Digital Content Industry Research Articles

WORK AND THE CITY IN THE e-SOCIETY A critical investigation of the sociospatially situated character of economic production in the digital content industries in the UK

The aim of this paper is to ground debates about the ‘new economy’ or ‘e-society’ in the practice of individuals and companies producing ‘new media’. The uncontroversial starting point is to question the generalization in much theorizing, and the tendency to technological reductive accounts of social and economic change. The focus here is to point to the intellectual sources of much policy in this field. The authors present case study material of three very specific parts of the new media/digital content industries (film special effects, computer games and web design). The paper concludes that both technological reductive and agentic accounts have underplayed the continuing importance of the social and economic embeddedness of production, and of the situated co-constitution of technologies, people and places. The differences between industries associated with labour processes, labour markets, users and markets for goods are highlighted. These particularities begin to offer more robust accounts of location and organization.

A study on strategies to enter the BRICs Market for Digital contents industry -Drawing Promising Contents in BRICs-

A study on strategies to enter the BRICs Market for Digital contents industry -Drawing Promising Contents in BRICs-

Structural equation model for effective CRM of digital content industry

Digital contents industry has been expanding its business based on broadband internet technology. But service level of contents provider has not reached the expected level of customers in the context of CRM yet. In this paper, we develop a structural equation model for customer satisfaction index (CSI) to measure the level of digital contents service quality reflecting the aspects of contents quality, service quality and provider quality. Our proposed model is applied to various types of contents such as on-line games, mobile contents, internet VOD services and e-music. The results give us the controllable feedback information to effectively improve customer satisfaction for each kind of digital content industry.

Commercialization of digital storytelling

Digital Storytelling (DST) is an emergent multimedia expression format, which empowers ordinary people to explore their creativity through producing a 2–5 minute film based on personal stories. This new tool has been taken up internationally by education, community and media parties. This article explores Digital Storytelling's application and commercialization potential in China. The key argument is that a commercial operation of DST would be an appropriate means of integrating cultural tourism, the Beijing Olympics and wireless value-added services (VAS). The first section introduces the concept of Digital Storytelling – its history, definition and international practice. The second section focuses on the opportunities presented by the Chinese market and relevant digital content industries.

Exporting Chinese Culture: Industry Financing Models in Film and Television

This article examines the financing of creative industries in the People’s Republic of China. Creative industries embrace both traditional and contemporary culture, but exportable industries are primarily content-driven. This focus on export content shifts the development argument away from the provision of infrastructure towards innovation in the global economy. The concern of this paper therefore is on the synergy between financial and creative inputs into production, distribution, and marketing of film and television. The paper also makes some concluding observations about the prospects for digital content industries, and points towards a bottom-up model of development applicable across a range of creative and content industries.

Facilitating fair use in the digital age

The paper refers to the response of the digital content industries to the threat of large scale digital copyright piracy and their successful lobby of legislatures on a global scale for laws that prevent it. It points to the basic problem of the resulting laws in not striking an appropriate balance between the interests of digital copyright holders and others who may have legitimate claims to access and use a protected work. It argues that the Digital Millennium Copyright Act (and other similar laws) takes an all or nothing approach to circumvention technologies. This article advocates a new approach, namely developing a simple and inexpensive procedure to resolve disputes before an administrative agency about lack of access to a protected work for legitimate purposes. It contends that such an approach will prove more effective than current legislation and legislative proposals.

From Multimedia to Digital Content and Applications: Remaking Policy for the Digital Content Industries

This article analyses the two policy moments of digital content industries policy development of the Keating (1992–96) and Howard (2001–04) governments. In bringing these two moments into dialogue, our aim is to illuminate and evaluate the broader policy frameworks, and the political and policy contexts, which gave rise to and subsequently shaped these different digital content strategies. The Keating government connected culture and services to harness multimedia as a vehicle for cultural expression and as a new economically viable growth industry suited to a convergent information age. The Howard government's innovation agenda has reconstructed industry development priorities for the digital content industries, influencing their conception as inputs and enablers for both the ICT and broader industries in an information economy framework. The article concludes with an evaluation of the assumptions and priorities, shortcomings and advantages of these two quite different approaches to developing digital content industries.

Transformations

Transformations

DRM 기술을 활용한 디지털 만화 콘텐츠 서비스 시나리오 개발

현재 디지털 만화 컨텐츠의 온라인상에서의 유통은 불법유통 및 저작권 보호체계의 미비 등으로 유통서비스 자체가 불안한 상태이다. 이러한 문제를 해결하기 위한 유통 모델 제시나 저작권 보호를 위한 연구가 국외에서는 활발하게 진행되고 있지만 국내에서는 아직 시작 단계에 머물러있다. 본 논문에서는 국제 표준화 기구에서 통용되는 MPEG-21, IMPREMATURE, FILGRANE과 같은 프로젝트의 디지털 콘텐츠 유통 모델을 분석하여, 디지털 만화콘텐츠 분야에 DRM 기술을 활용한 서비스 시나리오의 적용성을 모색해 보았다. 따라서, 디지털 만화 콘텐츠 분야를 대상으로, 다양한 실제 요구사항 및 비즈니스 모델을 지원할 수 있는 DRM을 적용한 유통 모델을 정의 할 수 있는 시나리오를 개발하였다. 세부 개발내용으로는 첫째, 표준 및 대표적 국제 사례의 DRM 유통 모델을 분석하고, 둘째, 디지털 만화 콘텐츠 유통 시나리오를 제시하며, 마지막으로, 디지털 만화 콘텐츠의 안전한 유통(secured distribution)을 위한 서비스 시나리오를 제안하였다. 본 논문의 연구결과물은 DRM의 적용 테스트베드로서 그 파급효과가 기대되는 디지털 만화콘텐츠 분야에 대한 서비스 시나리오가 디지털 보호 유통 기술 및 서비스 모델에 효과적으로 적용될 수 있는 기초연구를 제안하였다. In recently, digital comic content distribution was not stable for illegal distribution and the weak of intellectual property right in the internet. The research activities of suggest the distribution model and secure intellectual property right are going in international standard communities, not yet in Korea. As the basis of the research, the general framework of international projects and standards such as MPEG-21, IMPREMATUR, FILIGRANE was analysed. Targeting on the domain of digital comics industry, the digital comics distribution structure and business flow model are defined adapting secured distribution system, DRM. The detail content of this research consist of three themes. The first, survey and analysis of the international standard ＆ leading DRM project's models. The second, suggestion of the service scenario on the digital comic content distribution. The third, suggestion of the model on the secured distribution of digital comics. Through this research targeting at the digital comics business, we found that standards technical items and requirements was well adapted into target domain, and would affect other domain in digital content industry.

The impact of the Internet on the law and economics of the music industry

Business as usual in the music industry is over. Online music is a force to be reckoned with now and increasingly in the future. This paper first describes the current revenue streams and cost causers that characterize the traditional business model in the music industry. Then, the impact of the Internet on the current business model is described, especially as it relates to the distribution stage of the value chain in the record business. Also, the impact of the Internet’s disruption of the distribution stage on the state of existing copyright law, as manifested through the introduction of Napster’s peer‐to‐peer innovation, is explained. Third, an analysis of salient economic, political/legal, and technological issues arising from these changes on the entire industry is presented. Finally, the paper identifies characteristics of a viable business model in the music industry and offers lessons for other digital content industries.