Media Piracy

This study addresses the online consumption according to the frequency of Internet use. The time spent on Internet goes beyond a simple search or checking the email. Although globalization implies visualizing a trend among various subcultures, the present study seeks to understand if there are differences in the Portuguese users' behavior or perception about the consumption of Internet content in terms of music (or music videos) and films and television series. Are there sociodemographic differences of Portuguese users? Are the Portuguese users' choices homogeneous in how often they use the Internet to access music and movies online? The answer to these research questions is the purpose of this study.

Through an examination of the findings of an ethnographic study of online forums concerned with sharing East Asian films, this article considers how these filesharing forums enable audiences to both reimagine and reconfigure their relationship with the text. Rather than replacing traditional forms of production, distribution and consumption, these activities exist alongside them, but can be considered to further blur the boundaries between such categorizations. On filesharing forums, films will be sourced, encoded, shared, promoted, subtitled, recommended and reviewed by a range of people who cannot be easily categorized as simply consumers, producers or distributors in any traditional sense. As such, the 'linear' industry model where a film is produced, distributed and consumed by people who occupy strict roles in the process explodes into a network model that involves a varied and dispersed group of people (both professional and amateur). Perhaps more significantly, these forum members see their online activities as adding value to the product; far from viewing themselves as revenue-stealing 'pirates' they conceive of themselves as almost part of the East Asian film industry. By viewing their activities as promotional and adopting ethical codes they interpret their own behaviour as positively contributing to an industry that they hold in the highest regard.

This article investigates the transformation of censorship mechanisms in Romanian audiovisual translation (AVT). The study moves from the overt state-controlled ideological manipulation of the communist era to the subtle commercial and linguistic self-censorship of the post-1989 market. Based on historical records and translation accounts, it identifies a systematic "ideological filter" that targeted religious terminology and Western imagery. The research is based on a diachronic approach, which bridges the gap between rudimentary manual subtitlingcharacterized by a "muffled" voice under totalitarianism-and modern digital practices. It documents how the historical legacy of political restriction has mutated into modern corporate norms and cultural "habitus". The historical approach and longitudinal view show how translation may serve as a support for changing orders of social domination.

This study aims to investigate the gradual erosion of the bottom-up nature of the Internet and its cultural and political outcomes by addressing OTT platforms through the notion of heterotopia. This approach is rooted in Foucault’s idea of a space connected to all other spaces in such a way as to suspend, neutralise, or invert the relationships they define.
Moreover, it incorporates Burgin’s application of this concept to media studies, describing how displaced films or film fragments circulating within different media spaces bring their specific temporality therein. From this
perspective, OTT platforms can be understood as heterotopic media environments for two main reasons.
Firstly, they incorporate items from cinema and television, creating a space in which even platform-specific artefacts – the originals – are nonetheless derived from these media. Additionally, they reproduce dynamics typical of traditional media within the web, reinstating broadcasting habits and precluding explicit interaction with content and among users. When contrasted with alternative models, namely P2P architectures, this scenario reveals clear consequences for the audience’s cultural role. Indeed, within these heterotopias, users are relegated to passive consumers, excluded
from processes that contribute to the construction of culture, as they are not part of a structure that allows them to determine what is worth spreading and preserving as cultural heritage.

This study investigates the intricate link
between maritime piracy, resource conflict and the
future of coastal economies. The maritime domain
has long served as a critical conduit for global
trade,
resource
extraction,
and
wealth
accumulation. From the sea to the shoreline,
diverse
economic activities have generated
enormous financial transaction to investors and
local inhabitant particularly fishermen and sea
farers, and container shipping dealers. However, it
is also a battleground where maritime piracy,
resource conflicts, and the exploitation of coastal
resources increasingly threaten the stability of
coastal economies. This study seeks to explore the
interconnected barriers faced by coastal regions,
examining the impact of maritime piracy and
resource conflicts on the future sustainability of
these economies. It critically assesses the economic,
social, and geopolitical implications of piracy,
highlighting its effects on shipping routes, regional
security, and local livelihoods. Furthermore, the
paper delves into resource conflict implications,
particularly over offshore oil business deals, gas
exploration and maritime fishing rights as well as
their role in fueling tensions both within and
between nations. The study adopts narratives and
literature analysis in order to presents a
comprehensive outcome of the situation. Findings
shown that the emergence of piracy is an expression
of dissatisfaction of the inhabitants who are
marginalized, deprived and push aside from the
tables of proceeds sharing. In the paper, it was
found out that piracy is becoming a common
phenomenon in the global coastline particularly the
Gulf of Aden, Gulf of Guinea, Strait of Malacca
and Niger Delta. The outbreak of maritime piracy
has weaken the economic muscles of coastal
settlements, and to a larger extent, many investors
have relocated from conflict-ridden Niger Delta
resulting to economic sabotage.  The results also
shown that too many influential hands are pushing
the region to a standstill in a bid to completely get
rid of the abundance wealth of the region. After an
indepth analysis of maritime piracy and resource
conflicts, the study explores potential solutions for
mitigating these challenges, basically focusing on
international
cooperation,
enhanced security
measures, livelihood diversification and equity
based resource management as an antidote to foster
resilience of coastal economies in the face of these
turbulent waters.

