Friday 10 September 2010
Thursday 9 September 2010
Tuesday 7 September 2010
TV Drama - Marking Criteria
AS Media Studies - Representation in TV Drama Level 4
Marking Criteria for level 3 and 4.
Level 3
Explanation/analysis/argument (12-15 marks)
• Shows proficient understanding of the task
• Proficient understanding of the way that technical aspects are used to
construct the extract’s representations
• Mostly relevant to set question
Use of examples (12-15 marks)
• Offers consistent textual evidence from the extract
• Offers a range of examples (at least three technical areas covered)
• Offers examples which are mostly relevant to the set question
Use of terminology (6-7 marks)
• Use of terminology is mostly accurate
Straightforward ideas have been expressed with some clarity and fluency.
Arguments are generally relevant, though may stray from the point of the
question. There will be some errors of spelling, punctuation and grammar,
but these are unlikely to be intrusive or obscure meaning.
Level 4
Explanation/analysis/argument (16-20 marks)
• Shows excellent understanding of the task
• Excellent knowledge and understanding of the way that technical
aspects are used to construct the extract’s representations
• Clearly relevant to set question
Use of examples (16-20 marks)
• Offers frequent textual analysis from the extract – award marks to
reflect the range and appropriateness of examples
• Offers a full range of examples from each technical area
• Offers examples which are clearly relevant to the set question
Use of terminology (8-10 marks)
• Use of terminology is relevant and accurate
Complex issues have been expressed clearly and fluently. Sentences and
paragraphs, consistently relevant, have been well structured, using
appropriate technical terminology. There may be few, if any, errors of
Monday 6 September 2010
TV Drama - Glossary
Camera Shots
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving the viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – the information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – the effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Aerial Shot – A camera shot taken from an overhead position. Often used as an establishing shot.
Close Up – A head and shoulders shot often used to show expressions/emotions of a character. Also can be a shot of an object, filmed from close to the object or zoomed in to it, that reveals detail.
Extreme Close Up – A shot where a part of a face or body of a character fills the whole frame/dominates the frame. Also can be a shot of an object where only a small part of it dominates the frame.
Establishing Shot – A shot that establishes a scene, often giving the viewer information about where the scene is set. Can be a close up shot (of a sign etc) but is often a wide/long shot and usually appears at the beginning of a scene.
Medium Shot – the framing of a subject from waist up.
Two Shot – A shot of two characters, possible engaging in conversation. Usually to signify/establish some sort of relationship
Point-Of-View Shot (POV) – Shows a view from the subject’s perspective. This shot is usually edited so that the viewer is aware who’s point of view it is.
Over the Shoulder Shot – looking from behind a character’s shoulder, at a subject. The character facing the subject usually occupies 1/3 of the frame but it depends on what meaning the director wants to create (for example, if the subject is an inferior character, the character facing them may take up more of the frame to emphaise this)
Overhead Shot – a type of camera shot in which the camera is positioned above the character, action or object being filmed.
Reaction Shot – a shot that shows the reaction of a character either to another character or an event within the sequence.
CAMERA ANGLES
Camera Angle – the position of the camera in relation to the subject of a shot. The camera might be at a high angle, a low angle or at eye level with what is being filmed.
High Angle – A camera angle that looks down upon a subject or object. Often used to make the subject or object appear small or vulnerable.
Low Angle – A camera angle that looks up at a subject or object. Often used to make the subject/object appear powerful/dominant.
Canted framing (or oblique) – camera angle that makes what is shot appear to be skewed or tilted.
CAMERA MOVEMENT
Pan – Where the camera pivots horizontally, either from right to left or left to right to reveal a set or setting. This can be used to give the viewer a panoramic view. Sometimes used to establish a scene.
Track - a shot whjere the camera follows a subject/object. The tracking shot can include smooth movements forward, backward, along the side of the subject, or on a curve but cannot include complex movement around a subject. ‘Track’ refers to rails in which a wheeled platform (which has the camera on it) sits on in order to carry out smooth movement.
