Can former “pirates” fix a broken movie market?
Este artículo fue elaborado por Evelin Heidel y Ezequiel Acuña, miembros de Fundación Vía Libre, en cooperación con Joe Karaganis, Director de Proyectos de Cultura Digital en The American Assembly en la Universidad de Columbia, EEUU.
Government didn’t provide adequate IP structure, so Ecuador movie fans did it themselves.
For a country of 16 million people with a GDP under $100 billion, Ecuador spends a lot of time in the US crosshairs for inadequate IP protection. The country has been cited in the US government’s Special 301 IP report every year for the past decade, alongside perennials like Russia and China.
Pharmaceutical access has been the sharpest point of conflict with the US, most recently due to Ecuador’s strong stance on compulsory licensing of medicines. But Ecuador’s pirate disc markets also appear regularly in USTR and industry reports. As the copyright industry group IIPA put it in its 2013 Special 301 submission, “The level of piracy in Ecuador worsened in 2012, and pirate music products are being massively sold in shopping malls without any control from police or local authorities.” The story hasn’t changed much since 2003, when the IIPA described “dramatic decreases in IPR enforcement.”
No one expects Ecuador to wage war on the pirate CD or DVD trade. As long as multinationals set prices for CDs, DVDs, and software at US and European levels, legal markets will be small and pirate markets large. In a country where the informal sector contributes over a third of GDP, street enforcement will be costly and unpopular.