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Membership in the Clone Club is not something that fans take lightly. BBC America’s original series Orphan Black was a surprise hit when it launched in 2013. The Canadian show stars actress Tatianna Maslany in several roles, which she has knocked out of the ball park. No one knew that this sci-fi thriller would attract such a large audience, but we’re glad it did. Are in interested in learning how to watch Orphan Black online? Maslany masterfully plays each clone with precision, tapping into their individual personalities expertly. There is Sarah, the show’s main protagonist, a con artist and drifter who accidentally stumbles into her own drama.

Alison is the perky soccer mom with several skeletons in her closet. There’s the nerdy science expert Cosima. And finally, sestra Helena who has seen more character development than anyone else over the seasons. The new season of Orphan Black premieres on BBC America April 14 at 10 p.m. If you can’t imagine missing out on all the action, there are a couple ways you can watch Orphan Black online.

Watch Orphan Black Online with Amazon Prime BBC America is very protective of their content and, as of right now, there is no legal way to watch Orphan Black online free for the current season. That being said, there are really only two practical solutions. The first is to watch Orphan Black streaming with. The streaming service has seasons 1 through 3 so you can watch Orphan Black online free with your subscription, but you won’t be able to access the current season as it airs unless you purchase it. We also expect that season 4 will be available on Prime before the premiere of the following season. However, Amazon Prime has enough additional benefits that the subscription is worth it. You will get:.

Free 2-day shipping. Free music streaming library. Free movie and TV streaming library All of this is only $99 per year, which comes to just over $8 per month.

And it’ll pay for itself in free shipping pretty quickly. You’ll also be able to watch some amazing Amazon originals including Transparent, The Man in High Castle, and Mozart in the Jungle. If you’re still not sure, consider trying it free for 30 days. Buy Orphan Black Full Episodes Since there is no current way to watch an Orphan Black live stream, the next best option is to purchase the episodes, or the entire season, on one of several streaming services.

Is a great option in conjunction with Amazon Prime. And iTunes also offer the show. New episodes are available the next day after they air. Keep in mind that this is generally a worse value than a streaming service, but if you’re in the Clone Club, the investment will generally be worth it so you don’t have to rely on cable. Individual episodes are generally between $2 and $3 each, or you can buy the complete season at a discounted rate before it even airs. Are you ready to find out what’s happening this season?

Are you worried about the fate of Delphine? Maybe you’re wondering about Project Castor?

Now that you know how to watch online without cable.

An advertisement for copyright and patent from 1906, when were still required in the US Copyright infringement is the use of protected by without permission, infringing certain granted to the copyright holder, such as the right to reproduce, distribute, display or perform the protected work, or to make. The copyright holder is typically the work's creator, or a publisher or other business to whom copyright has been assigned. Copyright holders routinely invoke legal and technological measures to prevent and penalize copyright infringement. Copyright infringement disputes are usually resolved through direct negotiation, a process, or litigation in. Egregious or large-scale commercial infringement, especially when it involves, is sometimes prosecuted via the system.

Shifting public expectations, advances in digital technology, and the increasing reach of the Internet have led to such widespread, anonymous infringement that copyright-dependent industries now focus less on pursuing individuals who seek and share copyright-protected content online, and more on expanding copyright law to recognize and penalize – as 'indirect' infringers – the service providers and software distributors which are said to facilitate and encourage individual acts of infringement by others. Estimates of the actual economic impact of copyright infringement vary widely and depend on many factors. Nevertheless, copyright holders, industry representatives, and legislators have long characterized copyright infringement as 'piracy' or 'theft' – language which some U.S. Courts now regard as or otherwise contentious. Contents. Terminology The terms piracy and theft are often associated with copyright infringement.

