Panel: Paradigm Shift In Film Watching Has Created Need For New Finance, Distribution Models 08/07/2015 by Ani Mamikon for Intellectual Property Watch and Rishi Dhir for Intellectual Property Watch Leave a Comment Share this:Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Facebook (Opens in new window)Click to email this to a friend (Opens in new window)Click to print (Opens in new window)People are becoming increasingly mobile. With that, there are new expectations and needs. Video-on-demand industry experts told a recent event at the World Intellectual Property Organization that this represents a “change of paradigm,” requiring new models for financing and distributing films. Panellists at International Federation of Film Producers Associations (FIAPF) event, WIPO EuroVoD Secretary-General Dragoslav Zachariev described the global shift to mobile as a “change of paradigm.” He said the film industry is shaken by digital evolution requiring new models for financing production and distribution of films. The panel was organised by the International Federation of Film Producers Associations (FIAPF) on 1 July as a side event during the 30th session of the WIPO Standing Committee on Copyright and Related Rights (SCCR). The panel included a group of professionals who manage and curate internet video-on-demand (VoD) platforms and negotiate the licensing of relevant rights with producers and distributors. The dynamic growth of broadband technologies is being used by the audio-visual industry to increase opportunities for consumers to access a wide range of audio-visual content. These developments are especially relevant in nascent audio-visual production countries, where the demand for local content reflecting local cultures and tastes has been on the rise. Serge Noukoué, executive director & co-founder, NollywoodWeek, Paris, used the example of Nigeria to demonstrate how such developments have allowed the country to produce original content. He said there is a growing “phenomenon of producing themselves” and that there is a real demand for this type of content. However, this type of content is difficult to access because traditional television does not show this material. To address this problem of accessibility, Noukoué co-founded NollywoodWeek Film Festival, which annually showcases the top films by Nigerian filmmakers in Paris. The film festival has been held in Paris for the last three years. Another panellist, Enrico Chiesa, co-owner at IDmage AfricaFilms.tv, described the internet as a “great machine for concentration.” He said that the digital revolution provides the possibility to diversify access and production. According to Chiesa, Africans have never spent as much money as today on films. AfricaFilms.tv publicizes itself as 100 percent Africa and as the first legal download website for films from/about Africa and the diaspora on its website. A theme underlying the presentations of the panellists was the role that piracy has played in the audio-visual industry. Zachariev explained that producers and distributors were disturbed by what was happening on the internet with respect to piracy. In response, groupings of rights holders joined together and created VoD platforms as the digital arm of their businesses. EuroVoD was created in 2010, specialising in art-house films and independent cinema. The purpose of these new platforms is to preserve independent spirit and defend diversity. Zachariev described the new platforms to be “almost like an encyclopaedia of film.” Currently EuroVoD has members in 12 countries and all of the platforms are designed with the diverse expectations and needs of the various audiences in minds providing access to over 18,000 titles – 12,000 of them being unique titles. José Antonio De Luna, founder & chief operating officer, FILMIN, Madrid, said that the philosophy is to produce an alternative, something different, local product, and local stories. He said that exclusive distribution on the internet does not make sense because of the level of piracy. Therefore, he said, the distributor should make a profit margin and they use his group or others as experts to ensure the dissemination of their work. Ani Mamikon is an intern at Intellectual Property Watch. She recently completed her Juris Doctor at the University of Ottawa, Faculty of Law. She holds a Master’s Degree in Political Science and International Security Studies. She has a strong interest various IP issues relating to privacy, human rights and information technology. Recently, she has also developed a keen interest in patent law. Rishi Dhir is an intern at Intellectual Property Watch. He holds a Juris Doctor with honours from the University of Ottawa, Faculty of Law. He also holds dual Bachelor Honour Degrees in Mathematics and Business Administration from the University of Waterloo and Wilfrid Laurier University. Rishi has an interest in a variety of IP issues including copyright law, piracy and Internet governance. Share this:Click to share on Twitter (Opens in new window)Click to share on LinkedIn (Opens in new window)Click to share on Facebook (Opens in new window)Click to email this to a friend (Opens in new window)Click to print (Opens in new window) Related Ani Mamikon may be reached at info@ip-watch.ch.Rishi Dhir may be reached at info@ip-watch.ch."Panel: Paradigm Shift In Film Watching Has Created Need For New Finance, Distribution Models" by Intellectual Property Watch is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.