Do Chinese merchants in contemporary Philippines still practice personalistic engagement in business? As a primarily descriptive study, we focus on the Chinese in Metro Manila and look at features of informal contracting as premised in personalistic ties among Chinese involved in business. Operationalizing a qualitative investigation, we utilize survey research as well as in-depth key-informant interviews and attempt to explore informal contracting through the nuances that include the types of business connections, reasons for engaging in informal contracts, use and dominance of contract types, factors that deter contract violations and sanctions against connections who violate informal agreements.

For this special section, the guest editors took every opportunity to collect submissions from around the world on the topic of "piracy and social change." This special section extends and enriches a special issue on the same theme from a filial journal, Popular Communication: The International Journal of Media and Culture, under the auspices of which we made the original call for papers . It also consolidates and advances some ongoing research on piracy cultures inaugurated in 2012 by , by returning to their question "What do piracy cultures tell us about ourselves as actors in a network society?" (p. 831). The blending of the domains characteristic of the "bad subject" (in Althusser's term) of the digital pirate with the socially sanctioned and "legitimate" activities of media industries, political parties, and even religious institutions has required a rethinking of social studies of piracy. Communication scholarship initially poked at the topic area with caution, at first adopting an orthodox law and policy perspective to render the bad subjects more manageable. By individuating pirates in juridical analyses and often focusing on their rationales, normative and ethical perceptions, and sharing habits, it became possible to file away

In this article, I examine creative subtitling as a cultural practice whose significance exceeds its use value as merely an enhanced variety of subtitling. The article’s main argument is that creative subtitling transforms the films that contain it by expanding further on their creative ideas, by foregrounding these films’ constructedness, and by embedding new layers of self-awareness in them. I begin the analysis by critiquing some recent studies on creative subtitling for downplaying the part of creativity in favour of a reductive conceptualization of translation as meaning transfer. I then turn to Antoine Berman’s account of translation as reflexive practice whose ethical aim is to undo this conceptualization and turn our attention away from meaning and closer to the experience of language itself. Taking translational creativity to mean literally this transformative “undoing”, in the last section, I examine the case of the creative subtitles of Edgar Pêra’s film, The Baron (2010). I argue that these subtitles expand further on the creative ideas of that film while simultaneously they “undo” it: they take us out of a state of immersion in the story and into a state of “amazement” at the experience of the language of cinema itself.

The short-term effect of BitTorrent file-sharing on movie DVD sales is estimated using sales data on newly released DVDs and torrent file downloads during a 13-week period between March and May 2009 in the USA. To overcome endogeneity between downloads and sales, the analysis is carried out in a dynamic panel setting. After controlling for an autoregressive component and a declining time trend in sales, the file-sharing elasticity of sales is not statistically different from zero in the difference GMM estimations. The results hold when external instruments are used. Moreover, the results suggest an upper bound of -0.21 of elasticity, indicating that the short-term sales displacement effect is moderate at worst.

The short-term effect of BitTorrent file-sharing on movie DVD sales is estimated using sales data on newly released DVDs and torrent file downloads during a 13-week period between March and May 2009 in the USA. To overcome endogeneity between downloads and sales, the analysis is carried out in a dynamic panel setting. After controlling for an autoregressive component and a declining time trend in sales, the file-sharing elasticity of sales is not statistically different from zero in the difference GMM estimations. The results hold when external instruments are used. Moreover, the results suggest an upper bound of -0.21 of elasticity, indicating that the short-term sales displacement effect is moderate at worst.

This paper proposes REdiREKT, a system which utilises the open-source Zeek Intrusion Detection System (IDS) to map HTTP redirection chains observed in Exploit Kit (EK) attacks and extracts distinguishing features to assist machine learning (ML). We build a ground-truth dataset of EK samples, ensuring that the redirection chains for every sample are accurate and reusable in future experiments. By processing a unique combination of 9 redirection techniques, REdiREKT was able to correctly extract 96.52% of malicious domains from 1279 EK samples, spanning 28 families and 8 campaigns, and, only failed to extract 0.7% of malicious chains. Using the VirusTotal API to filter out domains flagged as malicious, we build a benign dataset from the Alexa top 10k websites, extracting 12,783 domains from 5910 redirection chains. The malicious redirection data is divided into yearly and familybased categories and compared to the benign results. Based on our analysis of the collected data, we extract and store 48 key features from websites within the redirection chains that could aid future ML-based detection efforts. Finally, we evaluate the performance of REdiREKT, compare it with existing research, and, suggest use-cases and future areas of work.