The original meaning of is 'robbery or illegal violence at sea', but the term has been in use for centuries as a synonym for acts of copyright infringement., meanwhile, emphasizes the potential commercial harm of infringement to copyright holders. However, copyright is a type of, an area of law distinct from that which covers robbery or theft, offenses related only to tangible. Not all copyright infringement results in commercial loss, and the U.S. Supreme Court ruled in 1985 that infringement does not easily equate with theft. This was taken further in the case MPAA v. Hotfile, where Judge granted a motion to deny the MPAA the usage of words whose appearance was primarily 'pejorative'.

This list included the word 'piracy', the use of which, the motion by the defense stated, serves no court purpose but to misguide and inflame the jury. 'Piracy'. Pirated edition of German philosopher (Amsterdam, ca.

1970) The term 'piracy' has been used to refer to the unauthorized copying, distribution and selling of works in copyright. The practice of labelling the infringement of exclusive rights in creative works as 'piracy' predates statutory copyright law. Prior to the in 1710, the of London in 1557, received a giving the company a on publication and tasking it with enforcing the charter.

Those who violated the charter were labelled pirates as early as 1603. Article 12 of the 1886 uses the term 'piracy' in relation to copyright infringement, stating 'Pirated works may be seized on importation into those countries of the Union where the original work enjoys legal protection.' Article 61 of the 1994 (TRIPs) requires procedures and penalties in cases of 'willful trademark counterfeiting or copyright piracy on a commercial scale.' Piracy traditionally refers to acts of copyright infringement intentionally committed for financial gain, though more recently, copyright holders have described online copyright infringement, particularly in relation to networks, as 'piracy'. And the have criticized the use of the word 'piracy' in these situations, saying that publishers use the word to refer to 'copying they don't approve of' and that 'they publishers imply that it is ethically equivalent to attacking ships on the high seas, kidnapping and murdering the people on them.'

'Theft' Copyright holders frequently refer to copyright infringement as. In copyright law, infringement does not refer to theft of physical objects that take away the owner's possession, but an instance where a person exercises one of the exclusive rights of the copyright holder without authorization. Courts have distinguished between copyright infringement and theft. For instance, the held in (1985) that bootleg phonorecords did not constitute stolen property. Instead, 'interference with copyright does not easily equate with theft, or fraud. The Copyright Act even employs a separate term of art to define one who misappropriates a copyright: '. an infringer of the copyright.'

' The court said that in the case of copyright infringement, the province guaranteed to the copyright holder by copyright law – certain – is invaded, but no control, physical or otherwise, is taken over the copyright, nor is the copyright holder wholly deprived of using the copyrighted work or exercising the exclusive rights held. 'Freebooting' The term 'freebooting' has been used to describe the unauthorized copying of online media, particularly videos, onto websites such as Facebook or Twitter.

The word itself had already been in use since the 16th century, referring to pirates, and meant 'looting' or 'plundering.' This form of the word was suggested by and podcaster in the. Haran advocated the term in an attempt to find a phrase more emotive than 'copyright infringement', yet more appropriate than 'theft'. The phrase was also the title of the episode the phrase was coined on. Logo, a retaliation to the stereotypical image of piracy extend copyright protections to authors of works. In countries with copyright legislation, enforcement of copyright is generally the responsibility of the copyright holder. However, in several jurisdictions there are also criminal penalties for copyright infringement.

Civil law Copyright infringement in civil law is any violation of the exclusive rights of the owner. Law, those rights include reproduction, the preparation of derivative works, distributing copies by sale or rental, and public performance or display. In the U.S., copyright infringement is sometimes confronted via in civil court, against alleged infringers directly, or against providers of services and software that support unauthorized copying.

For example, major motion-picture corporation MGM Studios filed suit against P2P file-sharing services Grokster and Streamcast for their contributory role in copyright infringement. In 2005, the Supreme Court ruled in favor of MGM, holding that such services could be held liable for copyright infringement since they functioned and, indeed, willfully marketed themselves as venues for acquiring copyrighted movies. The case did not overturn the earlier decision, but rather clouded the legal waters; future designers of software capable of being used for copyright infringement were warned. In the United States, copyright term has been extended many times over from the original term of 14 years with a single renewal allowance of 14 years, to the current term of the life of the author plus 70 years.

