Copyright Industries And The Impact Of Creative Destruction

Drawing on Schumpeter's theory of creative destruction, the book explores whether the expansion of the duration of copyright promotes or precludes the growth of the book publishing industry. The book reviews the historical development of UK copyright expansion and also considers copyright in the digital age. By exploring legal and economic aspects of copyright protection, and the expansion of copyright duration in particular, the author suggests changes to copyright policy which would have a significant impact on the economics of innovation in the creative industries.

This book examines the relationship between the legal extension of copyright duration as an enduring means of copyright protection and the growth of the UK book publishing industry as a typical creative industry reliant on copyright. The book draws on Schumpeter’s theory of creative destruction to analyse the implications of copyright law and policy on the book industry and illustrate the dynamic interaction between copyright expansion and the growth of the creative industries. The book reviews the historical development of UK copyright expansion and also considers copyright in the digital age. It explores the legal and economic concerns about copyright protection in general, and the expansion of copyright duration in particular. Using an innovative empirical method, it explores whether the expansion of the duration of copyright promotes or precludes the growth of book publishing industry. It goes on to suggest changes to copyright policy which would have an impact on the economics of innovation in the creative industries. This book will be of particular interst to scholars and students of Intellectual Property Law.

Schumpeter's framework of creative destruction applied to the rapidly changing telecommunications and related Internet industries. More than fifty years ago, Joseph Schumpeter stated that processes intrinsic to a capitalist society produce a "creative destruction," whereby innovations destroy obsolete technologies, only to be assaulted in turn by newer and more efficient rivals. This book asks whether the current chaotic state of the telecommunications and related Internet industries is evidence of creative destruction, or simply a result of firms, governments, and others wasting valuable resources with limited benefits to society as a whole. In telecommunications, for example, wireless, IP, and cable-based technologies are all fighting for a share of the market currently dominated by older, circuit-switched, copper-terminated networks. This process is accompanied by mergers, acquisitions, bankruptcies, and investment and divestment in worldwide markets.The selections discuss the primary challenge facing firms, governments, and other players: how to exploit the opportunities created by such destructive dynamics. They highlight the importance of national regulations promoting competition and nonmonopolistic market structures, as well as the role of new technologies such as the Internet in driving down the price and speeding the diffusion of innovative products and services in telecommunications, media, electronic retailing, and other "new economy" industries.

While creative destruction and disruptive innovation change the entrepreneurial landscape; regulation – especially regulation of sectorial markets and competition regulation – can delay this change or even bring it to a halt. Uber plays an active role between these two forces: first as an agent of creative destruction and then possibly in championing regulation on its own terms. Grounded in a particular understanding of the economic concept of the market as a series of processes, this book explores the implications of creative destruction, competition regulation and the role that businesses play. Instead of discussing these relations in a purely abstract manner, this book uses Uber as a case study.

This book provides rare insights into the difficult and complex dialogues between stakeholders within and outside the music industries in a time of transition. It builds on a series of recorded meetings in which key stakeholders discuss and assess options and considerations for the music industries’ transition to a digital era. These talks were closed to the public and operated under the Chatham House Rule, which means that they involved a very different type of discussion from those held in public settings, panels or conferences. As such, the book offers a much more nuanced understanding of the industries’ difficulties in adjusting to changing conditions, demonstrating the internal power-struggles and differences that make digital change so difficult. After presenting a theoretical framework for assessing digital change in the music industries, the author then provides his research findings, including quotes from the Kristiansand Roundtable Conference. Following from these findings, he develops three critical concepts that explain the nature as well as the problems of the music industries’ adaptation process. In conclusion, he challenges the general definition of crisis in the music industries and contradicts the widely held view that digitalization is a case of vertical integration.

Cultural economics has become well established as a subject of interest for students and teachers of courses ranging from economics to arts administration as well as for policy-makers and practitioners in the creative industries. Digitisation has had a tremendous impact on many areas of the creative economy and the third edition of this popular book fully reflects it.

A Frenchman rents a Hollywood movie. A Thai schoolgirl mimics Madonna. Saddam Hussein chooses Frank Sinatra's "My Way" as the theme song for his fifty-fourth birthday. It is a commonplace that globalization is subverting local culture. But is it helping as much as it hurts? In this strikingly original treatment of a fiercely debated issue, Tyler Cowen makes a bold new case for a more sympathetic understanding of cross-cultural trade. Creative Destruction brings not stale suppositions but an economist's eye to bear on an age-old question: Are market exchange and aesthetic quality friends or foes? On the whole, argues Cowen in clear and vigorous prose, they are friends. Cultural "destruction" breeds not artistic demise but diversity. Through an array of colorful examples from the areas where globalization's critics have been most vocal, Cowen asks what happens when cultures collide through trade, whether technology destroys native arts, why (and whether) Hollywood movies rule the world, whether "globalized" culture is dumbing down societies everywhere, and if national cultures matter at all. Scrutinizing such manifestations of "indigenous" culture as the steel band ensembles of Trinidad, Indian handweaving, and music from Zaire, Cowen finds that they are more vibrant than ever--thanks largely to cross-cultural trade. For all the pressures that market forces exert on individual cultures, diversity typically increases within society, even when cultures become more like each other. Trade enhances the range of individual choice, yielding forms of expression within cultures that flower as never before. While some see cultural decline as a half-empty glass, Cowen sees it as a glass half-full with the stirrings of cultural brilliance. Not all readers will agree, but all will want a say in the debate this exceptional book will stir.

Technology and the Internet have triggered important changes to how creative works are created and accessed, and how creators and copyright-based industries generate their revenues. The authors reassess the economics of copyright in the light of these changes. After providing an introduction to the economics of copyright, they analyze the changes to the baseline copyright model triggered by the new technological landscape. Then, they assess the empirical economic work on copyright so far, and suggest future avenues of research and related data needs.