Thursday, January 20, 2011

eBook Piracy and Copyright in the Philippines

eBook Piracy and Copyright in the Philippines

Posted by Charles at http://charles-tan.blogspot.com/2011/01/essay-ebook-piracy-and-copyright-in.html


This past week, the “controversy of the week” happens to be eBook Piracy and Copyright. Troisroyaumes and Jamyee Goh have link round-ups in their corresponding websites.

I’m an author so I do want to get paid for my work, whether it’s print or electronic. However, I live in a country where right across the street, vendors are selling pirated DVDs (the fact that Blu-ray never caught on here--or have yet to--should clue you in as to the living conditions here) so to be naive about piracy is ludicrous. In an ideal world, people would compensate everyone justly but the reality is we don’t live in a fair society, nor is the distribution of wealth equitable. That’s not to justify piracy, but it’s there to shed light as to how the current practices and laws can be unfair.

Having said that, when it comes to the Philippines, I find the idea that authors are complaining about eBook piracy funny. Not because it’s irrelevant, but because there’s bigger fish to fry when it comes to infringement on copyright, at least in this country. The entire university ecosystem subsists on photocopying books and textbooks. Back when the Ferdinand Marcos was still president of the Philippines, it was legal to photocopy documents for educational/research purposes. 25 years after Marcos’s presidency, that’s still the practice today (although not necessarily legal to do so), mainly because there’s no suitable alternative. (On a side note, here’s an interesting paper on Copyright Protection for Philippine Publications.) For example, in college, I had an elective on “10 Books of the Century” which includes titles like Ulysses by James Joyce and The Stranger by Albert Camus. Because I wanted to do my readings the legal way, I tried obtaining these books. Suffice to say, I was only able to find half of them at local bookstores (and I did tour all three major bookstores at the time) and it cost me P5,000.00 (around $100.00). To give readers an idea of income in the Philippines, minimum wage here is around $8.00 a day, as opposed to an hour in America. The cost of the books I bought--which is only half that’s required by the class--is easily half a month’s wage, and that doesn’t yet include tuition (or the bigger problem that this is just one elective). Photocopying the said books is still expensive, but better than the alternative.

Over the course of blogging for the past few years, here are some assumptions I’ve encountered when it comes to books:

•Don’t tell me to go to the library to find a book. There are virtually no public libraries here, and what scant libraries here (public or private) isn’t likely to stock the obscure book--fiction or nonfiction--that I’m interested in.

•I can’t order books online because they require credit cards. While privileged people here do have credit cards, they don’t dole them out like they do in the US. Filipinos have to fight tooth and nail just to get credit card approval. (In my office alone, several co-workers have been rejected twice by the bank before finally obtaining a credit card.)

•Even if I do have a credit card, ordering from a site like Amazon is costly, both in time and money. I don’t have free shipping and unless I’m ordering from Amazon Japan for example, it’ll take the good part of a month before it arrives.

•Local bookstores are limited by their distributor (i.e. Ingram). In the event that their distributor is able to obtain the book, I’m paying a premium price on book orders, and it’s an inconvenient process. (Having said that, I do special order books from local bookstores, because the other three alternatives above aren’t feasible for me, and I don’t like piracy.)

The reason why eBook piracy is getting a lot of flak lately because, well, eBook piracy is familiar to privileged people (and let’s face it, the countries where there’s an economic infrastructure surrounding eBooks are the US and the UK; just look at how long it took Amazon to finally sell an “international” Kindle, or how long Apple started selling iPads elsewhere), unlike other forms of book piracy (not just limited to photocopying but publishing fake Harry Potter novels for example). It can also be monitored to some extent, unlike photocopying (although it’s probably fair to say genre novels aren’t prone to photocopying, especially something like A Game of Thrones, as buying the actual book is cheaper than paying to photocopy the paperback).

