Pirate Cinema Cory Doctorow ppt

Pirate Cinema Cory Doctorow copy @ www.sisudoc.org/ Copyright CorDoc-Co, Ltd (UK), 2012.; License: ‹https://creativecommons.org/licenses/by-nc-nd/3.0/› SiSU www.sisudoc.org/ ii Contents Contents Pirate Cinema, Cory Doctorow 1 A commercial interlude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Read this first! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3 The copyright thing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 About derivative works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6 Donations and a word to teachers and librarians . . . . . . . . . . . . . . . . . . 8 Commercial interlude the second . . . . . . . . . . . . . . . . . . . . . . . . . . . 9 Dedication . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 Prologue: A star finds true love/A knock at the door/A family ruined/On the road- /Alone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Commercial interlude III: the reckoning . . . . . . . . . . . . . . . . . . . . . . . . 22 Chapter 1: Alone no more/The Jammie Dodgers/Posh digs/Abstraction of Electricity 23 Commercial interlude rebooted . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61 Chapter 2: Adrift/A new home/A screening in the graveyard/The anarchists! . . . 62 Commercial interlude: a new generation . . . . . . . . . . . . . . . . . . . . . . . 91 Chapter 3: Family/Feeling useless/A scandal in Parliament/A scandal at home/War! 92 Revenge of Commercial interlude . . . . . . . . . . . . . . . . . . . . . . . . . . 115 Chapter 4: A shot across the bow/Friends from afar/Whatever floats your boat/Let's put on a show! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116 Down and out in the commercial interlude . . . . . . . . . . . . . . . . . . . . . . 134 Chapter 5: Flop!/A toolsmith/Family Reunion/Late reviews . . . . . . . . . . . . . 135 Commercial interlude for the win . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 Chapter 6: The war hots up/Homecoming/Drowning in familiarity . . . . . . . . . 158 Bride of commercial interlude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170 Chapter 7: Raided!/Landlord surprise/Taking the show on the road . . . . . . . . 171 Son of commercial interlude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182 Chapter 8: Opening night/They love us!/A friend in Parliament . . . . . . . . . . 183 Land of the commercial interludes . . . . . . . . . . . . . . . . . . . . . . . . . . 189 Chapter 9: Is that legal?/Cowardice/Shame . . . . . . . . . . . . . . . . . . . . . 191 Cmrcl ntrld . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 Chapter 10: Facing the parents/Lasers in London/Rabid Dog's horror . . . . . . 203 The commercial interlude strikes back . . . . . . . . . . . . . . . . . . . . . . . . 213 Chapter 11: Speechifying/£78 million/A friend in the law . . . . . . . . . . . . . . 214 Commercial Interlude XVII . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 Chapter 12: TIP-Ex!/Don't be clever/A sympathetic descendant . . . . . . . . . . 224 Love in the time of commercial interludes . . . . . . . . . . . . . . . . . . . . . . 242 Chapter 13: Shopped!/On the Road/Family Reunion . . . . . . . . . . . . . . . . 243 Fear and loathing in commercial interludes . . . . . . . . . . . . . . . . . . . . . 255 SiSU www.sisudoc.org/ iii Contents Chapter 14: Good friends and lifted spirits/Magnum opus (“It's Not Fair!”)/Parliament Cinema . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 Commercial interlude 3D . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 Chapter 15: A less-than-ideal world/Not-so-innocent bystanders/How'd we do? . 274 Twilight of the commercial interludes . . . . . . . . . . . . . . . . . . . . . . . . . 283 Epilogue: Sue me/An announcement/Soldiering on . . . . . . . . . . . . . . . . . 284 Commercial interlude: a new beginning . . . . . . . . . . . . . . . . . . . . . . . 287 Acknowledgements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 Twilight of the commercial interludes . . . . . . . . . . . . . . . . . . . . . . . . . 290 Creative Commons license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 Secret commercial interlude . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 Metadata 299 SiSU Metadata, document information . . . . . . . . . . . . . . . . . . . . . . . . 