Drawing upon the notion of ‘paratextual agency’ (Paloposki, “Limits of Freedom” 191), the current study investigated the agency of the Iranian fansubbers. To do so, a corpus of 20 Persian fansubs of Hollywood movies released during the last decade was selected randomly. The study was carried out in two steps. Firstly, translators’ notes were categorized based on their content, frequency, and percentage of each category. Secondly, these notes were analyzed to scrutinize the agency of the Iranian fansubbers. The findings of the study reveal that notes added on the part of the Iranian fansubbers can be categorized into narrative-related notes, locations, famous figures, organizations, medical information, allusions, and transliteration. The study illustrates that by providing such notes to the audience, Iranian fansubbers move beyond the conventional role of subtitler and a mere linguistic conveyor of the movies and take the responsibility of teachers, researchers, cultural representatives, and intermediary agents. The study concludes that fansubbing in Iran is concerned with elucidating culture-bound items of the movies to make them more understandable for the audience. The conclusions of this study can open up prospective avenues for the sociologically-oriented approaches to audiovisual translation, with an eye on the agency and status of fansubbers

I will answer the question "What's in a copy?" by considering three sets of related issues: the importance of copies in academia; in cultural life; and in the economic world. In academia the current capability of making copies is challenging pedagogical practices and the trust of its members, plagiarism being the most immediate problem. The notion of authorship is also undergoing changes provoked by a proliferation of authors and new possibilities opened up by cyberspace. In cultural life, imitation and mimesis have long been fundamental engines of socialization. Our enhanced capacity of copying problematizes, with new intensity, the relationships between homogeneity and heterogeneity, between the genuine and the spurious. In the economic world, the digital era is threatening some of the fundamental tenets of capitalism, especially of its variant called the "knowledge society", regarding the control of intellectual property rights. The gap between normativity and social practices is widening. The many dilemmas and tensions identified in the text are understood as symptoms of two major characteristics of the current times: hyperfetishism and hyperanimism.

Main findings of the Household business & Informal sector survey (HB&IS) GSO-ISS/IRD-DIAL project 1 1 This report has been written by Nguyễn Hữu Chí and Nguyễn Thị Thu Huyền (GSO), and Axel Demenet, Mireille Razafindrakoto and François Roubaud (IRD-DIAL) with the collaboration of Đào Ngọc Minh Nhung and Đinh Bá Hiến (GSO). The 2009 surveys (HB&IS) were funded by the World Bank and the IRD. We would like to thank Kirsty Mason (DFID) and Valerie Kozel for their support. Special thanks are addressed to Constance Torelli (INSEE), who contributed actively to data cleaning and analysis of the results.

Cuba has one of the highest rates of literacy and education in the world, but also one of the lowest rates of direct Internet access. As a result, Cubans have developed a unique and robust offline system for distributing digital content through removable storage media like USB thumb drives and portable hard drives called El Paquete Semanal (The Weekly Package). In this paper, we describe and analyze the contents of El Paquete and how those contents vary over time and between distributors. We compare it to a lesspopular state sponsored alternative called La Mochila (The Backpack) and discuss their respective distribution systems. We also compare these offline content distribution systems to available online access points such as those in public WiFi parks,tourist hotels, and universities. Finally, we reflect on how this system, developed in the Cuban context, could be useful in other environments.

Trommons is an open-source, web-based platform administered by The Rosetta Foundation. The Rosetta Foundation has worked since 2009 to eradicate the information gap faced by communities under-served by commercial localisation, by making information accessible in the languages of those communities. In recent years we have conducted several studies into crowdsourced volunteer translation from the perspective of the client organisations. In this paper we are reporting on the finding of those studies, which include two survey questionnaires as well as semi-structured interviews with representatives of the non-profit organisations and staff at the Rosetta Foundation. The studies conducted provide insights into the following questions: Do organisations work with volunteers, and why? What reasons would make them not work with volunteers? What expectations do organisations have of volunteers, as well as a platform like Trommons, and are those expectations being met? What are the interaction...

Almost 50 years after the VCR's (Video Cassette Recorder) worldwide penetration in the international entertainment market, this paper will explore VCR-use-related and VCR-viewing-related activities, and the cultural practices of the Greek video cultures, particularly videotape collectors, in the 21st century. Rooted in various disciplines, the article aims to illuminate the persistent nature of VHS collectors' previous entertainment routines. From owning a VCR device and maintaining their videotape collections to enriching them with new acquisitions from video libraries and online buys, Greek videotape aficionados' practices show continuities and discontinuities from the past. Furthermore, it will explore how these practices have influenced their perception of current uses and gratifications of VHS technologies, revealing a perspective rooted in (tech) nostalgia. Moreover, the article will argue that the enduring presence and resilience of VHS technologies can be regarded as a testament to collective memory, a resistance to the digitalization of entertainment, and a longing for simpler ways of life, particularly in the aftermath of the 2007-2008 financial recession and the rise of new technologies.

