|Author=Yoon, C.<br />
|Title=Digital piracy intention: a comparison of theoretical models<br />
|Year=2012<br />
|Full Citation=Yoon, C. (2012). Digital piracy intention: a comparison of theoretical models. Behaviour & Information Technology, 31(6), 565-576.<br />
|Abstract=Digital piracy intention research has yielded different sets of piracy intention determinants based on various theoretical models. In this study, we reviewed the digital piracy literature and empirically compared two theoretical models, which are the models most often used: the theory of planned behaviour (TPB) and the Hunt–Vitell ethical decision model. Data were obtained from university students in South Korea, and structural equation modeling (SEM) was employed to examine and compare the two competing theoretical models in terms of explanatory power, overall model fit and paths’ significance. The findings of this study revealed that the TPB is a more appropriate model for predicting digital piracy than the Hunt–Vitell ethical decision model.<br />
|Authentic Link=http://www.tandfonline.com/doi/abs/10.1080/0144929X.2011.602424<br />
|Reference=Kwong and Lee (2002); Peace et. al (2003); Cronan and Al-Rafee (2008); Morton and Koufteros (2008); Shang et al. (2008);<br />
|Plain Text Proposition=* Results showed the TPB is superior to the H-V model in predicting individuals’ behavioral intention to commit digital piracy.<br />
* With regard to the explanatory power of individuals’ behavioral intention to commit digital piracy between the two models, the TPB and H-V model explain 43% and 18%, respectively, of the variance in individuals’ behavioral intention to commit digital piracy.<br />
* Although the TPB has been shown to be a superior model to predict digital piracy in terms of explanatory power and model fit, in testing the path coefficients’ significance, this study showed that the subjective norm in the TPB has no significant impact on intention to commit digital piracy. The attitude and the perceived behavioral control in the TPB have a great impact on the intention to commit digital piracy. <br />
* On the other hand, all paths in the H-V model were significant, indicating that a deontological evaluation and a teleological evaluation have a significant impact on ethical judgment, and ethical judgment and teleological evaluation have a significant impact on the intention to commit digital piracy. Therefore, it is desirable that the H-V model be continuously applied and tested as a base model in the IT ethics context.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=A14: Sociology of Economics, K4: Legal Procedure; the Legal System; and Illegal Behavior, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=In comparing the two models, the following policy related findings were made: <br />
* The TPB combines somewhat different elements – such as subjective norms derived from normative beliefs, attitude concerning a certain outcome and perceived behavioral control which is an individual’s belief that he/she has the skills and abilities to perform a given behavior – and is a more parsimonious model in predicting digital piracy behaviors which is not an ethical issue but includes complicated problems, like economic, environmental and legal factors, etc. <br />
* The H-V model is based on only ethical factors such as normative standards (deontological and teleological evaluations) and ethical judgment.<br />
<br />
As such, this study’s findings have important implications for researchers when choosing a base model for their study. <br />
* It is desirable that software and digital media companies make people have unfavorable feelings about digital piracy by highlighting the negative consequences of the digital piracy behavior. <br />
* Perceived behavioral control also influence piracy, such as the more skills and abilities to pirate will lead to a higher intention to pirate. It is desirable that companies employ new technologies actively to secure their digital materials to make pirating a much more difficult thing.<br />
|Description of Data=Data were collected from university students in South Korea. In total, 317 questionnaires were analyzed. Respondents were almost equally distributed between male (157) and female (160).<br />
<br />
Approximately 89% of the respondents were ages 20-29, and 53% did not follow a particular religion.<br />
|Data Year=Not stated<br />
|Data Type=Primary data<br />
|Data Source=Not Stated;<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Structural Equation Modeling, Confirmatory Factor Analysis (CFA)<br />
|Industry=Software publishing (including video games); Film and motion pictures; Sound recording and music publishing;<br />
|Country=South Korea;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=317<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=Prior to 2011<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Yang,_Sonmez,_Bosworth_and_Fryxell_(2009)&diff=3030Yang, Sonmez, Bosworth and Fryxell (2009)2015-08-18T18:35:22Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Dataset={{Dataset<br />
|Sample Size=59<br />
|Level of Aggregation=Country,<br />
|Data Material Year=2000-2005<br />
}}<br />
|Source={{Source<br />
|Name of Study=Yang, Sonmez, Bosworth and Fryxell (2009)<br />
|Author=Yang, D.; Sonmez, M.; Bosworth, D.; Fryxell, G.<br />
|Title=Global Software Piracy: Searching for Further Explanations<br />
|Year=2009<br />
|Full Citation=Yang, D., Sonmez, M., Bosworth, D., & Fryxell, G. (2009). Global software piracy: Searching for further explanations. Journal of Business Ethics, 87(2), 269-283.<br />
|Abstract=This paper identifies that Information and Communication Technology (ICT) has a negative effect on software piracy rates in addition to consolidating prior research that economic development and the cultural dimension of individualism also negatively affect piracy rates. Using data for 59 countries from 2000 to 2005, the findings show that economic well-being, individualism and technology development as measured by ICT expenditures explain between 70% and 82% of the variation in software piracy rates during this period. The research results provide important implications for policy makers and business practitioners to help reduce software piracy.<br />
|Authentic Link=http://link.springer.com/article/10.1007%2Fs10551-008-9884-z#page-1<br />
|Reference=Hofstede (2001); Shin (2004); Banerjee (2003); Banerjee, Khalid, and Sturm (2005);<br />
|Plain Text Proposition=* The economic well-being, individualism and ICT advancement all appear to significantly influence a nation’s rate of piracy. Their inverse relationships with piracy indicate that the increase of these three can bring down piracy. Consequently, the higher the standard of living, the higher the individualism, and the higher the level of ICT expenditure in an economy, the lower the piracy rate. <br />
* Because the results were significant and consistent across the six years of the survey, they results are generalizable: ICT has a strong explanatory power to alleviate piracy. Accordingly, increases in ICT have a powerful effect to reducing a country’s piracy rate.<br />
* This research confirms prior research that income per capita is the most influential factor on software piracy: a one thousand dollar increase in GNI per capita leads to the decrease in the piracy rate from between 0.6 and 1.01 percentage points. This variable alone explains between 59% and 74% of the variations in the rate of piracy across countries. <br />
* The inclusion of individualism alongside GNI per capita increased the explanatory power of the model by between 4 and 10%: a one unit rise in IDV index results in at least 0.194 percentage point fall in the piracy rate. This confirms previous findings that culture is a complementary factor that impacts software piracy, but perhaps a secondary factor compared to GNI.<br />
* A one percentage rise in ICT/GNI reduces the incidence of piracy by at least a 1.734 percentage point. The addition of this variable raises the explanatory power of the model by 4% and 6%.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=A13: Relation of Economics to Social Values, K3: Other Substantive Areas of Law, O34: Intellectual Property and Intellectual Capital, O57: Comparative Studies of Countries, Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* Economic improvement is important for bringing down the level of piracy. Thus, economic development amongst the less developed countries will be an important factor in decreasing the demand for pirated goods. <br />
* Culture is important in handling piracy, and although culture is relatively inherent and deep-rooted in each country, governments can create a culture that recognizes the importance of IP through training and publicity to increase public respect for intellectual creations. <br />
* Increases in ICT expenditures result in improvements to the quality of ICT infrastructure, raising the demand for legitimate software because of the need for other services supplied with them.<br />
* Authentic firms can narrow the gap to attract certain groups of consumers through promotional activities and ting their IP with other products and services. These firms should educate consumers about the importance of IP and liase with government to increase public awareness.<br />
|Description of Data=Piracy rates were compiled from raw data published by the International Planning Research Corporation and commissioned by the BSA. Data based on 26 different types of business application software. Gross National Income per capita was collected from the World Development Indicators. <br />
Data on the cultural dimension of individualism were first compiled in 1973, but were updated in the 1990s. It includes 67 countries. <br />
<br />
The final analysis included 59 countries that possess a complete set of data for all the variables (both individualism and ICT). The study unit is the national software piracy rate in a given year.<br />
|Data Year=Not Stated<br />
|Data Type=Secondary data<br />
|Data Source=International Planning Research Corporation;<br />
|Method of Collection=Quantitative Collection Methods, Quantitative data/text mining, Longitudinal Study<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Regression Analysis, Structural Equation Modeling, Qualitative Analysis Methods, Grounded Theory<br />
|Industry=Software publishing (including video games);<br />
|Country=Argentina; Australia; Austria; Brazil; Bulgaria; Canada; China; Colombia; Costa Rica; Czech Republic; Denmark; Ecuador; Egypt; Finland; France; Germany; Greece; Honduras; Hong Kong; Hungary; India; Indonesia; Ireland; Israel; Italy; Japan; Jordan; Kenya; Kuwait; Malaysia; Mexico; Morrocco; Netherlands; New Zealand; Nigeria; Norway; Pakistan; Panama; Peru; Philippines; Poland; Portugal; Romania; Russia; Saudi Arabia; Singapore; Slovakia; Slovenia; South Africa; South Korea; Spain; Sweden; Switzerland; Thailand; Turkey; United Kingdom; United States; Uruguay; Venezuela;<br />
|Cross-country=Yes<br />
|Comparative=Yes<br />
|Funded By=Not Stated;<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Xia,_Huang,_Duan_and_Whinston_(2012)&diff=2644Xia, Huang, Duan and Whinston (2012)2015-08-18T18:34:24Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Xia, Huang, Duan and Whinston (2012)<br />
|Author=Xia, M.; Huang, Y.; Duan, W.; Whinston, A. B.<br />
|Title=To continue sharing or not to continue sharing? An empirical analysis of user decision in peer-to-peer sharing networks<br />
|Year=2012<br />
|Full Citation=Mu Xia, Yun Huang, Wenjing Duan, Andrew B. Whinston, (2012) Research Note—To Continue Sharing or Not to Continue Sharing? An Empirical Analysis of User Decision in Peer-to-Peer Sharing Networks. Information Systems Research 23(1):247-259.<br />
|Abstract=Peer-to-peer sharing networks have seen explosive growth recently. In these networks, sharing files is completely voluntary, and there is no financial reward for users to contribute. However, many users continue to share despite the massive free-riding by others. Using a large-scale data set of individual activities in a peer-to-peer music-sharing network, we seek to understand users’ continued-sharing behavior as a private contribution to a public good. We find that the more benefit users “get from” the network, in the form of downloads, browses, and searches, the more likely they are to continue sharing. Also, the more value users “give to” the network, in the form of downloads by other users and recognition by the network, the more likely they are to continue sharing. Moreover, our findings suggest that, overall, “getting from” is a stronger force for the continued-sharing decision than “giving to.”<br />
|Authentic Link=http://pubsonline.informs.org/doi/pdf/10.1287/isre.1100.0344<br />
|Reference=Adar and Huberman (2000); Golle et al. (2001); Sarouis et al. (2002); Ranganathan et al (2003); Krishnan et al. (2004);<br />
|Plain Text Proposition=* A one standard deviation increase in variable of download leads to a 27% increase in the odds of continued sharing. Similarly, a one standard deviation increase of variables of browse, search, contribute, and been_browsed leads to a 23%, 33%, 32%, and 47% increase in the odds of continued sharing, respectively. Becoming a value use leads to a 146% increase in the odds of continued sharing. <br />
* Overall, the results show that both self-use and continuous contribution provide strong incentives for users to continue sharing. In addition, “getting-from” is a stronger force for the continued-sharing decision than “giving-to.”<br />
* Sharing history has a significant effect on users’ decisions to share across all models. The total number of files downloaded has a significantly negative effect on the sharers’ decision to continue sharing. <br />
* In a PTP network, both the user’s benefits received from the network and the value the user provides to the network are significant predictors of her continued contribution. The level of social interaction and anonymity seems to have little to no effect on whether users continue to share.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=O17: Formal and Informal Sectors • Shadow Economy • Institutional Arrangements, O3: Technological Change • Research and Development • Intellectual Property Rights, O31: Innovation and Invention: Processes and Incentives, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Results may be helpful both to record companies and to copyright holders seeking to design a method to thwart illegal file sharing, and especially to the management of content-sharing communities, such as YouTube and Flickr.<br />
* Findings indicate the key to network growth is the continuous addition of new and fresh content for users. Further, showing more statistics to make a user’s use of the network more visible will help the user continue sharing. Finally, adding more features to show how a user’s contribution is used by others have a similar positive effect. <br />
* Accordingly, recognition in visual representation of users’ contributions to the network can be quite effective in motivating a user’s continued contribution.<br />
|Description of Data=Researchers logged all activities and commands sent to one of the largest IRC channels (more than 300 million) called #mp3passion, from March 2001 to May 2006. Researchers defined the time window as two weeks for a certain time period.<br />
<br />
During the entire data collection period, the user size of the sharing channel was stable, with around 20,000 unique users (identifiable by user ID), whereas the number of sharers grew from 600 to more than 2,000. The researchers observed 55,031 unique sharers in total, along with 834,613 free riders. <br />
<br />
Because data were extracted through online activity, information on user demographics was nonobservable.<br />
|Data Year=May 2001 to May 2006<br />
|Data Type=Primary data<br />
|Data Source=None;<br />
|Method of Collection=Quantitative Collection Methods, Web analytic (online user trace data), Longitudinal Study<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Multivariate Statistics, Regression Analysis, Structural Equation Modeling<br />
|Industry=Software publishing (including video games); Film and motion pictures; Sound recording and music publishing; Television programmes;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=300,000,000<br />
|Level of Aggregation=Individual data,<br />
|Data Material Year=May 2001 to May 2006<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Xia,_Duan,_Huang_and_Whinston_(2006)&diff=2706Xia, Duan, Huang and Whinston (2006)2015-08-18T18:33:46Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Xia, Duan, Huang and Whinston (2006)<br />
|Author=Xia, M.; Duan, W.; Huang, Y.; Whinston, A. B.<br />
|Title=Unravel the drivers of online sharing communities: An empirical investigation<br />
|Year=2006<br />
|Full Citation=Xia, M., Duan, W., Huang, Y., & Whinston, A. B. (2006). Unravel the drivers of online sharing communities: An empirical investigation. Working Paper No. IROM-09-06. Available at SSRN 935004.<br />
|Abstract=Recently user-oriented online sharing communities have seen explosive growth. Two characteristics of these communities set them apart from traditional online message-based communities such as online forums. First, users have no social ties before joining the community. Second, there is little or no "verbal" communication between users. This research investigates the structure and dynamics of online sharing communities using data collected from an IRC music channel from 2001 to 2006, covering all five years of the post-Napster age. We have collected more than three hundred million individual activities, capturing 0.05% of the global music sharing volume. We find that sharers are an essential part of the community and their activities have a dominant impact on the growth of the community. By contrast, free riders have two opposite impacts on sharer retention. More free riders in number make it more likely for a sharer to keep sharing, while more free rider activities discourage sharers from contributing. That is, the existence of free riders, despite the congestion caused by their download activities, does to some degree stabilize the community. Most previous literature examines the online community only from the aggregate level. Our study, nevertheless, distinguish the influence and behavior of different members in the community. Instead of paying only attention to the total number of users, our results suggest that understanding the impact of their core members is critical in investigating the dynamics and the sustainability of online sharing communities.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=935004; http://www.business.illinois.edu/Working_Papers/papers/06-0109.pdf<br />
|Reference=Wasko and Faraj (2006); Butler (2001); Krishnan et al. (2003); Jones et al. (2004); Shah (2006);<br />
|Plain Text Proposition=* In non-verbal sharing communities, there are two types of users, sharers and free riders. These two types of users have different roles in the community; sharers are the core part of the community, since the value of a community is in its resource, which is solely provided by sharers.<br />
* The disproportional network congestion caused by sharers’ own intensive use shows that sharers also contribute to negative network externalities of a community. Moreover, the more sharers are involved in a community, the more likely the sharers continue to contribute content.<br />
* Fee riders’ are at the exact opposites in retaining sharers; the more free rider download activities, the more likely a sharer will stop sharing. <br />
* Sharer size is responsible for both sharer gain and loss. The dual effect may be due to the fact that sharer size represents three conflicting community factors: total resources available, sharer download (their own benefit), and congestion generated by sharers.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability), F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=D7: Analysis of Collective Decision-Making, L8: Industry Studies: Services, L86: Information and Internet Services • Computer Software<br />
|Intervention-Response=This study has several managerial implications:<br />
* For entrepreneurs, when designing non-verbal communities, the creator should encourage all types of users to join, even if some of them may not contribute any content—their mere existence will be a reason for potential contributors to join. At the same time, the community operator should carefully monitor free riders’ download activities, maybe to go as far as imposing an upper limit to free riders’ download volume or bandwidth, so as to ensure that the sharers’ downloads are smooth and not affected by the often excessive free riders’ traffic. To retain sharers, it is also helpful for the community to provide more features for sharers to interact with other users.<br />
* For people who need to evaluate non-verbal sharing communities such as investors, they should not only look at the total number of registered users in a community, but also different user types and their often conflicting forces.<br />
|Description of Data=Large data set of 300 million individual activities in Internet Relay Chat (IRC) sharing channels from March 2001 to May 2006.<br />
|Data Year=2001-2006<br />
|Data Type=Primary data<br />
|Method of Collection=Quantitative Collection Methods, Web analytic (online user trace data), Longitudinal Study<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis, Structural Equation Modeling<br />
|Industry=Software publishing (including video games); Sound recording and music publishing;<br />
|Country=Not stated;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=300 000 000<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=2001-2006<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Won_and_Jang_(2012)&diff=2738Won and Jang (2012)2015-08-18T18:32:01Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Won and Jang (2012)<br />
|Author=Won, S. J.; Jang, J.<br />
|Title=Nonlinear income inequality effect on software piracy<br />
|Year=2012<br />
|Full Citation=Won, S. J., & Jang, J. (2009). Nonlinear income inequality effect on software piracy. Available at SSRN 1478907.<br />
