Despereaux Movie identikit Pirate Italic PIRATES AND PIRATES Data from FAPAV in association with IPSOS on audiovisual piracy in Italy are very interesting: a thing we never was made. But it should be read carefully and especially keeping in mind the methodology used. The criterion used, namely the house of interviews (made from house to house and not the phone), it is more reliable than others. But the confession of what is erroneously perceived as an attitude (as well as an offense is not penalized) can reveal the problems that it seems a glimpse.
Certainly, however, there are numbers. 32% of the sample of 2,000 individuals surveyed stated that it was pirated in some way, whether for files downloaded from the network (21% of the total), which bought the DVD stalls (17%) or the so-called indirect piracy (24 %), ie having pirated movies or borrow from friends. In most everyone said they exercised at least once all three forms of piracy. The attacker also
online is generally young (between 15 and 24 years), has a high school diploma and is studying, living in the north-west and is a strong user of technology. Unlike other hand, the physical attacker has at least 33 years, generally live South, has a diploma in lower secondary school, is married and has a clerical job.
course, is to dominate more and more Internet piracy is declining physical and digital on the rise. Although they remain the most widely practiced form of retrieval of online content, including peer to peer and download are down to the stream. To date, 20% see movies illegally downloading while the 3.8% only watch them in streaming, but all agree on whether the numbers are reversed in the future.
These films are mostly first run at least 60% of cases (and 20% of those not yet in the cinema), while a surprising 30% are more titles old. But all (96%) are in Italian. The attacker would be more sophisticated in its demands than he is painted, so that only 10% of cases are dissatisfied with the quality of what it finds, while in the case of physical piracy is 30% of cases. Perhaps it is this search and this "professionalism" in the offer to lead the attacker to not charge the illegality of what he does. 60% knows that it is a crime but then she perceives it as such: not even the pirates do not perceive it as such and not condemn those who, unlike them, he sees movies illegally.
The speech, however, is unfortunately more difficult when shows the qualitative data, that is, those derived from in-depth interviews and in order to understand the habits of the pirate and his way of seeing the film. More difficult because the final picture does not fit much with what we usually see, with the pirates we know and with the logic of the act. The methodology followed in this case was that of focus groups (ie group of different types of interviews that go deeper) with teenagers, children and adults. What he left out the range 20-30 years, one of the most involved, according to the data.
The result is that the pirate the PC is "the pivot around which revolves a large part of their free time, a key to the world, much emotional investment which is very often in close connection "and the film is" content to be consumed quickly and in quantity, vision lose the frame of reference and any bank going in derogation quality audio and video without problems. The vision is especially at home and on the PC as a filler of downtime. "
The attacker does not (there is a name that identifies him only in relation to the pirate) sees the PC as" an opportunity among others, a channel of communication and entertainment but not all of their free time and interests "and the film is" entertainment but also an object of cultural value and distinctive vision is characterized by a precise ritual peculiar So the quality is a prerequisite. The vision is especially true when it is home to the cinema and it preserves the specificity.
What does not seem to go first of all is the speech quality. The attacker would be mindless quality because it consumes and does not see the film, but then in the quantitative part of Research explains how to really judge a satisfactory quality of pirated copies (which in fact is often high). In addition to this then it is strange how the pirate seems less interested in the film although the film did not see more pirate (because in addition to the illegal copies to be in the cinema) and little cultured, when the data identifies it as having a high school diploma and university student.
Also during the presentation of the data were also shown the disturbing pictures, for privacy reasons were not disclosed but the press had a role that has appeared, perhaps, the end is not too different from that of plastic in reconstructions TV Cogne murder. Had in fact been asked of children under the age of probably 13 years to draw "a vision of a movie."
The drawings of children who are familiar with pirated or piracy were small in large sheets and without colors! Small compared to the rest of them retreated and were essentially devoid of any stimulus. In two words: sad and chilling. In contrast designs children unrelated to piracy were big, playful, imaginative, colorful and full of ideas. Legitimate question about what we have tried to communicate with this type of detection. It would appear that children who follow all the rules are more imaginative and creative instead of those who act outside the norms imposed by the authorities. So who then is that pirate in gray. The message attached to this show it became clear: a wish that our children are not like those pirated.
