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As the sun sets on P2P in the West …

p2pnet news view Movies | P2P:- Sharing is a community thing and has been since the time of Adam. (Think Apple / Eve, not Jobs)

But Ipoques’ latest report states that P2P file sharing is down 6.9% year on year.

They go on to explain that the drop is balanced by http traffic from sites like Rapidshare. Users are moving to this kind of site in droves, sick and tired of being harassed by companies such as Media Defender, BayTSP and DTECnet.

And sick of Governments legislating SafeHarbour Acts that require ISPs to disconnet the users.

Smart users figureif their download looks like port 80 http traffic, it’s less likely to be interdicted, interfered with, or have the brakes applied to it by ISPs who want to stay out of trouble with content companies.

At the Perceptric think tank, we have a theory: the harder and higher the level of interdiction, the greater the pushback from the p2p community.

Anecdotally, it’s the author’s hypothesis that the real P2P “buzz” is almost over — that interdiction, filtering, Denial of Service attacks are all pretty much about to become a moot point. After all, where’s the fun in collecting grains of pretty coloured pink sand on a beach when you live on the beach?

Lack of scarcity eventually cures the P2P download-desire from even the most dedicated downloader.

It rises in the East.

I regularly conduct tests of the P2P networks for anomalies, memes and themes.

A curious statistic is that P2P file users are now more likely to be located between the middle east and China.

This is the new P2P majority.

One of my recent efforts was to research all Tom Cruise movies spanning the period 1986 – 2009 to determine whether or jot P2P traffic hurts or assists box office sales.

Cruise’s most current movie, Valkyrie shows some interesting statistics. I noticed out of the 1,120 connections – 912 were from China.

(All 1,120 connections – some lines represent 50+ connections – ie: Reverse trace-route on this map shows the city relating to the IP address.)

My first thought was, “What are Chinese people doing watching Tom Cruise in English?”

China is an interesting study for anyone wanting to understand the potential benefit or harm of P2P activity on a country. It doesn’t have the same onerous ISP “Safe Harbour” reporting provisions imposed on it by the government.

The Chinese cinema industry now ranks third in the world behind Hollywood and Bollywood.

Up until mid-2004, prior to production, every script had to be submitted to the Film Censorship Committee of SARFT to be considered for a potential filming permit, thereby making the film “legal” for distribution in the 3200 Chinese cinemas.

Recently, film industry restrictions have been loosened somewhat to facilitate a growing Chinese film industry. However, before this breakthrough, many Chinese filmmakers worked “underground” with illicit “non-censored” Chinese movies being distributed via street markets and Chinese internet users.

Chinese cinema celebrated its centenary in 2005 with 250+ films produced that year setting a new record as television began to dominate the Chinese entertainment market in the early 1980s. In 2005 the Chinese economy grew a staggering 9.8%, but the film industry reported phenomenal growth: 22.6% for the same period.

Due to the decreased censorship, people’s interest in cinema was revived. Community sentiment went from “The film is merely government propaganda” in the 1990’s to the point where cinema ticket sales continue to grow at an aggregate 33% per annum

Even so, Chinese officials still consider western films add to a widening “cultural deficit” and as a result it’s impossible for Hollywood studios to vertically integrate through the value chain by owning a majority share in the theatres. As a result of this policy Hollywood has never reached market dominance.

So now I repeat the question –  “What are Chinese people doing watching Tom Cruise in English?”

The Big Screen experience

At least 912 Chinese people who downloaded Cruise’s “Valkyrie” movie would have seen what a final solution revolution looked like in another place and time where the state had absolute power.

The statistics for Chinese film production in 2005 were »»»

3 – Blockbusters (over 100 million RMB Production budgets, (eg, The Promise)
10 – 10-50 million RMB
240 – 1.5-3 million RMB (These films are restricted to TV and/or DVD release only because of budget constraints).

Therefore, if Chinese people want a big screen experience during each calendar year, they’re restricted to a choice of 13 domestically produced movies – plus overseas Hollywood content.

The average wage in urban areas in 2006 was 1750 yuan a month, or just under $US60.00 per week, and the imperative according to western movies is that capitalists speak English.

