Deterrence of Piracy Employing IR Transmitter and Steganography System

Moving picture entertainment is a foremost source of amusement for populace in today’s existence. To entertain populace a lot of investment is put into film production by the film makers. Their endeavour is being ruined by few people by pirate the movies substance. They do it by capture the video recording in mobile phone camera and upload it to websites or put up for sale it to people which cause huge loss. In this research work we are proposea novel technique for reduction of film piracy by avoiding fake video recordings of video in theatres. An indistinguishable luminosity is projected from the display to the whole spectators that falls on the camera lens which is sensitive to infrared light rays Makes the recorded video unfit to watch. A method is developed for anti-piracy system for film industry using steganography technique in MATLAB.

Mengoptimalkan Peran Lembaga Perfilman Indonesia: Analisis Aspek Hak Cipta terhadap Praktik Siaran Video Ilegal

The film is part of the intellectual property rights attached to the creator. Nowadays, it is commonly agreed that violation of intellectual property rights portrays in film piracy for personal gain is inevitable, with illegal streaming services. This study aimed to examine film protection, conduct a study of film institutions, and find concepts to protect films in Indonesia. The study used a juridical method with the statute and conceptual approaches. In so doing, it used secondary data processed using library research techniques. The study showed that illegal movie streaming rampant in Indonesia practiced illegal streaming movies. It violated the intellectual property rights inherent in the creator, resulting in enormous losses for the creators. There are further problems in the laws and regulations, and the government must accommodate preventive actions. This study suggested three components: correctional, supervision, and copyright protection against illegal movie streaming in Indonesia; and these components were to maximize the role of stakeholders. KEYWORDS: Illegal Streaming Movies, Indonesian Film Institute, Intellectual Property Rights and Copyrights

MENCIPTAKAN PERLINDUNGAN HUKUM YANG EFEKTIF BAGI HAK CIPTA KARYA SASTRA FILM NASIONAL : UTOPIS ATAU LOGIS?

<p><strong><em>Abstract</em></strong></p><p><em>The development of technology entering the era of the Internet of things does not only bring </em> <em>good news to human civilization, but also brings new modes and media for copyright infringers in national film literary works. Currently, film piracy media have started using a platform social media based on a private messaging service provider application called Telegram. Storywriters, Screenwriters, directors, producers, and film actors and actresses are disadvantaged by irresponsible public behavior in the form of piracy activities in the sense of making copies and distributing films in violation of applicable legal provisions. The legal provision in question is Law Number 28 of 2014 concerning Copyright, hereinafter referred to as UUHC. This regulation is the main legal umbrella for protecting the copyright of literary works including films in Indonesia. The Government’s efforts to create legal protection for the copyright of national film literary works are continuously being developed to keep abreast of the modes and media used by copyright infringers. This article aims to find out how the current positive law regulates the aspects of copyright protection, especially for film literary works, then whether effective legal protection has been created for national film literary works in the country, and how the influence and relationship to community behavior is related to violations. copyright, especially film copyright. The research method used by the author in writing this article uses a type of normative research, namely by conducting a study of all formal legal regulations (laws and regulations below) that are relevant in relation to the topic of discussion, and using literatures that contain theoretical concepts for conduct an analysis of the subject matter of the research.</em></p><p><strong> </strong></p><p><strong>Abstrak</strong></p><p>Perkembangan teknologi memasuki era <em>Internet of things</em> rupanya tidak hanya membawa berita baik bagi peradaban manusia, melainkan membawa pula modus dan media baru bagi para pelaku pelanggar hak cipta pada karya sastra film nasional. Media pembajakan film saat ini sudah mulai menggunakan <em>platform</em> media sosial berbasis aplikasi penyedia layanan perpesanan pribadi bernama Telegram. Para penulis cerita, penulis naskah/skenario, sutradara, produser, hingga para aktor dan aktris pemain film menjadi pihak yang dirugikan dengan adanya perilaku masyarakat yang tidak bertanggungjawab berupa kegiatan pembajakan dalam artian melakukan penggandaan, dan penyebaran film dengan melanggar ketentuan hukum yang berlaku. Ketentuan hukum yang dimaksud adalah Undang-Undang Nomor 28 Tahun 2014 tentang Hak Cipta yang selanjutnya akan disebut UUHC. Peraturan ini merupakan payung hukum utama bagi perlindungan terhadap hak cipta karya-karya sastra termasuk film di Indonesia. Upaya Pemerintah dalam menciptakan perlindungan hukum bagi hak cipta karya sastra film nasional terus dikembangkan guna mengikuti perkembangan modus serta media yang digunakan para pelaku pelanggar hak cipta. Artikel ini bertujuan untuk mengetahui bagaimana hukum positif saat ini mengatur mengenai aspek perlindungan hak cipta khususnya bagi karya sastra film, kemudian apakah sudah tercipta perlindungan hukum yang efektif bagi karya sastra film nasional di tanah air, serta bagaimana pengaruh dan hubungannya terhadap perilaku masyarakat kaitannya dengan pelanggaran hak cipta khususnya hak cipta film. Metode penelitian yang digunakan penulis dalam menulis artikel ini menggunakan jenis penelitian normatif, yaitu dengan melakukan kajian terhadap seluruh peraturan hukum bersifat formil (Undang-Undang, dan peraturan dibawahnya) yang relevan kaitannya terhadap topik bahasan, serta menggunakan literatur-literatur yang berisi konsep teoritis untuk melakukan analisa terhadap pokok permasalahan penelitian.</p>