|Abstract=We examine the relationship between income inequality and piracy rates in the presence of network effects. By the constructions of a theoretical framework, we are able to explain the relationship between income distributions and software piracy rates. Our research suggests that the proportion of the population with positive net benefits from piracy increases with income inequality at a diminishing rate, and then eventually decreases. We provide empirical evidence for this inverted U-shaped relationship between income inequality and piracy rates, while controlling for income, judicial efficiency, and fixed broadband subscribers. Our theoretical and empirical results imply that lax anti-piracy policies would make software producers better off (i.e., higher software sales because of network effects) in countries whose income inequality is moderate, but worse off in countries whose income inequality is severe. Therefore, policies against piracy should be strategically designed considering the non-linear effects of income inequality.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1478907<br />
|Reference=Husted (2000); Banerjee, et al (2005); Rodriguez (2006);<br />
|Plain Text Proposition=* National income has a negative and statistically significant effect on piracy rates across eight regression models. Nations with higher income levels exhibit smaller piracy rates, after controlling for indirect income effects, judicial efficiency, and fixed broadband subscribers. <br />
* The percent of the population of fixed broadband subscribers is negatively associated with piracy rate across all models, but the coefficients are only statistically significant in some models. <br />
* Results indicate that the percentage of the population of fixed broadband subscribers had a negative effect on piracy rate and this result is significant in several models. However, this result is inconsistent with the existing studies that consider the internet as a piracy enhancing tool.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=A21: Pre-college, L1: Market Structure; Firm Strategy; and Market Performance, L86: Information and Internet Services • Computer Software, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Firms would be better off to allow a certain level of piracy in countries that have moderate income inequality since harsh policies against piracy may unduly shrink a potential network growth. <br />
* In contrast, in countries which have severe income inequality, allowing piracy gives little benefit to software publishers because most computer users are in the upper class. <br />
* Therefore, lax anti-piracy policy may reduce the cost of pirated software use without increasing the total software users. This suggests that preventative policies against piracy need to be strategically established considering the level of income inequality of each nation.<br />
|Description of Data=Data set included 40 countries from 2003 to 2007 with 106 observations. The piracy rate was employed by the rate reported by the Business Software Alliance (BSA) consultants International Data Corporation (IDC). <br />
<br />
The explanatory variables include the degree of economic inequality and four control variables which are: national income, judicial efficiency, individualism, and internet broadband subscribers. <br />
* Income information was obtained through the World Income Inequality Database V2.0c (WIID2) established by the World Institute for Development Economics Research of the United Nations University (UNU-WIDER).<br />
* Gross National Income data was extracted from the World Bank’s World Development Indicators (WDI) database. <br />
* The Rule of Law provided the indicator for judicial efficiency from the World Governance Indicator Project developed by the World Bank. <br />
* Individualism was measured by adopting an index by social psychologist Geert Hofstede. <br />
* The percentage population of Fixed Broadband Subscribers was measured from data of the World Telecommunication/Information and Communication Technologies (ICT) Indicators (WTII) which are established by International Telecommunications Union (ITU).<br />
|Data Year=Prior to 2007<br />
|Data Type=Primary and Secondary data<br />
|Data Source=Business Software Alliance; World Income Inequality Database; World Bank's World Development Indicators; World Governance Indicator Project; World Telecommunication/Information and Communication Technologies Indicators;<br />
|Method of Collection=Quantitative Collection Methods, Quantitative data/text mining, Longitudinal Study<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Quantitative content analysis (e.g. text or data mining), Regression Analysis<br />
|Industry=Software publishing (including video games);<br />
|Cross-country=Yes<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=40<br />
|Level of Aggregation=Country,<br />
|Data Material Year=2003-2007<br />
}}{{Dataset<br />
|Sample Size=4<br />
|Level of Aggregation=Years,<br />
|Data Material Year=2003-2007<br />
}}{{Dataset<br />
|Sample Size=106<br />
|Level of Aggregation=Observations,<br />
|Data Material Year=2003-2007<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Wesselingh,_Cristina_and_Tweeboom_(2013)&diff=2790Wesselingh, Cristina and Tweeboom (2013)2015-08-18T18:30:29Z<p>Andrea: Andrea moved page Wesselingh, Cristina, and Tweeboom (2013) to Wesselingh, Cristina and Tweeboom (2013)</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Wesselingh, Cristina and Tweeboom (2013)<br />
|Author=Wesselingh, E. M.; Cristina, A. S.; Tweeboom, N. M. G.<br />
|Title=To block or not to block?<br />
|Year=2013<br />
|Full Citation=Wesselingh, E. M., Cristina, A., & Tweeboom, N. (2013). To Block or Not to Block?. Available at SSRN 2273453.<br />
|Abstract=An investigation into whether or not young people studying in higher education in the Netherlands have modified their download behaviour, in the light of a legal obligation to block The Pirate Bay (TPB) by Dutch Internet Service Providers (ISPs). In the lawsuit, it is argued that a blockade by the ISPs would be an effective measure to stop downloading from The Pirate Bay. In this study the target group was asked if they think that their download behaviour is modified by the blockade.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2273453<br />
|Reference=IViR and Data Center (2012); System and Network Engineering of the University of Amsterdam (2012);<br />
|Plain Text Proposition=* Most respondents answered they download because it is free (240), while a minority does it to try first before making a purchase, or due to non-availability of legal alternatives.<br />
* The survey showed that the download behavior of young people in the Netherlands has not statistically significantly changed since the imposition of a blockade of The Pirate Bay.<br />
* The blockade of The Pirate Bay alone is not effective because:<br />
** a large portion of young people downloading from illegal sources use one of the many available alternatives;<br />
** a large portion of young people downloading from The Pirate Bay has found ways to circumvent the blockade. <br />
* A minority is downloading less as a result of the blockade because it as become more difficult (but is still downloading from illegal sources).<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* From the previous studies and this research it can be concluded that the measure of blocking only the Pirate Bay site itself is not effective; additional measures are necessary.<br />
|Description of Data=A pilot survey was conducted with 23 students of the Academy of ICT & Media at The Hague University. Results were used to tighten the survey questions. <br />
<br />
The survey was issued digitally and through personal contact. 302 surveys were suitable for further analysis (15 digital, 287 paper surveys). Most respondents were between the ages 18-23, with 143 male and 159 female. <br />
<br />
Researchers also interviewed a number of stakeholders (XS4all, Foundation Brein, Dutch Consumers Association) through semi-structured interviews.<br />
|Data Year=Not stated<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences), Semi-Structured Interview<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis<br />
|Industry=Film and motion pictures; Sound recording and music publishing;<br />
|Country=The Netherlands;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=302<br />
|Level of Aggregation=University students,<br />
|Data Material Year=Not stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Wang,_Yang_and_Bhattacharjee_(2011)&diff=2736Wang, Yang and Bhattacharjee (2011)2015-08-18T18:29:22Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Wang, Yang and Bhattacharjee (2011)<br />
|Author=Wang, J.; Yang, Z.; Bhattacharjee, S.<br />
|Title=Same Coin, Different Sides: Differential Impact of Social Learning on Two Facets of Music Piracy<br />
|Year=2011<br />
|Full Citation=Wang, J., Yang, Z., & Bhattacharjee, S. (2011). Same coin, different sides: Differential impact of social learning on two facets of music piracy. Journal of Management Information Systems, 28(3), 343-384.<br />
|Abstract=We demonstrate that two intertwined activities of music piracy, unauthorized obtaining and unauthorized sharing, are differentially influenced by the same social learning environment. We develop a structural model and test it using survey data from a prime demographic set of respondents who engage in music piracy. Considering behavioral heterogeneity, we employ a factor mixture modeling technique to classify respondents into different groups that highlight distinct patterns of social learning influences. We find that the differential effects of social learning factors on obtaining and sharing persist across these groups. We further utilize demographic variables to profile members in each group for segmentation insights. From a theoretical perspective, our findings advance the understanding of music piracy and suggest the importance of separating obtaining from sharing activities when studying piracy. From a managerial perspective, our research provides new avenues for managers and policymakers to design targeted incentives to curtail music piracy.<br />
|Authentic Link=http://www.tandfonline.com/doi/abs/10.2753/MIS0742-1222280310?journalCode=mmis20#preview; http://www.researchgate.net/publication/220591355_Same_Coin_Different_Sides_Differential_Impact_of_Social_Learning_on_Two_Facets_of_Music_Piracy<br />
|Reference=Brown, Sellen, and Geelhoed (2001); Condry (2004);<br />
|Plain Text Proposition=* Unauthorized obtaining and unauthorized sharing are shaped differently by the same set of social learning variables. <br />
* All four social learning variables (differential association, definitions of music piracy, differential reinforcement, and imitation) have significant impact on unauthorized obtaining as predicted by social learning theory, while only two (differential association and imitation) exert significant influence on unauthorized sharing. <br />
* The impact of definitions and differential reinforcement on obtaining are significantly larger than that on sharing, whereas the reverse pattern holds for the effects of imitation and differential association. <br />
* Differential reinforcement is an important preventative mechanism of illegal obtaining; however, one’s sharing behavior is more likely to be shaped via differential association with peers who engage in music piracy and imitation of their behavior. <br />
* Intervention and prevention programs may be more effective when combined with consumer segmentation strategies. <br />
* The findings of this study indicate the significance of developing diverse strategies to curtail distinct aspects of music piracy.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* Since sharing is mainly driven by imitation and differential association, policymakers should focus on these two aspects to reduce individuals’ tendency to engage in sharing. This can be done by setting up good examples among college students for them to follow, through successful counseling and intervention strategies designed to prevent students from associating with pirating groups, and by taking specific measures to break an individuals’ association with pirating peers. <br />
* Since unlawful obtaining is primarily motivated through the realization of personal benefits or avoidance of personal losses, it is greatly affected by definitions of music piracy and differential reinforcement. Policymakers can achieve this by developing effective educational programs to change individuals’ definitions of music piracy, shape their conceptions of morality and legitimacy regarding music piracy, and successfully create a normative culture among groups where each person feels individually and socially bound to abide by those legal standards. <br />
* Policymakers and managers could devise more cist-effective business models so that the perceived benefits of obtaining unauthorized music are reduced, and user-friendly shopping experience for music could be offered to enhance the benefit of “not pirating.”<br />
|Description of Data=Survey protocol was pretested by a group of faculty members, doctoral students, undergraduate students, and university administration before the actual data collection. In addition, a pilot study was carried out with 298 students. Minor changes were made for the final survey, which took two versions. Both surveys had identical questions, but they were organized in a different order. <br />
<br />
The final survey was distributed to a group of over 2,000 undergraduate students taking business, engineering, or science courses at a major university in southern United States. A total of 665 valid responses were collected, with 429 using one version of the questionnaire and 236 using the other version (with the order of the questions reversed). <br />
<br />
Respondents were 56% male and 44% female. About 70% were junior and senior students. Approximately 55% were between the ages of 21 and 25. A majority (93%) spent at least 5 hours using a computer per week, and 87% were full-time students.<br />
|Data Year=Not Stated<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis, Structural Equation Modeling<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=665<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=Prior to 2011<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Wang,_Chen,_Yang_and_Farn_(2009)&diff=2646Wang, Chen, Yang and Farn (2009)2015-08-18T18:28:44Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Wang, Chen, Yang and Farn (2009)<br />
|Author=Wang, C.-C.; Chen, C.-T.; Yang, S.-C.; Farn, C.-K.<br />
|Title=Pirate or Buy? The Moderating Effect of Idolatry<br />
|Year=2009<br />
|Full Citation=Wang, C. C., Chen, C. T., Yang, S. C., & Farn, C. K. (2009). Pirate or buy? The moderating effect of idolatry. Journal of Business Ethics, 90(1), 81-93.<br />
|Abstract=Due to the development of information technology, music piracy has become an escalating problem. This study attempts to employ the theory of planned behavior (TPB) and the social identity theory to investigate the antecedents of downloading pop music illegally from the Internet, the relationship between the intention to illegally download music and the intention to buy music, and the moderating effects of idolatry. Data were collected from 350 teenagers in Northern Taiwan through questionnaire interviews conducted in city centers where teenagers gather. The results of partial least squares (PLS) analyses reconfirm the explanatory power of the TPB model with regard to the pop music illegal downloading behavior. However, it is interesting to note that the intention to illegally download music does not have a significant influence on the intention to buy music. This finding contradicts our common intuitions. Further analyses also reveal that idolatry moderates the relationship between the intention to illegally download music and the intention to buy music. For teenagers with high idolatry, a higher music downloading intention results in a lower buying intention. One possible explanation is the price of music CDs. Several interviews were also held to verify our results. Implications and a discussion are then provided.<br />
|Authentic Link=http://link.springer.com/article/10.1007%2Fs10551-009-0027-y#page-1<br />
|Reference=Bhattacharjee et al. (2003); Cronan and Al-Rafee (2008); d’Astous et al. (2005); Kwong and Lee (2002); Peace et al. (2003);<br />
|Plain Text Proposition=* Results show that “attitude to illegally download music,” “subjective norms,” and “perceived behavioral control” are significantly positively related to “intention to illegally download music.”<br />
* Further, the relationship between “intention to illegally download music” and “intention to buy music” is not significant. This implies that the intention to illegally download music does not necessarily suppress the individual’s intention to buy CDs. This contradicts the claim that music downloading decreases CD sales, thus implying the importance of the moderating effect of idolatry.<br />
* Finally, “idolatry” is significantly positively related to the “intention to buy music.” When the moderating effect of “idolatry” is high, downloading behavior decreases teenagers’ buying intention.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media), 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=D4: Market Structure and Pricing, J11: Demographic Trends; Macroeconomic Effects; and Forecasts, O3: Technological Change • Research and Development • Intellectual Property Rights<br />
|Intervention-Response=* Attitude to illegal music downloading and significant others’ influences would affect intention to illegally download music. Therefore, building a negative attitude to illegal music downloading and creating a consensus among peers is one of the methods to prevent piracy. Strengthening teenagers’ understanding of copyright and ethical education is another possible solution. <br />
* If the music industry cannot meet teenagers needs in buying licensed music CDs, they may resort to acquiring music through illegal channels. <br />
* Young people have very high price elasticity of demand for music since they are usually economically dependent. Hence, differential pricing could be a useful marketing strategy.<br />
|Description of Data=350 mail-intercept personal surveys were collected from randomly selected teenagers in several metropolitan areas of Northern Taiwan from January 2006 to March 2006. The final sample size included 261 complete surveys. The majority of the respondents were between 12 and 21 years old (46.4% of the respondents were between 16 and 18 years of age); 65.9% of the respondents were female. <br />
<br />
Surveys were organized using a Likert-type seven-point scale ranging from “strongly disagree” to “strongly agree” A pretest was used to clarify the effects of idolatry, involving 145 students. <br />
<br />
In order to gain more insights as to the results, further interviews were conducted on a sample of high school students who own both the licensed and downloaded versions of music.<br />
|Data Year=January 2006 through March 2006<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences), Structured Interview<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis, Structural Equation Modeling, Confirmatory Factor Analysis (CFA), Qualitative Analysis Methods, Grounded Theory<br />
|Industry=Sound recording and music publishing;<br />
|Country=Taiwan;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=261<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=January 2006 through March 2006<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Waelde_and_Schlesinger_(2011)&diff=4038Waelde and Schlesinger (2011)2015-08-18T18:28:07Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Waelde and Schlesinger (2011)<br />
|Author=Waelde, C.; Schlesinger, P.<br />
|Title=Music and dance: beyond copyright text?<br />
|Year=2011<br />
|Full Citation=Waelde, C., & Schlesinger, P. (2011). Music and dance: beyond copyright text?.<br />
|Abstract=Are experiential, experimental forms of music and dance beyond protection by copyright? If they are, how might these art forms best be protected by cultural policy and cultural economics? These were the key questions that we set out to investigate with the support of a Beyond Text grant from the Arts and Humanities Research Council and with the help of our network members where together we formed an interdisciplinary team comprised of experts in copyright law, cultural policy, cultural economics, dance and musical composition. Through a series of interviews with musicians, singers, songwriters, composers, dancers, choreographers and others involved in the music industry and dance community we came to the conclusion that these types of works are both before copyright and beyond copyright. They are before copyright because what matters to the majority of those involved is the process of creation – which itself is constantly evolving – rather than the product – the protected work once fixed. They are beyond copyright because key aspects of the performance involve contributions which are not recognised by copyright, and because there is much about the performance which simply cannot be captured in the mechanical sense. As a result, policy intervention, which focuses on the product rather than the process, becomes problematic. This article suggests a series of practical recommendations made by our interviewees for ways in which the art forms may be supported into the future.<br />
|Authentic Link=http://hdl.handle.net/10036/3357; https://ore.exeter.ac.uk/repository/handle/10036/3357<br />
|Reference=Schlesinger (2009); Schlesinger and Waelde (2011);<br />
|Plain Text Proposition=* In dance, there is much about both the process and the performance that interviewees think cannot be captured. For music, the process is also crucial. A key issue is to find something “extra” that will draw a life audience. <br />
* Because of a lack of resources, there is much contemporary music and dance that will not be captured, as it lacks a market. Once it is captured, then if the work is of a recognized kind, it will be accorded copyright protection. <br />
* A performer, on the other hand, is recognized as a performer in the absence of a performance being fixed. The lower parameters of the right accorded to performers, both unfixed and once fixed, which protects only the fixation itself and not the underlying performance against copying, seems much more suited to music and dance subcultures than does copyright with its expansive property right. The drawback is that performers’ income streams in respect of a performance are significantly lower by comparison with copyright owners’.<br />