The advertising ecosystem faces major threats from ad fraud caused by artificial display requests or clicks, created by malicious codes, bot-nets, and click-firms. Currently, there is a multibillion-dollar online advertisement market which generates the primary revenue for some of the internet's most successful websites. Unfortunately, the complexities of the advertisement ecosystem attract a considerable amount of cybercrime activity, which profits at the expense of advertisers. Web ad fraud has been extensively studied whereas fraud in mobile ads has received very little attention. Most of these studies have been carried out to identify fraudulent online and mobile ads clicks. However, the identification of individual fraudulent displays in mobile ads has yet to be explored. Additionally, other fraudulent activity aspects such as hacking ad-campaign accounts have rarely been addressed. The purpose of this study is to provide a comprehensive review of state-of-the-art ad fraud in web content as well as mobile apps. In this context, we will introduce a deeper understanding of vulnerabilities of online/mobile advertising ecosystems, the ad fraud's well-known attacks, their effective detection methods and prevention mechanisms.

My wholehearted appreciation to Francine Masiello whose illuminating comments and supporting enthusiasm pushed me every step of the way until final completion of this dissertation. Francine was gracious enough to accept to work with me in a project that was not within her primary focus at the time, in spite of which she gave me countless hours of her undivided attention, bright intelligence, and warm support. This project was inspirited initially by many provocative conversations I sustained with

Programming and investment quotas in favour of ‘European works’ are an important element of the audiovisual ‘cultural policy toolkit’ in Europe. In reasserting their role, the revised 2018 Audiovisual Media Services Directive (AVMSD) has updated these rules in response to the rise of transnational video-on-demand services (VoD) across the continent. This article examines why and how Italy embarked on a reform of its domestic regime on quotas in 2017, in parallel with the revision of the AVMSD. It shows that Italian policy-makers sought to adopt a system of quotas than was far more stringent than the one previously in force and that also departed from the EU approach in significant ways. The evidence presented here shows that while national broadcasters managed to get the government to water down its initial proposals, Netflix and the other VoD providers were not involved in the formal discussions with the government until a late stage and were unable to shape policy outcome to their advantage. We argue the Italian case is prime example of the continued commitment to quotas as a core element of the audiovisual cultural policy toolkit seen across Europe.

Policy network is a container that can combine efficient and democratic values as the classic debate of the public accountability study until today. Community Empowerment Agency (CEA) is a network-based organization that implements street vendors policy in Makassar City. The aim of study is to explain the cognitive, normative, and regulative systems of CEA in implementation of street vendors empowerment policy in Makassar City. Based on the pairing patterns and making explanation analysis, in which the pattern of theoretical and study of results of cognitive, normative, and regulative systems of CEA showed the sharing resources among stakeholders (efficiency) and togetherness among them (democracy) is not realized in the implementation of the street vendors empowerment policy. Time series analysis showed the number of street vendors in the last 7 years has increased significantly. This is due to the government design the CEA system resembling bureaucratic system is oriented to leaders command and strict rules. Furthermore, the cognitive system of this institution has dominated cadres with the bureaucratic values so that they do not have the creativity in the empowerment of street vendors. Normative system of the institution has not yet have values and norms of the network that can be used of cadres in implementation of the street vendors empowerment policy effectively. Similarly, regulative system should encouraged the members of this institution are autonomous or not hierarchical in the empowerment of street vendors as characteristic of the network.

There is a significant need to develop a Media Broadcasting Regulation, especially in the context of local shareholders for TV networks and local TV in Indonesia. The law is expected to regulate all about TV's programs and the Operational Lisence. The study which did at North Sumatra, and data's collected by focuss group discussion among the Local TV's owners and Board of Communication & Information Technology Ministery in Medan, showed that there were many problems arise regarding the regulations of TV's operations. The Alocation of advertising portion between Local and National Television is one of the crucial problem. Facing the Digitalization era, government should revise the regulation to build a fair bussiness in broadcasting media. Another problems were found that the Ministery of Communication and Information Technology as a regulator seems acted too dominant, the rules was made without Local Government's involvement, even they have different need and interest in Media Broadcasting Policy. So far, broadcasting modernization should be submitted to Local Government regulations because of the rest regulation had lead all the economic benefit flow to central government, while local goverment did not get anything. Others problems were about the TV's content, its should not just be shown in the local TV but also must be produced in its region using the labor from the local area and consider the local communities's value of life.