Transgression in contemporary media culture

This is the introduction to a special issue on media and transgression, one of early cultural studies’ key terms. It inquires into the uses of transgression as a critical concept to query contemporary media culture which is discussed in six case studies: on political satire, Mukbang, cult drama, the policing of film piracy, media scandals, and online trolls. Transgression points to the energy that fuels the media ecology – from content and content production to audience practices and the policing of content ownership. It is the (conscious) overstepping of moral and legal boundaries, that challenges written and unwritten rules. The frisson of rule breaking and the reward of rule re-establishment (whether by powerful parties or everyday gossip) are transgression’s bookends. Together they support the cyclical rhythm of media culture that maintains not just our interest as viewers but our interests and connectedness as citizens, whether in celebration, outrage or condemnation.

Pembajakan Film via Bigo Live Perspektif Hukum Pidana Islam

This article discusses perspective of Islamic criminal law on the piracy of film using Bigo live. The process of pirating is conducted by live streaming in cinemas by user of such application and broadcasting it via smartphones while the movie is progressing. This piracy contravenes Law No 28/2014 on copy right, especially article 113 (3). This article stipulates that violating economic right of the author as previously stated in article 9 (1,b) which is commercially copying creation in all of its form is punishable with 1.000.000.000 rupiah. In addition, this piracy contravenes Law No/ 11/2008 on Information and Electronic Transaction article 48 (1 and 2) because of abusing the application using electronic devices with maximum punishment of 8 year of imprisonment and fine of 2.000.000.000 rupiah. The film piracy from the perspective of Islamic criminal law can be considered a theft, but not meeting of its punishable requirements. Thus, the punishment is ta’zir determined by state authority in Indonesia. Keywords: Film piracy, bigo live, Islamic criminal law. Abstrak: Artikel ini membahas tentang pembajakan film via Bigo live menurut hukum pidana Islam. Proses pembajakan film via Bigo live dilakukan dengan cara live streaming di gedung bioskop oleh pengguna aplikasi tersebut, yang kemudian disebarluaskan melalui smarthphone ketika film sedang berlangsung. Pembajakan film via Bigo live tersebut menurut Undang-undang Nomor 28 Tahun 2014 tentang Hak Cipta, telah melanggar aturan Pasal 113 ayat (3), dan terancam pidana penjara paling lama 4 (empat) tahun dan pidana denda paling banyak Rp. 1000.000.0000,00 (satu miliar rupiah). Pembajakan film via Bigo live juga melanggar Undang-undang Nomor 11 Tahun 2008 tentang Informasi dan Transaksi Elektronik Pasal 48 ayat 1 dan 2, dengan ancaman pidana 8 tahun penjara dan denda 2.000.000.000,00 (dua miliar rupiah). Pembajakan film tersebut menurut hukum pidana Islam adalah termasuk tindak pidana pencurian, namun tidak memenuhi syarat dilaksanakannya hukuman potong tangan, sehingga mengharuskan dilaksanakannya hukuman ta’zîr, karena telah merugikan seseorang dan mengambil hak seseorang tanpa kerelaan orang tersebut. Ketentuan hukumannya ditentukan oleh ulil amri dengan ketentuan undang-undang yang berlaku di Indonesia. Kata Kunci: Pembajakan film, Bigo live, hukum pidana Islam.

Movie Piracy Networks at Alaba International Market, Lagos, Nigeria

This study examined the veiled chain of film piracy, a major crime in the Nigeria entertainment industry. Studies on film piracy in Nigeria have focused on its economic implications, both on the copyright owners and on the Nigerian economy. The organization of the activities of the film pirates has, however, been neglected. Narratives were extracted through in-depth interviews with pirates, “marketers,” and “producers.” Data indicated that pirates were insiders in the film marketing industry and included importers of foreign movies, registered and nonregistered retailers of Nigerian films, as well as marketers appointed by copyright owners to distribute their films. With the connivance of sales girls working with the copyright owners and dubbing companies, original copies of films (white face) are “procured.” Pirates distributed pirated copies, also secretly known as “green face,” without issuing receipts or putting the logo of the company on it. For security reasons, pirated films are sold only to buyers introduced by a member in the piracy network. Efforts aimed at fighting piracy must take into account this veiled network to effectively combat intellectual theft via aggressive ban on the public sale of such products.