* On an individual level, our interviewees generally live in a culture of precarious production. The overwhelming majority had ‘portfolio careers’. In other words, they could not live by their art alone, but rather had to seek out other income streams. These included commercial work for third parties and, rather often, teaching. Public funding (e.g. via various arts agencies) was important for survival, although the constant need to fill application forms and justify the works could detract from the production of the work and this was not seen as a long-term strategy, more of an occasional help for a specific project.<br />
|FundamentalIssue=4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption), 2. Relationship between creative process and protection - what motivates creators (e.g. attribution; control; remuneration; time allocation)?,<br />
|EvidenceBasedPolicy=E. Fair remuneration (levies; copyright contracts),<br />
|Discipline=O34: Intellectual Property and Intellectual Capital, O38: Government Policy, Z1: Cultural Economics • Economic Sociology • Economic Anthropology<br />
|Intervention-Response=* An unresolved question is whether increases in rights (such as the extension of protection for sound recordings) would actively be detrimental to the interests of experiential, experimental musicians and dancers172 or indeed, whether the intellectual property framework, as currently conceived, is itself damaging.<br />
* We need to develop an understanding of creative processes and outputs that is both before and beyond copyright. The creative process prior to fixation is of prime importance and is thus before copyright; and there is much about a performance that defies fixation or is of the kind not recognised by the criteria required for copyright protection, and is thus beyond copyright.<br />
* Going forwards, and in a time of stretched public funding, knowing where to target limited resources for maximum return is going to be of vital importance. Appreciating that increased or even existing protection by copyright is of only marginal importance to experiential, experimental forms of music and dance, and that other initiatives might have a greater impact in supporting the art forms, opens the terms of debate as to what new strategies of targeted support might be developed.<br />
|Description of Data=Primary data include information gathered during a dancers focus group in London with interviews conducted on various performers. Additional interviews with musicians are included as support. Interviews were carried out on a one to one basis. <br />
<br />
Target groups for study were those engaged in the creative production of experiential, experimental forms of music and dance. Most interviews were video-recorded or at least audio-recorded.<br />
|Data Year=2007-2010<br />
|Data Type=Primary and Secondary data<br />
|Data Source=Various;<br />
|Method of Collection=Qualitative Collection Methods, Ethnography, Structured Interview<br />
|Method of Analysis=Qualitative Analysis Methods, Textual Content Analysis, Ethnographic/narrative analysis, Legal Analysis<br />
|Industry=Creative, arts and entertainment;<br />
|Country=United Kingdom;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Tzantzara_and_Economides_(2010)&diff=2650Tzantzara and Economides (2010)2015-08-18T18:26:40Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Tzantzara and Economides (2010)<br />
|Author=Tzantzara, K.; Economides, A. A.<br />
|Title=Gender differences in digital music distribution methods<br />
|Year=2010<br />
|Full Citation=Tzantzara, K., & Economides, A. A. (2010). Gender differences in digital music distribution methods. Peer-to-peer networking and applications, 3(2), 161-171.<br />
|Abstract=This study examines gender differences among Greek Internet users in using digital music distribution methods. First, a Web-based questionnaire was developed and placed on most popular Greek forums. Then, 300 Greek Internet users stated their opinions regarding digital music and the following downloading methods: 1) Http downloading, 2) P2P downloading, 3) Torrent downloading, and 4) Combined iTunes method. The results revealed that P2P programs are the first choice for downloading mp3. The responders were satisfied with the P2P’s easiness of use, the variety of songs and the no need to pay. However, they worried about P2P’s safety. Gender differences were identified in several areas. Music industry managers could consider these findings in their strategies to reach the consumers. Advertising companies could use the results to target differently male or female consumers.<br />
|Authentic Link=http://www.conta.uom.gr/conta/publications/PDF/gender%20differences%20in%20digital%20music%20distribution%20methods%20-%20P2P%20Networking%20and%20Applications.pdf; http://link.springer.com/article/10.1007/s12083-009-0056-4#page-1<br />
|Reference=Thompsen and Vivien (2000); Heimrath and Goulding (2001); Mitina and Voiskounsky (2005); Yang and Lester (2005);<br />
|Plain Text Proposition=* Gender differences were identified in the following areas:<br />
# female Internet users are older than males;<br />
# more females still use old internet connection technologies than males;<br />
# females trust their computer knowledge less than males<br />
# females use the Internet less frequently than males<br />
# fewer females than males store their mp3 files<br />
# females possess smaller number of stored mp3 files than males<br />
# females use mp3 for different reasons than males<br />
* P2P is the most preferable method for both genders (54%). <br />
* Cost considerations weigh heavily on the decision to buy or pirate.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=J16: Economics of Gender • Non-labor Discrimination, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* Since gender differences were found with respect to several issues, advertising and marketing companies could launch different campaigns for men and women. <br />
* Government should protect the artists’ intellectual rights developing legal measures and supporting digital copyright mechanisms (e.g. digital marketing) It should also support standards and interoperability in order to foster compatibility among the various files’ format, devices, downloading techniques, etc. It should protect the consumer with respect to music cost, personal data confidentiality, safety and security.<br />
|Description of Data=After a series of in-depth interviews, a detailed questionnaire of 30 questions was developed and published on several Greek popular forums, including forms concerning digital music. <br />
<br />
More than 200 Internet users in Greece answered the questionnaire between August 2006 and October 2006. Most responders were male (87%). The majority of all both males (35.5%) and females (58.3%) were between 21 and 25 years old. Few makes (9.8%) and females (16.9%) were over 30 years old. Most had University education.<br />
|Data Year=August 2006 to October 2006<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences), Semi-Structured Interview<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Qualitative Analysis Methods, Textual Content Analysis<br />
|Industry=Sound recording and music publishing;<br />
|Country=Greece;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=More than 200<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=Prior to 2007<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Tepper_and_Hargittai_(2009)&diff=3938Tepper and Hargittai (2009)2015-08-18T18:25:37Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Tepper and Hargittai (2009)<br />
|Author=Tepper, S. J.; Hargittai, E.<br />
|Title=Pathways to music exploration in a digital age<br />
|Year=2009<br />
|Full Citation=Tepper, S. J., & Hargittai, E. (2009). Pathways to music exploration in a digital age. Poetics, 37(3), 227-249.<br />
|Abstract=This paper looks at the largely unexplored terrain of how young people find music that is new to them in an environment with an unprecedented number of possibilities. Digital media has changed not only how artists create and distribute content, but also how listeners find and access new material. The new options exist in the context of older traditions such as using one’s social networks or traditional media to find content. Based on original data with a sample of college students, we find that while students use digital media to find music new to them, social networks and traditional media continue to play a very important role in the course of exploration. We also find that digital technology is used differently by different types of music consumers and draw distinctions between peer-to-peer services and browsing, with the former more likely to be used by students from higher socio-economic backgrounds who are opinion leaders in the realm of music. We conclude with observations about the nature of opinion leadership and music and argue that future research should examine more closely the links among the discovery and sharing of culture, opinion leadership and social recognition and status.<br />
|Authentic Link=http://webuse.org/pdf/TepperHargittai-PathwaysMusicExploration2009.pdf<br />
|Reference=Bakos (1998); Arthur et al. (2006); Ruvio and Shoham (2007); Swerdlow (2008);<br />
|Plain Text Proposition=* By far, the most common methods for finding new music either involve relying on recommendations from people in one’s social network or on content encountered through traditional mainstream media. <br />
* Women are less likely to use technology to discover new music than men and 2.75 times more likely to use social networks. <br />
* Students who listen to a greater number of artists are more likely to use technology to find new music. <br />
* Heavy web users, while not more likely to browse the Internet in search of new music, are more likely to use peer-to-peer services. <br />
* Opinion leaders, or mavens, aid in the discovery of new music who receive many recommendations from others and recommend music to other people on a regular basis. This sample could not be generalized. <br />
* There is no predetermined path in the digital age of music. Instead, people use new technologies as a tool to reinforce and enhance existing music habits and social and cultural patterns.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=J11: Demographic Trends; Macroeconomic Effects; and Forecasts, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* New technology plays a part in social processes that lead to discovery and innovation in cultural consumption and to the influence and roles that accompany such exploration and exchange, but certainly does not play a leading role, at least not yet. <br />
* The use of technology for discovering new music and culture may become more pervasive in the future; but based on evidence and historical work on the relationship between technology and culture, it seems it will be used to reinforce existing social patterns and relationships, rather than transform them.<br />
|Description of Data=Researchers conducted a survey questionnaire in 2003-2005 to students enrolled in sociology and communication courses on three different private universities across the United States (one in the Northeast, one in the Midwest, and one in the South). <br />
<br />
The final simple consisted of 328 students with close-to-equal representation of different class years (23% first years, 33% sophomores, 23% juniors and 22% seniors). A little more than half (57.5%) were female with the average respondent of 20 years of age.<br />
|Data Year=2003-2005<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Regression Analysis, Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data)<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Sag_(2015)&diff=2884Sag (2015)2015-08-18T18:25:11Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Sag (2015)<br />
|Author=Sag, M.;<br />
|Title=IP Litigation in United States District Courts: 1994 to 2014<br />
|Year=2015<br />
|Full Citation=Sag, M. (2015). IP Litigation in United States District Courts: 1994 to 2014. Available at SSRN 2570803.<br />
|Abstract=This article undertakes a broad-based empirical review of Intellectual Property (IP) litigation in United States federal district courts from 1994 to 2014. Unlike the prior literature, this study analyzes federal copyright, patent and trademark litigation trends as a unified whole. It undertakes a systematic analysis of more than 190,000 individual case filings and examines the subject matter, geographical and temporal variation within federal IP litigation over the last two decades. <br />
<br />
This article makes a number of significant contributions to our understanding of IP litigation. It analyzes time trends in copyright, patent and trademark litigation filings at the national level, but it does much more than simply count the number of cases; it explores the meaning behind those numbers and shows how in some cases the observable headline data can be positively misleading. Exploring the changes in the distribution of IP litigation over time and their regional distribution leads to a number of significant insights, these are summarized below. Just as importantly, one of the key contributions of this article is that it frames the context for more fine-grained empirical studies in the future. Many of the results and conclusions herein demonstrate the dangers of basing empirical conclusions on narrow slices of data from selected regions or selected time periods.<br />
|Link=http://papers.ssrn.com/sol3/Papers.cfm?abstract_id=2570803<br />
|Reference=Priest and Klien (1984); Landes (2004); Hoffman, Izenma, and Lidicker (2007);<br />
|Plain Text Proposition=* First, the rise of Internet file-sharing has transformed copyright litigation in the United States. More specifically, to the extent that the rate of copyright litigation has increased over the last two decades, that increase appears to be entirely attributable to lawsuits against anonymous Internet file sharers. These lawsuits largely took place in two distinct phases: the first phase largely consisted of lawsuits seeking to discourage illegal downloading; the second phase largely consists lawsuits seeking to monetize online infringement. <br />
* Second, in relation to patent litigation, the apparent patent litigation explosion between 2010 and 2012 is something of a mirage; however there has been a sustained patent litigation inflation over the last two decades the extent of which has not been fully recognized until now. The reason why this steady inflation was mistaken for a sudden explosion was that the true extent of patent litigation was disguised by permissive joinder.<br />
* Third, in relation to the geography of IP litigation, it appears that filings in copyright, patent and trademark litigation are generally highly correlated. The major exceptions to that correlation are driven by short term idiosyncratic events in copyright and trademark litigation — these are discussed in detail — and by the dumbfounding willingness of the Eastern district Texas to engage in forum selling to attract patent litigation. The popularity of the Eastern District of Texas as a forum for patent litigation is a well-known phenomenon. However, the data and analysis presented in this study provides a new way of looking at the astonishing ascendancy of this district and the problem of form shopping in patent law more generally.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right),<br />
|Discipline=K00: General, K11: Property Law<br />
|Intervention-Response=* This data-driven approach has yielded insights in relation to the Internet filesharing litigation, the true impact of patent trolls on the level of patent litigation, and the extent of forum shopping and forum selling patent litigation. Just as importantly, the trends identified in this article lay the foundation for planning and evaluating future empirical studies of IP litigation with a narrower focus.<br />
* Many of the results and conclusions herein demonstrate the dangers of basing empirical conclusions on narrow slices of data from selected regions or selected time periods.<br />
|Description of Data=The primary source of data for this article is the records of federal litigation maintained by the Public Access and Records management Division of the Administrative Office of the U.S. Courts, available on PACER. <br />
<br />
The 192,524 court records in the study are from federal IP cases filed in 94 U.S. federal district courts in all 50 states, plus the District of Columbia, Puerto Rick, the Virgin Islands, and the Northern Mariana Islands between 1994 and 2014.<br />
|Data Year=Not stated<br />
|Data Type=Primary data<br />
|Method of Collection=Quantitative Collection Methods, Quantitative data/text mining, Longitudinal Study, Qualitative Collection Methods, Case Study<br />
|Method of Analysis=Quantitative Analysis Methods, Correlation and Association, Regression Analysis, Qualitative Analysis Methods, Textual Content Analysis, Legal Analysis<br />
|Industry=Creative, arts and entertainment;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=192,524<br />
|Level of Aggregation=court records,<br />
|Data Material Year=Not stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Peace,_Galletta_and_Thong_L._(2003)&diff=2732Peace, Galletta and Thong L. (2003)2015-08-18T18:23:58Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Peace, Galletta and Thong L. (2003)<br />
|Author=Peace, A. G.; Galletta, D. F.; Thong, J. Y. L.<br />
|Title=Software piracy in the workplace: A model and empirical test<br />
|Year=2003<br />
|Full Citation=Peace, A. G., Galletta, D. F., & Thong, J. Y. (2003). Software piracy in the workplace: A model and empirical test. Journal of Management Information Systems, 20(1), 153-177.<br />
|Abstract=Theft of software and other intellectual property has become one of the most visible problems in computing today. This paper details the development and empirical validation of a model of software piracy by individuals in the workplace. The model was developed from the results of prior research into software piracy, and the reference disciplines of the theory of planned behavior, expected utility theory, and deterrence theory. A survey of 201 respondents was used to test the model. The results indicate that individual attitudes, subjective norms, and perceived behavioral control are significant precursors to the intention to illegally copy software. In addition, punishment severity, punishment certainty, and software cost have direct effects on the individual’s attitude toward software piracy, whereas punishment certainty has a significant effect on perceived behavioral control. Consequently, strategies to reduce software piracy should focus on these factors. The results add to a growing stream of information systems research into illegal software copying behavior and have significant implications for organizations and industry groups aiming to reduce software piracy.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1976963<br />
|Reference=Christensen and Eining (1991); Harrington (1996); Gopal, and Sanders (1998);<br />
|Plain Text Proposition=* 52% of the total sample admitted to illegally copying software at least once a year. 59.2% stated they had copied software illegally at least once. Only 6.5% indicated they knew someone who had been caught. <br />
* For organizations, the results imply that the factors identified by TPB can be manipulated to yield the desired effects.<br />
* The strength of the relationship between punishment certainty and perceived behavioral control indicates that the more likely an individual perceives the chance of being caught, the less the individual perceives himself or herself as having the ability to commit software policy. <br />
* Software cost also plays an important role in modifying the individual’s attitude toward piracy. The lower the cost, the less gain if it is illegally copied; by contrast, if it is very expensive, the perceived benefits of purchasing the software may be outweighed by its cost. <br />
* Attitude toward software piracy is clearly the strongest predictor of software piracy intention. Perceived behavioral control had the last impact on piracy intention in the proposed model.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=A14: Sociology of Economics, K4: Legal Procedure; the Legal System; and Illegal Behavior, O3: Technological Change • Research and Development • Intellectual Property Rights, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Influencing individuals’ attitudes toward software piracy can reinforce the subjective norms of their peers. Individuals whose peers view software piracy as unethical or illegal tend to believe similarly that the act of software piracy is not ethical or legal, and will be less likely to commit the crime. <br />
* Organizations intent on eliminating illegal software copying within their ranks should consider instituting (and publicizing) significant punishments.<br />
|Description of Data=A preliminary questionnaire was distributed to five experts in the academic field and a sample of ten IS professionals. After the items were slightly modified via feedback, the instrument was pilot tested on 38 individuals, resulting in further minor changes. The final version was reviewed by five academic and five practitioner experts as to the instrument’s clarity and validity.<br />
<br />
The final survey was conducted on a sample of working class adults taking evening classes in the part-time MBA program of a mid-Atlantic US university. Of the 264 questionnaires distributed, 203 were returned completed. The final sample consisted of 201 completed questionnaires. <br />
<br />
61% of the respondents were male and the mean age was 29.1 years. All respondents had completed a Bachelors level degree. 96% used computers on a daily basis.<br />
|Data Year=Not Stated<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Multivariate Statistics, Regression Analysis, Structural Equation Modeling, Confirmatory Factor Analysis (CFA), Qualitative Analysis Methods, Grounded Theory<br />
|Industry=Software publishing (including video games);<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=201<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=Not Stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Papies_and_Clement_(2008)&diff=2744Papies and Clement (2008)2015-08-18T18:23:07Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Papies and Clement (2008)<br />
