This article deals with copyright legislation and jurisprudence in terms of the various forms and degrees of control apportioned to copyright owners and producers and distributors of technologies used to disseminate copyrighted works. It analyzes the rulings of several court cases tracing the evolution of current copyright practices regarding distribution technologies beginning with the Betamax case and ending with Napster. The author describes each case in terms of a struggle for control over the distribution of works of authorship between copyright owners and producers of technologies of dissemination. She concedes that the trend in digital media copyright protection has been to grant copyright owners control over new distribution outlets because unauthorized distribution often results in the producers of the dissemination technology profiting from the exploitation of a new market to which the copyright holder is entitled. She acknowledges, however, that it is not socially optimal for copyright owners to retain complete control over the technologies of dissemination because their first instinct in litigation is to prevent the use of the new technology. Therefore, with most technologies of dissemination of copyright protected works, courts allow the sale of new technologies because it is in the interest of society and of economic value for new markets for the dissemination of works of authorship to be created, but they require the proprietors of such technologies to obtain licenses from copyright owners to distribute copyrighted works.

Since my paper deals with digital media copyright regarding peer to peer file sharing networks I am most interested in the author's analysis of internet technologies. The author explains that the battle between digital media copyright owners (primarily record companies) and producers and distributors of new technologies that disseminate works of authorship on digital networks has led congress to anticipate new forms of exploitation and grant more control to owners of copyrights to facilitate the use of digital networks. She adds, however, that there are many academics who believe that despite any policing efforts by congress and the courts, new technologies will constantly arise to take the place of those that submit to copyright compliance. Further complicating the matter, she introduces a set of "self-styled copyright anarchists" who are determined to continue illicit file sharing activities that evade protective measures supported by copyright legislation. Finally, she considers plans proposed by German and Canadian legislators to impose a surcharge on internet service costs to compensate copyright owners for the inevitable dissemination of their works over the internet. She concedes, however, that this is likely unfeasible since such a surcharge would have to be negotiated among all recording studios and would probably be prohibitively expensive.

This book provides a layout and description of the options available to multimedia copyright owners for the protection of their works from unauthorized use. The utility and potential weakness of various antipiracy techniques and applications are discussed, including adult image filtering, encryption, watermarking, fingerprinting, and authentication among others. The book also provides discussion of various issues of interest to copyright owners regarding the parameters and limitations of applying Digital Rights Management techniques within intellectual property law.

In reference to my project, the plaintiff and defendant in the Viacom v. YouTube case represent two sides of an ongoing tug-of-war over legal rights to make use of copyrighted content. These two opposing sides are copyright owners and fair use claimants. The book addresses this topic.--"Although copyright literally means 'right to copy,' the term isnow used to cover a number of exclusive rights granted to the authors for the protection of their work...There are, however, limitations on these rights as established in several sections of the 1976 Copyright Act. One important limitation, the doctrine of 'fair use,' has been the subject of a major discussion oncontent protection" (6)

Furht, Borko, and Darko Kirovski. Multimedia Security Handbook (Internet and Communications). Boca Raton: CRC Press, 2005

This book provides a layout and description of the options available to multimedia copyright owners for the protection of their works from unauthorized use.  The utility and potential weakness of various antipiracy techniques and applications are discussed, including adult image filtering, encryption, watermarking, fingerprinting, and authentication among others.  The book also provides discussion of various issues of interest to copyright owners regarding the parameters and limitations of applying Digital Rights Management techniques within intellectual property law.

In reference to my project, the plaintiff and defendant in the Viacom v. YouTube case represent two sides of an ongoing tug-of-war over legal rights to make use of copyrighted content.  These two opposing sides are copyright owners and fair use claimants.  The book addresses this topic.--"Although copyright literally means 'right to copy,' the term isnow used to cover a number of exclusive rights granted to the authors for the protection of their work...There are, however, limitations on these rights as established in several sections of the 1976 Copyright Act.  One important limitation, the doctrine of 'fair use,' has been the subject of a major discussion oncontent protection" (6)

Furht, Borko, and Darko Kirovski. Multimedia Security Handbook (Internet and Communications). Boca Raton: CRC Press, 2005

This book goes over the trends in multimedia that are pushing multimedia services into unprecidented technological formats. There is an in-depth analysis of the multimedia security technologies applied to digital data as prevention of copyright abuse or violation. These various copyright protection techniques inlude digital watermarking, steganography, fingerprinting and data hiding among others.

For the purpose of my project, the book discusses how the ease of communication of digital data is making it a globally accessible commodity. This is why positive internet video sharing service and televisions industry partnerships are being fostered. There is a growing demographic of interenet file-sharing service users who can be reached with multimedia entertainment. The future of these internet hosting / television industry busines partnerships is being forged out of the new technologies in digital data sharing.

Also of interest for my project is that the book also addresses the matter at the root of the uneasiness and friction between multimedia industries like the television companies and the internet video-sharing environment in general. That problem is arising from the polarized interests of intellectual rights owners and interntet end-users seeking free access to information.--"...The development of digital technologies permitting transmission of digital data over the internet has raised questions about how these rights apply in the new environment.  How can digital intellectual property be made publicly available while guaranteeing ownership of the intellectual rights by the rights-holder and free access to information by the user?" (3).

• Lu,Chun-Shien. Multimedia Security: Steganography and Digital Watermarking Techniques for Protection of Intellectual Property. Hersey: Idea Group Inc., 2005