Pirates of the Footpath
Pirates of the Footpath By
Name: Anupam Chatterjee
Class roll no. – 001000501023
Dissertation submitted towards the fulfillment of the requirements of MA 4th semester examination
2012
Department of Film Studies
Jadavpur University
Acknowledgements
I am grateful to the following people for helping me complete this project successfully.
Subhajit Chatterjee
Dr. Moinak Biswas
Manas Ghosh
Anindya Sengupta
Sanjoy Mukhopadhyay
Madhuja Mukherjee
Subham Roychoudhury
Mrinal Kanti Mondol
Pranab Kumar Patro
Praskanva Sinharay
Aritra Chakraborty
Sreyashi Choudhury
Contents
Abstract
Chapter 1: pg 7
Chapter 2: pg 15
Chapter 3: pg 31
Bibliography: pg 36
Abstract
It is now a well attested fact that the piracy industry is nearly as large and organized as any other formal corporate industrial field and its magnitude is not a matter of shock and surprise anymore. There is substantial statistical backup conforming to the above fact. (Kiesla, 2011) The position of the uninstitutionalised sector of movie piracy goes unnoticed amidst the clash of the titans. The pirate electronic culture in India has its own set of idiosyncrasies. Compared to the broader international piracy sector, it is largely unorganized and cannot really be termed as an ‘industry’ in the contemporary corporate sense of the term. “It is driven by innovation, ad-hoc discovery, and electronic survival strategies.” (Sundaram, 2001)
Major International production houses (primarily from Hollywood) like Dreamworks [Madagaskar, Kung-fu Panda & How to Train your Dragon.], 20th Century Fox [Avatar],
Name: Anupam Chatterjee
Class roll no. – 001000501023
Dissertation submitted towards the fulfillment of the requirements of MA 4th semester examination
2012
Department of Film Studies
Jadavpur University
Acknowledgements
I am grateful to the following people for helping me complete this project successfully.
Subhajit Chatterjee
Dr. Moinak Biswas
Manas Ghosh
Anindya Sengupta
Sanjoy Mukhopadhyay
Madhuja Mukherjee
Subham Roychoudhury
Mrinal Kanti Mondol
Pranab Kumar Patro
Praskanva Sinharay
Aritra Chakraborty
Sreyashi Choudhury
Contents
Abstract
Chapter 1: pg 7
Chapter 2: pg 15
Chapter 3: pg 31
Bibliography: pg 36
Abstract
It is now a well attested fact that the piracy industry is nearly as large and organized as any other formal corporate industrial field and its magnitude is not a matter of shock and surprise anymore. There is substantial statistical backup conforming to the above fact. (Kiesla, 2011) The position of the uninstitutionalised sector of movie piracy goes unnoticed amidst the clash of the titans. The pirate electronic culture in India has its own set of idiosyncrasies. Compared to the broader international piracy sector, it is largely unorganized and cannot really be termed as an ‘industry’ in the contemporary corporate sense of the term. “It is driven by innovation, ad-hoc discovery, and electronic survival strategies.” (Sundaram, 2001)
Major International production houses (primarily from Hollywood) like Dreamworks [Madagaskar, Kung-fu Panda & How to Train your Dragon.], 20th Century Fox [Avatar],
Bibliography: Chatterjee, Partha. “Democracy and Economic Transformations in India”. Economic and Political Weekly, april 19, 2008 Chatterjee, Partha, The Politics of the Governed: Reflections on Popular Politics in Most of the World.(Columbia University Press, 2004) Chatterjee, Partha, introduction to Wages of Freedom: Fifty Years of the Indian Nation State. ed. Partha Chatterjee. (Oxford University Press, 1998) Sundaram, Ravi CYBERPUBLICS IN INDIA.” Paper presented at the 5th International Conference on Cyberspace, Telefonica, Madrid, June 6-9, 1996.) Sundaram, Ravi Liang, Lawrence, “Meet John Doe‘s Order: Piracy, Temporality and the Question of Asia” JOURNAL OF THE MOVING IMAGE 7, www.jmionline.org, 2006 Mitchell, Timothy An economic history of Film, ed. Sedgwick, John and Michael Pokorny (New York, Routledge publications, 2005). Boyle, James, The Public Domain, Enclosing the commons of the mind, New Havel and London: Yale University Press, 2008 Benjamin, Walter: Illuminations [ 3 ]. Liang, Lawrence, “Meet John Doe‘s Order: Piracy, Temporality and the Question of Asia” Journal of the Moving Image7, 2006 [url: http://jmionline.org/film_journal/jmi_07/article_04.php] Accessed on 22.03.2012 [ 4 ] [ 5 ]. Schwartz, Hillel, The culture of the copy: striking likenesses, unreasonable facsimiles. (Zone Books, 1998) [ 6 ] [ 7 ]. 5 Acheson, Keith and Christopher J. Maule, “Hollywood’s organisation and continuing success,” in An economic history of Film, ed. Sedgwick, John and Michael Pokorny (New York, Routledge publications, 2005) [ 8 ] [ 9 ]. John and Michael Pokorny, introduction to An economic history of Film, ed. Sedgwick, John and Michael Pokorny (New York: Routledge, 2005) [ 10 ] [ 13 ]. John and Michael Pokorny, “The characteristics of film as a commodity,” in An economic history of Film, ed. Sedgwick, John and Michael Pokorny (New York, Routledge publications, 2005).p10 [ 14 ] [ 17 ]. As Frederick Huntsberry interviewed The Hollywood Reporter at the second day of CineAsia convention on Dec 8, 2010 [ 18 ] [ 20 ]. Mitchell, Timothy. Rule of Experts: Egypt, Techno-Politics, Modernity. (Berkley, Los Angeles, London: University of California, 2002) [ 21 ] [ 26 ]. Sundaram, Ravi. “Recycling Modernity: Pirate electronic cultures in India” in Sarai Reader 01: Public Domain.(New Delhi, Sarai publications, 2001) [ 27 ] CYBERPUBLICS IN INDIA.” Paper presented at the 5th International Conference on Cyberspace, Telefonica, Madrid, June 6-9, 1996.) [ 28 ] [ 29 ]. Chatterjee, Partha, introduction to Wages of Freedom: Fifty Years of the Indian Nation State. ed. Partha Chatterjee. (Oxford University Press, 1998) [ 30 ] CYBERPUBLICS IN INDIA.” Paper presented at the 5th International Conference on Cyberspace, Telefonica, Madrid, June 6-9, 1996.) [ 31 ] [ 33 ]. Benjamin, Walter: Illuminations. New York: Schocken Books, (1968). [ 36 ]. Chatterjee, Partha. “Democracy and Economic Transformations in India”. Economic and Political Weekly, april 19, 2008, 53 [ 37 ]