Pirate Cinema

 

+ Keep Up Your Rights. First Preliminary Program of the Berlin Pirate Cinema
+ I krig mod virkeligheden / In war with reality
+ 100 ANTI-THESES
+ A means of mutation Notes on I/O/D 4: "The Web Stalker"
+ TAUTOLOGICAL MANIFESTO OF THE MEDIA by www.o-o.lt
+ A CYBERPUNK MANIFESTO
+ THE DEAD MEDIA MANIFESTO
+ The DEAD MEDIA Project: A Modest Proposal and a Public Appeal
+ A HACKER MANIFESTO [version 4.0]
+ Bitch Mutant Manifesto
+ CYBERFEMINIST MANIFESTO FOR THE 21st CENTURY
+ Cinema and Revolution (1969)
+ A Cyborg Manifesto (1991)

+ In and Against Cinema (June 1958)
+ T. A. Z.The Temporary Autonomous Zone, Ontological Anarchy, Poetic Terrorism
+ The Hacker Crackdown: Law and Disorder on the Electronic Frontier
+ What is Property? An Inquiry into the Principle of Right and of Government
+ Expanded Cinema
+ FLUXUS MANIFESTO
+ the futurist cinema (15th november 1916)
+ Gibe's UNIX COMMAND Bible (1987)

 

I krig mod virkeligheden

Filmindustriens krig mod pirater er en illusionens krig mod virkeligheden. Illusionen om den totale kontrol over hvem der bruger kultur, hvornår de bruger den og under hvilke forhold, kan kun realiseres ved absurde og grove indskrænkelser af vores borgerrettigheder, at det ville ligne en dårlig efterligning af George Orwells 1984.

Naturligvis er filmindustrien en industri der netop lever af at producere og sælge fantasi. Om den enlige helts kamp mod uretfærdighed, om fjendtligt liv på fjerne planeter og om kampen mellem Det Gode og Det Onde. Men med den måde ophavsretten beskyttes på, kan man nogen gange tro, at filmindustriens evne til at skelne mellem fantasi og virkelighed er ophørt.

Skræmmebilleder er ikke noget nyt. I 1980'erne spåede spilindustrien, at den kopivenlige floppydisk ville bliver computerspillets endeligt. Musikindustrien mente, at kassettebåndet ville tage livet af musikindustrien (og dermed musikken!).

I 1982 erklærede præsidenten for den amerikanske filmlobby MPAA, Jack Valenti, at "Videomaskinen er for den amerikanske filmproducer og den amerikanske offentlighed, hvad Boston Kvæleren er for en kvinde alene hjemme".

I dag er udvalget bredere, og tilgængeligheden bedre for både spil, musik og film. Og alt tyder på, at det fortsætter i samme retning.

Kampen om ophavsret er en kamp om kontrol. Filmindustrien frygter at miste kontrollen over hvilke film, vi vælger at se, hvordan vi vælger at se dem, og hvordan vi producerer nye film.
Den teknologiske udvikling giver os adgang til et gigantisk udbud af film. Videoteknologi er integreret i billige kameraer og mobiltelefoner, og med billige fremvisere kan vi lave vores egne biografer.
Og når vi samtidig selv kan klippe film på vores computere, frygter filmindustrien - med rette - at deres monopol på at skabe filmkultur er ved at smuldre.

Indtil videre er lovgivere i det meste af verdenen blevet overbevist om, at piratkopiering er ligeså farligt som onde rumvæsener og terrorister, og i flere lande straffes piratkopieringmed fængselsstraf, der overgår straffen for vold og tyveri.

Men Hollywood glemmer sin egen historie. Firmaer som FOX voksede sig store i begyndelsen af forrige århundrede ved at flygte fra patentlovens lange arm, og Thomas Edisons patenter på filmproduktion.

Filmindustriens kamp mod pirater er en krig mod teknologien, mod mennesker og mod den virkelighed, vi i virkeligheden allesammen lever i.

Pirate Cinema tager biografen tilbage.

- Pirate Cinema Copenhagen, 1.10.2006

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In war with reality

The Film industry's war against pirates is a war against reality.
Total control over who is using culture, when they use it and under which circumstances it can be used is not only an illusion, but is also an extreme violation of civil rights -- in the fashion of a bad remake of George Orwell's 1984.

Naturally, the Film industry is an industry that thrives on the production and selling of fantasy. it portrays an image of a the lonely heroe s fight against injustice, hostile lifeforms on distant planets and the battle between Good and Evil. However, with the claims of how copyright should be protected, it seems the film industry has lost the ability to seperate fantasy from reality.

These scare tactics are not new. In the 80's, the game industry made a prophecy that the copy friendly floppydisc would be the end of the video game. The music industry predicted the cassette tape would kill the music industry (and thereby music itself!).

In 1982 the former president of the American film lobby MPAA Jack Valenti claimed that "the VCR is to the American film producer and the American public as the Boston strangler is to the woman home alone." Today there is more diversity of media and increased access to both video games, music and film. And this only seems to continue.

The battle of copyright is a battle for control. The film industry is fearing to lose control of whch films we want to watch, how we want to watch them and how we produce new film. The technological evolution is giving access to a gigantic supply of film. Video technology is incorporated into cheap cameras and mobile phones.
Now that we also can edit our our own film on our computers, the film industry is scared - and they should be - of loosing their monopoly on creating film culture.

So far legislators worldwide have been convinced that pirating is as dangerous as aliens and terrorists, and several countries are punishing piracy harder than violence and theft.

But Hollywood is forgetting their own history. Companies like FOX grew to giants in the beginning of last century by fleeing the long arm of the patent laws and the patents on film production held by Thomas Edison.

The film indutry's war against pirates is a war against the technology, against people and against that reality we all really live in.

Pirate Cinema reclaims the cinema.

- Pirate Cinema Copenhagen, 1.10.2006