Topic: Is the illegal downloading of copyrighted media content an “unethical” audience practice? Critically discuss.

Order DescriptionReferences that might be useful:

Whiteman, N (2014) Intellectual Property and the Construction of Un/Ethical Audiences, in David, M and Halbert, D. (eds) SAGE Handbook of Intellectual Property, London: SAGE. Pre-print version available online: https://lra.le.ac.uk/handle/2381/31731?mode=full

Edwards, L., B. Klein, D. Lee, G. Moss and F, Philip (2013) ‘Isn’t it just a way to protect Walt Disney’s rights?’: Media user perspectives on copyright, New Media & Society 17(5): 691-707 (OBJECT TEXT)

Andersson, J. (2009) ‘For the Good of the Net: The Pirate Bay as a Strategic Sovereign’, Culture Machine,
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Altschuller, S. and R. Benbunan-Fich (2009) ‘Is Music Downloading the New Prohibition? What Students Reveal through an Ethical Dilemma’, Ethics Information Technologies, 11, 49–56.
Bounie, D., M. Bourreau and P.

Waelbroeck (2006) ‘Piracy and the Demand for Films: Analysis of Piracy Behavior in French Universities’, Review of Economic Research on Copyright Issues, 3(2), 15–27.

Cenite, M., M.W. Wang, C. Peiwan and G.S. Chan (2009) ‘More than Just Free Content: Motivations of Peer-to-Peer File Sharers’, Journal of Communication Inquiry, 33(3), 206–221.

Condry, I. (2004) ‘Cultures of Music Piracy: An Ethnographic Comparison of the US and Japan’, International Journal of Cultural Studies, 7(3), 343–363.

Condry, I. (2010) ‘Dark Energy: What Fansubs Reveal about the Copyright Wars’, in Mechademia, Volume 5: Fanthropologies, F. Lunning (ed.), Minneapolis/ University of Minnesota Press, 193–208.

Coombe, R.J. (1998) The Cultural Life of Intellectual Properties: Authorship, Appropriation, and the Law, Durham and London/Duke University Press.

Denison, R. (2011) ‘Anime Fandom and the Liminal Spaces between Fan Creativity and Piracy’, International Journal of Cultural Studies, 14(5), 449–466.

Herman, A., R.J. Coombe and L. Kaye (2006) ‘Your Second Life? Goodwill and the Performativity of Intellectual Property in Online Digital Gaming’, Cultural Studies, 20(2–3), 184–210.

Lee, K. (2005) ‘The Momentum of Control and Autonomy: A Local Scene of Peer-to-Peer Music-Sharing Technology’, Media, Culture & Society, 27(5), 799–809.

McCulloch, R., V. Crisp, J. Hickman and S. James (2013) ‘Of Proprietors and Poachers: Fandom as Negotiated Brand Ownership’, Participations: Journal of Audience & Reception Studies, 10(1), 319–328.

O’Donnell, C. (2013) ‘Mixed Messages: The Ambiguity of the MOD Chip and Pirate Cultural Production for the Nintendo DS’, New Media & Society. Published online before print 12 June 2013.

Ogbu, C. (2003) ‘I Put Up a Website about my Favorite Show and All I Got Was This Lousy Cease-and-Desist Letter: The Intersection of Fan Sites, Internet Culture, and Copyright Owners’, Southern California Interdisciplinary Law Journal, 12: 279.

Yar, M. (2005) ‘The Global “epidemic” of movie “piracy”: crime wave or social construction?’, Media, Culture & Society, 27(5), 677–696.

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