In Donna Wentworth's 2004 Op-ed piece, "Dumb and Dumber: Why the Movie Industry Shouldn't Do as the Recording Industry has Done" strongly cautions Hollywood to stray away from actions taken by the music industry regarding file sharing. Wentworth points out that in 2003, movie studios profited heavily from the $41.6 billion in revenues, and enjoyed the second largest culmination of box office totals ever. Wentworth is mystified as to why the industry, and specifically the MPAA, is so worried that film piracy will destroy their business. According to her, the 6,000 lawsuits filed by the recording industry to target file sharing did little to impede illegal music downloads. The "pre-emptive strike agenda," as Wentworth calls it, will likewise be a lost cause in suppressing the prevalence of peer-to-peer file sharing, and will alienate the consumer. Wentworth goes on to reference the famous case concerning VCR use and copyright. The fact that the VCR was deemed legal in all homes allowed for Hollywood to restructure their business model, and reap the profits from VHS rentals. Wentworth also says that the digital age is no different as DVD's often make more money than their box office total. Though Wentworth makes some interesting points, I think that her statements leave a lot of statistical information to be desired. MPAA statistics show that the movie business is in fact suffering in the billions for online film piracy. This doesn't mean that the industry will go out of business in its entirety, but it does effect the output of films significantly. No doubt, the carbon copy superhero and animated films will still be green-lit, but it is the independent and more artistic films that will suffer.

DVDs are protected by a security system called the Contents Scramble System, which prevents unauthorized use and copying of the encoded material. Thus, only devices that have the CSS key can play these videos. In this lawsuit, eight major movie studios sued Jeraimee Hughes for disseminating a software device, called DeCSS, that can bypass this protective shield. Hughes posted this application on his Internet site, advertising that DeCSS is a "free DVD decoder that allows people ot copy DVDs." This violates the anti-circumvention provision of the Digital Millennium Copyright Act of 1988. Regardless of whether or not people utlize such a device, it is illegal to provide technology that circumvents a code that is intended for copyright protection.

There have been a series of other lawsuits against individuals who have also distributed DeCSS through the web. They argue that their actions are lawful under the First Amendment and constitute as fair use under the Copyright Act. Whereas the First Amendment right defense is more complex, the fair use argument is baseless. The defendants are not being sued for copyright infringement but are being sued for providing an illegal encryption decoder. In the case against Hughes, and generally speaking for most of these lawsuits, the defendant was found guilty.

Because my paper explores the digital advancements that pose a threat to the movie industry and how the industry has responded, this case serves as a perfect example of both. Piracy has become more advanced due to digital technologies. Individuals can create devices that can crack security codes and promulgate the information via the web. In order to counter these efforts, the movie industry must take legal action to prevent others from doing the same. Although the movie industry is also improving upon digital means for protection, it seems at this point that hackers will always remain a threat, and therefore must be stopped by the law.

Morris, Chris. “Warner Finds Superior Source for ‘Citizen Kane’ DVD Set.” Billboard 11 August 2001. 10 April 2008 <http://search.ebscohost.com/login.aspx?direct=true&db=keh&AN=4958025&site=ehost-live>.

Chris Morris writes this article in August 2001, just as the popularity of the relatively new home video format DVD was starting to gain popularity.  Movie titles were released incrementally in this new all-digital format.

Morris writes that the popularity of Orson Welles’s Citizen Kane has created a high demand for the film to be released to the new DVD video format.  Warner Home had been working on a 60th anniversary release and it was planned for the 25 of September in that same year.  This new release was widely expected to be visually and sonically ungraded from the previous releases to home video.  Morris writes that Warner, in their attempts to rerelease Citizen Kane, had originally not been able to find a suitable quality source film.  RKO’s original camera negatives had been burned in a 1980 vault fire and as a result had also hampered past efforts a restoration.  The 1991 VHS release had featured the copy owned by New York’s Museum of Modern Art, however this print had dirt and scratches on it, among other defects.  Morris reports, however, that after patient and careful searching, Warner had found a new nitrate fine-grain print in a European archive and that this copy has offered better picture quality and served as an improved audio source.  The improved audio quality is very important because the original score had a very high dynamic range.  He also reports that the new DVD release would include an interview with Roger Ebert, a 1941 newsreel about the film’s premiere, and the documentary film of the Hearst-Welles conflict, The Battle Over Citizen Kane.

One might think that just like a personal computer user, large Hollywood movie studios would have countless backup copies of their master reels.  This seems not to be the case.  A fire at a single film vault destroyed RKO’s only master copy.  Orson Welles was the recipient of the actual production negatives and his copy was also lost in a fiery accident in the 1970s.  By re-mastering and fully digitizing the remaining high quality prints, the data can be stored in numerous locations very inexpensively and very safely.  As we learned in class, nitrate has a propensity to catch on fire and is very dangerous in that respect.  We also learned in class that Hollywood is usually very slow to adopt new media formats.  DVD hit store shelves in mid-1997 yet this movie was released in late 2001, almost 4 years later.  The studios might have an excuse in this case – the long and lucky search for a suitable master copy.

