As part of the Research Blog Series, Xiaobai Shen and Robin Williams from the University of Edinburgh present their work on business models in China’s online music, literature and film industries.
Discussion in Beijing workshop
Project Name: Convergence or differentiation in IP protection? A case study of new models for digital film, music and e-fiction production and distribution in China
Investigators: PI Dr Xiaobai Shen with Co-I’s Prof Robin Williams and Prof Martin Kretschmer (CREATe)
Edinburgh University: Prof Burkhard Schafer
Peking University (PKU): Prof Yinliang Liu, Yixiao Li, Shufeng Zheng
Tsinghua University: Prof Xudong Gao, Dr Martina Gerst.
What did your research aim to do?
The project investigated the emergence of new production, distribution and business models in China’s online music, literature and film industries. It aimed to gain a better understanding of the current play in China in comparison with the state of the similar cultural industries in the UK and Europe. It focused in particular on the recent mergers and reconfigurations of these Chinese industries, that has arisen since the large internet giants, Baidu, Alibaba and Tencent, engaged in these industries. It examines the consequences for the evolution of new online services and the development of these industries
On 30 October 2017, Dr Elena Cooper presented a paper at a British Art Network conference organised by the Tate: ‘Artists as Reformers in Britain 1850-1914’ held at the Watts Gallery, Surrey. The conference explored how British artists projected their aesthetic authority into social and political fields in the nineteenth and early twentieth centuries, and included contributions from art historians, researchers and art curators on diverse subjects such as the relation between art and the women’s suffrage movement and the social activism of the painter G.F. Watts (1817-1904).
Dr Cooper’s paper uncovered the intense involvement of British painters in the legislative reform of copyright from the 1850s to the codification of copyright in 1911, drawing on the extensive original archival work underpinning her forthcoming book (Art and Modern Copyright: The Contested Image, CUP).
Two significant CREATe Copyright & Innovation Network events took place in Glasgow on the 10th November: the Copyright Evidence Wiki board meeting and a Workshop addressing legal and business model constraints on collections.
At the first meeting of the Editorial Board of the Copyright Evidence Wiki , attendees consisted of Martin Kretschmer (Chair), Kristofer Erickson, Ruth Towse, Amy Thomas, Heather Ford, Thomas Margoni, Fred Saunderson, Paul Heald, Rebecca Giblin and Kenny Barr. The purpose of the meeting was to give the Board a sense of the technical specifications of the Wiki and the challenges it seeks to address. The team received input from the Board on policies for including new contributions to the Wiki. Professor Heald generously offered the assistance of librarians at the University of Illinois to help generate a list of new studies for inclusion.
The Board also discussed matters relating to transparency and independence of editorial content, ideas about opportunities to increase the policymaking awareness and impact of the Evidence Wiki, and other future collaborations. A public Q&A followed the Board Meeting, which provided an opportunity to share details of the resource with students and other faculty from the University, as well as interested members of the public. Continue reading
Tom Phillips shares his research into the value of the British video games industry – in cultural, political, and economic terms, as part of the Research Blog Series.
Dr Tom Phillips at the Norwich Gaming Festival
Project Name: Measuring the ‘value’ of UK games tax relief
Investigator: Dr Tom Phillips, University of East Anglia
Through a review of existing academic literature, policy documents, and comment from the games industry, this research explored how the value of the British video games industry – in cultural, political, and economic terms – was articulated by stakeholders in the wake of new tax relief initiatives being introduced.
After a number of years of lobbying from stakeholders, games tax relief was launched in 2014 following similarly successful schemes in the UK for other creative industries. Stakeholders including MPs, trade bodies, and games developers highlighted the need for tax relief, stating that it would create jobs, aid skills development, boost the economy, make Britain competitive on an international level, and forge a new level of British culturally specific game content. The idea of celebrating Britishness was very firmly and repeatedly articulated.
Continuing the Business Models theme of our Research Blog Series, Inge Sørensen presents her work on ‘Social TV’
BBC Scotland HQ during the 2014 Commonwealth Games in Glasgow
Project Name: Live media events across mobile platforms and devices: a case study of the ‘BBC Live’ content delivery system
Investigator: Dr Inge Ejbye Sørensen, Centre for Cultural Policy Research, University of Glasgow.
What did your research aim to do?
The work package explored social media and online interactions around live media events, broadcast by Public Service Media providers in the UK. It focused on the BBC’s ‘BBC Live’ system, and its central role in promoting BBC’s programmes and content across platforms and social networks, as well as generating and orchestrating connected viewing experiences around live events across devices (mobile/tablet/PC and TV). ‘BBC Live’ is a Content Management System as well as the BBC’s online, live graphic user interface. It was originally developed to cover the sporting events at the London Olympics in 2012, and has since been used to cover music events (Glastonbury and the Proms), politics (the Scottish Independence and EU Referenda), arts (The Edinburgh Festival) and sports (Wimbledon, the World Cup and the Commonwealth Games).
How did you do it?
With the BBC’s and Channel 4’s live coverage of the Sochi 2014 Winter Olympics and Paralympics as case studies, the research project drew on interviews with BBC’s Head of Sports and social media producers at Channel 4 as well as data on viewer interactions, social media activity and live events from PACT, Ofcom and the BBC.
As part of the CREATe Research Blog Series, Mindy Grewar reports on research at the University of St Andrews into the management of IP by creative businesses .