So, if your daily entertainment budget (after feeding the family) equals $1.30 – are you likely to spend it on visiting the cinema? Or would you buy 20 blank DVD’s and visit a friend withs an Internet connection?

Hollywood may turn its back on China and figure it’s too hard to make a buck there. But the Chinese are definitely not turning their backs on Hollywood. And when a billion Chinese have their hard discs full of Hollywood content and act as seeders within P2P networks the total ubiquity of all content will not be far away.

And as we all know scarcity drives price.

So once all content is universally available, what will it be worth per unit?

Tom Koltai – p2pnet
[Koltai is an economist in Sydney Australia. He's been online for 26 years, has run several ISPs and, "lobbied governments in four countries to prevent Internet restrictive usage legislation from being enacted". He says he's a strong believer in P2P, "as being a technological requirement to fully exploit the convergence of telephony with computers and remove the last barriers to human communication and interaction".]


March, 2009


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5 Responses to “As the sun sets on P2P in the West …”

  1. Reader's Write Says:

    Loved it. Excellent conclusion.

    Keep up the great articles! I look forward to more.

  2. Crosbie Fitch Says:

    “And as we all know scarcity drives price.”
    “So once all content is universally available, what will it be worth per unit?”

    I hope you’ll take my criticism as constructive, but this is poorly constructed rhetoric, the like of Which I often see on TechDirt.

    You may see little distinction, but there is a profound difference between art and copies (or message and medium).

    If copies are free, then a business model that expects to fund the production of art through sale of copies (with a price protected by state granted monopoly), is going to be in trouble…

    However, the fact remains the art is just as valuable. Just because you have two copies, the art isn’t twice as valuable or even half as valuable. Art’s value to its audience remains unaffected by the price of its copies.

    The market for copies is over. The market for art remains as strong as ever. The business models may change, but people value a good story as highly as they always have.

    So, let’s be a little clearer in distinguishing between the sale of art and the sale of copies. Otherwise we only help do the cartel’s work for them and mislead people into believing that no-one’s going to be paying for art any more, that movies will no longer be made, and artists will starve.

    Take a leaf out of Richard Stallman’s book: Free as in free speech, not as in free beer.

  3. Devil's Advocate Says:

    Excellent point, Crosbie!

  4. Zorg Says:

    Hmm, the ranking that puts the Chinese cinema industry as third, is it by volume? If so, it’s fourth, after Nigeria, then Hollywood and Bollywood.

  5. Tom Koltai Says:

    In answer to Crosbies Comments;

    The value of Content is determined by the lowest price customers are prepared to pay.
    If Amazon charge $USD-70 per month for all you can eat downloading of their content and HBO charge 49.95 for a basic cable plan and Comcast has 250 GB cap on their monthly downloads then the aaggregate price of content is worth in the region of 4.7-6.5 cents per 90 minute movie.

    Method = 720 hours per month – timeshifted to DVR. & Divide Bandwidth of Comcast by (Cost) + (Movie Size [700 MB])

    However, if then most persons (chinese P2P downloaders) are not paying anything for the content, and the number of eyes viewing HBO/Amazon and Comcast is lower than the numbers of eyes watching the P2P downloaded content in China – It is, then the value of the content is a funciton of the population percentage of the china viewing english speaking movies for free versus the percentage of population viewing english speakingg content in the USA resulting in a lot lower than the 5 cents proposed by the content sellers above.

    So as long as folks in the USA are happy to continue to pay for content, then artists will not starve.
    However – as chinese people all grow up wanting to sell to the west 0 they have to learn English so they can communicate better with their potential customers. Who then buy chinese made goods that puts American firms out of business.
    The current downturn in the economy is a result of a consumerist based society ignoring eceonmic fundamentals and being too greedy for nice new “CHEAP” shiny baubles.
    The content industry that created that “desire” is itself to blame for growing GDP reduction of US production and for the chinese imperitive to learn English.

    A little bit like the bankers who are bailed out by the Federal Reserve – only to put the bail out money in their own poskets as Bonuses.

    I hope that helps.

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