This is a blog post that outlines the history of reverse engineering in the technology industry, and comments on some of its implications today. With increasing legal challenges from the DMCA – a law that (among other things) prohibits reverse engineering of any technology meant to limit access, it is interesting to recognize what reverse engineering can and has accomplished for us.

The first two examples of reverse engineering that the article gives are open source projects. The ability of open source developers to reverse engineer the competing instant messaging clients developed by internet companies like Yahoo, AOL, and Microsoft has had a dual effect – firstly, the article points out, it has allowed innovation by letting third-party developers (open source or otherwise) to create hybrid programs that bridge the inherent gaps in these incompatible protocols. Additionally, the presence of quality open source messaging software has helped to further the legitimacy of open source platforms such as Linux.

The second example is that of Samba, an open source program that allows Microsoft Windows based file sharing services to be both hosted on or accessed by any number of platforms. Because of Samba, users of Apple’s Mac OS X or Linux can interoperate with Microsoft Windows networks. The article points out that this has (also) lent legitimacy to Linux as a platform and helped it to compete in a world of proprietary standards.

The first installment of the six part Star Wars film series was released in 1977. Twenty five years later, in September 2004, the DVD's of the first trilogy ( Episode IV: A New Hope, EpisodeV, The Empire Strikes Back and Episode VI, and Return of the Jedi) were released. These DVD's were not comprised of the "classic" film trilogy, but rather the "Special Edition" versions that Fox, Lucas Film and George Lucas released in 1997 (which were originally available only on VHS). Fortunately for fans who can never get enough of everything and anything Star Wars related, the DVD set is loaded with extra features. The four disc set includes a bonus disc highlighting an extraordinary documentary and never before seen footage from the making of the films. Each of the films included in the set has been digitally restored and remastered by THX. In addition to significantly enhanced picture quality, the three films are mastered in Dolby Digital Surround 5.1 EX, yielding amazing sound quality. The Star Wars trilogy can also be viewed by the deaf and non-English speaking as it is subtitled in English, French, and Spanish. All of these additions to the original films not only make the DVD's a worthwhile purchase for viewing enjoyment, but also an important addition to any serious film buff's collection.

The DVD release of the original trilogy (Episodes IV, V, and VI) represents a significant marker in the Star Wars franchise. The groundbreaking films have become an industry unto themselves and the DVD's are one more outlet through which to generate more profit. DVD's are the future of all film. The fact that one of the biggest money-making movies of all time is now distributed on DVD, with added special features, validates the importance of the DVD release. The release of films in DVD format allows the audience to watch movies multiple times. The format also introduces an entirely new audience to a film that may have been produced at a much earlier time. The possibilities for film enhancement, viewing pleasure, and portability all contribute to the significance of the DVD as it relate to the Star Wars franchise.

Gone with the Wind is a film that continues to be relevant because of the time period portrayed, its social influences, and overall importance in the history of film. The release of Gone with the Wind on DVD is significant for a number of reasons. The enhancement of the actual film and the special features added make the DVD an important addition to any film library and just as significant as the film's initial release.

Included in the DVD's content is an in depth interview with Olivia de Hallivand, who plays Melanie. She was nominated for an Academy Award, however, she lost to Hattie McDaniel, who played Mammy. (There is speculation that the reason McDaniel won was as compensation for not being invited to the movie's Atlanta premiere.) In de Hallivand's interview, she reveals the chaos which occurred behind the scenes during the production of the film. For example, directors and writers came and went with alarming frequency.

The most impressive part of the DVD, which makes the DVD "vital and gorgeous", is the attempt to revert to the quality of the original Technicolor process in which the film was shot. The evolution of Technicolor is a significant facet of film history. Gone with the Wind was to be the test of the new Technicolor technology. The production of the film centered around brilliance and contrast of color as well as intricate scenery shots. Much of the original impact of the film lay in the quantity and quality of color schemes throughout the production. As the technology of film progressed, Technicolor was deemed old fashioned and new technology improved upon the once spectacular visions produced by the once unique color delivery system. The Gone with the Wind DVD has resurrected the original screen's Technicolor version of the film.

I feel that it is of great significance and interest for today's audience to see the film just as it was presented in its original form. The use of Technicolor had a significant impact on the audience of the time. Every aspect of a film contributes to the way in which an audience views, comprehends, and appreciates the film. With all the technology available today for production quality enhancement, it is important to have the ability to revert back to the original film version and screen it in its purest form. With every generation producing new audiences with interest in the film, the release of the DVD has made this important piece of film history readily accessible to an even wider audience. The attraction of the DVD lies in its special features. For film buffs and people who are knowledgeable about the history of film and production values, the remastering of Gone with the Wind in Technicolor is an important feature which, perhaps, trumps all of the other aspects of the DVD.