Textile design by Angharad McLaren
Project: Managing Intellectual Property Assets for Creative SMEs (Part 1 & Part 2 below)
Investigators: Professor (now Emeritus) Barbara Townley, Post-Doctoral Researcher Dr. Henning Berthold, Dr. Shiona Chillas, Dr. Nicola Searle, Knowledge Transfer Associate Eilidh Young and PhD student Melinda Grewar.
This project at the University of St Andrews’ Institute for Capitalising on Creativity focused on improving understanding – for practitioners and academics – of how companies in the cultural and creative sector define and manage their Intellectual Property (IP). As part of the project we conducted extensive interviews with creative organisations based in Scotland.
This project asked, how are practitioners protecting and enforcing their IP rights, particularly with the limited resources that are typical of organisations in this sector? Usually, companies in the creative industries are micro (1-10 employees)- to medium-sized operations that find it difficult to prioritise time and finances for managing IP, despite its potential as an income source. Our interviews with more than 122 practitioners in fashion, product design, film, TV, music, publishing, dance, theatre and computer games provide insight into some of the challenges of creative design and production in globally connected markets, and details of this sector’s methods—many successful, some less so—for exploiting IP.
Guest post by Marcel Kohpeiß, postgraduate student on the LLM in Intellectual Property and the Digital Economy.
In the second of CREATe’s Autumn 2017 Public Lectures, Prof. Paul Heald (University of Illinois) discussed the problem of disappearing books from general availability, and if reversion rights are a possible solution for the issue. The lecture took place on the 8th of November in Glasgow University’s Arts and Humanities lecture theatre with Prof. Andreas Rahmatian (University of Glasgow) as chair.
Paul presented the methodology and findings of his recent study, which addressed the effect of US reversion rights on book availability on the US market. For this purpose, he briefly presented the problem of ‘disappearing books’. This term designates a current process on the book market, because of which more and more books disappear, due to long copyright durations. A graphic displayed to explain the phenomenon showed that only newer literary works could be found on Amazon in greater quantity. Older books however, which do not fall in to the public domain and are still subject to copyright, only exist in smaller quantity. This leads to a greater quantity of books from that period not being available and thereby disappearing from the market. The disappearance of books is problematic even in an economical view and could be viewed as a market failure, as it leads to large proportion of books not being available for monetary exploitation and not being available as a source of inspiration to others.
CREATe is delighted to announce Naomi Korn as an Industry Fellow. The Industry Fellows scheme was established to further develop and deepen connections with industrial partners and stakeholders. Naomi will write about copyright for museums and cultural heritage for CopyrightUser.org. Based on her extensive experience in the field, she will identify the copyright knowledge needs of museums in the UK and produce sector-specific guidance.
Naomi said: “I’m thrilled to have been appointed a CREATe Industry Fellow. I am a great fan of the work of CREATe in raising the level of awareness and engagement with copyright. I’m looking forward to working with CREATe in producing practical information for museums about the impact of copyright on their activities”.
Naomi is a specialist in copyright & compliance and the Managing Director of her own company, Naomi Korn Copyright Consultancy (NKCC), which she established over 15 years ago. As Chair of the Libraries and Archives Copyright Alliance (LACA) from 2013 – 2017, she led the reform of the UK’s copyright laws on behalf of the cultural heritage sector, which resulted in new UK copyright exceptions in 2014. A Trustee of the Chartered Institute of Library and Information Professional (CILIP), Naomi is a visiting lecturer at City University, University College London and Kingston University.
(A) 25th October 1730-1900
Public Lecture: Public Art and Copyright Law (An Exploratory Analysis) by Lilla Montagnani (see below)
(B) 8th November 1730-1900
Public Lecture: Copyright Reversion to Authors (and the Rosetta Effect): Ameliorating the Problem of Disappearing Books by Paul Heald (see below)
(C1) 10th November 1100-1230 & 1230-1300
Meeting: Copyright Evidence Wiki Board Meeting (Closed meeting followed by Public Q&A – see below)
(C2) 10th November 1400-1615
Workshop: Copyright Education and Educating Users / Legal and business model constraints on the transformative value of heritage collections (see below)
(D) 15th November 1730-1900
Public Lecture: Taking seriously the author’s interest in copyright by Rebecca Giblin (see below)
(E) 8th December 1100-1830
CREATe / BFI Education Screening Event: Copyright & Creative Reuse (see below)
See individual event links for further details. Join the conversation on Twitter:
On September 6-8, a lively delegation of researchers, enterprises and policy makers from all over the world met in Athens for the Open Science Fair, the inaugural international conference on Open Science and the first of its kind in Europe. With its powerful slogan of “binding policies and researchers flow, infrastructures and services with people”, the event took place in the new premises of the National Library of Greece (NLG) at the stunning Stavros Niarchos Foundation Cultural Centre.
Acknowledging the major challenges faced by the intriguing research paradigm of Open Science (OS), OSFair2017 was a unique opportunity to discuss the basis for a real transition from the current closed scientific landscape to OS. The challenges include the persistence of traditional and obsolete publishing mechanisms, lack of proper institutional incentives and a limited availability of adequate tools and services to promote Open Access (OA)
Organised by the consortia of four large EU-funded projects, namely OpenAIRE, OpenUP, FOSTER and OpenMinTeD, it was locally curated by the National Kapodestrian University of Athens and the “Athena” Research and Innovation Center (ARC) and co-sponsored by the National Library of Greece. OSFair2017 successfully reached its expected outcomes by bringing together distinguished speakers and enthusiastic discussants with various expertise, from sciences to economics and politics, all engaged in inspiring keynotes, exciting debates on the implementation of OS principles, useful training sessions and an interesting poster showcase.