If the work was produced under it may last 120 years after creation or 95 years after publication, whichever is sooner. Article 50 of the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPs) requires that signatory countries enable to remedy copyright infringement with injunctions and the destruction of infringing products, and award damages.

Some jurisdictions only allow actual, provable damages, and some, like the U.S., allow for large awards intended to deter would-be infringers and allow for compensation in situations where actual damages are difficult to prove. In some jurisdictions, copyright or the right to enforce it can be contractually assigned to a third party which did not have a role in producing the work. When this outsourced litigator appears to have no intention of taking any copyright infringement cases to trial, but rather only takes them just far enough through the legal system to identify and exact settlements from suspected infringers, critics commonly refer to the party as a '.

Such practices have had mixed results in the U.S. Criminal law. Main article: Punishment of copyright infringement varies case-by-case across countries.

Convictions may include jail time and/or severe fines for each instance of copyright infringement. In the United States, willful copyright infringement carries a maximum penalty of $150,000 per instance. Article 61 of the Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPs) requires that signatory countries establish procedures and penalties in cases of 'willful trademark counterfeiting or copyright piracy on a commercial scale'.

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Copyright holders have demanded that states provide criminal sanctions for all types of copyright infringement. The first criminal provision in was added in 1897, which established a misdemeanor penalty for 'unlawful performances and representations of copyrighted dramatic and musical compositions' if the violation had been 'willful and for profit.' Criminal copyright infringement requires that the infringer acted 'for the purpose of commercial advantage or private financial gain.' To establish criminal liability, the must first show the basic elements of copyright infringement: ownership of a valid copyright, and the violation of one or more of the copyright holder's exclusive rights. The government must then establish that willfully infringed or, in other words, possessed the necessary.

Infringement has a very low threshold in terms of number of copies and the value of the infringed works. The, signed in May 2011 by the United States, Japan, and the EU, requires that its parties add criminal penalties, including incarceration and fines, for copyright and trademark infringement, and obligated the parties to actively police for infringement.

535 (1994) was a case decided by the which ruled that, under the and laws effective at the time, committing copyright infringement for non-commercial motives could not be prosecuted under criminal copyright law. The ruling gave rise to what became known as the 'LaMacchia Loophole', wherein criminal charges of or copyright infringement would be dismissed under current legal standards, so long as there was no profit motive involved. The (NET Act), a federal passed in 1997, in response to LaMacchia, provides for criminal prosecution of individuals who engage in copyright infringement under certain circumstances, even when there is no monetary profit or commercial benefit from the infringement. Maximum penalties can be five years in and up to $250,000 in. The NET Act also raised by 50%. The court's ruling explicitly drew attention to the shortcomings of current law that allowed people to facilitate mass copyright infringement while being immune to prosecution under the. Proposed laws such as the broaden the definition of 'willful infringement', and introduce felony charges for unauthorized.

These bills are aimed towards defeating websites that carry or contain links to infringing content, but have raised concerns about domestic abuse and internet censorship. Noncommercial file sharing Legality of downloading To an extent, copyright law in some countries permits downloading copyright-protected content for personal, noncommercial use. Examples include and (EU) member states like, and. The personal copying exemption in the copyright law of EU member states stems from the EU of 2001, which is generally devised to allow EU members to enact laws sanctioning making copies without authorization, as long as they are for personal, noncommercial use. The Copyright Directive was not intended to legitimize file-sharing, but rather the common practice of copyright-protected content from a legally purchased (for example) to certain kinds of devices and media, provided rights holders are compensated and no copy protection measures are circumvented.