Crane – A crane shot is sometimes used to signify the end of a scene/ programme /film. The effect is achieved by the camera being put onto a crane that can move upward.
Stedicam - A steadicam is a stabilising mount for a camera which mechanically isolates the operator's movement from the camera, allowing a very smooth shot even when the operator is moving quickly over an uneven surface. Informally, the word may also be used to refer to the combination of the mount and camera.
Tilt - where a camera scans a set or setting vertically (otherwise similar to a pan).
Zoom – Using a zoom lens to appear to be moving closer to (zoom in) or further away from (zoom out) a subject/object when in fact the camera may not move (so, strictly not camera movement). Can be used for dramatic effect.
EDITING
Editing – the stage in the film-making process in which sound and images are organised into an overall narrative.
Continuity Editing – the most common type of editing, which aims to create a sense of reality and time moving forward. Also nick named invisible editing referring to how the technique does not draw attention to the editing process.
Jump Cut – An abrupt, disorientating transitional device in the middle of a continuos shot in which the action is noticeably advanced in time and/or cut between two similar shots, usually done to create discontinuity for artistic effect.
Credits – the information at the beginning and end of a film, which gives details of cast and crew etc.
Cross Cutting – the editing technique of alternating, interweaving, or interspersing one narrative action (scene, sequence or event) with another – usually in different locations or places, thus combining the two: this editing technique usually suggests Parallel action (that takes place simultaneously). Often used to dramatically build tension and/or suspense in chase scenes or to compare two different scenes. Also known as inter-cutting or parallel editing
Cutaways – A brief shot that momentarily interrupts continuous action by briefly inserting another related action. Object, or person (sometimes not part of the principle scene or main action), followed by a cutback to the original shot.
Freeze Frame – the effect of seemingly stopping a film in order to focus in on one event or element.
Eye-line Match – a type of edit which cuts from one character to what that character has been looking at.
Flashback – a scene or moment in a film in which the audience is shown an event that happened earlier in the film’s narrative.
Graphic Match – an edit effect in which two different objects of the same shape are dissolved from one into the other.
Juxtaposition – the placement of two (often opposed) images on either side of an edit to create an effect.
Linear Narrative – a style of storytelling in which events happen chronologically.
Montage Editing – the juxtaposition of seemingly unconnected images in order to create meaning.
Parallel Editing – a type of editing in which events in two locations are cut together, in order to imply a connection between the two sets of events.
Visual Effects - visual effects are usually used to alter previously-filmed elements by adding, removing or enhancing objects within the scene.
Match on Action - A shot that emphasises continuity of space and time by matching the action of the preceding shot with the continuation of the action. (For example a shot of a door opening after a shot of a close up of a character’s hand turning a door handle)
SOUND
Diegetic Sound – sound that can be heard by the characters within a scene/ sound part of the imaginary world.
Non-diegetic Sound – sound that the characters cannot hear and is not part of the imaginary world of the story. This includes a musical soundtrack or a voiceover (however this excludes a narration by a character within the story – referred to as an internal monologue and is diegetic).
Score – The musical component of a programme’s soundtrack, usually composed specifically for the scene.
Sound Effects – sounds that are added to a film during the post-production stage.
OTHER KEY TERMS
Artificial Light – A source of light created by lighting equipment, rather than from natural sources.
Convention – a frequently used element which becomes standard.
Disequilibrium – the period of instability and insecurity in a film’s narrative.
Enigma – the question or mystery that is posed within a film’s narrative.
Equilibrium – a state of peace and calm, which often exists at the beginning of a film’s narrative.
Framing – the selection of elements such as characters, setting and iconography that appear within a shot.
Genre – a system of film identification, in which films that have the same elements are grouped together.
Iconography – the objects within a film that are used to evoke particular meanings
Intertextuality – reference within a film to another film, media product, work of literature or piece of artwork.
Mise en scene – a French term, which literally means ‘put into the frame’. When analysing a sequence the term refers to everything you see in the frame (props, costume, lighting, colour, makeup etc.)
Narrative – a story that is created in a constructed format (eg. A programme) that describes a series of fictional or non-fictional events.