Cuba has one of the highest rates of literacy and education in the world, but also one of the lowest rates of direct Internet access. As a result, Cubans have developed a unique and robust offline system for distributing digital content through removable storage media like USB thumb drives and portable hard drives called El Paquete Semanal (The Weekly Package). In this paper, we describe and analyze the contents of El Paquete and how those contents vary over time and between distributors. We compare it to a lesspopular state sponsored alternative called La Mochila (The Backpack) and discuss their respective distribution systems. We also compare these offline content distribution systems to available online access points such as those in public WiFi parks,tourist hotels, and universities. Finally, we reflect on how this system, developed in the Cuban context, could be useful in other environments.

“Through a meticulous and multivalent study of the many discourses and practices around the fake, Joshua Neves provides us a kaleidoscopic and fascinating view of the sociality and media culture of contemporary Beijing, China, Asia, and the world. This truly interdisciplinary work draws resources from many fields and many cultures, and it demonstrates vividly how the logic of development densely infiltrates our mentality and ways of living.” — Laikwan Pang, author of Creativity and Its Discontents: China’s Creative Industries and Intellectual Property Rights Offense

“Joshua Neves treats the transformations of Beijing's cityscape as an experienced physical reality, an imagined construct in popular culture and art, and representative of what is happening in China. By disclosing what is distinctive and elusive about China's seemingly triumphant developmental nation-building project, Neves makes a provocative intervention at the nexus of several interdisciplinary subfields, from urban media studies and Asian developmental studies to postsocialism studies and global subaltern studies.” — Dilip P. Gaonkar, Professor in Rhetoric and Public Culture, Northwestern University

With malware detection techniques increasingly adopting machine learning approaches, the creation of precise training sets becomes more and more important. Large data sets of realistic web traffic, correctly classified as benign or malicious are needed, not only to train classic and deep learning algorithms, but also to serve as evaluation benchmarks for existing malware detection products. Interestingly, despite the vast number and versatility of threats a user may encounter when browsing the web, actual malicious content is often hard to come by, since prerequisites such as browser and operating system type and version must be met in order to receive the payload from a malware distributing server. In combination with privacy constraints on data sets of actual user traffic, it is difficult for researchers and product developers to evaluate anti-malware solutions against largescale data sets of realistic web traffic. In this paper we present WebEye, a framework that autonomously creates realistic HTTP traffic, enriches recorded traffic with additional information, and classifies records as malicious or benign, using different classifiers. We are using WebEye to collect malicious HTML and JavaScript and show how datasets created with WebEye can be used to train machine learning based malware detection algorithms. We regard WebEye and the data sets it creates as a tool for researchers and product developers to evaluate and improve their AI-based anti-malware solutions against large-scale benchmarks.

The Web is a tangled mass of interconnected services, where websites import a range of external resources from various third-party domains. However, the latter can further load resources hosted on other domains. For each website, this creates a dependency chain underpinned by a form of implicit trust between the first-party and transitively connected third-parties. The chain can only be loosely controlled as first-party websites often have little, if any, visibility of where these resources are loaded from. This paper performs a large-scale study of dependency chains in the Web, to find that around 50% of first-party websites render content that they did not directly load. Although the majority (84.91%) of websites have short dependency chains (below 3 levels), we find websites with dependency chains exceeding 30. Using VirusTotal, we show that 1.2% of these third-parties are classified as suspicious-although seemingly small, this limited set of suspicious third-parties have remarkable reach into the wider ecosystem. By running sandboxed experiments, we observe a range of activities with the majority of suspicious JavaScript downloading malware; worryingly, we find this propensity is greater among implicitly trusted JavaScripts.

The web is a tangled mass of interconnected services, whereby websites import a range of external resources from various third-party domains. The latter can also load further resources hosted on other domains. For each website, this creates a dependency chain underpinned by a form of implicit trust between the first-party and transitively connected third parties. The chain can only be loosely controlled as first-party websites often have little, if any, visibility on where these resources are loaded from. This article performs a large-scale study of dependency chains in the web to find that around 50% of first-party websites render content that they do not directly load. Although the majority (84.91%) of websites have short dependency chains (below three levels), we find websites with dependency chains exceeding 30. Using VirusTotal, we show that 1.2% of these third parties are classified as suspicious—although seemingly small, this limited set of suspicious third parties have remar...