But if you want to talk about eBook piracy, let’s talk about it. From an author’s perspective, there was a local writing conference two years ago (apologies but my mp3 links to the recordings have expired) and one of the discussion was around the Google Settlement. One of the consensus was that we authors don’t want Google suddenly taking the rights to our works and then apologizing later (instead of asking permission in the first place) but at the end of the day, it’s the most efficient method of getting our works and our name out there. Related to this is the concept of piracy, and since a lot of authors here don’t really receive significant compensation (i.e. quit our day jobs) for our writing, Cory Doctorow’s adage of obscurity being the biggest threat to an author rings true.

There is also the practicality of fighting eBook piracy. The problem with the Internet is that once it’s out there, it’s almost impossible to take back. That’s not to say cracking down on illegal eBook distributors isn’t possible (it’s been done to a limited extent and there are dead torrent links), but between international laws (whether that of the pirate or their web host) and the difficulty in which authors enforce their own copyright (i.e. personally reporting each instance), it’s an uphill battle. There is one surefire way to make piracy work for you, and that’s the Doctorow model of giving away your work for free online as marketing for your print book (which actually works for now but as Paul Cornell puts it in his third point, that’s betting against the future).

The problem with discussions of eBook piracy, or simply giving away your work for free, is that it doesn’t affect everyone equally. If you’re popular like J.K. Rowling or Stephen King, then it’s mostly a loss to you, since you’re not really after fame but income (to say nothing of the futility of stamping out each and every pirate). To obscure writers, like say a genre writer in the Philippines, it’s probably more of a gain, since we’re not popular enough in the first place to acquire a sufficient following to earn a significant amount from our writing. My friend Lavie Tidhar laments that his books aren’t being pirated and to a certain extent, piracy is a popularity metric; if no one is pirating you, then there’s little demand for your writing.

Another problem is the misconception that eBooks are some sort of “magic bullet”. For example, in local government, at one point, there was a proposal to equip public school students with Kindles to make textbooks “cheaper”, which is ludicrous considering the cheapest Kindle costs $140.00 (yes, actual price might go down if purchased in bulk), while the average price of a textbook here (mandated by law) is around P43.00 ($1.00). $140.00 might not be a significant amount in the US, but it’s definitely equal to a month’s worth of wages, and your average public student isn’t going to be reading 140 textbooks in a school year, to say nothing of actually paying royalties for the eBooks/textbooks (which the government currently doesn’t seem to address). (While on paper this might seem like a great long-term plan for education, there’s no guarantee that students will stay in school for all of four years in high school, and you have to take into account that you’ll be buying new devices every year for each incoming batch.) That’s not to say this proposal is absolutely impossible, but at this point in time when portable eBook readers are “expensive”, it’s not cost-effective.

That’s not to say Filipinos don’t read eBooks, or that they don’t download pirated books. I suspect majority of local readers of eBooks are doing it on either a PC (perhaps a communal one) or their mobile phone. But locally, the eBook market is paltry compared to the print market, which is still the bread and butter of most bookstores and publishers.

Now the other aspect of eBook piracy is customer frustration. Now yes, there are pirates out there who pirate simply for the act of pirating (and gaining some sort of fame for themselves). But there are also a group of pirates who pirate because publishers have certain shortcomings. There are consumers who’d buy the book from the publisher if these shortcomings were addressed, but because that’s not the case, they feel they have no choice but to resort to piracy. This may sound like me regurgitating old arguments why people download illegal eBooks, but let me put a developing country perspective on it.

1.Is the eBook available? It seems like a fundamental question but not all books are converted to eBooks (or originally published as eBooks). Consumers can’t buy what’s not being sold by the publisher. Sometimes, these are out-of-print books. At other times, these are simply books that the publisher doesn’t want to release as eBooks (for whatever reason, whether it’s because they don’t have the license to do so, or because they don’t think it helps their business). I can relate with respecting copyrights and intellectual property, but some consumers feel that they want the said eBook, and so resort to pirated copies because there’s no other alternative that’s convenient*.

2.Is the eBook available in my preferred format? Again, seems like a fundamental question, but the problem with the current eBook climate is that there’s no standard format. I hear the Kindle format is the most popular for publishers right now, but guess what, they don’t sell Kindles at retail stores in the Philippines.