Music Ind- Audience Essay – Feedback
- Discuss how by producing their own music with software like Cubase and Sony’s Acid Music Studio 7, audiences are becoming active producers, which is described in David Gauntlett’s theory of Media Studies 2.0.
- Give examples of those who benefited from the audiences as producers idea. E.g. The Arctic Monkeys (fans distributing their music on internet), Sandi Thom (produced live performances via webcasts from her flat in South London) or any similar examples you might know of.
- Relate Richard Sennett’s (sociologist) notion of the ‘Craftsman / Craftspeople’ to the idea of audiences as producer. Sennett suggests that people are making/creating more in the 21st century, which has lead to higher self-esteem and improved personal well-being. Therefore it can be seen as advantageous if audiences are making their own music. Remember Sennett isn’t necessarily referring to the music industry, so it is up to you to make and explain the connection.
- Give some evaluation of Gauntlett’s theory. Are audiences really producers? Do you make your own music/media? In 2007 less than 1% of YouTube users uploaded their own content onto the site. Are social networking sites really helping audiences become more active, or are they just a new method for the big 4 to target audiences with sites like MySpace Music and Spotify?
- Discuss the advantages of digital radio.
- Discuss that with radio podcasts on the BBC iPlayer/website audiences can listen to some radio shows at the time they choose. This goes back to Gauntlett’s idea about time no longer being a significant boundary in regards to media consumption.
- Discuss the advantages and disadvantages of convergence technology.
- Highlight the price war between mainstream CDs and downloads. Both are very cheap these days, which benefits the consumer/audience.
- Make sure you answer the question. If you are being asked about audiences it is unlikely that you will have to discuss Sony’s vertical integration strategy and mergers.
- Audiences have benefited from illegal downloading and peer-to-peer file sharing as a lot of music is now free (e.g We 7) and there are more live gigs and festivals for them to go to and watch their favourite bands/artists (e.g. The Download Festival, The Electric Proms and The Latitude Festival).
- Give examples of those who benefited from the audiences as producers idea. E.g. The Arctic Monkeys (fans distributing their music on internet), Sandi Thom (produced live performances via webcasts from her flat in South London) or any similar examples you might know of.
- Relate Richard Sennett’s (sociologist) notion of the ‘Craftsman / Craftspeople’ to the idea of audiences as producer. Sennett suggests that people are making/creating more in the 21st century, which has lead to higher self-esteem and improved personal well-being. Therefore it can be seen as advantageous if audiences are making their own music. Remember Sennett isn’t necessarily referring to the music industry, so it is up to you to make and explain the connection.
- Give some evaluation of Gauntlett’s theory. Are audiences really producers? Do you make your own music/media? In 2007 less than 1% of YouTube users uploaded their own content onto the site. Are social networking sites really helping audiences become more active, or are they just a new method for the big 4 to target audiences with sites like MySpace Music and Spotify?
- Discuss the advantages of digital radio.
- Discuss that with radio podcasts on the BBC iPlayer/website audiences can listen to some radio shows at the time they choose. This goes back to Gauntlett’s idea about time no longer being a significant boundary in regards to media consumption.
- Discuss the advantages and disadvantages of convergence technology.
- Highlight the price war between mainstream CDs and downloads. Both are very cheap these days, which benefits the consumer/audience.
- Make sure you answer the question. If you are being asked about audiences it is unlikely that you will have to discuss Sony’s vertical integration strategy and mergers.
- Audiences have benefited from illegal downloading and peer-to-peer file sharing as a lot of music is now free (e.g We 7) and there are more live gigs and festivals for them to go to and watch their favourite bands/artists (e.g. The Download Festival, The Electric Proms and The Latitude Festival).
Sunday 5 September 2010
Music Industry Revision - Ownership
Music Industry Revision L1
View more presentations from wmorris.
To help prepare for the exam make sure you know what the key terms means and you are able to provide an example. Complete the mind-map and practice writing paragraphs on each of the key concepts/terms.
