Darknet: Hollywood's War

droopus writes "Most of you have heard about the Microsoft researchers' Darknet paper a couple of years back, which shoveled dirt onto the coffin of DRM as a business model. Well, now along comes a tech journalist to marshall the arguments in that paper as the basis for a new book. I wasn't sure what to expect from a book titled Darknet (a riff on the shortcomings of digital rights management? an ode to encrypted networks?), but the subtitle was a good tipoff: 'Hollywood's war against the digital generation.'" Read on for droopus' review. Darknet: Hollywood's War Against the Digital Generation author J.D Lasica pages 301 publisher John Wiley and Sons rating 8 reviewer Droopus ISBN 0471683345 summary A well written treatise on DRM and Hollywoods war against digital media

War ain't pretty, and this book delivers the goods as a primer on how digital technologies and "personal media" (podcasts, videoblogs, digital stories, Internet television, video games) are "throwing the old rules into disarray" and "shifting the balance of power begween big media and regular people." I would have liked to have seen more about Linux and open-source software, but the author is clearly aiming for a mainstream audience.

Darknet sounds at times like it could have been written by a team of Slashdotters, ripping to shreds the entertainment cartel's claims that the locks they're putting into our digital devices are for our own good, their claims that this is a fight about theft and piracy, and other distortions that the author exposes to devastating effect. (Larry Lessig, Ian Clarke, the president of Sony's Columbia TriStar studios, DVD inventor Warren Lieberfarb and a number of digital lawbreakers are just a few of the interesting characters parading through the book.)

While big thinkers like Lessig, Doc Searls and Howard Rheingold (who wrote the foreword) have constructed the intellectual scaffolding that alerted us to Hollywood's goals of fencing in the Internet and keeping the public domain from expanding, it is left to reporters like Lasica to uncover the depressing specifics of the copyright cartel's actions.

Fascinating stories abound, like the cross-industry meetings between Hollywood lawyers, gutless wonders from the consumer electronics industry, and reps from the tech sector discussing how to divide the world into region codes like the powers at Potsdam. (one studio went so far as to propose that GPS chips be placed in all computers with a DVD player so that Hollywood could enforce region coding from the sky. It's reported here for the first time.)

Or the story of what Hollywood was after in its litigation against Sonicblue's ReplayTV. According to former CTO Andy Wolfe, the studioswere intent on decreeing how long viewers could keep a program after it was recorded on a digital video recorder. They wanted to limit how many episodes of the same show viewers could record. They wanted to ban 30-sec skip buttons and to prevent fast forward from reaching a certain speed. They wanted to cap how much programming anyone could record -- a level that Wolfe's personal laptop already exceeds.

The tech industry comes in for some bruising too, as the author demonstrates how Microsoft, HP, and a raft of other tech companies are more than willing to sell out their customers (as long as all the other big boys in the club do it too) in return for allaying the fears of paranoid Hollywood studio chieftains whose nightmares consist of piracy, piracy, piracy. Lasica says it's too early to tell whether the "trusted computing" initiative is merely a Trojan horse foisted on PC manufacturers and chip makers by the silver tongue of Jack Valenti.

Anyone with an interest in how our digital freedoms are being whittled away, how the music, movie and television landscapes are about to change forever, or how a new, empowered generation of users (mostly young people) see media differently than the older crowd, would benefit from marking up their copy of Darknet (bring two yellow markers). As the author Media will change more in the next five years than it has in the past 50 years."

Lasica has been writing about citizens' media for years, and he recently founded the grassroots media site Ourmedia.org with the help of the Internet Archive. (Remember when Slashdot brought down the site on its first day?) Last weekend I heard him interviewed on NPR's On the Media, talking about why the RIAA and MPAA don't have a clue in hell about remix culture.