Unterhalb des Radars großer Teile der Öffentlichkeit segeln seit einiger Zeit diverse Projekte in den Weiten und Untiefen des Internets, die als alternative, digitale Videotheken bezeichnet werden können. Diese Quasi-Archive sind dezentral aufgebaut und bieten Zugang zu einer beachtlichen Zahl filmhistorisch relevanter Werke. Eins dieser Projekte wurde in den Cahiers du cinéma als «schönste und geheimste Goldgrube des Internets» bezeichnet (Perrot/Poli 2014, 62). Über diese und andere Goldgruben wird wenig gesprochen; unter ihren Nutzern besteht das stillschweigende Übereinkommen, die jeweiligen Namen in der Öffentlichkeit nicht zu nennen. Auch wir werden dieses ungeschriebene Gesetz respektieren. Um das Problem zu umgehen, folgen wir dem Filmkritiker Ekkehard Knörer, der sein Filmkonsumverhalten vom klassischen Kinogang unterschieden hat: «My movie watching goes rather like this: I sit at my desk in front of my laptop, I click on a virtual bookmark up there in my browser (it's the one with the crow) and I enter my username and password» (Knörer 2012, 171; Herv. G. K. / F. S.). Knörers Bezeichnung «the one with the crow» werden wir sinngemäß übernehmen und im weiteren Verlauf vom «Schwarzen Raben» sprechen. Offizielle Informationen über dieses Projekt sind nicht verfügbar. Es gibt keine Einträge in den Online-Enzyklopädien, und unseres Wissens existiert bislang nur eine einzige Forschungsarbeit dazu, die Masterarbeit eines jungen türkischen Forschers aus Ankara (Yağci 2014); daneben findet das Projekt allenfalls kursorische Erwähnung oder wird in journalistischen Artikeln beschrieben. Auch ist die Website für

The information in this document is provided "as is", and no guarantee or warranty is given that the information is fit for any particular purpose. The above referenced consortium members shall have no liability for damages of any kind including without limitation direct, special, indirect, or consequential damages that may result from the use of these materials subject to any liability which is mandatory due to applicable law.

Smartphone advertisement is increasingly used among many applications and allows developers to obtain revenue through in-app advertising. Our study aims at identifying potential security risks of mobile-based advertising services where advertisers are charged for their advertisements on mobile applications. In the Android platform, we particularly implement bot programs that can massively generate click events on advertisements on mobile applications and test their feasibility with eight popular advertising networks. Our experimental results show that six advertising networks (75 %) out of eight are vulnerable to our attacks. To mitigate click fraud attacks, we suggest three possible defense mechanisms: (1) filtering out program-generated touch events; (2) identifying click fraud attacks with faked advertisement banners; and (3) detecting anomalous behaviors generated by click fraud attacks. We also discuss why few companies were only willing to deploy such defense mechanisms by examining economic misincentives on the mobile advertising industry.

When an unsuspecting victim visits a malicious website, it infects her machine to steal valuable information, redirects her to malicious targets, or compromises her system to launch future attacks. While current approaches have. There are still open issues in effectively and efficiently addressing: filtering of web pages from the wild, coverage of a wide range of malicious characteristics to capture the big picture, continuous evolution of web page features, systematic combination of features, semantic implications of feature values on characterizing web pages, ease and cost of flexibility and scalability of analysis and detection technology. In this position paper, we highlight our ongoing efforts towards effective and efficient analysis and detection of malicious websites, with a particular emphasis on broader feature space and attack-payloads, technique flexibility with changes in malicious characteristics and web pages, and, most importantly, technique usability in defending use...

Technologies for the consumption and production of global media have brought 'foreign bodies' into the domestic spaces of millions of Moroccans. Such unprecedented access to cultural materials is, however, negotiated at a local and familial level, and this paper considers the workings of this domestic interface. It examines the economy of music video production in Morocco and the close links existing between new technologies, traders and their markets. The paper also shows how moving images can be 'ripped' from global sources and re-edited to fit indigenous musical structures.

This article examines the circulation of unauthorized copies of music and movies in Russia-what is otherwise known as media piracy. On the basis of qualitative data, it argues that the media market in Russia is best perceived as a hybrid, where the boundaries between legal and illegal are porous and economic agents casually crisscross them. The institution of intellectual property (IP) does not present itself in a natural way to market actors in Russia, and copyright is widely contested. Following this finding, the analytical focus shifts to the process of institutional diffusion on three levels: policymaking, organization, and meaning attribution. Each level displays its own rational, organizational structure and agency, sometimes to the point of significant distortion of laws and policies that were supposed to be simply passed down. The case of the media market in Russia presents particularly interesting challenges to the rationalist thinking in institutional economics, the assumptions that instrumental rationality predominates and that categories are unproblematic. In fact, IP law and related policies configure and qualify these categories as well as the subjectivities related to them, often against the sets of relationships and obligations that already bind actors to each other.