3.Is the eBook available in my country? Do you know why eBooks aren’t taking off as quickly in countries outside the US or the UK? Because they’re not being sold there. You’d think a borderless concept such as the Internet would ignore geo-restrictions but they don’t. I’ve heard lots of complaints that “I can’t buy that eBook because it’s not being sold here,” and at that point, point #3 equates to points #1 and #2.

4.Can I afford the eBook? Suffice to say, not all nations are equal. This is partially solved by having different prices for different regions (which is the case with some software here in the Philippines) but this problem is interlinked with #3. You can’t price eBooks relative to countries if the rights to them aren’t region-locked (I don’t think publishers are interested in pricing books based on the lowest common denominator). It might also lead to problems of waiting for a local publisher to license the said book (which might be never), or just go for a larger geographic license (i.e. you can sell the book to everyone in Asia...) to one major publisher (possible but unlikely). I honestly don’t know how to reconcile this with #3.

5.Can I purchase the eBook? What I mean by this is whether someone is actually capable of making the purchase. For example, I don’t have a credit card, so that automatically locks me out of registering at the iTunes store since it requires a credit card (as opposed to Amazon where I can register without a credit card, but I need to own one to make a purchase). One thing I’ve noticed when it comes to various developing nations is that they have different forms of micro-transaction mechanisms: prepaid cards, paying via mobile or landline credit, etc. To limit payments to just credit cards or PayPal is ostracizing the rest of us.

6.Is the eBook properly formatted? One thing I’ve noticed about some pirates is that they “improve” an existing product: fixing alignment and line breaks in an ePub, adding bookmarks to a PDF, etc. Technically, there would be no market for this (aside from the $0.00 price tag) if the publisher did their job right but there are pirates out there who exist because of this void. This point, I’ve noticed, is the concern of people in privileged positions who have access to the eBooks, as opposed to us in developing countries where #1 - #5 is our main concern (on that note though, don’t publish an eBook that’s unreadable due to horrible formatting).

Having said that, this isn’t a pro-piracy post (I’m also an author after all). I just want to explain the context of circumstances, especially in developing countries which I live in. I can understand authors hating piraters (the people who distribute their books online). If someone interfered with my income, I’d be angry too. There’s a gray area though when it comes to people who simply download eBooks. If they buy your book after illegally downloading it, will you hate them as well? If they donate to your site, or review your book, etc.? There’s no universal--or correct--answer here. Some authors will rage--and perhaps rightfully so--that their book got downloaded, irregardless of whether the downloader eventually bought the book. Others will take context into consideration. I just want to warn that just because your book got illegally downloaded 1,000 times does not mean you would have gotten paid 1,000 times for that work (although yes, it is theft). Some readers, when forced with the alternative, will buy your book. Others won’t. There is no definite statistic (i.e. 10% of readers, 50% of readers, etc.). The only thing you can be certain is that that number is anywhere between one and 1,000.

*Piracy, at the end of the day, is a battle of convenience. I can, for example, order a book from the local bookstore, but if it takes a month for the said book to arrive, it’s inconvenient. There are also situations where it’s impossible to order it from the local bookstore (their distributor doesn’t carry the title).

Tuesday, July 27, 2010

Metrowalk DVDs


P60.00 each, not bad.

excellent selection, hundreds to choose from,
from ingmar bergman to charlie chaplin to kurosawa : )

stall 15-E : MINERVA

text Ate Cora for inquiries
0927-4314500
0916-6489475

(from quiapo_dvd thread)

Thursday, June 24, 2010

Piracy Regulation and The Filipino’s Response to Globalization

…to be middle class in this country is to simulate the real by means of the imaginary, with piracy falling more in the lines of the imaginary than the real—the imaginary is as real as the real itself for a lot of wannabe middle-class citizens.

interesting research article hehehehe


Piracy Regulation and The Filipino’s Response to Globalization

Abstract
The essay examines the racial discourse of Moros and Moro-profiling by the state in piracy—sea piracy in olden times and media piracy in contemporary times. Moro piracy becomes a local cosmopolitanism in the Philippines’ attempt to integrate in various eras of global capitalism. From the analysis of media piracy, the Moro “dibidi” (pirated DVD) seller becomes the body that mediates between the Filipinos’ middle-class fantasy of a branded lifestyle and the reality that most Filipinos do not have full access to global consumerism. Using a cultural studies framework, the essay draws a connection between seemingly unlinked events and sources, allowing for a historical and social dialog, past and present, to mix, creating junctures for sites of dialog and critique.