299 SiSU www.sisudoc.org/ iv Contents �% SiSU 2.0 Pirate Cinema, Cory Doctorow SiSU www.sisudoc.org/ 1 Pirate Cinema A commercial interlude Today, October 2, 2012 is the hardest it will ever be to copy things. It will never get harder. It only gets easier from here. Our grandchildren will marvel at how hard copying was in 2012. “Tell me again, Grandpa, about the years 2012, when hard-drives with the capacity to hold all the music, movies, words, photos and games ever weren't three for a buck in the check-out aisle at the grocery store! Tell me again about when not everyone knew the magic trick of typing `movie name' and `bittorrent' into a search engine!” I can't stop you from copying this book (even if I wanted to). I can't force you to buy it in order to read it (even if I wanted to). All I can do is ask you to consider purchasing it if you enjoyed it. There's links below for buying the book in print or ebook form. All the ebooks are DRM-free because they come from Tor Books, who, as of summer 2012, publish all of their books without DRM (this is one of the reasons I love them!). If you don't want a print edition, and if you're happy with this ebook, you can still send some money my way by ‹donating a copy to a library or school› . This will also make you a class-A dude. You don't have to buy the book from an online seller, either. ‹Here's a tool› that will find you independent stores in your area that have copies on their shelves. USA: ‹Amazon Kindle› (DRM-free) ‹Barnes and Noble Nook› (DRM-free) ‹Google Books› (DRM-free) ‹Apple iBooks› (DRM-free) ‹Kobo› (DRM-free) ‹Amazon› ‹Booksense› (will locate a store near you!) ‹Barnes and Noble› ‹Powells› ‹Booksamillion› Canada: ‹Amazon Kindle› (DRM-free) ‹Kobo› (DRM-free) ‹Chapters/Indigo› ‹Amazon.ca› Audiobook: ‹DRM-free download› SiSU www.sisudoc.org/ 2 Pirate Cinema Read this first! This book is distributed under a Creative Commons Attribution-NonCommercial-NoDerivs 3.0 license. That means: You are free: • to Share to copy, distribute and transmit the work Under the following conditions: • Attribution. You must attribute the work in the manner specified by the author or licensor (but not in any way that suggests that they endorse you or your use of the work). • Noncommercial. You may not use this work for commercial purposes. • No Derivative Works You may not alter, transform, or build upon this work. For any reuse or distribution, you must make clear to others the license terms of this work. The best way to do this is with a link ‹http://craphound.com/pc› Any of the above conditions can be waived if you get our permission More info here: ‹https://creativecommons.org/licenses/by-nc-nd/3.0/› See the end of this file for the complete legalese. SiSU www.sisudoc.org/ 3 Pirate Cinema The copyright thing The Creative Commons license at the top of this file probably tipped you off to the fact that I've got some pretty unorthodox views about copyright. Here's what I think of it, in a nutshell: a little goes a long way, and more than that is too much. I like the fact that copyright lets me sell rights to my publishers and film studios and so on. It's nice that they can't just take my stuff without permission and get rich on it without cutting me in for a piece of the action. I'm in a pretty good position when it comes to negotiating with these companies: I've got a great agent and a decade's experience with copyright law and licensing (including a stint as a delegate at WIPO, the UN agency that makes the world's copyright treaties). What's more, there's just not that many of these negotiations even if I sell fifty or a hundred different editions of this book (which would put it in top millionth of a percentile for bovels), that's still only fifty or a hundred negotiations, which I could just about manage. I hate the fact that fans who want to do what readers have always done are expected to play in the same system as all these hotshot agents and lawyers. It's just stupid to say that an elementary school classroom should have to talk to a lawyer at a giant global publisher before they put on a play based on one of my books. It's ridiculous to say that people who want to “loan” their electronic copy of my book to a friend need to get a license to do so. Loaning books has been around longer than any publisher on Earth, and it's a fine thing. Copyright laws are increasingly passed without democratic debate or scrutiny. In Great Britain, where I live, Parliament recently passed the Digital Economy Act, a complex copy- right law that allows corporate giants to disconnect whole families from the Internet if any- one in the house is accused (without proof) of copyright infringement; it also creates a “Great Firewall of Britain” that is used to censor any site that record companies and movie studios don't like. This law was passed in 2010 without