|Author=Papies, D.; Clement, M.<br />
|Title=Adoption of New Movie Distribution Services on the Internet<br />
|Year=2008<br />
|Full Citation=Papies, D., & Clement, M. (2008). Adoption of new movie distribution services on the Internet. Journal of Media Economics, 21(3), 131-157.<br />
|Abstract=Although the Internet features excess demand for media, especially movie downloads, the motion picture industry lacks sustainable business models for this market. An enriched form of the theory of planned behavior can identify drivers of consumer intentions to adopt a legal movie download service. Using a large data set, this study estimates structural equation model parameters. The magnitude of specific influences is subject to unobserved heterogeneity, according to a finite mixture approach with partial least squares estimation. Not only attitude, but also social influence, perceived technical feasibility, innovativeness, compatibility, and past behavior drive adoption decisions.<br />
|Authentic Link=http://www.tandfonline.com/doi/abs/10.1080/08997760802300530<br />
|Reference=Jedidi, Krider and Weinberg (1998); Elberse and Eliashberg (2003); Chih-Chen (2005); Fetscherin (2005); Eliashberg et al. (2006);<br />
|Plain Text Proposition=* The theory of planned behavior, in combination with Rogers’s (2003) innovation criteria, helps explain adoption intentions in the context of media innovations. <br />
* Product complexity negatively influences intentions to adopt, which suggests that providers should focus on the ease of use of movie downloads. <br />
* Users with digital experience are most likely to adopt the new service, so studios should not address those consumers who exhibit a strong consumption of movies in general, but rather consumers who use digital downloads. Marketing campaigns should target online candidates because they will be attracted to new services rather than current heavy users/movie lovers.<br />
* These findings do not support the industry’s widespread fear that the introduction of an attractive movie download shop would lead to immediate cannibalization.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=L86: Information and Internet Services • Computer Software, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* Consumers are interested in legal movie downloads. If the motion picture industry does not enter this market quickly with a competitive offer, the growing economics of piracy will continue.<br />
|Description of Data=Researchers gathered a representative sample of downloaders, whose intentions to adopt a movie download service were measured empirically. Researchers used scenarios that communicate the hypothetical product features of a legal movie download service in an online questionnaire that was posted on the company’s Website. <br />
<br />
Most respondents were obtained from a major mainstream German Website for music downloads. The questionnaire was distributed online in November and December of 2006 and yielded 1,050 from visitors to the website and a popular German movie magazine, which was included to extend the scope of the sample and to reach movie lovers. <br />
<br />
The final sample had an average age of 33.9 years and compares well with the characteristics of German downloaders. 61.6% were men and less than 10% did not use broadband Internet access.<br />
|Data Year=November to December 2006<br />
|Data Type=Primary data<br />
|Method of Collection=Quantitative Collection Methods, Experimental (Field), Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis, Structural Equation Modeling, Qualitative Analysis Methods, Grounded Theory<br />
|Industry=Film and motion pictures;<br />
|Country=Germany;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=1050<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=November to December 2006<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Liebowitz_(2004)&diff=4063Liebowitz (2004)2015-08-18T18:21:50Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Liebowitz (2004)<br />
|Author=Liebowitz, S. J.<br />
|Title=Will MP3 downloads Annihilate the Record Industry? The Evidence so Far<br />
|Year=2004<br />
|Full Citation=Liebowitz, S. (2004). Will MP3 downloads annihilate the record industry? The evidence so far. Advances in the Study of Entrepreneurship, Innovation, and Economic Growth, 15, 229-260.<br />
|Abstract=This paper investigates the impact of unauthorized downloading of MP3 files on the recording industry. Although the no longer extant Napster was the most famous system used for such downloading, its progeny have continued to allow millions of music listeners to download music (and other) files without remuneration to the copyright owners. Using data on the historical sales of prerecorded music I examine in detail the recent decline in record sales and attempt to gauge the importance of various alternative factors that have been put forward to explain this decline. I conclude that the evidence supports a claim that MP3 downloads decrease sales.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=414162<br />
|Reference=Liebowitz (1985);<br />
|Plain Text Proposition=* MP3 downloads are causing significant harm to the record industry, but it is not clear whether such downloading in the current legal environment will cause a mortal blow to the industry. <br />
* One of the causes of the decline in record sales is the decline of singles that has been ongoing for quite some time.<br />
* Changes in media might be thought to lead to changes in demand due to a ‘librarying’ motive that would consist of individuals wishing to update some of their favorite recordings to the new medium, though empirical support for this is mixed. <br />
* Prices for records have remained consistent during the last 20 years; another reason for changes in record sales might be due to decline in income.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=K0: General, L0: General, L5: Regulation and Industrial Policy, L8: Industry Studies: Services<br />
|Intervention-Response=* It is important to understand the impact of MP3 downloads if we, as a society, are to determine appropriate responses to allow the record companies to take in defending their economic position from the encroachments brought about by MP3 downloads.<br />
|Description of Data=Data on quantities of records sold in the US on a yearly basis and on revenues is taken from the Recording Industry Association of America.<br />
|Data Year=Not stated<br />
|Data Type=Secondary data<br />
|Data Source=Recording Industry Association of America;<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting)<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Correlation and Association, Regression Analysis, Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data)<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Liebowitz_(2006a)&diff=4065Liebowitz (2006a)2015-08-18T18:21:19Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Liebowitz (2006a)<br />
|Author=Liebowitz, S. J.;<br />
|Title=Economists Examine File-Sharing and Music Sales<br />
|Year=2006<br />
|Full Citation=Liebowitz, S. J. (2006). Economists examine file-sharing and music sales.Industrial organization and the digital economy, 145-174.<br />
|Abstract=NA<br />
|Authentic Link=http://www.utdallas.edu/~liebowit/intprop/MIT.pdf<br />
|Reference=Liebowitz (1985); Watt (2004);<br />
|Plain Text Proposition=* The theory underlying the analysis of file-sharing has not received the attention it deserved. It has always been clear that some possible aspects of file-sharing would harm copyright owners, such as the substitution of copies for the purchase of originals. <br />
* What has not been understood is that the use of file-sharing to sample products is also likely to lead to harm to copyright owners. Theoretical conditions under which file-sharing might be beneficial to copyright holders seem farfetched. <br />
* A broad analysis of the various theoretical factors at work supports a view that file-sharing is likely to cause serious damage to the owners of copyright materials that are shared. <br />
* Empirical examinations need to meet a higher hurdle than normal before they might be considered to over tern the expectation that the birth of file sharing leads to the subsequent decline in CD sales. <br />
* The political arena is impatient in its search for an answer and for academics to reach unanimity. In any case, it seems that file-sharing hurts copyright owners and that it is responsible for most, if not all, of the recent decline in sales.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=A10: General, K: Law and Economics, O3: Technological Change • Research and Development • Intellectual Property Rights, Z1: Cultural Economics • Economic Sociology • Economic Anthropology<br />
|Intervention-Response=More empirical studies are needed to fully understand the impact of file-sharing.<br />
|Description of Data=Data includes a literature review of various recent studies and analyses examining the impact of file-sharing on record sales.<br />
|Data Year=Prior to 2006<br />
|Data Type=Primary and Secondary data<br />
|Method of Collection=Qualitative Collection Methods, Document Research, Qualitative content/text mining<br />
|Method of Analysis=Qualitative Analysis Methods, Textual Content Analysis, Discourse Analysis, Grounded Theory<br />
|Industry=Film and motion pictures; Television programmes; Sound recording and music publishing;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Mateus_and_Peha_(2008)&diff=2742Mateus and Peha (2008)2015-08-18T18:20:44Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Mateus and Peha (2008)<br />
|Author=Mateus, A. M.; Peha, J. M.<br />
|Title=Dimensions of P2P and digital piracy in a university campus<br />
|Year=2008<br />
|Full Citation=Mateus, A. M., & Peha, J. M. (2008). Dimensions of P2P and digital piracy in a university campus.<br />
|Abstract=This article presents findings from the first large-scale quantitative assessment of Peer-to-Peer (P2P) exchanges of copyrighted material on a college campus based on actual observation. Through passive monitoring and deep packet inspection (DPI), we assess the extent to which P2P is used to transfer copyrighted material. We also characterize the demographics of P2P users, the relative popularity of the material, and how the burden on the campus network varies over time. We found that at least 51% of students living on campus engaged in P2P, at least 42% attempted to transfer copyrighted material, and the mean number of copyrighted media titles whose transfer is attempted per week was at least 6 per monitored student. Some students use P2P legally, e.g. to transfer Linux software or non-copyrighted adult material, but we found no evidence that large numbers of students use P2P for these legal purposes and not to transfer copyrighted material. Students of all genders, ages, classes and majors engaged in file sharing, to the extent that demographics were not helpful in identifying likely file-sharers so as to target interventions. This study also provides lessons for those who would use DPI technology to reduce illegal use of P2P. If given enough weeks to observe, current technology is effective at identifying users who attempt to transfer copyrighted material, provided that their traffic is identifiable as P2P. Thus, DPI can be used to estimate the extent of piracy, and to notify individuals who may be violating copyright law. However, encryption is available and can be easily activated in most P2P clients. Once turned on, encryption prevents DPI from detecting whether transferred material is copyrighted, rendering it ineffective. If DPI is used for copyright enforcement that includes imposition of penalties, then P2P users or P2P developers may have the incentive to use encryption as a way of evading detection.<br />
|Authentic Link=http://repository.cmu.edu/cgi/viewcontent.cgi?article=1025&context=epp<br />
|Reference=Collins and Reiter (2006); Liebowitz (2006); Rob and Waldfogel (2004);<br />
|Plain Text Proposition=* The study detected P2P activity by about half of the students living on campus (51%) and the great majority of those (42%) were also detected transferring or attempting to transfer copyrighted material. <br />
* During the monitored period, the average number of copyrighted media titles detected being transferred per student was 18. Out of the students found transferring or attempting to transfer copyrighted material, 70% were detected attempting more than one copyrighted title per day.<br />
* Demographics were poor predictors of whether or how much students engage in P2P or in transfers of copyrighted material. This implies that demographics are ineffective for targeting interventions, such as education campaigns, that aim at altering students’ behavior. Even so, the average number of titles per week decreases for older students or student s closer to graduation. <br />
* File sharing occurred at all times of the day and night, peaking on weeknights when people are typically not using their computers. <br />
* The study provides useful lessons on use of DPI technology to reduce illegal activities, as results indicate today’s technology is effective in detecting users that transfer copyrighted material using unencrypted P2P.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=L86: Information and Internet Services • Computer Software, O3: Technological Change • Research and Development • Intellectual Property Rights, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* DPI can be a useful diagnostic tool for universities or ISPs that wish to warn their students or customers about possible risk of lawsuits from the copyright industry or target education to users that are detected in copyright infringement. <br />
* Lawmakers could decide to require that operators use DPI to monitor their networks and enforce anti-piracy policies by assigning penalties. <br />
* Some policy makers may consider prohibiting use of encryption with P2P. One disadvantage is that some P2P transfers are legal and beneficial, and such a policy would prohibit security practices that protect these legal transfers as well as their illegal counterparts.<br />
|Description of Data=Data was taken from the Digital Citizen Project undertaken by Illinois State University. The ISU used network monitoring through two devices to identify PTP streams and copyrighted media being transferred. Information about a user was identified through the IP address and the user’s University Login Identification, including birth year, gender, major, role, and university title (year of study). <br />
<br />
Network monitoring in April 2007 produced useful data for 620 of the 720 hours in the month, adding to 25 days with 24 full hours of data and 3 weeks with 7 full days of data. Two data sets were collected, one with hourly summaries of traffic and another with 24 million P2P communication events.<br />
|Data Year=April 2007<br />
|Data Type=Secondary data<br />
|Data Source=Digital Citizen Project;<br />
|Method of Collection=Quantitative Collection Methods, Web analytic (online user trace data), Quantitative data/text mining<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Quantitative content analysis (e.g. text or data mining)<br />
|Industry=Film and motion pictures; Sound recording and music publishing; Software publishing (including video games);<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Portuguese Science and Technology Foundation;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=620<br />
|Level of Aggregation=Hour,<br />
|Data Material Year=April 2007<br />
}}{{Dataset<br />
|Sample Size=24,000,000<br />
|Data Material Year=April 2007<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Morris,_Johnson_and_Higgins_(2009)&diff=2648Morris, Johnson and Higgins (2009)2015-08-18T18:20:03Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Morris, Johnson and Higgins (2009)<br />
|Author=Morris, R. G.; Johnson, M. C.; Higgins, G. E.<br />
|Title=The role of gender in predicting the willingness to engage in digital piracy among college students<br />
|Year=2009<br />
|Full Citation=Morris, R. G., Johnson, M. C., & Higgins, G. E. (2009). The role of gender in predicting the willingness to engage in digital piracy among college students. Criminal Justice Studies, 22(4), 393-404.<br />
|Abstract=Scholars have provided increased attention toward the issue of digital piracy in recent years; however, few studies have focused on the issue of gender in predicting digital piracy. This study explores the role of gender in predicting college students’ willingness to participate in varying forms of digital piracy (n = 585). The findings suggest that gender is not directly related to digital piracy when controlling for other factors.<br />
Furthermore, the findings suggest that the impact from existing theories of crime (social learning, self-control, techniques of neutralization, and microanomie) are equivalent across genders. A discussion is provided in the context of future theory development and in the development of policy implications geared toward curtailing digital piracy.<br />
|Authentic Link=http://www.tandfonline.com/doi/abs/10.1080/14786010903358117<br />
|Reference=Higgins (2006); Higgins & Makin (2004); Ingram & Hinduja (2008); Gopal et al. (2004); Hunduja (2007);<br />
|Plain Text Proposition=* Among the respondents in the sample, gender does not appear to be significantly related to the willingness to engage in digital piracy. <br />
* The impact from several robust theoretical predictors of digital piracy, including differential association, techniques of neutralization, microanomie, and self-control theory, do not appear to be motivated by gender. In fact, the impact from such predictors remained relatively similar. <br />
* Neutralizing attitudes toward digital piracy likely play a significant and substantive role in the decision to engage and continue participation in varying forms of digital piracy.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=J16: Economics of Gender • Non-labor Discrimination, O34: Intellectual Property and Intellectual Capital, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* Existing theories of crime may apply similarly to makes and females in predicting digital piracy. This is important for the reason that strong policies aimed at curtailing digital piracy may not need to be gender specific, at least among college students.<br />
* Policy makers and researcher should consider attempts to curb digital piracy through conventional and digital modes of communication by educating prospective digital pirates about legal and fiscal issues in surrounding the issue. Anti-digital piracy programs could be developed and implemented through computer training courses beginning in elementary school.<br />
|Description of Data=Data stems from questionnaires submitted to university undergraduate students in criminology and criminal justice courses during the fall semester of 2006 from two medium-sized universities in the southern and eastern USA.<br />
<br />
A total of 585 students completed questionnaires (67.4% were from the southern university). Most respondents were female (55.6%). Ethnicity closely resembled each university’s student body as a whole and each undergraduate classification was amply represented in the sample. The median age of respondents was 21 and most students reported being employed at least part time (67.8%).<br />
|Data Year=Fall semester of 2006<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis, Structural Equation Modeling, Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data)<br />
|Industry=Sound recording and music publishing; Film and motion pictures;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=585<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=Prior to 2007<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kretschmer,_Klimis,_and_Choi_(1999)&diff=4061Kretschmer, Klimis, and Choi (1999)2015-08-18T18:17:09Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Kretschmer, Klimis and Choi (1999)<br />
|Author=Kretschmer, M.; Klimis, G. M.; Choi, C. J.;<br />
|Title=Increasing Returns and Social Contagion in Cultural Industries<br />
|Year=1999<br />
|Full Citation=Kretschmer, M., Klimis, G. M., & Choi, C. J. (1999). Increasing returns and social contagion in cultural industries. British Journal of Management, 10(s1), 61-72.<br />
|Abstract=A formal definition of cultural industries is developed following four distinct features of cultural goods: (a) oversupply, (b) quality uncertainty, (c) network effects and (d) demand reversal. Drawing on economic and socio-psychological notions of ‘network’, increasing returns and social contagion effects are distinguished. Increasing returns may govern the adoption of standards when choices are binary, social contagion explains the diffusion of cultural goods when choices are multiple. Together, the four structural features delineating cultural industries account for curious competitive dynamics prevalent in cultural markets, such as the notorious 10 : 90 proportionality (under which 10% of cultural goods account for 90% of the market), causal ambiguity about the reasons for success, and the formation of fashions. Six managerial recommendations are advanced, focusing on a criticial circulation point triggering self-sustaining diffusion patterns. Finally ‘project-based enterprises’ and ‘network forms of governance’ are identified as the organizational forms most suited to the dynamics of the cultural markets.<br />
|Authentic Link=http://onlinelibrary.wiley.com/doi/10.1111/1467-8551.10.s1.6/abstract<br />
|Reference=Burt (1987); Powell (1990); Abrahamson and Fombrun (1994); Bovasso (1996); Jones, Hesterly, and Borgatti (1997);<br />
|Plain Text Proposition=* In order to benefit from social contagion and increasing returns, goods in cultural industries have to reach a critical mass of circulation. <br />
* The managerial recommendations researchers derived from the structural features of the cultural industries are consistent with organizational forms favoring rapid responses in a climate of competition. <br />
* Analysis suggests that ‘critical mass management’ relies heavily on the integration of social structure in at least two ways (1) cultural industries draw from a pool of professionals that is not organized as a market; and (2) cultural industries are organized around ‘boundary spanning’ contacts who have the ability to cross social networks. <br />
