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Marshall, P. David. . New media cultures / P. David Marshall. 0340806990 (pbk.) series London : Arnold ; New York : Distributed in the US by Oxford University Press, 2004.
Call#: Van Pelt Library HM1206 .M35 2004

This book chapter discusses the changing nature of television today. It also notes the similarities between televisions and computers, from the superficial to the technological. They are both clearly models with screens that carry pixilated images through cathode ray tubes. P. David Marshall sees graphic connections, arguing that they made an easy and natural transition from television viewing on a traditional TV to a computer screen. He notes that time-shifting on television in terms of home movies was another precursor to the audience desire to time-shift television shows on the Internet. This shows an interesting technological cycle that occurs. Marshall discusses how computer and television technology melded with the introduction of the digital video recorder (DVR). This was one of the first steps in transforming viewers’ relationships with television, giving viewers a drivers’ seat. This trend continues with video on demand. Marshall writes that television networks now serve a “shifted function,” so executives are making strides to create programming to bypass these problems. One solution is to create programming with interactive audience content and event status. American Idol is an example of this strategy because it is not put online and viewers need to watch in order to phone in for their favorites, because phone lines close two hours after the shows airs. Due to the mounting changes caused by new media, Marshall argues that television is trying to “rejuvenate” itself.

This book chapter is important to my paper because it shows the continuing control over the television that users have been provided over the past years from new media. The book does not only discuss Hulu.com and Internet television, giving a broader perspective on the changing nature of television and time/space- shifting. This raises important questions for the future of television and what is next in this technological cycle. Also, the fact that the book was written five years ago, and television is still going strong and developing new strategies, demonstrates the resilience of television with the new media of Internet television. The chapter also sheds light on the technological similarities of the types of screen, demonstrating why the shift is entirely possible.

 

 

    In a copyright infringement case, the judge ruled against the company Cablevision.  Customers were given a DVR remote to store television shows where “the hard drive itself was stored on Cablevision property.”  The courts decided that this made “Cablevision liable for reproducing and transmitting the programs without permission.” In other words, when Cablevision customers record television shows, no matter if they actually watch them or not (“buffer copies”), Cablevision is responsible for creating this “infringing copy.” Since all the saved programs are stored in Cablevision’s hard drive, the shows are then transmitted to the user after the broadcast, whenever they choose to watch their show.  Thus, officials are claiming that Cablevision “needs to manipulate signals in order to record the shows a user has selected” and, in essence, calling the company a “broadcast pirate.” The Cablevision case “does nothing to curb piracy”; if anything it “discourages innovation.” Also, it seems that Cablevision did nothing to actually infringe any copyright laws, which “center not on the details of the machinery, but on how the rights in a work are affected.” This is a major problem for the officials who deal with copyright laws.  If DVR and other recording techniques become so complicated and so afflicted with copyright laws, consumers may refuse to use them; thus, consumers would not be able to keep up with their favorite shows and probably never be willing to buy the DVD box sets later in life.  These copyright laws could negatively affect the market more so than DVRS (what they see to be the problem in this case) ever would have.

Consumers using Cablevision were not affecting how the works were used, the general market was in no way affected, and there was no copyright infringement.  Therefore, it seems that all this lawsuit did was enrage the public and prove that copyright laws are only “being used as a tool to scrape more money from wherever the studios can get some.”