any serious public debate in Par- liament, rushed through using a dirty process through which our elected representatives betrayed the public to give a huge, gift-wrapped present to their corporate pals. It gets worse: around the world, rich countries like the US, the EU and Canada negotiated secret copyright treaties called “The Anti-Counterfeiting Trade Agreement” (ACTA) and “Trans-Pacific Partnership” (TPP) that have all the problems that the Digital Economy Act had and then some. The plan was to agree to them in secret, without public debate, and then force the world's poorest countries to sign up for it by refusing to allow them to sell goods to rich countries unless they do. In America, the plan was to pass it without Congressional debate, using the executive power of the President. ACTA began under Bush, but the Obama administration has pursued it with great enthusiasm, and presided over the creation of TPP. The secret part of the plan failed ACTA ran into heavy opposition in Congress and has been rejected by Mexico and the European Parliament but the treaty SiSU www.sisudoc.org/ 4 Pirate Cinema isn't dead yet, has supporters on both sides of the house who keep attempting to bring it back under a new name. This is a bipartisan lunacy. So if you're not violating copyright law right now, you will be soon. And the penalties are about to get a lot worse. As someone who relies on copyright to earn my living, this makes me sick. If the big entertainment companies set out to destroy copyright's mission, they couldn't do any better than they're doing now. So, basically, screw that. Or, as the singer and American folk hero Woody Guthrie so eloquently put it: “This song is Copyrighted in U.S., under Seal of Copyright #154085, for a period of 28 years, and anybody caught singin' it without our permission, will be mighty good friends of ourn, cause we don't give a dern. Publish it. Write it. Sing it. Swing to it. Yodel it. We wrote it, that's all we wanted to do.” SiSU www.sisudoc.org/ 5 Pirate Cinema About derivative works Most of my previous books have been released under a slightly different Creative Com- mons license, one that allowed for derivative works (that is, new creative works based on this one). Keen observers will have already noticed that this book is licensed “NoDerivs” that is, you can't make remixes without permission. A word of explanation for this shift is in order. When I first started publishing under Creative Commons licenses, I had to carefully explain this to my editor and publisher at Tor Books. They were incredibly forward-looking and gave me permission to release the first-ever novel licensed under CC my debut novel Down and Out in the Magic Kingdom (‹http: //craphound.com/down/)›. This ground-breaking step was only possible because I was able to have intense, personal discussions with my publisher. My foreign rights agents are the inestimable Danny and Heather Baror, and collectively they have sold my books into literally dozens of countries and languages, helping to bring my work to places I couldn't have dreamed of reaching on my own. They subcontract for my agent Russell Galen, another inestimable personage without whom I would not have attained anything like the dizzy heights that I enjoy today. They attend large book fairs in cities like Frankfurt and Bologna in order to sell the foreign rights to my books, often negotiating with one of a few English-speakers at a foreign press, who then goes back and justifies her or his decisions to the rest of the company. The point is that this is nothing like my initial Creative Commons discussion with Tor. That was me sitting down and making the case to editors I've known for years (my editor at Tor, Patrick Nielsen Hayden, has known me since I was 17). My foreign rights are sold by a subcontractor of my representative to a representative of a press I've often never heard of, who then has to explain my publishing philosophy to people I've never met, using a language I don't speak. This is hard. Danny and Heather have asked not demanded, asked! that I consider publishing books under a NoDerivs license, so that I can consult with them before I authorize translations of my books. They want to be able to talk to potential foreign publishers about how this stuff works, to give me time to talk with them, to ease them into the idea, and to have the kind of extended conversation that helped me lead Tor into their decision all those years ago. And I agreed. Free/open culture is something publishers need to be led to, not forced into. It's a long conversation that often runs contrary to their intuition and received wisdom. But no one gets into publishing to get rich. Working in the publishing industry is virtually a vow of poverty. The only reason to get into publishing is because you flat-out love books and want to make them happen. People work in publishing for the same reason writers write: they can't help themselves. SiSU www.sisudoc.org/ 6 [...]