Thoughtful. The distinction between the type of works is useful for policy debate - some works, such as dojin comics, do not cause conflicts with the sales of the originals. This applies to mash-ups in music. However, one (albeit greedy one) may argue that use of the rights in those derivatives are another source of revenue if monetized properly, and hence unauthorized creation and distribution of derivative works is another lost revenue opportunity.
Committee-based finance and production of movies and anime make it difficult, he points out, to take a tolerant attitude towards doujin works. I think what is needed here might be a cultural change more than changes in law or business practices.
His characterization that doujin fills unmet needs /niches sounds right. This means that doujin activities are potentially welfare-increasing. The fact that the doujin treatments of the original charcters and story lines cannot be accomodated into the official lines is quite interesting in this light. Of course, some fan fictions may make it to the original's script. But others are destined to remain unofficial. If there is, for example, a practice of contributing some money marketing-related information to the rigits holders/ creators of the originals, that might make everyone happy, because the rights holders benefit from the type of derivatives that they can never create or market that way.
by
infosoc
2008-05-04 03:41
Japan
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innovation
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copyright
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user-generated-content