Puede copiarla, distribuirla y comunicarla públicamente siempre que cite su autor y la revista que lo publica (TRANS-Revista Transcultural de Música), agregando la dirección URL y/o un enlace a este sitio: www.sibetrans.com/trans. No la utilice para fines comerciales y no haga con ella obra derivada. La licencia completa se puede consu ltar en Resumen El paso del casete de audio analógico al VCD (Video Compact Disc) digital como soporte principal para la música gravada alrededor del año 2003, abrió una nueva era para la producción y el consumo de música en la región de los Andes bolivianos. Esta tecnología digital barata creó nuevos mercados regionales para los pueblos indígenas de bajos ingresos, haciendo impensable para los artistas regionales producir una grabación comercial sin imágenes de vídeo desde entonces. Este artículo explora el carácter de estas imágenes, considerando en particular la tendencia a representar a los músicos y bailarines actuando en paisajes rurales. Traza ...

Cuba has one of the highest rates of literacy and education in the world, but also one of the lowest rates of direct Internet access. As a result, Cubans have developed a unique and robust offline system for distributing digital content through removable storage media like USB thumb drives and portable hard drives called El Paquete Semanal (The Weekly Package). In this paper, we describe and analyze the contents of El Paquete and how those contents vary over time and between distributors. We compare it to a lesspopular state sponsored alternative called La Mochila (The Backpack) and discuss their respective distribution systems. We also compare these offline content distribution systems to available online access points such as those in public WiFi parks,tourist hotels, and universities. Finally, we reflect on how this system, developed in the Cuban context, could be useful in other environments.

There is a significant need to develop a Media Broadcasting Regulation, especially in the context of local shareholders for TV networks and local TV in Indonesia. The law is expected to regulate all about TV's programs and the Operational Lisence. The study which did at North Sumatra, and data's collected by focuss group discussion among the Local TV's owners and Board of Communication & Information Technology Ministery in Medan, showed that there were many problems arise regarding the regulations of TV's operations. The Alocation of advertising portion between Local and National Television is one of the crucial problem. Facing the Digitalization era, government should revise the regulation to build a fair bussiness in broadcasting media. Another problems were found that the Ministery of Communication and Information Technology as a regulator seems acted too dominant, the rules was made without Local Government's involvement, even they have different need and interest in Media Broadcasting Policy. So far, broadcasting modernization should be submitted to Local Government regulations because of the rest regulation had lead all the economic benefit flow to central government, while local goverment did not get anything. Others problems were about the TV's content, its should not just be shown in the local TV but also must be produced in its region using the labor from the local area and consider the local communities's value of life.

Some rather astonishing changes took place in the Chinese media landscape in the 1990s with the advent of digital technology and the sudden availability of a vast number of bootleg foreign entertainment disks. The rapid and chaotic influx of so much foreign material into average Chinese homes caught the Chinese government off guard, and necessitated certain rapid and ad hoc adjustments to the general policy of combating "spiritual pollution". This development, combined with certain features of China's system of information control has resulted in a peculiar kind of "schizophrenia" in the Party's treatment of entertainment media. This article will try to trace the factors that have led to this interesting state of affairs. Brief overview of pre-digital media environment Though the fall of the Gang of Four and the end of the Cultural Revolution brought a political thaw to China, the Communist Party retained its rigid, centralized control over all forms of the media in the PRC. Foreign news and overseas media products were particularly controlled and essentially excluded from the broadcast landscape. The continued top-down control was made easier by the relatively small number of TV sets (in 1980 only about 5% of urban residents had a television), as well as the fact that citizens had no access to satellite dishes to pick up foreign broadcasts. No overseas media entities dealt directly with the Chinese media, or were allowed to distribute within China. Average citizens could not go freely in and out of the country, and those who did lacked the financial means to collect and bring back videotapes and films. Compact discs and DVDs did not yet exist. Exposure to foreign media was limited to those very few works that had been officially sanctioned and shown in theaters or on TV. A few politically-correct Russian films were familiar to the public, vestiges of the earlier Sino-Soviet alliance. American offerings were rare. In the late 80s, it was quite common to meet Chinese people who had seen exactly two Hollywood films in their life: The Sound of Music and Gone with the Wind. Those at the very top, however, always had access to Western media. In the cloistered days of the Cultural Revolution, Mao's wife Jiang Qing would watch Disney movies in the privacy of her quarters, while the masses were limited to her eight "model operas". Similarly, during the 80s and early 90s, the elite cadres and their kids could enjoy HBO and foreign films in their satellite-wired residences, whereas the general populace was stuck with whatever CCTV had to offer. The first foreign program to be shown on Chinese television was the American show Man from Atlantis, which aired in 1979 (the same year CCTV began to allow advertisements). Toward the end of the 1980s, as Deng Xiaoping's reforms began to take hold, more foreign films, TV shows, and cassette tapes began to trickle into the Chinese entertainment market. During this initial influx, the mix of foreign media products that made it into China was random, chaotic and often bizarre. One early American TV show broadcast on Chinese TV was the banal My Favorite Martian. (I still remember vividly that the episodes were inexplicably missing the laugh track, which gave them an interesting theater-of-the-absurd quality.) This was quickly followed by other forgettable dreck such as Falcon Crest and Hunter, both of which enjoyed a devoted viewership ten times that of their earlier American audience. Disney made its first inroads to the Chinese TV space in 1986. When I was at Peking University in 1988, my graduate student friends would rush to the TV room after supper to watch Mickey Mouse cartoons. (Incredibly, the Chinese censors at the time actually considered some of the humor to be potentially offensive to Chinese audiences.

