Be it an unfavorable end - user license agreement (EULA) or digital rights management (DRM), corporate entities have endeavored to convey that consumers do not own digital content, but
rather license the content for an indeterminate period of time, during which the rights holder can terminate said license with impunity.
Not exact matches
Whether it is the purchase of Lucasfilm, the sequel (and prequel)- isation of Pixar's earliest and best work or the Disney Infinity «multi-platform experience,» the world's most successful film studio is no longer venturing outward in search of material, but
rather has turned entirely inward, and is fracking its own landscape of
licenses to generate «
content.»
Most importantly, I would prefer to see states expend precious public dollars on answering these questions of performance measurement
rather than on an elaborate
licensing apparatus that typically measures only course
content and internship hours.
What is clear is that consumers who buy DRM will benefit by owning
rather than merely having a
license to use the
content they purchase.
Amazon do allow people to share some of their Kindle
content if their accounts are linked - but even so the idea that we buy a
license to access that
content,
rather than the rights of ownership is also part of the Kindle Store's terms of use.
When it comes to digital works, however, two complications arise: first, consumers might only hold a
license to the
content,
rather than all of the rights that come from a sale; second, without a traditional physical container for each purchased work, consumers may not practically be able to sell their «particular copy» at all.
Nowadays you're not actually «purchasing» a PC game, but
rather «subscribing» to it or purchasing a
license for it, which means game publishers can tell you how many times you can install a game, make you pay to unlock
content that's already on the disc, or go ahead and revoke your right to play a game, and there's nothing illegal about them doing any of these things at all because you paid $ 50 for a service (the subscription or
license)
rather than for a product.
Nowadays you're not actually «purchasing» a PC game, but
rather «subscribing» to it or «
licensing» it, which means game publishers can tell you how many times you can install a game, make you pay to unlock
content that's already on the disc, or go ahead and revoke your right to play a game, and there's nothing illegal about them doing any of these things at all because you paid $ 50 for a service
rather than a product.
Various sources such as the BBC and MoneySavingExpert talk about the law changing with regards to TV
licensing, specifically stating that UK Residents now require a TV
License to watch catch - up (
rather than Live)
content on the BBC iPlayer, from Sept 1, 2016
Another strength of this book is that it focuses on areas that have been given short shrift in previous works on Canadian copyright: users» rights (an area of increasing importance, since most public discourse about copyright focuses on what we can't do
rather than what we can); aboriginal approaches to intellectual property rights (which emphasize the protection of the honour of clans, cultures, and nations over the rights of individual creators); digital rights management (and its spectacular failure to actually protect
content); and public
licensing systems (such as the Creative Commons
licenses).
Anyone who wants to get a driving
license will be more likely to attend a driving school that constantly publishes high - quality
content online
rather than one which pursues only standard advertising channels.