* Analysis suggests that cultural exchange conditions favor a particular form of network governance.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z11: Economics of the Arts and Literature, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Data Year=Data includes an assessment of creative industries in comparison with market trends and competition. Several examples are presented to support economic theory and proposition.<br />
|Data Type=Primary and Secondary data<br />
|Method of Collection=Qualitative Collection Methods, Ethnography<br />
|Method of Analysis=Qualitative Analysis Methods, Discourse Analysis, Grounded Theory<br />
|Industry=Publishing of books, periodicals and other publishing; Film and motion pictures; Sound recording and music publishing; Creative, arts and entertainment;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Economic and Social Research Council;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kretschmer,_Deazley,_Edwards,_Erickson,_Schafer_and_Zizzo_(2014)&diff=4101Kretschmer, Deazley, Edwards, Erickson, Schafer and Zizzo (2014)2015-08-18T18:15:22Z<p>Andrea: Andrea moved page Kretschmer, et al. (2014) to Kretschmer, Deazley, Edwards, Erickson, Schafer and Zizzo (2014)</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Kretschmer, Deazley, Edwards, Erickson, Schafer and Zizzo (2014)<br />
|Author=Kretschmer, M.; Deazley, R.; Edwards, L.; Erickson, K.; Schafer, B.; Zizzo, D. J.<br />
|Title=The European Commission’s public consultation on the review of EU copyright rules: a response by the CREATe Centre<br />
|Year=2014<br />
|Full Citation=Kretschmer, M., Deazley, R., Edwards, L., Erickson, K., Schafer, B., & Zizzo, D. J. (2014). The European Commission's Public Consultation on the Review of EU Copyright Rules: A Response by the CREATe Centre. European Intellectual Property Review, 36(9), 547-553.<br />
|Abstract=The European Commission consulted between December 5, 2013 and March 5, 2014 on a wide-ranging review of EU copyright rules. This response by the CREATe Centre attempts to make two contributions: (1) the process of policy formation matters for the evolution of the EU legal framework, and so we offer a short critique of the consultation format; (2) we summarise available evidence in seven thematic areas where CREATe has developed or is developing research (term of protection, libraries and archives, disabilities, text and data mining, user-generated content, fair remuneration for authors and performers, and respect for rights). CREATe understands evidence here as empirically grounded, but open to historical and comparative approaches.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2509186<br />
|Reference=Favale and Kretschmer, 2012;<br />
|Plain Text Proposition=* Though most economists and intellectual property scholars contend the term of copyright protection excessive, the recent extension for sound recordings from 50 to 70 years presents an opportunity to investigate whether the extended term does, in fact, support arguments made in favor of the 70-year term. <br />
<br />
* Much of the questions in the consultation do not adequately consider the unique issues dealt with by an archive; rather they are focused on copyright rules as they impact the use of and access to library collections. <br />
* Making optional the disability exception creates the danger of impeding free movement for EU citizens with disabilities. In addition, more attention should be paid to citizens with mental health problems and learning disabilities. <br />
* A Hargreaves-like exemption should be implemented as part of an EU regulatory instrument, but consideration should also be given to taking text mining entirely out of the copyright arena. <br />
* Unlawful file sharing evidence is predominantly supported by studies focusing on music files. There is further evidence to suggest that such welfare implications may not apply equally to all types of media, including movies and software and especially videogames, books or TV content. Policy decisions based upon evidence generated by music files should not be applied to all mediums in general.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption), 5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right), B. Exceptions (distinguish innovation and public policy purposes; open-ended/closed list; commercial/non-commercial distinction), F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z11: Economics of the Arts and Literature<br />
|Intervention-Response=The previously mentioned main propositions are all based policy.<br />
|Description of Data=Data is based off of copyright evidence among various disciplines and subject matter. It is summarized in response to a consultation seeking input from the community regarding a structured survey.<br />
|Data Year=Not stated<br />
|Industry=Software publishing (including video games); Film and motion pictures; Television programmes; Sound recording and music publishing; Creative, arts and entertainment; Cultural education;<br />
|Country=European Union;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=CREATe;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Leung_(2009)&diff=3004Leung (2009)2015-08-18T18:12:47Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Leung (2009)<br />
|Author=Leung, T. C.;<br />
|Title=Should the Music Industry Sue Its Own Customers? Impacts of Music Piracy and Policy Suggestions<br />
|Year=2009<br />
|Full Citation=Leung, T. C. (2008). Should the music industry sue its own customers? Impacts of music piracy and policy suggestions. University of Minnesota, retrieved Nov, 28, 2012.<br />
|Abstract=Two beliefs about music piracy prevail in the music industry. First, music piracy hurts music record sales. Second, the only copyright regime that can help the music industry is one that will eradicate music piracy. To test the two beliefs, I construct a unique survey data set, estimate the demand for music and iPods and show three things. First, music piracy does hurt record sales. Second, music piracy contributes 20% to iPod sales. Finally, counterfactuals experiments show that while a regime without music piracy benefits music producers at the expense of students and Apple, another regime with legal online music and iPod royalty benefits most students and music producers at the expense of Apple.<br />
|Authentic Link=http://faculty.washington.edu/bajari/metricssp10/ipod.pdf<br />
|Reference=Oberholzer-Gee and Strumpf (2007); Bhattacharjee, Gopal, Lertwachara, and Marsden (2006); Liebowitz (2006); Peitz and Waelbroeck (2004);<br />
|Plain Text Proposition=* The average student owed 2508 songs on his computer, both purchased and pirated. 59.8% of students had bought music and 61% had pirated. <br />
* Students pirate much more music than they purchase (70 songs per month compared to one CD every other month and 4-5 songs per month). <br />
* Students buy fewer iTunes songs and CDs when prices are more expensive. When price per iTunes song increases from $0.99 to $1.87, demand drops 49% and students pirate 15% more music and buy 6% more CDs. <br />
* When students pirate 10% more music through P2P web sites, they buy 0.7% fewer iTunes songs and 0.4% fewer CDs. <br />
* On average, there s a loss of $79/student if the government switches from the Current Regime to the No Music Piracy Regime. On the other hand, switching to the Free Music Royalty Regime on average gains students $534. <br />
* Results indicate that while the No Music Piracy Regime benefits music producers t the expense of students and Apple, the Free Music-Royalty Regime benefits most students and music producers at the expense of Apple.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O33: Technological Change: Choices and Consequences • Diffusion Processes, O34: Intellectual Property and Intellectual Capital, Z1: Cultural Economics • Economic Sociology • Economic Anthropology<br />
|Intervention-Response=* A copyright regime that eradicates music piracy is not the only regime that can help the music industry.<br />
|Description of Data=The study distributed a survey to 1800 undergraduates at the University of Minnesota, of which 884 responses were used. Students were asked to answer two main types of questions, report demographic information and recent consumption of both music and iPods, and make hypothetical choices on music.<br />
<br />
90% of the students reported a weekly income less than $200. Students reported surfing the internet an average of 3-4 hours per day.<br />
|Data Year=Fall 2007 and Spring 2008<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Multivariate Statistics, Regression Analysis, Structural Equation Modeling, Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data)<br />
|Industry=Software publishing (including video games);<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=University of Minnesota;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=884<br />
|Level of Aggregation=University students,<br />
|Data Material Year=Fall 2007 and Spring 2008<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Kheria_(2013)&diff=2930Kheria (2013)2015-08-18T18:11:09Z<p>Andrea: Andrea moved page Kheria-2013 to Kheria (2013)</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Kheria (2013)<br />
|Author=Kheria, S.<br />
|Title=Copyright and Digital Art Practice: The ‘Schizophrenic’ Position of the Digital Artist<br />
|Year=2013<br />
|Full Citation=Kheria, S. (2013). Copyright and Digital Art Practice: The ‘Schizophrenic’Position of the Digital Artist. Leonardo Electronic Almanac, 19(4).<br />
|Abstract=What is the role of copyright in the everyday social context of new, emerg¬ing and ‘born digital’ artistic activities? Is copyright able to govern the practical behaviour of artists and creative practitioners? If not, then what or who impacts on their behaviour? This paper focuses on the interac¬tion of copyright with the everyday life of creators working in the digital environment and discusses their ‘schizophrenic’ position. It draws upon a qualitative empirical study with digital artists aimed at exploring their perceptions of copyright law: how they understand and manage copyright and how copyright interacts with the local circumstances of their day to day creative practice. A finding of this study was that some of the artists faced moral dilemmas and were pulled in different directions with respect to their perspectives and decisions regarding copyright. The consequence of this was a seemingly ‘schizophrenic’ position, one that manifested in various ways – such as emphasize that ‘copying’ cannot and should not be controlled in the digital medium but equally feeling compelled to have some control. Other artists rejected the prevention of copying in the digital domain while relying on exclusivity of copies in the analogue domain and / or denied the applicability of traditional notions of authorship to their practice while asserting the importance of attribution.<br />
|Link=http://ojs.gold.ac.uk/index.php/lea/article/view/52<br />
|Reference=Geist (2006); Party (2009);<br />
|Plain Text Proposition=* Copyright law was not seen to have any independent ability to incentivize or indeed govern the interviewees’ practice as an external influence. Instead, a range of ‘actors’ were found to contribute to decision-making and norm-setting in the interviewees’ practices being regulated with little recourse to formal rules of copyright.<br />
* While ‘copyright protection’ was one of such actors that could play a part in informing creators in their decisions on creation, dissemination and exploitation of their works, various other ‘actors’ were found to play a much more prominent role. Some of these ‘actors’ were: their attraction to the potentials and inherent capabilities of the digital medium, their understandings and meanings of the ‘digital,’ their political and ethical stance, contemporary art practices and philosophy, their academic and research backgrounds, strong intrinsic motivations, lack of knowledge of the law as well as their legal consciousness.<br />
* Strong intrinsic motivations also played an important role in shaping their practice. The interviewees communicated that the motivation behind their creative practice was not financial gain and emphasis was placed upon the belief that it was certainly not a precondition for them to have and continue their art practice. Instead, they believed that their personal motivations of simply wanting to be involved in, and remain involved in, the creative process (for reasons such personal interest, enjoyment, ‘a compulsion to create’) was the driving force behind their practice.<br />
|FundamentalIssue=2. Relationship between creative process and protection - what motivates creators (e.g. attribution; control; remuneration; time allocation)?,<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability), A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right),<br />
|Discipline=O34: Intellectual Property and Intellectual Capital, O38: Government Policy, Z1: Cultural Economics • Economic Sociology • Economic Anthropology, Z11: Economics of the Arts and Literature<br />
|Intervention-Response=* Contemporary art practices before the digital era had already raised questions concerning the legitimacy of the copyright framework and challenged notions of originality and authorship, and the scope of protection under copyright law. <br />
* Digital art offers a premise that both advances and exaggerates these questions because it is comprised of elements that are part ‘orig¬inal’ (the sort of originality that is exalted by copyright), and part ‘remade’ (the sort of use that is considered infringement under copyright).<br />
* For the copyright system to support creativity, it requires the confidence of its stakeholders, in particular the creators who ‘must see it as appropriate, effective, fair, and reasonable.’<br />
|Description of Data=A qualitative empirical study was conducted with 21 digital artists based in the UK and Ireland. Original first-hand accounts of the artists’ perspectives were obtained using in-depth semi-structured interviews. <br />
<br />
The study took a socio-legal approach and was carried out by employing grounded theory as the methodology to obtain, examine and analyze the data. Open coding, axial coding, and selective coding were applied to the gathered data. Constant comparison was also undertaken between data gathering, analysis, and formation of conceptual categories. <br />
<br />
The focus of the study was limited to those manifestations of digital art that formed a prominent part of the practice of the artists interviewed for the research. Such forms were digital writing, internet art and nomadic works, software art, digital installations and networked performance.<br />
|Data Year=Not stated<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Structured Interview<br />
|Method of Analysis=Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data), Legal Analysis, Grounded Theory<br />
|Industry=Creative, arts and entertainment;<br />
|Country=United Kingdom; Ireland;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=21<br />
|Level of Aggregation=Artists,<br />
|Data Material Year=Not stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Hennig-Thurau,_Henning_and_Sattler_(2007)&diff=2728Hennig-Thurau, Henning and Sattler (2007)2015-08-18T18:09:35Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Hennig-Thurau, Henning and Sattler (2007)<br />
|Author=Hennig-Thurau, T.; Henning, V.; Sattler, H.<br />
|Title=Consumer File Sharing of Motion Pictures<br />
|Year=2007<br />
|Full Citation=Hennig-Thurau, T., Henning, V., & Sattler, H. (2007). Consumer file sharing of motion pictures. Journal of Marketing, 71(4), 1-18.<br />
|Abstract=Illegal consumer file sharing of motion pictures is considered a major threat to the movie industry. Whereas industry advocates and some scholars postulate a cannibalistic effect on commercial forms of movie consumption, other researchers deny this effect, though sound evidence is lacking on both sides. Drawing on extant research and utility theory, the authors present hypotheses on the consequences and determinants of consumer file sharing and test them with data from a controlled longitudinal panel study of German consumers. The data contain information on the consumers' intentions toward and actual behavior in relation to the consumption of 25 new motion pictures, allowing the authors to study more than 10,000 individual file-sharing opportunities. The authors test the effect of file sharing on commercial movie consumption using a series of ReLogit regression analyses and apply partial least squares structural equation modeling to identify the determinants of consumer file sharing. They find evidence of substantial cannibalization of theater visits, DVD rentals, and DVD purchases responsible for annual revenue losses of $300 million in Germany. Five categories of file-sharing behavior drive file sharing and have a significant impact on how consumers obtain and watch illegal movie copies.<br />
|Authentic Link=http://journals.ama.org/doi/abs/10.1509/jmkg.71.4.1<br />
|Link=http://facultynh.syr.edu/bjsheeha/Research%20Projects/music%20download%20research/music%20download%20project/articles%20for%20music%20download/Hennig-Thureau%202007%5B1%5D.pdf<br />
|Reference=Liebowitz (2006); Oberholzer-Gee and Strumpf (2005); Gopal, Bhattacharjee, and Sanders (2005);<br />
|Plain Text Proposition=* Through the longitudinal study, the following statistics were produced:<br />
** Of the 25 movies in the sample, 136 respondents (17%) had obtained at least one illegal copy before the movies were released on DVD; 242 illegal movie copies had been obtained by that time and 165 of these copies had been watched. <br />
** Respondents intended to watch an illegal copy in 21.1% of cases before the theatrical release and 13.1% of cases before the DVD release. <br />
** After the movies were released to DVD, 141 respondents (18.5%) had obtained at least one copy of a surveyed movie; overall 342 illegal movie copies had been obtained by the time of the third survey, and 66% of those illegal copies had been watched. At this point, the maximum number of illegal copies that individual respondents obtained was 11. <br />
* Consumers’ intentions to view an illegal copy of a new movie reduce their propensity to attend theaters. This suggests that file-sharing intentions limit the consumer’s interest in legal channel consumption, which in turn leads him to forgo consumption in these channels, regardless of whether the consumer actually obtains an illegal copy of the movie or not. <br />
* Consumers’ intentions to watch a movie copy significantly reduce their number of DVD rentals and purchases. <br />
* Researchers calculated an overall annual industry loss of $300 million in Germany, which represents approximately 9.4% of the total industry revenues in 2005.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Although nationwide estimates represent bold numbers for the impact of file sharing, it is likely they are exaggerated. <br />
* Consumers’ intentions to engage in file sharing cause them to forego theater visits, legal DVD rentals and purchases. Therefore, decreasing consumers’ intentions to watch illegal movie copies may be the most powerful way to fight movie piracy. <br />
* Making movies available through new channels, such as video-on-demand that involve lower transaction costs than trips to the theater (including babysitters and concession prices, etc.), might be an appropriate way to win back transaction cost-sensitive consumers.<br />
|Description of Data=Study employed controlled longitudinal panel data from 770 to 813 consumers that encompass information on more than 10,000 movie file-sharing opportunities. Researchers collected information from a quota sample of 1075 German consumers using gender, age, and occupation as quota criteria to represent the key demographic variables of movie consumption. Respondents filled out three different Internet questionnaires over the course of eight months, for which they received 10 Euro. <br />
<br />
Respondents were contacted in February 2006 and questioned as to whether or not they intended to watch between 10 to 15 new motion pictures out of a subset of 25 movies in a movie theater or as an illegal copy. <br />
<br />
Respondents were contacted again in May 2005 to determine whether they had seen the previously surveyed movies in theaters and/or obtained illegal copies. 813 panel members responded, for a satisfactory retention rate of 76%.<br />
<br />
A third questionnaire followed in October 2005, after 18 of the 25 movies had been available on DVD for at least for weeks. This survey primarily assessed respondents’ rentals and purchases of the surveyed movies on DVD. 770 respondents completed the questionnaire, a 94.6% response rate of the second questionnaire respondents.<br />
|Data Year=February to October 2006<br />
|Data Type=Primary data<br />
|Method of Collection=Quantitative Collection Methods, Longitudinal Study, Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis, Structural Equation Modeling<br />
|Industry=Film and motion pictures;<br />
|Country=Germany;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=770<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=February to October 2006<br />
}}{{Dataset<br />
|Sample Size=25<br />
|Level of Aggregation=Film,<br />
|Data Material Year=February to October 2006<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Heald,_Shi,_Stoiber_and_Zheng_(2012a)&diff=2852Heald, Shi, Stoiber and Zheng (2012a)2015-08-18T18:08:25Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Heald, Shi, Stoiber and Zheng (2012)<br />
|Author=Heald, P. J.; Shi, P.; Stoiber, J.; Zheng, Q.;<br />
|Title=More Music in Movies: What Box Office Data Reveals About the Availability of Public Domain Songs in Movies from 1968-2008<br />
|Year=2012<br />
|Full Citation=Heald, Paul J. and Shi, Peibei and Stoiber, Jeffrey and Zheng, Qingyao, More Music in Movies: What Box Office Data Reveals About the Availability of Public Domain Songs in Movies from 1968-2008 (December 12, 2012). Review of Economic Research on Copyright Issues, Vol. 9, No. 2, pp. 31-54, 2012; Illinois Public Law Research Paper No. 11-23.<br />
