New research prepared by Frontier Economics on behalf of the Motion Picture Association (MPA) credits the South Korean government’s supportive policy environment and proactive efforts in copyright protection as key factors behind the growth and success of K-content.
MPA Chairman and CEO Charles Rivkin Brings on Association’s Second New Member During Seven-Year Tenure.
In Vishesh Films Private Limited v. Super Cassettes Industries Limited,[i] the Delhi High Court has restrained film production company T-Series from using titles “Tu Hi Aashiqui”, “Tu Hi Aashiqui Hai” and “Aashiqui” in respect of an upcoming film.
Since this is a copyright blog, I am guessing that most of my readers will be saying to themselves, “I know the difference between trademark and copyright; doesn’t everyone?”.
“It was one of the most stress-free jobs I’d ever done,” cinematographer Shane Hurlbut tells The Credits during a video call about the Netflix murder mystery The Perfect Couple.
FIFTH SUCCESSFUL DRAGON MART RAID SINCE NOVEMBER RESULTS IN TWO ARRESTS AND SEIZURE OF ILLICIT IPTV DEVICES
What happens when a charming AI device makes itself indispensable to an unsuspecting family of five? In Chris Weitz‘s new horror film Afraid, the smooth-talking “AIA” aims for nothing short of total domination.
In this Industry Spotlight with Creative First, Svetlana Sharma Kanwar, Founder-Director of Turquoiz Mediaworkz and Light Language Films, joined Lohita Sujith, Sr. Director, Copyright & Digital Economy, Motion Picture Association, to discuss how shifting content and consumption patterns have also resulted in a shift in the advertising trends in the industry.
“Into the Future: Creativity and Innovation in the Audiovisual Industry”
Remarks as prepared for delivery by MPA EMEA President and Managing Director Stan McCoy
Back in 2021 I wrote a mixed review of the revisions brought in to update Singapore’s Copyright Act.