Download Article in PDF here:

http://journals.upd.edu.ph/index.php/socialsciencediliman/article/view/1570


Monday, January 4, 2010

Maguindanao massacre DVDs in Quiapo seized


MANILA, Philippines -- Members of the Optical Media Board (OMB) on Monday swooped down on vendors in Quiapo, Manila selling digital video discs (DVDs) of the Maguindanao massacre.

OMB chairman Ronnie Ricketts said they immediately conducted the raid after receiving reports that the DVDs labeled “Maguindanao Massacre Live” were being sold in Metro Manila.

The DVDs contain footages of the crime scene in Maguindanao shortly after the massacre.

Also present during the raid were members of the National Press Club (NPC), who admonished DVD vendors for making money out of the ordeal of their fellow journalists.

"Adding insult to injury ito," said NPC President Benny Antiporda.

Earlier, relatives of the 57 civilians murdered in Maguindanao last November 23 protested the proliferation of video discs showing footages taken shortly after the massacre.

The Heirs of 11/23 Maguindanao Heroes, an organization comprising the families of the massacre victims, cried foul over the discs, saying these will cause more pain and trauma to the relatives, particularly the children, who will be reminded over and over of their parents’ horrible fates.

“They should respect us (victims’ families), particularly our children who are still in trauma because of the incident. If the children watch the DVDs, especially the little ones, they will be more traumatized,” the group’s vice-chairman Police Officer 1 Eliver Cablitas told The STAR.

Cablitas’ wife, Maritess, was one of the journalists brutally killed in the election-related massacre.

The families appealed to the OMB to try to stop the production of the discs and confiscate copies sold in different key cities of the country.

The group also appealed to the media to stop promoting the “showing” of “Maguindanao Massacre 11/23/09” by saying where and how the public can obtain the discs.

“Be responsible. If you want to write something, make it worthy. Don’t be an avenue of those people who made those DVDs to promote their illegal goods because it does not help the situation. Please stop convincing the families to buy a copy of it. Do not make us think that you are also profiting from the discs,” Cablitas said. With reports from The Philippine Star and Anthony Taberna, ABS-CBN News

as of 01/04/2010 5:49 PM

http://www.abs-cbnnews.com/nation/metro-manila/01/04/10/maguindanao-massacre-dvds-quiapo-seized

Monday, December 28, 2009

Bootleg DVDs of Maguindanao massacre on sale

By Jeffrey M. Tupas, Jeoffrey Maitem
Inquirer Mindanao
First Posted 19:07:00 12/28/2009



DAVAO CITY -- Bootleg digital video disc (DVD) copies of the “Maguindanao Massacre 11/23/09,” are now being sold underground in many parts of Mindanao, according to those who have seen the "film."

The Philippine Daily Inquirer was able to get a copy of the DVD. Running over four hours, the DVD showed the actual retrieval of the bodies from the massacre site at Barangay Salman, Ampatuan town, Maguindanao.

It showed the blood-soaked, bullet-riddled and mutilated bodies of the Ampatuan massacre victims. Most of the footage had graphic images of body parts protruding from the earth.

The origin of the Maguindanao Massacre DVD is not known but a DVD vendor in Koronadal City said he got his stocks from a supplier in General Santos City.

The INQUIRER secured a copy of the film, sold at P120, from a vendor who requested that he be not named, saying he feared for his life.

“Please don’t tell anyone that you got it from me…I only gave you this because I trust that you will not tell that it came from me. It’s scary,” the vendor said, referring to the movie. “Nakakatakot…sobrang nakakatakot. At nakakadiri (It’s really scary and it’s gross),” he said.