FOOD MARKET It was also said that piracy was removed from the cinema with a turnover of nearly EUR 600 million. A figure calculated by asking each respondent what he would do if he had found the last film that pirated. Depending on the type of response ("I would go to the movies," "I'd rented," "I would have looked on television" or "nothing") have been assessed, the money lost ticket or the rental and then multiplied these data for all pirated movies. Presented as a given official, but then the president of Philip FAPAV Roviglioni, interviewed on the issue, said as "not precise but are roughly the money."
There was also mention of the fact that according to data Cinetel (which is the official organ of detection) from 2003 until today, tickets sold increased and not decreased. Never, not even a year (the only exception 2007/2008 was the shift, but in that case, the experts say, the decline was due to the fact that 2007 was an exceptional year for the number of blockbusters out) and in the same way since 2003 to now DVD sales have always increased from year to year (data Univideo). The only thing that has fallen (dramatically) was rented. The attacker then goes to the movies and buy the DVD, even more than before. That is, as is normal, more than a passion to see film cinema. Questioned on the issue, Philip Roviglioni always argued that it is true that tickets have increased. Informed sources said that the data "Here you make a speech more generally, in Italy there is a law that is enforced. "
There was also space to finally suggest possible remedies. FAPAV explained how the research was meant to be a useful tool in the hands of the government, hoping that thanks to the committee recently active you can come to a remedy. FAPAV suggests a path chosen on the French model. In this regard Roviglioni also told of the first timid attempts raised by the Federation: "A month ago with a software we found a number of people who download movies and music. We went to the magistrate very happy with your name, the magistrate asked us how we had obtained and because obviously the pirates in question were not told us who risked their will to be investigated for violation of privacy. We then went to talk to number two on privacy that only told us how to share our sense of helplessness and frustration. "
in the same direction is given to the secretary communications Paolo Romani:" We in Europe are close the French position and currently the only question that is only if we act before or after the intervention of the judiciary. "He spoke in short, to" put a filter on these sites "(sic) until he entered the concerned that some directors and film producers have taken to the presentation, which proved a different view, suggesting in some cases to challenge solutions seem to agree that better to market developments. Paolo Virzi
was the first to speak with a certain verve, defending his own class (then, to finished presentation has also candidly admitted that he walked the hand, because then he is in first person is a director and for this the court to decide these things). He launched a strong charge to ISPs, which it believes the real culprits: "A boy is charged € 50 a month for a broadband connection, and those are stolen money to the movies." The director of Whole Life Ahead aims to combat piracy without prosecuting those who download but with a better legal alternative: "We must be the ones to put online movies a year ago, is well quality, full of extras and things ganze! It should be inexpensive, 50 cents or a euro. "
spoke again, Roviglioni held to distance themselves from the attack to the ISP and also the remedy deemed appropriate but perhaps not very effective at this time the main purpose would be to to fight against piracy.
following intervention but also went in the direction of that of Virzi, indeed even further, with a proposal more attractive to Henry Vanzina. He was in favor of zeroing distribution window: "Let's go to the cinema, on DVD, on TV and online with a movie at the same time then each choose how to see it." An idea buzzing for some time and that essentially gives attackers exactly what they already have but better and at an affordable price.
Even the producers, represented by Riccardo Tozzi's Cattleya (My Brother is an Only Child, only a father) said they were more than favorable to set up an alternative legal at low prices: "With the volumes of the Internet that you want that it takes to get them cheap? ".
One wonders where the problem is if all the content producers agree. Warner, who will then help is to know how we are already moving and very much for sale and rent online. However, the shops currently do not always accept the Italian network to put their films and put them at a price content because there are no other production houses. The user, say the sellers, does not understand what movie belongs to which home and if it finds what it seeks simply think that the site has a good offer. And maybe never comes back.
from the point of computer 17/04/2009