|Abstract=A previous empirical study suggested that as copyrighted songs transitioned into the public domain they were used just as frequently in movie soundtracks as when they were still legally protected. That study, however, did not account for the number people who viewed each movie in the theater. Since the debate over copyright term extension centers on the continuing “availability” of works as they fall into the public domain, a better measure of the availability of songs in movies would account for the relative box office success of the movies in which the songs appear. The present study collects box office data for hundreds of movies from 1968-2008 in which appeared hundreds of songs and concludes that public domain songs were heard by just as many people in movie theaters before and after they fell into the public domain.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2080184<br />
|Reference=Landes and Posner (2003); Heald (2008); Heald (2009);<br />
|Plain Text Proposition=This paper examines accounts for the number tickets sold in order to measure popularity, and therefore the number of viewers of each movie while it played in theatres. More specifically, this paper shows that: <br />
* For both copyrighted songs and public domain songs, availability measured by ticket sales of movies using the songs increases by year.<br />
* The evidence does not show that availability is significantly influenced by the legal status of a song.<br />
* The inclusion of box office data and Billboard data into the analysis of song availability supports the conclusion reached by Heald (2009) that songs remain just as available to the public after they fall into the public domain.<br />
|FundamentalIssue=2. Relationship between creative process and protection - what motivates creators (e.g. attribution; control; remuneration; time allocation)?,<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right),<br />
|Discipline=A10: General, D23: Organizational Behavior • Transaction Costs • Property Rights, K0: General, K11: Property Law<br />
|Intervention-Response=* Since copyright term extension incurs significant costs on consumers, lobbyists advocating for added protection bear a heavy burden of showing the negative consequences of works falling into the public domain.<br />
* Policy-making based on the assumption that availability declines when works fall in to the public domain and no longer have an owner has yet to find an empirical basis. Collectively, the studies should shift the burden of proof to copyright owners.<br />
|Description of Data=This paper utilizes three different datasets of selected songs, which are collected from different time periods.<br />
|Data Year=2012<br />
|Data Type=Secondary data<br />
|Data Source=IMDB.com;<br />
|Method of Collection=Web analytic (online user trace data)<br />
|Method of Analysis=Descriptive statistics (counting; means reporting; cross-tabulation), Regression Analysis<br />
|Industry=Film and motion pictures; Sound recording and music publishing; Creative, arts and entertainment;<br />
|Country=USA;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=601<br />
|Level of Aggregation=Song,<br />
|Data Material Year=1968-2007<br />
}}{{Dataset<br />
|Sample Size=693<br />
|Level of Aggregation=Song,<br />
|Data Material Year=1923-1932<br />
}}{{Dataset<br />
|Sample Size=257<br />
|Level of Aggregation=Song,<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Heald,_Erickson_and_Kretschmer_(2015)&diff=2882Heald, Erickson and Kretschmer (2015)2015-08-18T18:06:09Z<p>Andrea: Andrea moved page Heald, Erickson, and Kretschmer (2015) to Heald, Erickson and Kretschmer (2015)</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Heald, Erickson and Kretschmer (2015)<br />
|Author=Heald, P. J.; Erickson, K.; Kretschmer, M.<br />
|Title=The Valuation of Unprotected Works: A Case Study of Public Domain Photographs on Wikipedia<br />
|Year=2015<br />
|Full Citation=Heald, P. J., Kretschmer, M., & Erickson, K. (2015). The Valuation of Unprotected Works: A Case Study of Public Domain Photographs on Wikipedia. Available at SSRN.<br />
|Abstract=What is the value of works in the public domain? We study the biographical Wikipedia pages of a large data set of authors, composers, and lyricists to determine whether the public domain status of available images leads to a higher rate of inclusion of illustrated supplementary material and whether such inclusion increases visitorship to individual pages. We attempt to objectively place a value on the body of public domain photographs and illustrations which are used in this global resource. We find that the most historically remote subjects are more likely to have images on their web pages because their biographical life-spans pre-date the existence of in-copyright imagery. We find that the large majority of photos and illustrations used on subject pages were obtained from the public domain, and we estimate their value in terms of costs saved to Wikipedia page builders and in terms of increased traffic corresponding to the inclusion of an image. Then, extrapolating from the characteristics of a random sample of a further 300 Wikipedia pages, we estimate a total value of public domain photographs on Wikipedia of between $246 to $270 million dollars per year.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2560572<br />
|Reference=Pollock (2006); Rob and Waldfogel (2006); Rogers and Szamosszegi (2010); Siwek (2013); Heald (2014);<br />
|Plain Text Proposition=* The reservoir of free public domain works increases the likelihood that an author web page will contain an image. The earlier the author’s birth date, the more likely a searcher will find an image of that author on his or her Wikipedia page. Only half of the 112 authors born after 1910 have images on Wikipedia pages. <br />
* 66% of the author Wikipedia pages sampled contained images of the author, and 79% of those images were in the public domain. <br />
* Public domain photos on Wikipedia clearly increase net social welfare under either a cost-savings measure ($208-$232 million) or a traffic-increasing measure ($38 million), figures which should be aggregated to better estimate a net value for the images.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right),<br />
|Discipline=C13: Estimation: General, D23: Organizational Behavior • Transaction Costs • Property Rights, D61: Allocative Efficiency • Cost–Benefit Analysis, K11: Property Law, L82: Entertainment • Media, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Evidence-based policymaking should influence any future changes in copyright law. <br />
* The study suggests that massive social harm was done by the most recent copyright term extension that has prevented millions of works from falling into the public domain since 1998.<br />
|Description of Data=Foundational empirical data is taken from several sources including previous Heald, Buccafusci and Heald, and Smith, Telang and Zhang articles. <br />
<br />
One primary source dataset included 362 authors who had had at least one bestseller on the New York Times bestseller’s list from 1895 to 1969. Data was collected on the birth and death of each author in an attempt to determine whether the author’s age had impact on whether a public domain image of the author was available. The same information was collected for 792 composers and lyricists. <br />
<br />
In addition, the Wikipedia random page search function was used to generate a list of 300 web pages in order to estimate image use and traffic on Wikipedia as a whole for the purposes of extrapolating the findings from the research on the author, composer, and lyricist web pages.<br />
|Data Year=Not stated<br />
|Data Type=Primary and Secondary data<br />
|Data Source=Various;<br />
|Method of Collection=Quantitative Collection Methods, Quantitative data/text mining<br />
|Method of Analysis=Quantitative Analysis Methods, Quantitative content analysis (e.g. text or data mining), Qualitative Analysis Methods, Textual Content Analysis, Ethnographic/narrative analysis, Legal Analysis<br />
|Industry=Publishing of books, periodicals and other publishing; Creative, arts and entertainment;<br />
|Country=United States; United Kingdom;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=362<br />
|Level of Aggregation=authors,<br />
|Data Material Year=Not stated<br />
}}{{Dataset<br />
|Sample Size=792<br />
|Level of Aggregation=composers and lyricists,<br />
|Data Material Year=Not stated<br />
}}{{Dataset<br />
|Sample Size=300<br />
|Level of Aggregation=Wikipedia webpages,<br />
|Data Material Year=Not stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Hazucha,_Liu_and_Watabe_(2013)&diff=3002Hazucha, Liu and Watabe (2013)2015-08-18T18:00:29Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Hazucha, Liu and Watabe (2013)<br />
|Author=Hazucha, B.; Liu, H.; Watabe, T.<br />
|Title=Copyright, Technological Protection Measures and Their Acceptance by Consumers in Japan<br />
|Year=2013<br />
|Full Citation=NA<br />
|Abstract=In the early days of digital reproduction and internet communication technologies, technological protection measures were deemed to prevent potential copying of copyrighted works by the users of such technologies. However, the most of technological protection measures used so far were quickly circumvented after their introduction. This led to the development and use of more and more advanced technological protection measures, which were also quickly circumvented after their introduction. Therefore, the conventional view on the efficiency of using technological protection measures is that their use leads to a vicious circle of their circumvention and upgrading. <br />
<br />
To examine the efficiency of technological protection measures, we conducted an online survey in Japan. A random sample of 1,252 internet users was asked to respond to a series of multiple-choice questions on their consumption of copyrighted works and their acceptance of or objection to selected restrictions on various uses of copyrighted works. By analyzing collected data, we identified that an individual’s decision on the acceptance or rejection of such technological and other restrictions on using copyrighted works is affected by factors such as gender, type of copyrighted works, perception of justified use, and actual use of copyright works. In addition, we observed considerable differences between the importance of individual types of copyrighted works and their uses for consumers. Some types of copyrighted works and their uses were more important for respondents than others. In many cases, the respondents’ judgments were consistent with the current copyright law and practice in Japan. However, there are several significant issues where their judgment considerably differs, especially with regard to recent changes in Japanese copyright law aiming to strengthen copyright enforcement in the digital environment. This can considerably undermine the efficiency of those changes in copyright law.<br />
|Authentic Link=http://www.serci.org/2013/hazucha-serci-2013.pdf<br />
|Reference=Samuelson (1999); Besek (2004);<br />
|Plain Text Proposition=* Results showed that the most problematic restriction in respondents’ opinions was on time-shifting of broadcasted TC programs. Less problematic were the restrictions on sound recording on live popular music concerts. Somewhere in the middle was restriction on copying movie DVDs and Blu-ray Discs. <br />
* The online survey revealed there are considerable differences between the importance of individual types of copyrighted works and their uses for consumers. Some types of works and uses are more important for consumers than others. <br />
* If the individual considers the restriction as justified, there is a higher likelihood that she will confirm with such restriction and will not try to circumvent it in any way.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O1: Economic Development, O33: Technological Change: Choices and Consequences • Diffusion Processes, O34: Intellectual Property and Intellectual Capital, O38: Government Policy<br />
|Intervention-Response=* Differences in the importance of individual types of copyrighted works and their uses can explain why similar technological and other protection measures works with some types of copyrighted works and fails with the others.<br />
|Description of Data=Data was collected by using an online service through MyVoice Communications, Inc. for making public opinion polls. Researchers collected 1,252 fully or partially responded questionnaires between October 3-8, 2012. The survey targeted respondents ages 15-59 in Japan, with 49.35% female and 50.65% male. <br />
<br />
Questionnaires were composed of multiple-choice questions, which were combined in some cases with open response options. Questions examined: (1) restrictions on use; (2) consumption habits; and (3) knowledge and recognition of copyright law.<br />
|Data Year=October 3-8, 2012<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data)<br />
|Industry=Film and motion pictures; Television programmes; Sound recording and music publishing;<br />
|Country=Japan;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=1,252<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=Not stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Hansen,_Hashimoto,_Hinze,_Samuelson_and_Urban_(2013)&diff=4018Hansen, Hashimoto, Hinze, Samuelson and Urban (2013)2015-08-18T17:57:57Z<p>Andrea: Andrea moved page Hansen et al., 2013 to Hansen, Hashimoto, Hinze, Samuelson and Urban (2013)</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Hansen, Hashimoto, Hinze, Samuelson and Urban (2013)<br />
|Author=Hansen, D.; Hashimoto, K; Hinze, G.; Samuelson, P.; Urban, J.<br />
|Title=Solving the Orphan Works Problem for the United States<br />
|Year=2013<br />
|Full Citation=Hansen, D. R., Hashimoto, K., Hinze, G., Samuelson, P., & Urban, J. M. (2013). Solving the orphan works problem for the united states. Columbia Journal of Law & the Arts, 37(1).<br />
|Abstract=Over the last decade, the problem of orphan works — i.e., copyrighted works whose owners cannot be located by a reasonably diligent search — has come sharply into focus as libraries, archives, and other large repositories of copyrighted works have sought to digitize and make available their collections online. Although this problem is certainly not limited to digital libraries, it has proven especially challenging for these organizations because they hold diverse collections that include millions of books, articles, letters, photographs, home movies, films, and other types of works. Many items come with a complex, unknown, and (often) unknowable history of copyright ownership. Because U.S. copyright law provides for both strong injunctive relief and monetary damages (in the form of statutory damages of up to $150,000 per work infringed), organizations that cannot obtain permission often do not make their collections available at all.<br />
<br />
In October 2012, the U.S. Copyright Office initiated a new study of orphan works and mass digitization, and has indicated that it is a high-priority policy issue for the office. That study, and the work that preceded it, has highlighted the wide array of perspectives about why and how to address the orphan works problem. In this article, we present evidence that the orphan works problem is very real and that it inhibits many socially valuable uses of copyrighted works by libraries, archives, museums and other memory institutions. We then canvass the array of potential solutions, and ultimately conclude that fair use, combined with the Copyright Office’s remedy limitation approach, are better approaches for addressing this problem in the United States than alternatives proposed elsewhere. Finally, we explore future-looking changes, such as the reintroduction of copyright formalities and the development of registries, that would reduce the number of orphan works in the future.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2323945<br />
|Reference=Hansen (2012);<br />
|Plain Text Proposition=* Across the spectrum of works held, the numbers of suspected orphans is reported to be large:<br />
** of 548,000 artworks – 20 to 25% are orphaned<br />
** of 750,000 sound recording (hrs) – 5 to 10% are orphaned<br />
** of 21,800,000 commercial film (hrs) – 0 to 7% are orphaned<br />
** of 513,000 archive fil (hrs) – 5 to 35% are orphaned<br />
** of more than 100,000,000 photo libraries – approximately 0% are orphaned<br />
** of 28,280,000 archive photos – 5 to 90% are orphaned<br />
** of 10,400,000 written material – 4 to 30% are orphaned<br />
** of 38,000,000 mixed collections – 8 to 40% are orphaned<br />
* There is clear evidence that the orphan works problem stifles libraries and archives’ efforts to effectively use their collections and prevents those organizations from fulfilling their mission of making collections available for research and scholarship.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption),<br />
|EvidenceBasedPolicy=C. Mass digitisation/orphan works (non-use; extended collective licensing),<br />
|Discipline=K39: Other, O3: Technological Change • Research and Development • Intellectual Property Rights, O38: Government Policy, Z18: Public Policy<br />
|Intervention-Response=* Fair use, combined with the limitations on remedies approach, as proposed by the U.S. Copyright Office, and future looking changes that would reduce the number of orphan works going forward, would provide the U.S. with a workable and cohesive approach to the orphan works problem.<br />
|Description of Data=The study uses various sources of data for support, including empirical evidence collected by the U.S. Copyright Office, the Berkeley Digital Library Copyright Project, the UK Intellectual Property Office’s Final Impact Assessment on Orphan Works, the Report on Orphan Works Challenges for Libraries, Archives and Other Memory Institutions, and the Hargreaves Review.<br />
|Data Year=Not stated<br />
|Data Type=Primary and Secondary data<br />
|Method of Collection=Quantitative Collection Methods, Longitudinal Study, Qualitative Collection Methods, Case Study, Archival Research<br />
|Method of Analysis=Qualitative Analysis Methods, Textual Content Analysis, Discourse Analysis, Ethnographic/narrative analysis, Legal Analysis<br />
|Industry=Publishing of books, periodicals and other publishing; Film and motion pictures; Creative, arts and entertainment; Cultural education;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset=<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Gopal_and_Sanders_(1997)&diff=3000Gopal and Sanders (1997)2015-08-18T17:55:07Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Gopal and Sanders (1997)<br />
|Author=Gopal, R. D.; Sanders, G. L.<br />
|Title=Preventive and Deterrent Controls for Software Piracy<br />
|Year=1997<br />
|Full Citation=Gopal, R. D., & Sanders, G. L. (1997). Preventive and deterrent controls for software piracy. Journal of Management Information Systems, 29-47.<br />
|Abstract=In an attempt to protect their intellectual property and compete effectively in an increasingly dynamic marketplace, software publishers have employed a number of preventive and deterrent controls to counter software piracy. Conventional wisdom suggests that reducing piracy will force consumers to acquire software legitimately, thus increasing firm profits. We develop an analytical model to test the implications of antipiracy measures on publisher profits. Our results suggest that preventive control decrease profits and deterrent controls can potentially increase profits. Empirical results are also presented that support the proposition on the impact of deterrent controls on the extent of software piracy derived from the analytical model.<br />
|Authentic Link=http://www.jstor.org/stable/40398239<br />
|Reference=Benham and Wagner (1987); Conner and Rumelt (1991); Givon, Mahajan, and Muller (1995); Besen and Kirby (1989);<br />
|Plain Text Proposition=* Results suggest that preventive controls do not increase publisher profits, while deterrent controls can have a positive effect on profitability.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O21: Planning Models • Planning Policy, O33: Technological Change: Choices and Consequences • Diffusion Processes<br />
|Intervention-Response=* Traditional economists assume that ethics has no role in economic behavior, which would mean ethics have no effect on the formation of software clubs. However, findings that ethical levels have a significant effect on club size dispute this.<br />
|Description of Data=Four items were used to operationalize the club size, including hypothetical behavioral scenarios describing an individual making illegal copies for him or herself at home, for a family member, for a friend, and for other colleagues. A sheet was developed with deterrence information, as well as a scale for ethical values. Researchers tested both male and female individuals from 19 and older. <br />
<br />
Researchers developed two sets of questionnaires. One questionnaire contained the one-page sheet with deterrence information, items for measuring club size, and items for determining ethical index and demographics. The other set contained the same variables, with the exception of the deterrence information. <br />
<br />
Questionnaires were randomly distributed to 130 MBA students. The final sample contained 123 usable responses, with 61 of the questionnaires containing the deterrence information.<br />
|Data Year=Not stated<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative Analysis Methods, Correlation and Association, Regression Analysis, Structural Equation Modeling<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=123<br />
|Level of Aggregation=Students,<br />
|Data Material Year=Not stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Fiesler,_Feuston_and_Bruckman_(2015)&diff=2932Fiesler, Feuston and Bruckman (2015)2015-08-18T17:50:04Z<p>Andrea: Andrea moved page Fiesler, Feuston, and Bruckman (2015) to Fiesler, Feuston and Bruckman (2015)</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Fiesler, Feuston and Bruckman (2015)<br />
|Author=Fiesler, C.; Fesuton, J.; Bruckman, A.<br />
|Title=Understanding Copyright Law in Online Creative Communities<br />
|Year=2015<br />
|Full Citation=Fiesler, C., Feuston, J. L., & Bruckman, A. S. (2015, February). Understanding Copyright Law in Online Creative Communities. In Proceedings of the 18th ACM Conference on Computer Supported Cooperative Work & Social Computing (pp. 116-129). ACM.<br />