The vendor indicated he was also scared of the Ampatuan family, whose key members have been charged in connection with the massacre and were the erstwhile allies of MalacaƱang.

The material contained the first two days of the retrieval operations conducted by the authorities after the November 23 abduction and grisly murder of at least 57 civilians, 31 of them journalists and the rest close relatives and supporters of Buluan Vice Mayor Esmael Mangudadatu, a Maguindanao gubernatorial candidate running against the Ampatuans in the 2010 elections.

It is not clear whether the content of the DVD was from the documentation done by the team that conducted the retrieval operations.

The DVD opened with the convoy of the retrieval operations team that traveled to the dumping site in Barangay (village) Salman. Immediately after, the amateur camera captured the yellow backhoe excavator that had the marking “Under the Administration of Datu Andal Ampatuan Sr.”

For more than four hours, the camera focused on the excavation of the victims. First to be exhumed was a woman, believed to be one of the lawyers of Buluan Vice Mayor Esmael Mangudadatu, who wore a brown-striped blouse.

A man was later overhead as saying: “Sino ito? Si attorney? Sige…kunin na ang lahat kasi lahat tayo ay kapamilya na dito eh.”

After the first body was recovered, a man was also overheard as saying: “May ara pa (Are there still more)?”

“May ara pa gid. Marami yan sila dyan…(There would surely be more. There are a lot of them buried there),” another man answered.

When the body of a woman, wearing a green blouse and yellow pair of pants, was exhumed, a voice was heard saying: “Ka-daming tama…”

And judging from the looks of the victim, the same man suspected that she may have been sexually abused.

There were at least eight men who were exhuming the bodies, using shovels and their bare hands alternately. The film showed the lousy and slipshod retrieval of bodies and evidence, done by non-experts. It was only in the latter part of the first day and the second day that police experts got to work in the retrieval operations.

When shovels and bare hands proved to be slowing down the retrieval, the authorities later decided to use the backhoe to dig the grave where the victims were dumped. It was then that more and more bodies were found, including that of Mangudadatu town Vice Mayor Eden Mangudadatu, sister of Esmael.

Eden was immediately identified by the men involved in the diggings. A mobile phone was also recovered and a man was overheard as saying that “gitago nya sa loob ng sapatos. (she hid it inside her shoe).”

The Day 2 of the DVD opened with the diggings now aided mainly by the backhoe. It was on the second day that the retrieval operations teams dug up the vehicles, which were also dumped into the grave in an apparent effort to hide evidence.

And when more bodies were recovered, a male voice said: “Buti pa yong manok na panabong kahit na kargado sa gamot, kapag di na tumutuka ang kalaban, din na papaluin…” (Fighting cocks are treated better.)

In Koronadal City, a Maranao vendor said he has run out of copies of the DVD.

He said they have been selling it for P120 per copy, and even bragged about the clarity of the DVD he sold as the material was taken by members of the Scene of the Crime Operatives of the Philippines National Police.

“I’m expecting my order to arrive anytime tomorrow. The one you’re holding is a clear copy because members of SOCO filmed it,” he said in Filipino.

Janice Cabasag, 29, a resident here, told the Inquirer that she managed to procure a clear copy from a vendor for only P70.

Cabasag said the DVD contained footage of the actual retrieval of the bodies in the village of Salman.

“Looking at those images of death, I can feel the pain of the families who lost their loved ones. Those who did it are demonic,” she said.

Mario Alasin, who maintains a small restaurant here, also told the Inquirer that his staff bought a copy, but he had refrained from seeing the footage.

In Parang town in Maguindanao, Norma Cantal, admitted she bought the same copy at the public market.

