The Critical Role of Digital Rights Management Process

Author(s):  
Margherita Pagani

This chapter sets out to analyze the impact generated by the adoption of Digital Rights Management (DRM) processes on the typical Digital Media Management Value Chain activities and tries to analyze the processes in the context of the business model. Given the early stage of the theory development in the field of DRM, the study follows the logic of grounded theory (Glaser & Strauss, 1967) by building the research on a multiple-case study methodology (Eisenhardt, 1989). The companies selected are successful players that have adopted DRM processes. These companies are Adobe Systems, Digital Island, Endemol, Intertrust, Microsoft, and the Motion Picture Association. The chapter provides in-depth longitudinal data on these seven players to show how companies implement DRM processes. After giving a definition of Intellectual Property and Digital Rights Management (first section), the chapter provides a description of the typical Digital Media Management Value Chain Activities and players involved along the different phases examined (second section). An in-depth description of Digital Rights Management processes is discussed in the third section. Digital Rights Management processes are considered in the context of business model and they are distinguished into content processes, finance processes and Rights Management processes. It concludes with a discussion of the model and main benefits generated by the integration of digital rights management (fourth section).

2011 ◽  
pp. 3431-3441
Author(s):  
Margherita Pagani

This chapter sets out to analyze the impact generated by the adoption of Digital Rights Management (DRM) processes on the typical Digital Media Management Value Chain activities and tries to analyze the processes in the context of the business model. Given the early stage of the theory development in the field of DRM, the study follows the logic of grounded theory (Glaser & Strauss, 1967) by building the research on a multiple-case study methodology (Eisenhardt, 1989). The companies selected are successful players that have adopted DRM processes. These companies are Adobe Systems, Digital Island, Endemol, Intertrust, Microsoft, and the Motion Picture Association. The chapter provides in-depth longitudinal data on these seven players to show how companies implement DRM processes. After giving a definition of Intellectual Property and Digital Rights Management (first section), the chapter provides a description of the typical Digital Media Management Value Chain Activities and players involved along the different phases examined (second section). An in-depth description of Digital Rights Management processes is discussed in the third section. Digital Rights Management processes are considered in the context of business model and they are distinguished into content processes, finance processes and Rights Management processes. It concludes with a discussion of the model and main benefits generated by the integration of digital rights management (fourth section).


2008 ◽  
pp. 3499-3509
Author(s):  
Margherita Pagani

This paper set out to analyze the impact generated by the adoption of Digital Rights Management (DRM) processes on the typical Digital Media Management Value Chain activities and try to analyze the processes in the context of the business model. Given the early stage of the theory development in the field of DRM the study follows the logic of grounded theory (Glaser and Strauss, 1967) by building the research on a multiple-case study methodology (Eisenhardt, 1989). The companies selected are successful players which have adopted DRM processes. These companies are Endemol, Digital Island, Adobe Systems, Intertrust, and the Motion Picture Association. In this paper we provide in-depth longitudinal data on these five players to show how companies implement DRM processes. Twelve DRM solution vendors are also analyzed in order to compare the strategies adopted. After giving a definition of Intellectual Property and Digital Rights Management (section 1) the paper provides a description of the typical Digital Media Management Value Chain Activities and players involved along the different phases examined (section 2). An in-depth description of Digital Rights Management processes is discussed in section 3. Digital Rights Management processes are considered in the context of business model and they are distinguished into content processes, finance processes and Rights Management processes. We conclude with a discussion of the model and main benefits generated by the integration of digital rights management and propose the most interesting directions for future research (section 4).


Author(s):  
Margherita Pagani

Digital Rights Management poses one of the greatest challenges for multimedia content providers and interactive media companies in the digital age in order to be able to monetorize their interactive products and services catalogs. In a digital environment, digital contents (video, audio) can be distributed across different media (TV, radio, Internet). Organizations need to take into account some legal issues: • control of copyright and rights management; • regulation of content; • regulation of access; • customer data and consumer protection. There are many problems about conflict between the territorial allocation of broadcast rights and the physical coverage of the signal. As illustrated in the previous chapters, satellite transmission has a much greater potential problem with audiovisual piracy than either terrestrial or cable due to the wide footprint of satellite broadcasts. In respect to out-of-area reception, cable networks offer the most controlled signal distribution since they comprise a closed environment. For terrestrial broadcasting the most typical issue is “overspill,” when the same signals can be received in an adjoining territory. In highly cabled territories, the custom has developed of redistributing the overspill signal as widely as possible.1 In these cases collecting societies will administer the copyright payments. The Net poses challenges both for owners, creators, sellers, and for users of Intellectual Property, as it allows for essentially cost-less copying of content. Digital files can be easily copied and transmitted, and today we already see serious breaches of copyright law. In an analog workflow DRM focused on security and encryption as a means of solving the issue of unauthorized copying, that is, lock the content and limit its distribution to only those who pay. This was the first generation of DRM, and it represented a substantial narrowing of the real and broader capabilities of DRM. The second-generation of DRM covers the description, identification, trading, protection, monitoring, and tracking of all forms of rights uses over both tangible and intangible assets, including management of rights holders’ relationships2 (Iannella, 2002). It is important to note that DRM technologies enable secure management of digital processes and information. Digital Rights Management refers to the management of all rights, not only the rights applicable to permissions over digital content. After giving a definition of Intellectual Property and Digital Rights Management, this chapter discusses the functional architecture domains which cover the high-level modules or components of the DRM system that together provide an end-to-end management of rights. Then the chapter provides a description of the typical Digital Rights Management value chain in terms of activities and players involved along the different phases examined. The purpose of the chapter is to try to understand the impact of the adoption of Digital Rights Management on the Value Chain and to try to analyse the processes in the context of the business model. The chapter concludes with a discussion of the main benefits generated by the integration of Digital Rights Management and proposes the most interesting directions for future research.