David Gauntlett - Media Studies 2.0
INSTITUTIONS & AUDIENCES - The Music industry
David Gauntlett's presentation on Media and Everyday Life
What's important here is understanding how audiences have become much more active, they don't just consume music/media, they make it.
Saturday 4 September 2010
INSTITUTIONS AND AUDIENCES EXAM - THE MUSIC INDUSTRY
For this part of the exam you must be able to answer answer questions on the following:
Candidates should be prepared to understand and discuss the processes of production,
distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions. In
addition, candidates should be familiar with:
- the issues raised by media ownership in contemporary media practice;
- the importance of cross media convergence and synergy in production, distribution and marketing;
- the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
- the significance of proliferation in hardware and content for institutions and audiences;
- the importance of technological convergence for institutions and audiences;
- the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
- the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
Candidates should be prepared to understand and discuss the processes of production,
distribution, marketing and exchange as they relate to contemporary media institutions, as well as the nature of audience consumption and the relationships between audiences and institutions. In
addition, candidates should be familiar with:
- the issues raised by media ownership in contemporary media practice;
- the importance of cross media convergence and synergy in production, distribution and marketing;
- the technologies that have been introduced in recent years at the levels of production, distribution, marketing and exchange;
- the significance of proliferation in hardware and content for institutions and audiences;
- the importance of technological convergence for institutions and audiences;
- the issues raised in the targeting of national and local audiences (specifically, British) by international or global institutions;
- the ways in which the candidates’ own experiences of media consumption illustrate wider patterns and trends of audience behaviour.
Pirate Bay co-founders lose appeal - From guardian.co.uk
Pirate Bay's co-founders today lost their appeal against convictions for encouraging illegal filesharing, and have had their collective fine increased by $2m (£1.3m) to $6.5m (£4.1m).
A Stockholm court of appeal ruled that Fredrik Neij, Peter Sunde and Carl Lundstrom remain guilty of helping Pirate Bay users illicitly share copyrighted music and film content via their website.
The Swedish appeals court today reduced each of their prison sentences from one year to between four and 10 months – but raised the amount they have to pay in damages to the entertainment industry to £4.1m from £2.8m.
All four Pirate Bay co-founders were found guilty in April of assisting the distribution of copyrighted content. The fourth co-founder convicted in April, Gottfrid Svartholm Warg, did not appear at the appeals court hearings, citing illness.
Following the ruling, Sunde vowed to take the appeal "to the highest court". Posting on Twitter in Swedish, Sunde's message translates as: "It's going to be an appeal to the highest court, so don't worry."
Defence lawyers for Neij and Lundstrom said they were not surprised but disappointed by the ruling and confirmed that they would probably appeal to the European supreme court.
The court's verdict was wrong
, Sunde continued, adding: "They should make a better judgment and read the [evidence files].
"It's a good thing you don't get punished for expressing yourself, but a bad thing you get punished for things that don't exist."
The four Pirate Bay co-founders were ordered to pay damages to 17 different music and media companies including Sony BMG, Universal, EMI, Warner, MGM and 20th Century Fox, having being found guilty of making 33 specific files accessible for illegal sharing.
Neij, 32, must now serve 10 months in prison; Sunde, 32, will serve eight months, and Lundstrom, 50, will serve four. Svartholm, the youngest of the four at 26 years old, will have his case heard at a later date.
Charges against the seven-year-old site were brought by the music trade body the International Federation of the Phonographic Industry (IFPI) on behalf of some of the rights owners.
The trial began on 16 February, at a time when Pirate Bay boasted more than 22 million users a month.
Following their conviction in April all four men, aged between 26 and 50, vowed to fight the ruling, arguing Pirate Bay did not host any copyrighted material itself.
But the Stockholm appeals court today dismissed their legal challenge, stating that the site had "facilitated illegal file-sharing in a way that results in criminal liability for those who run the service".
"For the three defendants the court of appeal believes it is proven that they participated in these activities in different ways and to varying degrees," the court judgment said.