The study of the monitoring analysis of digital media content broadcasting is deemed necessary as an aspect of legal accountability for digital media content broadcasting based on Law Number 32 of 2002 concerning Broadcasting to ensure legal certainty equal to conventional television broadcasting. With normative juridical research on digital content broadcasting, so far there have been no legal rules that regulate and supervise the implementation and broadcasting so that the emergence of a legal vacuum. Digital conventional broadcasters must comply with the provisions of the broadcasting law to have legal responsibility for broadcasting digital content on YouTube, Net-flix, Instagram, Facebook. The results show that the content created in digital media broadcasting has no legal regulation and provision to obey rules of broadcasting law in the future will have an impact on concerns about the emergence of content that is contrary to the 1945 Constitution and Pancasila.

In The Quest for Prosperity Raphael Sassower combines elements of postmodernism, Marxian analysis, and Popperian philosophy to mount a unique, three-pronged investigation of the theoretical and practical foundations of capitalism and an inquiry into new conceptualizations of capitalism that promise novel solutions to its perennial problems; problems inherent in its foundations but perhaps most evident in implemented and ramified mainstream liberal political economy. Sassower canvasses the ideological, philosophical, and even mythological origins of the foundational concepts of capitalism from historical and systematic points of view, emphasizing capitalism's most recent twists and turns. The author attempts to reconceptualize much of political economy, with varying degrees of success, and further suggests some provisional solutions to the problems of capitalism on this newly articulated basis. Throughout, Sassower vividly illustrates how flawed ideas and dangerous assumptions perpetuate flawed and dangerous systems no matter the changes in "optics." Sassower's critique is "radical" in the sense that it draws into question the very roots of capitalist political economy: individual property rights, the efficiency of markets, the scarcity assumption, the insatiability of human acquisitiveness, and the global scalability of an economic monoculture. The book could serve as a good, mid-level text for introductory courses on the radical critique of liberal political economy or on philosophy of economics from a radical point of view. The unusual combination of often-opposing analytical orientations adds an interesting dimension lacking in many similar but more traditional texts. Sassower's ambitious and wide-ranging but generally responsible sampling of relevant ideas from philosophy, economics, and other disciplines also adds to its richness. Part I, "Assumptions Underlying Theories," offers a penetrating analysis of the conceptual bases of general capitalist political economy, covering scarcity and abundance, the state of nature and the social contract, human nature and the human condition, individual versus communal property rights, markets, and economic growth. Sassower stresses how the framing of foundational concepts affects the concepts built upon them. To take a familiar instance, a society's view of human nature (e.g., that it is essentially good, bad, or a moral blank slate), which may be set by religious or ideological factors, will largely dictate how that society organizes itself in the politico-economic sphere, determining, for example, the relative prevalence of individual versus communal property rights, biases built into regulatory frameworks, etc. Sassower's analysis of scarcity in Part I is one of the most interesting in the book. For many on both Left and Right, scarcity is a concept that is presupposed, and hopes of a post-scarcity world seem fanciful. Sassower, however, argues that the grain of truth in the so-called "law of scarcity" is something rather trivial. The law merely entails that we are always restricted to a finite level of resources. This finitude does not, by itself, entail that there is "not enough to go around." In fact, in most cases, conditions of scarcity are only a function of distributional 820958R RPXXX10.

Anecdotal evidence suggests that counterfeiting/piracy can help create online word of mouth (WOM) and through this boost demand, but how powerful is such WOM? To answer this question, we conduct a descriptive study with some attempts to establish near causality. We estimate the impact of piracy on WOM and ultimately revenue by applying a panel data method to all movies widely released in the United States from 2015 to 2017. In identifying the effects of piracy we make inventive use of Russian piracy data to construct instrument variables for piracy in the United States. This is possible because the key piracy site, The Pirate Bay, has been blocked in Russia since 2015. We find movies with prerelease piracy are associated with lower revenues despite the WOM effect. Critically, however, we show a positive correlation between postrelease piracy and WOM volume, and we extend the field by finding that the presence of postrelease piracy is associated with an approximately 3.0% increase in...