Re: @h4rm0ny cult of celebrity
Why should everyone on the same train or flight as me have to pay the same price for a ticket ? Does it really hurt if some people take a bus and some people cycle to get between the same (A,B) pair ? Even on the same train or bus, single price ticketing doesn't work, it would so greatly diminish operator revenues and service utility that many transport services would cease to be viable. There have always been and always will be some people paying more for the same music than others and some paying nothing. If you hear a song on the radio or played in a public place do you have to pay for it directly ? No, but the chances are that someone else pays for it to be played. That's how our cultural and economic world works and we may as well get used to it.
When copyright law first came into being it was expressed as a deal in order to benefit the future public domain. But your blinkered and menial argument that everyone must be expected to pay the same price to experience particular art, (that every horse must be put in harness and have its sights restricted to pull the same share of the load), recognises no moral concept of later public domain benefit - which might give the voting public reason to want to allow this particular monopoly to be legally established in the first place. Is the wonderful excitement of those fans who will pay top price to see the live performances, the first public showings, the most limited autographed merchandise to prevent those less enthusiastic from experiencing something a little less, or must the enthusiasm of the fan club be artificially dampened so all pay the same price ? Again this would square neither with reality nor anyone's interests.
It's true as you say that the weak and ineffective DRM on DVDs won't suppress their preservation. But being able to see something legally which is in the digital limbo equivalent to being "out of print" can become another matter. More highly developed and much harder to break DRM systems coming along in various formats are much more likely to have this undesirable effect. I'm not opposed to the right of developers to develop and sell these systems, but it is a terrible idea to suppress discussion of how the constraints imposed by such systems can be overcome. It would be outrageous if the only copies of some documentary series which survive in future are low resolution flickering cam recordings taken at risk of extradition and jail by enthusiasts exploiting the analogue hole. If too many of these heroes of widening cultural access are locked up for long, who will be willing to take the risk of preserving locked down content in future ?
Clearing the rights to documentaries legally to be reshown can become extremely difficult and expensive as the Eyes on the Prize history demonstrates:
"Therefore, in the spirit of the Southern Freedom Movement, we who once defied the laws and customs that denied people of color their human rights and dignity, we whose faces are seen in "Eyes on the Prize," we who helped produce it, tonight defy the media giants who have buried our story in their vaults by publicly sharing episodes of this forbidden knowledge with all who wish to see it."
The problem with long copyrights here is that makers of historical documentaries tend to have to purchase time-limited rights for reuse of content owned by hundreds or thousands of rights holders for budgetary reasons. Programme makers have to focus on short term viability for a project to succeed prior to their likely financial bankruptcy. Perhaps one in 20 such documentaries might later attract concerted enough fundraising campaigns needed to clear rights for future public showings as occurred for the above iconic series, but the rest, which can't attract the same intensity of common purpose, will only be available illegally through file sharing for perhaps a century or more before these works suppressed by the massive transaction costs involved in rights clearance can legally be reshown.
It's true that copyright law has been around for a couple of hundred years. It wasn't contentious while its effects limited the actions only of a few owners and operators of industrial scale copying machinery. That is still a very recent development compared to the understanding of right and wrong which derives from a deep and honest study of the Bible. But the digitisation of mainstream culture is a very recent and different phenomenon, and it's becoming increasingly clear that the many hamfisted and control-freakish attempts we've seen by copyright beneficiaries to extend old concepts of copyright into this new domain do not meet our wider cultural needs. Some property relations are ancient and natural, others are constructs of law. If I were to take away a man's coat this is morally of the first sort. If I sing a song I heard from someone else you haven't convinced me the second sort fits the same moral category. So where to draw this line ? - If our wider cultural needs are not met by what is offered in return by the carpetbaggers who would extend the first category into the second, then we must reject their phony claims to moral authority and start making our own minds up.