5
GoBack
ISSUE 22
Press [CTRL]+[ALT]+[+] to zoom in; [CTRL]+[ALT]+[-] to zoom out
NEWS UPDATES
Making The Best Of Digital Environment-Two Experiences
From Brazil
Copyright, Sound Quality and The Future of Music
Consumption
is article is about the opportunities
oered by the internet for content (movie)
creators from the experience of two new
entrants trying to solve common barriers
existing in the creative sector in Brazil.
Crowd funding for movie
production
e rst story is about Yasmin ainá, a girl
from a poor neighborhood of Rio de Janeiro.
She is 24 years old and she wanted to make
a movie about the condition of a young
black woman from her neighborhood.
But she had no money. She got the movie
nanced via crowd funding and the work
ended up being a huge success. It went on
to be shown in the most traditional movie
theater in operation in Rio de Janeiro
and the success was so big that she had to
schedule other 3 daily sessions so people
could aend the movie. Twenty years ago,
it would have been impossible for a girl
from such a neighborhood produce an
independent movie and open it in cinema.
It is possible due to internet and technology.
e name of her documentary is ‘K-Bela.
It’s a play with the word “cabelo, which
means hair in Portuguese. It is a feminine
term for hair combined with “Bela, a word
meaning beautiful. She is talking about the
beauty of her hair and the slogan of the
documentary is “a movie about being a
woman and becoming black”.
Movie distribution over the
internet
e second story is about a man called
iago. He created a website called
O Cubo” (the cube) (hp://www.
canalocubo.com/), which works as a
platform for distribution of independent
movies. e dierence between this
platform and many others is that this one
requires movies to be licensed through a
simplied system similar to the creative
commons. e Creative Commons licenses
overcome restrictiveness and copyright
complexity for users and copyright holders.
rough the scheme, the author authorizes
certain uses of his or her work to users in
a simplied manner while exploiting their
works.
e website was revolutionary because
of over 100 Brazilian movies in that reach
cinemas every year, only a third of the
movies are viewed by more than 10,000
people (hp://oca.ancine.gov.br/media/
SAM/DadosMercado/2116-22052015.
pdf). In a country with more than 200
million inhabitants, 10, 000 people do not
make commercial sense. is shows that
there is a serious distribution problem.
erefore an alternative distribution
network was timely in this case.
e rst long movie produced by “O Cubo
was inspired by life of a famous singer in
Brazil, was seen by more than 2 million
people on the internet, although it was not
shown in cinemas, because it was produced
to be distributed and watched online
(hps://vimeo.com/63818812).
ese two stories above illustrate how
problems of funding and distribution of
copyright products are partially solved by
the internet through crowd funding and
Creative Commons in Brazil. I hope this
inspires people to exploit opportunities
oered by the Internet wherever they are.
By. Dr. Sérgio Branco, Director of the Institute of Technology and Society of Rio de Janeiro
By. Phillip Nyalenda
Music forms part of our lives in such a
way that it is not only etched into our
subconscious but is also rooted deep
into the fabrics of human existence. It has
been expressed and packaged in varying
forms over time but two things remain:
its intrinsic value and overall inuence on
culture.
Kenyans have been termed as a media-
consuming nation and music is one that
has kept us entertained. From moonlight
dance festivals in the traditional seing,
to revellers partying in night clubs or
the inuence on our ‘matatu’ industry,
music forms part of our nations DNA.
e formats through which we consume
music will continue to change-only a small
number currently use cassee tapes- and
so it is quite important to try and visualize
trends that will shape how people listen to
music in the future.
e level of Smartphone adoption in
Kenya in the past half-decade, coupled with
the lowering of data bundle rates by the
competing internet service providers, has
enabled many people, young and old alike,
to easily access music in digital format and
a number can now stream audio and video
les online or create dierent playlists of
the already downloaded content.
Ten years ago, the transistor radio was
the chief way of music entertainment.
Now, with under Ksh. 2000 of investment
in a mobile phone, one can herd cows,
for example, listening to music of their
choice. Technology has ensured that the
prices of mobile devices have reduced and
China-made products are signicantly
cheaper. Access to music has now become
democratised!
Continued to next page