|Abstract=Copyright law is increasingly relevant to everyday interactions online, from social media status updates to artists showcasing their work. This is especially true in creative spaces where rules about reuse and remix are notoriously gray. Based on a content analysis of public forum postings in eight different online communities featuring different media types (music, video, art, and writing), we found that copyright is a frequent topic of conversation and that much of this discourse stems from problems that copyright causes for creative activities. We identify the major types of problems encountered, including chilling effects that negatively impact technology use. We find that many challenges can be explained by lack of knowledge about legal or policy rules, including breakdowns in user expectations for the sites they use. We argue that lack of clarity is a pervasive usability problem that should be considered more carefully in the design of user-generated content platforms.<br />
|Authentic Link=http://dl.acm.org/citation.cfm?id=2675234<br />
|Reference=Bruckman (2002); Auferheide, Jaszi, and Brown (2007); Auferheide and Jaszi (2011); Fiesler (2013); Fiesler and Bruckman (2014);<br />
|Plain Text Proposition=* One clear theme that emerged was the prevalence of problems related to copyright expressed by creators in these conversations. Most of the posts in the data set could be labeled as expressing some sort of problem. Five major types were identified:<br />
# avoiding trouble,<br />
# dealing with consequences,<br />
# fear of infringement,<br />
# dealing with infringement, and<br />
# incomplete information.<br />
* A common problem directly expressed by these creators is worry over whether something they are doing might be infringing someone else’s copyright. Many of the posts are essentially asking “Is this going to get me into trouble?” or “How can I avoid getting into trouble?”<br />
* Many of the posters also note that they researched the issue first themselves and were confused by the law or unable to find satisfactory answers.<br />
* With regard to authors, posters often express frustration that there isn’t more that they can do to protect their work—for example, that the site moderators aren’t doing enough or that the site’s policies aren’t effective, sometimes making suggestions for policy or workflow changes.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=A. Nature and Scope of exclusive rights (hyperlinking/browsing; reproduction right), D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=O34: Intellectual Property and Intellectual Capital, Z1: Cultural Economics • Economic Sociology • Economic Anthropology<br />
|Intervention-Response=* Unfortunately, copyright will continue to be a hard problem in online creative communities. There are many stakeholders with competing interests—lawmakers, copyright holders, online content creators, content consumers. However, technologies and websites that facilitate creation and sharing are also part of this environment and should be considering these issues in terms of both usability and design <br />
* This study reveals that it is an important aspect of interactions between creators in these online communities, and therefore should be an important part of the user model in design decisions. We should not only be thinking of ways to help creators better understand copyright, but also considering the implications of the ways they currently understand it as well.<br />
|Description of Data=Researchers targeted online communities that for art, music, video, and writing media types and selected two sites for each media type based on their user-generated content and active public forums. <br />
<br />
Researchers scraped public forum posts associated with these online communities and collected the content as well as the header information. They then performed searches for posts focused on copyright and relevant conversations that did not include the word. Using a sample of 200 posts from these online communities, the researchers pulled out common related terms in order to create a comprehensive set of keyword to search for conversations about copyright. The final list of keywords included: attorney, copyright, copy, copying, illegal, infringement, lawyer, legal, license, permission, plagiarism, plagiarist, rights, steal, stole, and trademark. <br />
<br />
Based on those keywords, another scrape was performed resulting in nearly 100,000 total posts across eight different forums. A maximum of 50 posts were collected from each site, though some had less than 50 as their total number of posts about copyright. <br />
<br />
The final data set has a total of 339 forum posts.<br />
|Data Year=Spring 2013<br />
|Data Type=Primary data<br />
|Method of Collection=Quantitative data/text mining<br />
|Method of Analysis=Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data), Grounded Theory<br />
|Industry=Film and motion pictures; Creative, arts and entertainment; Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=339<br />
|Level of Aggregation=Forum posts,<br />
|Data Material Year=Not stated<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Goel,_Miesing_and_Chandra_(2010)&diff=2998Goel, Miesing and Chandra (2010)2015-08-18T17:47:31Z<p>Andrea: Andrea moved page Goel, Miesing, and Chandra (2010) to Goel, Miesing and Chandra (2010)</p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Goel, Miesing and Chandra (2010)<br />
|Author=Goel, S.; Miesing, P.; Chandra, U.<br />
|Title=The Impact of Illegal Peer-to Peer File Sharing on the Media Industry<br />
|Year=2010<br />
|Full Citation=Goel, S., Miesing, P., & Chandra, U. (2010). The impact of illegal peer-to-peer file sharing on the media industry. California Management Review, 52(3), 6-33.<br />
|Abstract=Peer-to-Peer networking technology and related innovations have had a major impact on the music and motion picture industries. While digital technology has improved the quality of audio and video recordings and decreased distribution costs, it has also made unauthorized duplication of copyrighted material and its transmission over the Internet easier. The media industry attributes an erosion of its sales after 1999 to the illegal copying and sharing of digital files and has taken steps to tighten copyright laws and prosecute violators. Others attribute the downturn to a lack of innovative products and futile efforts by the industry to retain a business model made obsolete by technological innovation. In the meantime, unauthorized file-sharing via Peer-to-Peer networks continues unabated and its real financial impact on the industry remains unclear. The market perceives illegal file-sharing to be a significant threat to the long-term profitability of the media industry and regards current legal initiatives to protect its intellectual capital as beneficial. This article discusses several strategies and business models that the media industry may consider to respond to the current threat and better cater to changing customer tastes.<br />
|Authentic Link=http://www.albany.edu/~pm157/research/The%20Impact%20of%20Illegal%20Peer-to-Peer%20File-Sharing%20on%20the%20Media%20Industry.pdf<br />
|Reference=Zetner (2006); Oberholzer-Gee-Strumpf (2007); Siwek (2007);<br />
|Plain Text Proposition=* Researchers documented positive stock price reactions for a broad sample of media stocks to the passage of copyright legislation and news of enforcement action against copyright violators, which suggests that the market believes that legal measures taken by the industry to safeguard its intellectual capital will enhance its future cash flows. <br />
* Future business strategies based on charging for artistic works are viable, even in the face of current availability of free substitutes over P2P networks. <br />
* Several business strategies to check Internet piracy and utilize new technology to cater to evolving customer tastes, such as educating the public about the need to pay for copyright-protected works in addition to tighter copyright laws and stricter enforcement, simplifying the process of obtaining copyright permissions to encourage legal use of artistic works and adoption of new business models that move the industry away from sale of CDs and DVDs and toward monetizing access to music and movies that may be experienced at any time.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O: Economic Development; Technological Change; and Growth, O3: Technological Change • Research and Development • Intellectual Property Rights, O33: Technological Change: Choices and Consequences • Diffusion Processes, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Researchers tests show a significant increase in stock prices on average that is consistent with the proposition that sophisticated investors believe the industry’s current strategy of protecting its revenues through tighter laws and stronger enforcement is associated with an expectation of higher cash flows. Empirical analysis suggests the industry should continue its current legal strategy to deter unauthorized file sharing.<br />
|Description of Data=Tests used event study methodology to document informed public opinion on the issues by using stock price changes in a small window of time around an event as a summary measure to assess the impact of the event on the future cash flows of affected firms. <br />
<br />
The sample included stocks representing the media industry listed on the New York and American stock exchanges and on NASDAQ. The events considered were passage of copyright legislation related to the media industry and lawsuits filed against individuals and companies that facilitate illegal file sharing during 1991-2006. Researcher obtained filing dates from public sources and confirmed them with courts of filing. Enactment dates were collected from government and other sites on the Internet and other literature. Data on stock prices is from the Center for Research in Security Prices. <br />
<br />
Researchers examined abnormal stock price changes for 22 publicly traded firms in the entertainment industry around the dates of 59 events for a total sample of 1,298 firm-events.<br />
|Data Year=Various<br />
|Data Type=Primary and Secondary data<br />
|Data Source=Center for Research in Security Prices;<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting), Longitudinal Study, Qualitative Collection Methods, Qualitative content/text mining<br />
|Method of Analysis=Quantitative Analysis Methods, Descriptive statistics (counting; means reporting; cross-tabulation), Multivariate Statistics, Regression Analysis, Structural Equation Modeling, Qualitative Analysis Methods, Legal Analysis<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=22<br />
|Level of Aggregation=publicly traded firms,<br />
|Data Material Year=1991-2006<br />
}}{{Dataset<br />
|Sample Size=59<br />
|Level of Aggregation=events,<br />
|Data Material Year=1991-2006<br />
}}{{Dataset<br />
|Sample Size=1,298<br />
|Level of Aggregation=firm-events,<br />
|Data Material Year=1991-2006<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Gerhardt,_2014&diff=2866Gerhardt, 20142015-08-18T17:45:29Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Gerhardt (2014)<br />
|Author=Gerhardt, D.<br />
|Title=Copyright at the Museum: Using the Publication Doctrine to Free Art and History<br />
|Year=2014<br />
|Full Citation=Gerhardt, D. R. (2014). Copyright at the Museum: Using the Publication Doctrine to Free Art and History. Available at SSRN 2505041.<br />
|Abstract=This Article is the first to use the copyright publication doctrine to clarify whether art, photographs, films, and historical documents that fill our museums and libraries are in the public domain. Knowing whether a photo, painting, film, or original letter was published is critically important to anyone who wants to use it today. Before 1989, publishing a work with no copyright notice dedicated the work to the public domain. Unpublished works without a notice are likely protected by copyright, and their unauthorized use can result in severe federal penalties. Unfortunately, the meaning of “publication” in copyright law is notoriously ambiguous. The federal statutory definition suggests that works “made available” to the public are published, while leading treatises generally assume that works given to public museums and libraries are unpublished. Confronted with this uncertainty, risk averse institutions too often assume that archived works are protected by copyright. Misunderstanding the law can keep cultural treasures locked in dark archives, vaults and basements, preventing their use as a foundation for new expression and distorting our sense of history.<br />
<br />
This Article critically examines mistaken assumptions about copyright publication. It finds that neither the statutory definition nor leading treatises adequately identify when a work is published. A better standard for determining when a work is published and in the public domain is needed to free works from being locked up by copyright uncertainty. The best solution would clarify the boundaries of a stable public domain. In a recent decision, the Supreme Court took a wrong turn in dismissing the importance of the public domain. Knowing what content may be freely used is critical to preserving First Amendment values and freeing cultural treasures from copyright’s bondage. The copyright ambiguity of archived works should be resolved in a way that honors the expressive and historical value of the public domain. After considering several alternatives, this Article shows how precedential patterns point to the best solution to the publication ambiguity. Drawing on empirical analysis of federal cases interpreting copyright publication, I identify the variables that are most important in determining whether archived works are published. The suggested solution focuses on copyright owner intent and the availability of authorized copies. Other factors described as significant in leading treatises — such as the type of work or archive — actually mask these two fundamental inquiries. The proposed standard provides a much needed solution to clarify which pieces of our cultural heritage are in the public domain and freely available as raw materials for educational sharing, expressive work, historical research, and public discourse.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=2505041<br />
|Reference=Zimmerman (2007); Beebe (2008);<br />
|Plain Text Proposition=* In the six categories of text, 2D art, 3D art, music, film and all, district courts found works to be published 71% of the time.<br />
* With visual art, courts often found publication. In eight of the ten categories (photograph, painting, drawing, print, audiovisual work, sculpture fine art, sculpture, fabric design, architectural work, and map), publication findings exceeded the 71% average. Six categories (photographs, drawings, prints, sculpture, fabric design, and maps) exceed the average by more than 10 percentage points. The two lowest categories (audiovisual works at 45% and architectural works at 46%) were found to be published much less frequently.<br />
* The presence of authorized copies is the one variable that significantly increases (by 28%) the probability of finding publication. <br />
* With publication by deposit in archives, 64% of courts found works to be unpublished. <br />
* Although the copyright statute defines publication to include “rental, lease or lending,” the regression analysis revealed that courts were less likely to find a work published when they reported these distributions. In the 51 district court opinions addressing such works, courts found publication 47% of the time (well below the 71% average).<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 3. Harmony of interest assumption between authors and publishers (creators and producers/investors),<br />
|EvidenceBasedPolicy=B. Exceptions (distinguish innovation and public policy purposes; open-ended/closed list; commercial/non-commercial distinction),<br />
|Discipline=K39: Other, O3: Technological Change • Research and Development • Intellectual Property Rights, O38: Government Policy, Z18: Public Policy<br />
|Intervention-Response=* The optimal solution is as follows: a work will be deemed “published” under copyright law if it was placed in a public archive by the copyright owner, and the archive did not impose copying restrictions. Publication before January 1, 1978 would establish public domain status for U.S. works not marked with a valid copyright notice. <br />
* Such a solution would enable museums, libraries, publishers, authors, filmmakers, and artists to rely on a clear test to determine the copyright status of many archived works. It would increase public access to works now obscured by an ambiguous copyright posture.<br />
|Description of Data=The empirical dataset consists of 446 federal copyright publication opinions decided before 2011.<br />
|Data Year=Not stated<br />
|Data Type=Primary data<br />
|Method of Collection=Quantitative Collection Methods, Longitudinal Study, Qualitative Collection Methods, Case Study<br />
|Method of Analysis=Quantitative Analysis Methods, Regression Analysis, Qualitative Analysis Methods, Legal Analysis<br />
|Industry=Publishing of books, periodicals and other publishing; Creative, arts and entertainment; Cultural education;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=446<br />
|Level of Aggregation=judicial opinion,<br />
|Data Material Year=The empirical dataset consists of 446 federal copyright publication opinions decided before 2011.<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Garcia-%C3%81lvarez,_L%C3%B3pez-Sintas_and_Zerva_(2009)&diff=2538Garcia-Álvarez, López-Sintas and Zerva (2009)2015-08-18T17:44:12Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Garcia-Álvarez, López-Sintas and Zerva (2009)<br />
|Author=Garcia-Álvarez, E.;López-Sintas, J.;Zerva, K.<br />
|Title=A contextual theory of accessing music: Consumer behavior and ethical arguments<br />
|Year=2009<br />
|Full Citation=García‐Álvarez, E., López‐Sintas, J., & Zerva, K. (2009). A contextual theory of accessing music: Consumer behavior and ethical arguments. Consumption, Markets and Culture, 12(3), 243-264.<br />
|Abstract=Previous research into the ethics of accessing information goods using alternative means (the informal economy or social exchanges) has failed to study the moral arguments used by music consumers to justify their behavior or explain actions they considered to be (un)ethical. To fill this gap, we conducted a study from the perspective of music consumers in which we grounded a theory that would explain and predict individual arguments and behavior. Our findings suggest that the morality of accessing culture depends on the social, economic and cultural context in which an individual has been raised. Interestingly, this contextual aspect interacts with economic and cultural resources, affecting the moral arguments used to justify behavior. Lastly, we describe a model that explains variations in the contextual theory in regard to accessing music and that predicts consumer behavior in other countries that can be classified in either of the two contexts delineated in our research.<br />
|Authentic Link=http://www.tandfonline.com/doi/abs/10.1080/10253860903063253<br />
|Reference=Glaser and Strauss (1967); Swinyard, Rinne and Kau (1990); Bishop (2002);<br />
|Plain Text Proposition=This article uses grounded theory approach (Glaser and Strauss 1967) to conceptualize and model the complex social process for accessing and consuming music:<br />
<br />
*Its findings suggest that the morality of people’s actions regarding access to culture depends on the social, economic and cultural context in which they operate. Social context and economic and cultural personal resources affect consumer behavior and moral arguments.<br />
<br />
*The moral arguments used to justify the same action thus varied according to context. Differences, in fact, seemed to crystallize around the social, cultural and economic background of the interviewees in childhood and around their current social position in terms of economic and cultural resources.<br />
<br />
*Social context interacts with individual economic and cultural capital, affecting consumer actions and the moral arguments used to justify these actions.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O33: Technological Change: Choices and Consequences • Diffusion Processes<br />
|Intervention-Response=* An understanding of contextual differences is the key to explaining and predicting consumer decisions.<br />
* In regard to alternative ways of accessing information goods, what is considered wrong by the music industry is not necessarily consistent with what consumers consider wrong. In fact, what consumers considered to be right or wrong varied according to the public resources available in terms of being able to access culture.<br />
|Description of Data=A sample consisted of 23 individuals (aged up to 36) from a number of European and Latin American countries, all resident in Barcelona (Spain), with different social, cultural and economic living conditions (and also heterogeneous within each country).<br />
|Data Type=Primary and Secondary data<br />
|Method of Collection=Unstructured Interview, Semi-Structured Interview<br />
|Method of Analysis=Grounded Theory<br />
|Industry=Sound recording and music publishing; Creative, arts and entertainment;<br />
|Country=Spain; Chile; Greece; Bulgaria; Mexico; Brazil;<br />
|Cross-country=Yes<br />
|Comparative=Yes<br />
|Funded By=This research was funded by Grant Number ECO2008-0410/ECON of the Spanish Ministry of Science and Innovation and FEDER, and by the Centre for Research and Studies in Humanities of the Universitat Autònoma de Barcelona.;<br />
|Level of Aggregation=Individual;<br />
|Data Material Year=2009<br />
|Sample Size=23<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=23<br />
|Level of Aggregation=Individual,<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Garcia-Bardidia,_Nau_and_Remy_(2011)&diff=2564Garcia-Bardidia, Nau and Remy (2011)2015-08-18T17:43:28Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Garcia-Bardidia, Nau and Remy (2011)<br />
|Author=Garcia-Bardidia, R.; Nau, J.-P.; Remy, E.<br />
|Title=Consumer Resistance and Anti-Consumption: Insights from the Deviant Careers of French Illegal Downloaders<br />
|Year=2011<br />
