Dive into the archives.
- Digital Watermarks: Can they save copyright?
Everyone knows that illegal downloads can’t be stopped (except, maybe the MPAA, but they’ve been deluded for a while about speech issues). That could seem kind of depressing if you are a filmmaker who’s just maxxed out a few credit cards and hit up every friend you have making a movie with no obvious hope of recouping. Some people have said that we should just dump copyright altogether since it’s unenforceable. But copyright was created to protect artists who put their original ideas and execution into a work so that they could control how money… [more]
- The Chemistry of New Distribution
I was talking to the lovely Astra Taylor yesterday and as we both have music ties we got to talking about the common comparison between the record biz and the film industry. We agreed that the new ways have benefit for some artists but not all- they’re great for musicians who are able to take advantage of the bigger live audiences, who might enjoy having their work exposed in an ad or other commercial setting and who have fans who will buy the merch.
I won’t get into the various problems of this model for film- that’s its… [more]
- DIY, all Y
At DIY Days in Philadelphia, Lance Weiler‘s traveling post-distribution networking conference, I may be drinking too much of the haterade*, but what seems to be emerging is kind of three-path future for film.
Path one is gigantic studio films that cost a lot and still rely on a certain level of lockdown on copyright and general control of dissemination.
Path two is the small filmmaker with an emerging set of tools to reach an audience, whose work must be made cheaply and flexibly, and who must include an element of interactivity and audience participation.
Path three responds to an… [more]