2008 ◽  
pp. 1707-1748
Author(s):  
Martin Schmucker

This chapter explains the fundamental principles of audiovisual content protection. It explains the basic knowledge that is needed to understand the fundamentals of digital rights management (DRM) systems and their problems. Starting with a general introduction about copyright and content protection, available protection technologies are described and analyzed. The basic concepts of DRM solutions are explained and problems discussed. Potentials and practical limitations are analysed based on the digital music industry value chain. An outlook is given on solutions that are under development and that stronger consider the needs of the customers. In the conclusion, future solutions are discussed.


Author(s):  
Martin Schmucker

This chapter explains the fundamental principles of audiovisual content protection. It explains the basic knowledge that is needed to understand the fundamentals of digital rights management (DRM) systems and their problems. Starting with a general introduction about copyright and content protection, available protection technologies are described and analyzed. The basic concepts of DRM solutions are explained and problems discussed. Potentials and practical limitations are analysed based on the digital music industry value chain. An outlook is given on solutions that are under development and that stronger consider the needs of the customers. In the conclusion, future solutions are discussed.


Author(s):  
Ramya Venkataramu ◽  
Mark Stamp

Digital Rights Management (DRM) technology is used to control access to copyrighted digital content. Apple employs a DRM system known as Fairplay in its iTunes online music store. Users communicate with the centralized iTunes server to download, purchase, play, and preview digital content. The iTunes music store has the potential disadvantage of a bandwidth bottleneck at the centralized server. Furthermore, this bandwidth bottleneck problem will escalate with increasing popularity of online music and other digital media, such as video. In this chapter, we analyze the Fairplay DRM system. We then consider a modified architecture that can be employed over existing peer-to-peer (P2P) networks. Our new system, P2PTunes, is designed to provide the benefits of a decentralized P2P network while providing DRM content protection that is at least as strong as that found in Fairplay.


Author(s):  
Farid Ahmed ◽  
Cecilia Gomes

With the remarkable growth of Internet and multimedia applications, production and distribution of digital media has become exceedingly easy and affordable. Applications such as distance education, e-commerce, telemedicine, digital library, and live audio/video broadcast activities require distribution and sharing of digital multimedia contents. Consequently, maintaining the quality of service of the applications and the rights of the content owner as well as enforcing a viable business model among the producer, consumer, and distributor of digital contents has become an increasingly challenging task, leading to a contentious area called digital rights management (DRM). This chapter presents how digital watermarking (DWM) technology can addresses part of this DRM problem of secure distribution of digital contents.


2013 ◽  
pp. 1606-1616
Author(s):  
Ilyas Balgayev ◽  
Phng Jia Shyan ◽  
Kaung Myat Win

Digital Rights Management (DRM) has been a popular option employed by firms to deal with piracy issues. The rationale of DRM, the expected benefits for firms, and their implications in the Interactive Digital Media (IDM) marketplace are presented. Using the VISOR framework, the chapter also analyses the impacts of DRM based in the IDM marketplace, and to suggest if DRM is the great spoiler in the IDM marketplace. Studies have shown that the advantages brought by DRM to firms go beyond what would be needed for an efficient provision of digital goods. The chapter concludes with some recommendations and suggestions whether DRM is the great spoiler in the IDM marketplace.


2013 ◽  
pp. 479-487
Author(s):  
Marcus Mansukhani ◽  
He Ye ◽  
Ma Zhaoran

P2P is currently the most contentious area of Interactive Digital Media on the Internet. It continues to grow in popularity at a phenomenal rate while media producers are seemingly stuck in a cycle of who needs to be prosecuted to prevent this form of piracy, and the majority feel that content should be paid for either to own or to rent with a Digital Rights Management time bomb. An alternative method of paying for the licence to download is presented by two self styled media futurists, and they conclude that it is easier for the industry to adapt to a market based on something that continues to feel like free rather than trying to enforce a model that is clearly not working at the moment and brands hundreds of millions of Internet users criminals. One proposal is that a US$5 monthly licence would produce an income of US$3 billion to the music industry. We explore how this could be extended to the digital media.


Sign in / Sign up

Export Citation Format

Share Document