When asked about the sale of the DVD, Corazon Cabillio, wife of slain journalist Jimmy, said she has heard about the DVD but has not seen a copy. Cabillio said she was interested in getting a copy.

http://newsinfo.inquirer.net/breakingnews/regions/view/20091228-244373/Bootleg-DVDs-of-Maguindanao-massacre-on-sale

Wednesday, September 2, 2009

In Memoriam: Alexis Tioseco (1981-2009) and Nika Bohinc (1979-2009)

In Memoriam: Alexis Tioseco (1981-2009) and Nika Bohinc (1979-2009)

http://criticafterdark.blogspot.com/2009/09/alexis-tioseco-1981-2009.html


Wishful Thinking for Philippine Cinema
March 15, 2009, 3:57 am
By Alexis A. Tioseco

http://alexistioseco.wordpress.com/

(Shorter version originally published as an addendum to an article in Rogue Magazine, extended final version which appears below published in Philippines Free Press week of December 13, 2008).

I wish that the Film Development Council of the Philippines would understand the value of the money they’re given and consider going to Paris and spending P5 million of their P25 million allotment for a showcase given by a young festival an investment, and not just a vacation.

They support filmmakers with finished films to go abroad to festivals for the pride they bring their country—I wish instead they would support their films locally, and help them get seen by a larger Filipino audience.

I cry for the loss of Manuel Conde’s Juan Tamad films.

I cry for a country that can’t convince that one Filipino-American who owns the only known print of Conde’s Genghis Khan in its original language to return (i.e. sell) the film back to his mother country.

I cry for the generations of Filipinos, myself included, that can no longer see Gerry De Leon’s Daigdig ng Mga Api, and instead have scans of movie ads to admire on the internet (with sincere thanks to Simon Santos and James De la Rosa).

I mourn a heritage that has allowed through neglect the prints of Mario O’Hara’s Tatlong Taong Walang Diyos and Peque Gallaga’s Oro, Plata, Mata to turn flush sepia.

I cry for a Union Bank and University of the Philippines that conspire in apathy to let the master negatives of treasures produced by Bancom Audiovision rot in rooms only air-conditioned half the day and in cans untouched for years and years.

I pray for a city government or even enterprising and concerned theater owners to consider setting aside 50 centavos or a peso of a ticket for the preservation of our national audiovisual heritage. There have been flood taxes siphoned from movie tickets for crying out loud—this should be easy!

I wish Cinemalaya, which, thanks to the media and the government’s press mileage behind it, has a great festive excitement, would actually put their efforts in the service of Philippine cinema, and not their own self-involved attempt to start a micro-industry.

I wish filmmakers would stop listening to Robbie Tan.

I wish Cinema One, which takes more risks, gives more money and often produces better films than Cinemalaya, would actually give filmmakers some rights to their work and stop swindling them.

I wish Cinemanila, which has introduced to the country more great films than any other institution, doesn’t stop showing them on 35mm.

I wish Cinemanila would publish their full schedule in advance: it’s difficult to plot what films to watch when you don’t know which ones will show again.

I wish the Goethe- initiated Silent Film Festival, with live scores by Filipino musicians, would continue annually, and that one year they get to show a Chaplin, a Griffith, a Dreyer, and maybe a Vertov or Medvedkin.

I wish Lav Diaz would have larger budgets to maneuver and shoot with. And would work with the ace production designer Cesar Hernando once again.

I wish more people saw Lav Diaz’s films rather than just respecting his stance, and using him as a symbol.

I wish Raymond Red would get to make Makapili and/or return to making fantastic shorts in the experimental mode.

I wish Raymond Red would still get to shoot on celluloid.

I wish John Torres would sacrifice the image quality of his HDV camera for the special intimacy and spontaneity he is able to achieve with his 1ccd camera. Or get a smaller HDV camera.

I wish Mike De Leon would make another movie… please.

I wish Roxlee would get enough money to buy the time necessary to make an animated feature.

I wish everyone would buy a copy of Nicanor Tiongson and Cesar Hernando’s richly illustrated The Cinema of Manuel Conde.

I wish there were more books on Philippine cinema.

I wish a book series was started that published classic screenplays.

I hope Noel Vera gets to write his book on Mario O’Hara.

I wish a close study of the entire oeuvre of Ishmael Bernal were made.

I wish older commentators would understand: Lino Brocka is dead.