|Full Citation=Garcia-Bardidia, R., Nau, J. P., & Rémy, E. (2011). Consumer Resistance and Anti-Consumption: Insights from the Deviant Careers of French Illegal Downloaders. European Journal of Marketing, 45(11/12), 1789-1798.<br />
|Abstract=This paper aims to study consumer resistance and anti-consumption in the context of illegal downloading of cultural goods in France. This practice is socially constructed as deviant by marketplace actors’ moral labeling. To that extent, deviant careers are adopted as an analytic framework to articulate these two concepts.<br />
|Link=http://www.emeraldinsight.com/doi/full/10.1108/03090561111167423<br />
|Reference=Lee et al. (2009); Zavetoski (2002);<br />
|Plain Text Proposition=* The deviant careers identified shed light on the social construction of resistant identities and specific consumption practices in which social learning and devices play a major role. Accomplished careers enable deviant lifestyles that could be assimilated to anti-consumption in a mundane context.<br />
* The deviant careers observed reveal the social learning needed to confront the guilt associated with being labeled a pirate and to adjust consumption to the flow of downloaded content. <br />
* The situation of piracy could be worsened by coercive approaches and moral labeling that push mainstream users into activist postures and new attachments to the marketplace. Observed practices, like re-moralization, could be integrated into marketing efforts to reconnect consumers with the marketplace and thus increase willingness to pay.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability), F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=O3: Technological Change • Research and Development • Intellectual Property Rights, Z13: Economic Sociology • Economic Anthropology • Social and Economic Stratification<br />
|Intervention-Response=* This study could help economic actors to improve their understanding of illegal downloaders’ statements, motivations, and behaviors. It gives them clues to anticipate the massive changes in consumer culture occurring through dematerialization of cultural goods.<br />
* This study sheds light on the distinctive features of consumer resistance and anti-consumption in a case of everyday and secret deviance strengthened by marketplace actors’ moral labeling. It then helps to articulate these concepts through profiles related to downloaders’ careers.<br />
|Description of Data=Between June and September 2009, 49 in-depth interviews (mostly face-to-face) were conducted with French informants who varied in professional status, age, sex, residence, intensity, and length of downloading practice (including non-users, legal users, and hackers). Relatives or friends of the informants joined the sample to provide insights into social learning effects. <br />
<br />
In total, the sample data comprise 60 hours of recorded statement, which last on average 73 minutes per interview, and 881 pages of extensively transcribed data.<br />
|Data Year=June to September 2009<br />
|Data Type=Primary data<br />
|Method of Collection=Qualitative Collection Methods, Life History, Structured Interview<br />
|Method of Analysis=Qualitative Analysis Methods, Qualitative Coding / Sorting (e.g. of interview data), Triangulation<br />
|Industry=Motion picture,video and television programmes; Sound recording and music publishing;<br />
|Country=France;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not Stated;<br />
|Level of Aggregation=individual;<br />
|Data Material Year=Not specified<br />
|Sample Size=49<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=49<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=Prior to September 2009<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Depoorter,_Van_Hiel_and_Vanneste_(2011)&diff=2478Depoorter, Van Hiel and Vanneste (2011)2015-08-18T17:40:11Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Depoorter, Van Hiel and Vanneste (2011)<br />
|Author=Depoorter, B.;Van Hiel, A.;Vanneste, S.<br />
|Title=Copyright Backlash<br />
|Year=2011<br />
|Full Citation=Depoorter, B., Vanneste, S., & Van Hiel, A. (2011). Copyright Backlash. Southern California Law Review, 84.<br />
|Abstract=In the past decade the entertainment industry has waged a legally very successful campaign against online copyright infringements. In a series of high profile decisions, content industries persuaded courts to accept expansive interpretations of contributory enforcement, to create novel doctrines of copyright infringement, and to apply broad interpretations of statutory damage provisions. Many private file-sharers, technology companies, university administrators and Internet service providers have felt the reach of this litigation effort. Yet a significant empirical anomaly exists: even as the copyright industry has ramped up the level of deterrence, online copyright infringements continue unabated.<br />
<br />
Why has the legal battle against file-sharers been so ineffective? The most straightforward explanation is that infringers are not deterred, either because the probability of getting caught remains remote or because the sanctions are not sufficiently salient. If that is the case, the expansive statutory damage award remedies in recent decisions such as Capitol Records v. Thomas-Rasset and Sony BMG v. Tenebaum, carry renewed promise for the entertainment industry. <br />
<br />
In this Article we claim that this deterrence-based approach will prove futile and even counterproductive to the goals of copyright holders. We argue that copyright law faces conditions similar to Prohibition and other historical episodes of enforcement failure. When infringements are widespread, effective deterrence cannot be attained without raising enforcement to levels that undermine the support for the underlying rules. As a result, enforcement has the inadvertent effect of moving behavior in the opposite direction from that intended by the law. In the context of copyright law, enforcement has increased the gap between the social and legal perceptions of copyright law. Because file sharers, as a group, perceive copyright litigation as excessive, this inadvertently strengthens opposition to the legally protected interests of copyright law. <br />
<br />
To further our understanding of the interplay between enforcement and public attitudes, we conduct two empirical studies on norms and copyright law. The results confirm that copyright enforcement is a double-edged sword. While stringent sanctions have a modest deterrent effect on file-sharing behavior, they increase anti-copyright sentiments among frequent offenders. This raises a spectacular challenge for copyright enforcement-the more copyright owners push to step up sanctions for copyright infringements; the more the public resents the protected rights. Consequently, stepping up sanctions tends to increase - rather than decrease - the rate and frequency of infringing activities. Our key results suggest therefore, that more stringent copyright enforcement will further erode respect for copyrights and may prove counterproductive to copyright owners.<br />
|Authentic Link=http://lawreview.usc.edu/index.php/articles-copyright-backlash/<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=740184<br />
|Reference=Kahan (2000); Parisi and von Wangenheim (2004); Stuntz (2000); Boyle (2008); Lessig (2004);<br />
|Plain Text Proposition=This study found that severe and heightened enforcement of copyright law amongst students who illegally download music from file-sharing sites resulted in anti-copyright resentment, with a positive correlation between degree of backlash and amount of downloading prior to data collection; this suggests a tipping point for amount of downloads to influence a normative shift. Students receiving severe sanctions reported plans to download more in the future as compared to students receiving moderate sanctions, creating a copyright backlash.<br />
|FundamentalIssue=5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=D12: Consumer Economics: Empirical Analysis, D70: General, K10: General, K11: Property Law, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=Sanctions can deter or encourage file-sharing behaviour, and different types of sanctions should be implemented for different types of infringers so as to avoid counterproductive backlash. In order to influence embedded norms about copyright, music companies must do more to foster desired social behaviours through outreach and marketing campaigns; however, social norms are difficult to manipulate and alternate norm systems are already developing.<br />
|Description of Data=404 students (252 female and 152 males, ages 18 to 24) completed one of two surveys: <br />
# participants were asked to evaluate how different enforcement situations would influence their own downloading behaviour; and <br />
# different participants were split into two randomly assigned groups with proposed scenarios, one with high certainty but low severity of punishment and a second with converse conditions. <br />
<br />
Participants were students of undergraduate political science courses (unaware the survey would be offered in class that day) and included only students who indicated they had illegally downloaded previously.<br />
|Data Year=2011<br />
|Data Type=Primary data<br />
|Method of Collection=Survey Research (quantitative; e.g. sales/income reporting), Survey Research (qualitative; e.g. consumer preferences)<br />
|Method of Analysis=Quantitative content analysis (e.g. text or data mining), Correlation and Association, Legal Analysis<br />
|Industry=Sound recording and music publishing;<br />
|Country=United States;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
|Level of Aggregation=Individual data; University students;<br />
|Data Material Year=2011<br />
|Sample Size=404<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=404<br />
|Level of Aggregation=Individual,<br />
|Data Material Year=2011<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=De_Beer_and_Bouchard,_2010&diff=2870De Beer and Bouchard, 20102015-08-18T17:38:38Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=De Beer and Bouchard (2010)<br />
|Author=De Beer, J; Bouchard, M.<br />
|Title=Canada’s ‘Orphan Works’ Regime: Unlocatable Copyright Owners and the Copyright Board<br />
|Year=2010<br />
|Full Citation=De Beer, J., & Bouchard, M. (2010). Canada's' Orphan Works' Regime: Unlocatable Owners and the Copyright Board. Oxford University Commonwealth Law Journal, 10(2), 215.<br />
|Abstract=This article analyses Canada’s approach to the problem of unlocateable copyright owners, more commonly called the problem of orphan works. Section 77 of the Copyright Act empowers the Copyright Board of Canada to issue a non-exclusive licence to an applicant whose reasonable efforts to locate a copyright owner have been unsuccessful. The article begins with a legal analysis of this statutory scheme, based on a review of every application made to the Board pursuant to s 77. These applications were catalogued into a database to facilitate detailed, empirical review and statistical analysis. This analysis lays the groundwork for comparisons among the Canadian system and approaches that already exist or are being considered in other jurisdictions, an evaluation of the underlying public policy issues, and a discussion of possible legislative or regulatory responses to the problem.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1916840<br />
|Reference=Gervais (2010); Carriere (1993);<br />
|Plain Text Proposition=Application success:<br />
* About half of all applications eventually resulted in the grant of a license (a decision was issued in 52.2%). Only 5 applications were formally rejected. 22.2% of applications were abandoned because the copyright owner was found, usually with the help of the Board, and often with the help of collective societies. <br />
<br />
Timing:<br />
* It was difficult to generalize findings on application processing times because substantive methodological hurdles could not be factored into the analysis, nor did all files proceed in the same fashion. Even so, about half (49%) of the cases took less than 8 weeks to decide; one-fifth took between 2 and 4 months; 4 decisions (2%) took more than a year. 12% of decisions were issued within 2 weeks of the application being received and just over 25% took less than 1 month. <br />
* There was almost no difference in the processing time required to handle applications to use artistic, literary or musical works. By contrast, applications to use architectural works were completed in about a quarter of the time.<br />
* The Board processed applications for non-commercial uses of works more quickly than it processed applications for commercial uses. The median number of days was 47 for non-commercial applications and 63 for commercial. <br />
<br />
Nature of Applicants, Works and Proposed Uses<br />
* Businesses account for 37%; individuals for 31%; educators or educational institutions for 13%; government agencies for 11%; galleries and museums for 3%; community organizations for 4%; charitable groups made up the remaining 1%<br />
* The majority of applications were for literary and artistic works (60%).<br />
<br />
Value of Royalties<br />
* Total royalties paid or payable is just under C$70,000.<br />
|FundamentalIssue=1. Relationship between protection (subject matter/term/scope) and supply/economic development/growth/welfare, 5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability),<br />
|Discipline=K23: Regulated Industries and Administrative Law, O3: Technological Change • Research and Development • Intellectual Property Rights, Z11: Economics of the Arts and Literature<br />
|Intervention-Response=* Some entities contemplating mass digitization are attracted by the level of certainty the Canadian approach can provide and have commented favorably on it.<br />
|Description of Data=The article identifies, reviews and analyzes every application made to the Board pursuant to the Canadian legislation (s 77) and catalogues them into an organized database of files. A statistical analysis of the data was undertaken to produce the findings described in the article. <br />
<br />
It also includes a short legal analysis of the statutory scheme governing the issuance of licenses for orphan works. <br />
<br />
The data includes 441 applications that pertain to roughly 12,640 different works. This is because some applicants filed a single request for multiple works. 65% of applicants sought to only use one work, 24% applied for use between 2 and 10 works, and 7% applied for use between 11 and 100. A handful made applications for a license or licenses covering thousands of works.<br />
|Data Year=Not stated<br />
|Data Type=Primary data<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting), Historical Methods<br />
|Method of Analysis=Qualitative Analysis Methods, Textual Content Analysis, Legal Analysis<br />
|Industry=Creative, arts and entertainment; Film and motion pictures; Sound recording and music publishing;<br />
|Country=Canada;<br />
|Cross-country=No<br />
|Comparative=No<br />
|Funded By=Not stated;<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=441<br />
|Level of Aggregation=applications,<br />
|Data Material Year=The cut-off date for analysis is the end of the 2008 calendar year, although some 2009 data has been included where available and appropriate.<br />
}}{{Dataset<br />
|Sample Size=12,640<br />
|Level of Aggregation=orphan works,<br />
|Data Material Year=The cut-off date for analysis is the end of the 2008 calendar year, although some 2009 data has been included where available and appropriate.<br />
}}<br />
}}</div>Andreahttps://www.copyrightevidence.org/wiki/index.php?title=Danaher_and_Waldfogel_(2012)&diff=2562Danaher and Waldfogel (2012)2015-08-18T17:36:51Z<p>Andrea: </p>
<hr />
<div>{{MainSource<br />
|Source={{Source<br />
|Name of Study=Danaher and Waldfogel (2012)<br />
|Author=Danaher, B.; Waldfogel, J.<br />
|Title=Reel Piracy: The Effect of Online Film Piracy on International Box Office Sales<br />
|Year=2012<br />
|Full Citation=Danaher, B., & Waldfogel, J. (2012). Reel Piracy: The Effect of Online Film Piracy on International Box Office Sales. Available at SSRN 1986299.<br />
|Abstract=Hollywood films are generally released first in the United States and then later abroad, with some variation in lags across films and countries. With the growth in movie piracy since the appearance of BitTorrent in 2003, films have become available through illegal piracy immediately after release in the US, while they are not available for legal viewing abroad until their foreign premieres in each country. We make use of this variation in international release lags to ask whether longer lags – which facilitate more local pre-release piracy – depress theatrical box office receipts, particularly after the widespread adoption of BitTorrent. We find that longer release windows are associated with decreased box office returns, even after controlling for film and country fixed effects. This relationship is much stronger in contexts where piracy is more prevalent: after BitTorrent’s adoption and in heavily-pirated genres. Our findings indicate that, as a lower bound, international box office returns in our sample were at least 7% lower than they would have been in the absence of pre-release piracy. By contrast, we do not see evidence of elevated sales displacement in US box office revenue following the adoption of BitTorrent, and we suggest that delayed legal availability of the content abroad may drive the losses to piracy.<br />
|Link=http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1986299<br />
|Reference=Rob and Waldfogel (2007); Bai and Waldfogel 2010; Bounie, Bourreau and Waelbroeck (2006); De Vany and Walls (2007);<br />
|Plain Text Proposition=* The longer the lag between the US release and the local foreign release, the lower the local foreign box office receipts. <br />
* This relationship is larger after the widespread adoption of BitTorrent than before: a movie release 8 weeks after the US premiere has lower returns by about 22% in a given country in 2003-2004. This increased to nearly 40% in 2005-2006.<br />
* From 2003-2004, the relationship between length of release lag and box office concerns was generally consistent across all film genres. From 2005-2006, each week of lag decreases returns for science fiction and action genres by an additional 1.3% per week over any decrease for other genres. <br />
* The writers estimate that international box office returns in the sample were at least 7% lower than they would have been in the absence of such piracy. This was determined by using the 1.3% reduction per week as the estimate of effect of pre-release piracy on box office sales. <br />
* The finding that the cost of delaying a film's foreign release is increasing has a strategic implication for the movie industry. Studios already appear to be reacting to this by shrinking the average release window. Studios should continue to reduce the length of the release lag, especially for genres more heavily pirated like science fiction and action films.<br />
|FundamentalIssue=4. Effects of protection on industry structure (e.g. oligopolies; competition; economics of superstars; business models; technology adoption), 5. Understanding consumption/use (e.g. determinants of unlawful behaviour; user-generated content; social media),<br />
|EvidenceBasedPolicy=D. Licensing and Business models (collecting societies; meta data; exchanges/hubs; windowing; crossborder availability), F. Enforcement (quantifying infringement; criminal sanctions; intermediary liability; graduated response; litigation and court data; commercial/non-commercial distinction; education and awareness),<br />
|Discipline=L1: Market Structure; Firm Strategy; and Market Performance, L8: Industry Studies: Services, O33: Technological Change: Choices and Consequences • Diffusion Processes, O34: Intellectual Property and Intellectual Capital<br />
|Intervention-Response=* Findings are potentially important to policymakers choosing policies to combat piracy, as policymakers need to know whether piracy is depressing sales. Results from this study suggest that piracy depresses the international box office.<br />
* Several countries have recently implemented strong legal policies against Internet piracy, such as the graduated response laws in France (HADOPI) and South Korea. These laws are highly controversial, and similar laws have been considered in the US and England.<br />
|Description of Data=The data used in this study consist of the weekend box office returns for the top 10 Hollywood movies each weekend in 17 countries before and after the adoption of BitTorrent (July 2003 to July 2006). Only Hollywood movies are included. This comes to 678 films and 19,518 movie-by-weekend-by-country revenue observations.<br />
<br />
The dataset contains the studio distributing each film, the genres associated with each film, the total box office returns each film earned, and the foreign release date of the film.<br />
|Data Year=July 2003 to July 2006<br />
|Data Type=Primary and Secondary data<br />
|Data Source=Boxofficemojo.com; ScreenDaily.com;<br />
|Method of Collection=Quantitative Collection Methods, Survey Research (quantitative; e.g. sales/income reporting), Longitudinal Study<br />
|Method of Analysis=Quantitative Analysis Methods, Cluster analysis, Descriptive statistics (counting; means reporting; cross-tabulation), Regression Analysis, Structural Equation Modeling<br />
|Industry=Motion picture,video and television programmes;<br />
|Country=Argentina; Australia; Denmark; Finland; France; Germany; Hong Kong; Iceland; Italy; New Zealand; Norway; Poland; Spain; Switzerland; Turkey; United Kingdom; United States;<br />
|Cross-country=Yes<br />
|Comparative=Yes<br />
|Funded By=Not Stated;<br />
|Level of Aggregation=Country; Film Release Window; Genre; Film;<br />
|Data Material Year=July 2003 to July 2006<br />
|Sample Size=19,518<br />
}}<br />
|Dataset={{Dataset<br />
|Sample Size=17<br />
|Level of Aggregation=Country,<br />
|Data Material Year=July 2003 to July 2006<br />
}}{{Dataset<br />
|Sample Size=678<br />
|Level of Aggregation=Film,<br />
|Data Material Year=July 2003 to 2006<br />
}}{{Dataset<br />
|Sample Size=19,518<br />
|Level of Aggregation=movie-by-weekend-by-country revenue observations,<br />
|Data Material Year=July 2003 to 2006<br />
}}<br />
}}</div>Andrea