But don't believe me. Decide for yourselves. Check out Darknet.com, where the author has been blogging for a couple of years. (His blog readers provided the book's subtitle and they helped edit the book.) Lots of goodies on the site: a free mini-book, including new material and chapters from the book. (Especially noteworthy are The teenage filmmakers for a look at copyright law's absurdities and The Prince of Darknet for a fascinating glimpse inside the movie underground.) Also, you'll find a backgrounder on what the hell darknetshave to do with all this (I don't know, Darknet seems like a book publisher's idea of a sexy title) ... and something I've never seen from a mainstream journalist before: tons of links to sites like doom9.net, SmartRipper, Region-Free Guide, Total Recorder, Daemon Tools, isoheaven and more.

Some of this turf is no doubt familiar to Slashdotters. And, as I said, the book could have benefited from a deeper look at the history of open source software. But it's good to see these ideas getting some serious play -- finally -- in the mainstream media, and Hollywood getting some much-needed pushback.

You can purchase Darknet: Hollywood's War Against the Digital Generation from bn.com. Slashdot welcomes readers' book reviews -- to see your own review here, read the book review guidelines, then visit the submission page.

Comments

Ouch

[schmobag]

Darknet sounds at times like it could have been written by a team of Slashdotters.

That's a pretty mean thing to say.

Torrent?

[Szaman2]

So, where is the torrent for the book download?

Seriously though - why isn't this book released under creative commons?

Re:A Slashdot collaboration?

[Quince alPillan]

Does that mean that some chapters are dupes, or just some of the pages?

Hollywood Always Fights, Then Accepts and Profits

[ausoleil]

It's really pretty simple from Hollywood's point of view: control the distribution mechanism, something they are used to, and control access, something else they are used to. Just because it is the internet does not mean that they will not try to apply the business model that has worked well for them for nearly a century. In fact, given their history, it would be surprising if they did not.

Keep in mind that Hollywood has largely tried to stifle technlogical innovation outside of their control: they complained about television, because it would keep people from the theatres. Then, they mastered that medium and made even more money because of it. Then, later, they complained about VCRs, because it would allow people to record films and not pay them for the privilege. Then, as with television, they mastered that medium and made even more money because of it. They resisted DVDs initially because it would be easy to make "perfect" copies from a DVD, and they put on an exceptionally weak encryption scheme to thwart that from happening. Of course, the 'DRM' was thwarted, people now copy DVDs, and guess what: Hollywood makes more money because of DVDs.

Now comes the internet. As usual, Hollywood is resisting this new technology and are saying what they usually say: it will cost them money. However, if history serves as a guide, they will eventually master this medium too and make money because of it.

There is piracy, there is little doubt about that. While it does prevent some sales of DVDs or movie tickets, in some cases it has gone the other way and has drawn interest into a film or a TV show. There is much speculation that the producers of Battlestar Galactica conducted a quiet stealtht marketing ploy by allowing their show to be distributed via BitTorrent and other P2P vectors -- and it worked. BG gained an audience, and surely some of it came from those who had downloaded earlier episodes. Now, the same is being said of the new Doctor Who. Surely, few Americans would see it if it were not for the illegal distributions. There is a lot of interest in this new show and it is surely because of P2P, because the show is not available in any form (legally) in the USA.

At the end of the day, all of Hollywood's fighting will turn to gradual acceptance. Whether or not it is on their terms is their and the market's choice. The internet is here to stay, and so is piracy. Instead of focussing on preventing piracy, perhaps Hollywood should add enough to the value propostition that piracy is an afterthought. Many would gladly pay to get electronic distributions of shows via the internet, and it is up to Hollywood to get out of their office chairs and to figure out how to profit from it. History says that they will, but it does not foretell WHEN they will.

Re:A Slashdot collaboration?

[aardvarko]

So wait, does that mean that some of the chapters are dupes, or just some of the pages?

What Wiley said

[aaronsorkin]

I actually argued for the entire book to be released under a Creative Commons sharealike license. The higher-ups at Wiley didn't think that people would buy the physical book if they could read the whole thing online.

So we compromised. I'm releasing a mini-book online -- excerpts from the book, along with interview transcripts and new stuff, every Monday at Darknet.com.

Some day, book publishers will release all new works onto the Net in some fashion (perhaps with ebook DRM, perhaps not). But, alas, we ain't there yet.

- jd (the author)