I wish younger filmmakers would understand: Lino Brocka compromised when he had to because he had to, and perhaps even, at times, too much. You are living in a different time. The excuse that Brocka made more than 60 films therefore you can afford your own mediocre ones does not hold water.

I wish we had less tourist cinema.

I wish we had less formula cinema—“real-time” anyone?

I wish Cinefilipino had put out Maalaala Mo Kaya with the reels in the proper order.

I wish Cinefilipino would have put our their Brocka titles with just a little bit of care and affection, providing some writing on the film or special features to contextualize them rather than just throw them out their bare to earn.

I wish Nestor Torre would open his eyes…

I wish the Manunuri books on Philippine cinema in the’70s and’80s would go back in print.

I wish the Manunuri actually cared about Philippine cinema today.

I wish more of the Manunuri actually reviewed films instead of just giving out awards.

I wish the Young Critics Circle were actually young.

I wish the Young Critics Circle were actually critics.

I wish Francis ‘Oggs’ Cruz, Richard Bolisay, and Dodo Dayao would get space in the broadsheets, because they’re far more interesting than anyone writing there regularly.

I wish we didn’t have a cinema of the press (more on this soon).

I wish Noel Vera would move back.

I wish Hammy Sotto were still alive.

I wish Hammy Sotto’s manuscripts would get published.

I wish film preservation activist Jo Atienza was still in Manila.

I wish we had a fully supported Film Museum.

I wish we had a Cinematheque.

I wish the UP Film Center had better seats, and more important, showed better films.

I wish more non-filmmakers from the Philippines would get to travel to festivals.

I wish film were taught in high schools.

I wish we had more film lovers and less bureaucrats in important positions in the field of cinema.

I wish Teddy Co would get the recognition that he deserves for his selfless work.

I wish Teddy Co would write more as his ideas deserve to be recorded.

I wish co-ops would co-operate.

I wish Khavn De La Cruz would get to make his musical EDSA XXX.

I wish the Max Santiago feature would get made, and that shorts would finally come to my hands on DVD (Hi Marla!).

I hope Tad Ermitano never stops writing and playing in his cave.

I wish Lourd De Veyra would continue writing on actors and cinema.

I wish Raymond Lee’s UFO success.

I wish Albert Banzon would get more credit.

I wish we had more regional feature films, and more support for regional filmmakers.

I wish everyone would watch When Timawa Meets Delgado.

I wish someone would lower MTRCB rates for screening fees, especially for festivals.

I wish someone, anyone, would make a good, thought-provoking film about the Philippine upper class.

I wish Ketchup Eusebio would get more leading roles.

I wish Elijah Castillo would appear in a lot more films. Soon.

I wish Cesar Hernando would get to make a video transfer of his experimental short Botika, Bituka.

I wish filmmakers had some integrity and told Viva to screw themselves when offered another exploitation film.

I wish more people could see the film Bontoc Eulogy by Marlon Fuentes.

I wish Vic Del Rosario wasn’t presidential adviser on Entertainment, given the shlock they produce, and yes, that includes the films that starred First-Son Mikey Arroyo.

I wish Star Cinema would stop—just stop.

I wish there was a film library that people could go to in order to read books on cinema.

I wish the MMFF were not in the hands of the same people who install public urinals (admittedly useful).

I wish the MMDA didn’t call those circles and boxes Art.

I wish that MMDA Art wasn’t so much better than every MMFF film.

I wish a certain festival in December didn’t consider box office as a criteria for its main prize (which comes with rewards). We don’t give cultural awards to Wowowee, do we? Well, not yet…

I wish I could see how “commercial viability” was computed.

I wish Mother Lily didn’t have a monopoly on the Metro Manila Film Festival.

I wish Mother Lily took better care, or rather took care at all, of the good films she unwittingly produced in the past.

I wish Mother Lily would get to see Raya’s Long Live Philippine Cinema! …or maybe not.

I wish the Hammy Sotto-led Philippine Cinema in the ’90s book, with excellent interviews and a complete filmography of the decade, and which has been completed for several years, would finally get printed.