... If you're a teacher or librarian and you want a free copy of Pirate Cinema, email ‹freepiratecinema@ gmail.com› with your name and the name and address of your school It'll be posted to ‹http://craphound.com/pc/donate/› by my fantastic helper, Olga Nunes, so that potential donors can see it If you enjoyed the electronic edition of Pirate Cinema and you want to donate something to say thanks, go to... Canada: ‹Amazon Kindle› (DRM-free) ‹Kobo› (DRM-free) ‹Chapters/Indigo› ‹Amazon.ca› Audiobook: ‹DRM-free download› SiSU www.sisudoc.org/ 9 Pirate Cinema Dedication For Walt Disney: remix artist, driven weirdo, public domain enthusiast SiSU www.sisudoc.org/ 10 Pirate Cinema Prologue: A star finds true love/A knock at the door/A family ruined/On the road/Alone I will never forget the day my family got cut.. .Pirate Cinema So I want to be able to have this conversation, personally, unhurriedly, one-to-one I want to keep all the people involved in my books agents, subagents, foreign editors and their bosses ... Amazon, BN.com, or your favorite electronic bookseller and order a copy to the classroom, then email a copy of the receipt (feel free to delete your address and other personal info first!) to ‹freepiratecinema@gmail.com› so that Olga can mark that copy as sent If you don't want to be publicly acknowledged for your generosity, let us know and we'll keep you anonymous, otherwise we'll thank you on the... I am more grateful than words can express for this one of my readers called it “paying your debts forward with instant gratification.” That's a heck of a thing, isn't it? SiSU www.sisudoc.org/ 8 Pirate Cinema Commercial interlude the second Me again That's all the forematter I admit that there's rather a lot of it You're not obliged to read it all (though I think it's pretty cool, especially ‹the... permission, without Creative Commons licenses Rights are like muscles When you don't exercise them, they get flabby Stop asking for stuff you can take without permission Please! SiSU www.sisudoc.org/ 7 Pirate Cinema Donations and a word to teachers and librarians Every time I put a book online for free, I get emails from readers who want to send me donations for the book I appreciate their generous spirit,... squirt guns, faces covered in cake and ice cream I found this lovely, lovely bit of video on a torrent tracker out of somewhere in Eastern Europe (Google Translate wouldn't SiSU www.sisudoc.org/ 11 Pirate Cinema touch it because it was on the piracy list, but RogueTrans said it was written in Ukrainian, but it also couldn't get about half the words, so who can say?) It was this bit of commercial toss... from the deserted rec with my pals before he could catch up, puffing along under his anti-stab vest and laden belt filled with taser, pepper spray and plastic handcuff straps SiSU www.sisudoc.org/ 12 Pirate Cinema “I don't think so, Mr Foxton.” Mum had the hard tone in her voice she used when she thought me or Cora were winding her up, a no-nonsense voice that demanded that you get to the point “Well,... Scot's in the cupboard, and the murderer has just done in Scot's brother and escaped from the garage where they'd trapped him, and is howling in fury as he thunders down the SiSU www.sisudoc.org/ 13 Pirate Cinema hallway, and Scot is in that cupboard, rasping breath and eyes so wide they're nearly all whites, and the moment stretches like hot gum on a pavement -“Trent!” The door to my room banged open... didn't come home that night I sulked around the estate, half-hoping that Mum and Dad would come find me, half-hoping they wouldn't I couldn't stand the thought of facing them SiSU www.sisudoc.org/ 14 Pirate Cinema again First I went and sat under the slide in the playground, where it was all stubs from spliffs and dried out, crumbly dog turds Then it got cold, so I went to the community center and paid . 299 SiSU www.sisudoc.org/ iv Contents �% SiSU 2.0 Pirate Cinema, Cory Doctorow SiSU www.sisudoc.org/ 1 Pirate Cinema A commercial interlude Today, October 2,. ‹https://creativecommons.org/licenses/by-nc-nd/3.0/› SiSU www.sisudoc.org/ ii Contents Contents Pirate Cinema, Cory Doctorow 1 A commercial interlude . . . . . . . . . . . . . . . .