Fredrik Neij, Peter Sunde and Carl Lundstrom remain guilty of illegal filesharing and have fines increased from $2m to $6.5m
Although Pirate Bay does not itself host copyrighted material, it links to a number of torrents elsewhere on the internet. Early on in the trial prosecutors were forced to drop the charge of "assisting copyright infringement", instead focusing on the lesser charge of "assisting making available copyrighted content".
Rick Falkvinge, leader of the Pirate Bay-affiliated Pirate Party, today said it has been a "political trial from the start and it must be resolved politically".
"This doesn't mean anything for Pirate Bay and it doesn't mean anything for similar sites," he said. "File sharing is increasing every day and the only thing this means is that more and more people will try to hide what they are doing on the internet."
Geoff Taylor, chief executive of UK music sector trade body the British Phonographic Industry (BPI), said the decision confirmed that "far from being a harmless act of digital rebellion, the Pirate Bay is a criminal enterprise to enrich its owners at the expense of musicians and other creators".
A Stockholm court of appeal ruled that Fredrik Neij, Peter Sunde and Carl Lundstrom remain guilty of helping Pirate Bay users illicitly share copyrighted music and film content via their website.
The Swedish appeals court today reduced each of their prison sentences from one year to between four and 10 months – but raised the amount they have to pay in damages to the entertainment industry to £4.1m from £2.8m.
All four Pirate Bay co-founders were found guilty in April of assisting the distribution of copyrighted content. The fourth co-founder convicted in April, Gottfrid Svartholm Warg, did not appear at the appeals court hearings, citing illness.
Following the ruling, Sunde vowed to take the appeal "to the highest court". Posting on Twitter in Swedish, Sunde's message translates as: "It's going to be an appeal to the highest court, so don't worry."
Defence lawyers for Neij and Lundstrom said they were not surprised but disappointed by the ruling and confirmed that they would probably appeal to the European supreme court.
The court's verdict was wrong
, Sunde continued, adding: "They should make a better judgment and read the [evidence files].
"It's a good thing you don't get punished for expressing yourself, but a bad thing you get punished for things that don't exist."
The four Pirate Bay co-founders were ordered to pay damages to 17 different music and media companies including Sony BMG, Universal, EMI, Warner, MGM and 20th Century Fox, having being found guilty of making 33 specific files accessible for illegal sharing.
Neij, 32, must now serve 10 months in prison; Sunde, 32, will serve eight months, and Lundstrom, 50, will serve four. Svartholm, the youngest of the four at 26 years old, will have his case heard at a later date.
Charges against the seven-year-old site were brought by the music trade body the International Federation of the Phonographic Industry (IFPI) on behalf of some of the rights owners.
The trial began on 16 February, at a time when Pirate Bay boasted more than 22 million users a month.
Following their conviction in April all four men, aged between 26 and 50, vowed to fight the ruling, arguing Pirate Bay did not host any copyrighted material itself.
But the Stockholm appeals court today dismissed their legal challenge, stating that the site had "facilitated illegal file-sharing in a way that results in criminal liability for those who run the service".
"For the three defendants the court of appeal believes it is proven that they participated in these activities in different ways and to varying degrees," the court judgment said.
Fredrik Neij, Peter Sunde and Carl Lundstrom remain guilty of illegal filesharing and have fines increased from $2m to $6.5m
Although Pirate Bay does not itself host copyrighted material, it links to a number of torrents elsewhere on the internet. Early on in the trial prosecutors were forced to drop the charge of "assisting copyright infringement", instead focusing on the lesser charge of "assisting making available copyrighted content".
Rick Falkvinge, leader of the Pirate Bay-affiliated Pirate Party, today said it has been a "political trial from the start and it must be resolved politically".
"This doesn't mean anything for Pirate Bay and it doesn't mean anything for similar sites," he said. "File sharing is increasing every day and the only thing this means is that more and more people will try to hide what they are doing on the internet."
Geoff Taylor, chief executive of UK music sector trade body the British Phonographic Industry (BPI), said the decision confirmed that "far from being a harmless act of digital rebellion, the Pirate Bay is a criminal enterprise to enrich its owners at the expense of musicians and other creators".
Friday 3 September 2010
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