I wish all the old Mowelfund shorts—including the works of Regiben Romana, the Alcazaren Brothers, Louie Quirino and Donna Sales, Raymond Red and Noel Lim—would come out on DVD.

I wish a book would be written about all the Mowelfund shorts.

I wish a book on Philippine poster art would be released.

I always look forward to the rest of Nick Deocampo’s projected four-to-five volume history on Philippine cinema—at least someone is writing it.

I wish there were a pure film studies course available in the Philippines.

I wish that venues that are censorship (and therefore MTRCB fee) exempt would understand the vital role they play and take more responsibility.

I wish we had a regular film journal. Why don’t we? We have enough critics groups and awarding bodies.

I wish more film teachers were approaching cinema from cinema.

I wish R.A. Rivera would get to make his first feature soon.

I wish Quark Henares refrains from selling out again, because if he doesn’t, he has the potential to be one of the important ones.

I wish more people would get to see In Da Red Korner. It deserves to be reconsidered.

I wish Rogue Magazine would cut down their featuring of foreign films in the gallery section when there is so much to write about locally that doesn’t get covered in other media beyond sloppy journalism.

I wish the government would sponsor DVD releases of the surviving films of Lamberto Avellana, Gerardo De Leon and all other classics that still exist.

I wish FPJ Productions would again screen the footage of Gerry De Leon’s unfinished Juan de la Cruz (the icon, by the way, that was invented by this magazine).

I wish less filmmakers compromised.

I wish more filmmakers admitted when they did.

I wish we focused our attention more on audience education, development and literacy, than on dumbing down films to pander to them.

I wish Philippine cinema all the success in the world. . .

Monday, June 15, 2009

IP Address Alone Insufficient To Identify Pirate, Court Rules

IP Address Alone Insufficient To Identify Pirate, Court Rules
Written by enigmax on June 15, 2009

Anti-piracy groups and lawyers across Europe are unmovable - they say that since they logged a copyright infringement from a particular IP address, the bill payer is responsible. Now a court in Rome has decided that on the contrary, an IP address does not identify an infringer, only a particular connection.

Right across Europe, many countries are being targeted by anti-piracy evidence gathered by outfits such as Swiss-based Logistep. After tracking alleged infringers, legal action is taken to force ISPs to hand over the identities of the person who pays the bill on the particular account linked to the allegedly infringing IP address. Lawyers operating in tandem with companies like Logistep, such as ACS:Law in the UK, insist that since they have an IP address, this automatically means that the bill payer is the copyright infringer or at least liable for the infringement.

Italy, which has seen its fair share of misery inflicted by Logistep and its partners Peppermint Jam, now has reason to be optimistic that these cynical, profit-motivated operations can be dampened down.

Although anyone with a basic knowledge of the Internet could come to the same conclusion given 30 seconds in a quiet room, the Tribunale Ordinario di Roma has now ruled that an IP address alone does not identify an infringer. According to a Punto Informatico report, on this basis the court kicked out a complaint against an individual accused of copyright infringement.

The District Attorney and judge said that the mere ownership of a connection from where an infringement took place is not sufficient to establish the identity of an infringer or liability of a defendant, especially since other people could have committed the alleged infringement.

In the UK right now, as many as 5,000 or more Internet bill payers are receiving letters through their doors from lawyers ACS:Law claiming that their Internet connection has been used to commit copyright infringement. TorrentFreak is in contact with many letter recipients and we are convinced that many people are being wrongfully accused for a multitude of reasons. Interestingly ACS:Law say that they do not necessarily claim that the bill payer committed the infringement, yet they still make threats and demand settlements for around £600 from that very individual.

They do this because they do not know and cannot prove who carried out the infringement, and simply hope that the bill payer feels responsible for what has happened and pays the settlement.

If it wasn’t clear before to some, it should be pretty clear now. As far as evidence goes, an IP address alone does not identify an infringer, merely a connection, and in the absence of additional evidence - such as that collected following an examination of the alleged infringer’s PC - it means little on its own.

Thank you Italy for your common sense.


http://torrentfreak.com/court-rules-that-ip-address-alone-insufficient-to-identify-infringer-090615/