Rights-holder compensation takes various forms, depending on the country, but is generally either a levy on 'recording' devices and media, or a tax on the content itself. In some countries, such as Canada, the applicability of such laws to copying onto general-purpose storage devices like computer hard drives, portable media players, and phones, for which no levies are collected, has been the subject of debate and further efforts to reform copyright law. In some countries, the personal copying exemption explicitly requires that the content being copied was obtained legitimately – i.e., from authorized sources, not file-sharing networks. Other countries, such as the Netherlands, make no such distinction; the exemption there had been assumed, even by the government, to apply to any such copying, even from file-sharing networks. However, in April 2014, the ruled that 'national legislation which makes no distinction between private copies made from lawful sources and those made from counterfeited or pirated sources cannot be tolerated.'

Legality of uploading Although downloading or other private copying is sometimes permitted, public distribution – by uploading or otherwise offering to share copyright-protected content – remains illegal in most, if not all countries. For example, in Canada, even though it was once legal to download any copyrighted file as long as it was for noncommercial use, it was still illegal to distribute the copyrighted files (e.g.

By uploading them to a ). Relaxed penalties Some countries, like Canada and Germany, have limited the penalties for non-commercial copyright infringement. For example, Germany has passed a bill to limit the fine for individuals accused of sharing music and movies to $200. Canada's claims that statutory damages for non-commercial copyright infringement are capped at C$5,000 but this only applies to copies that have been made without the breaking of any 'digital lock'. However, this only applies to 'bootleg distribution' and not non-commercial use. DMCA and anti-circumvention laws Title I of the U.S., the has provisions that prevent persons from 'circumventing a technological measure that effectively controls access to a work'.

The: In this animation, the colored bars beneath all of the seven clients in the upper region above represent the file, with each color representing an individual piece of the file. After the initial pieces transfer from the seed (large system at the bottom), the pieces are individually transferred from client to client. The original seeder only needs to send out one copy of the file for all the clients to receive a copy. These types of intermediaries do not host or transmit infringing content, themselves, but may be regarded in some courts as encouraging, enabling or facilitating infringement by users.

These intermediaries may include the author, publishers and marketers of networking software, and the websites that allow users to download such software. In the case of the BitTorrent protocol, intermediaries may include the and any websites or search engines which facilitate access to torrent files. Torrent files don't contain copyrighted content, but they may make reference to files that do, and they may point to trackers which coordinate the sharing of those files. Some torrent indexing and search sites, such as The Pirate Bay, now encourage the use of, instead of direct links to torrent files, creating another layer of indirection; using such links, torrent files are obtained from other peers, rather than from a particular website. Since the late 1990s, copyright holders have taken legal actions against a number of peer-to-peer intermediaries, such as pir, and, and case law on the liability of Internet service providers (ISPs) in relation to copyright infringement has emerged primarily in relation to these cases.

Nevertheless, whether and to what degree any of these types of intermediaries have secondary liability is the subject of ongoing litigation. The decentralised structure of, in particular, does not sit easily with existing laws on online intermediaries' liability. The BitTorrent protocol established an entirely decentralised network architecture in order to distribute large files effectively.

Recent developments in peer-to-peer technology towards more complex network configurations are said to have been driven by a desire to avoid liability as intermediaries under existing laws. Limitations Copyright law does not grant authors and publishers absolute control over the use of their work.

Only certain types of works and kinds of uses are protected; only unauthorized uses of protected works can be said to be infringing. Non-infringing uses Article 10 of the Berne Convention mandates that national laws provide for limitations to copyright, so that copyright protection does not extend to certain kinds of uses that fall under what the treaty calls 'fair practice', including but not limited to minimal quotations used in journalism and education. The laws implementing these for uses that would otherwise be infringing broadly fall into the categories of either. In common law systems, these fair practice statutes typically enshrine principles underlying many earlier judicial precedents, and are considered essential to. Another example is the practice of, which is where the law forbids copyright owners from denying a license for certain uses of certain kinds of works, such as compilations and live performances of music. Compulsory licensing laws generally say that for certain uses of certain works, no infringement occurs as long as a, at a rate determined by law rather than private negotiation, is paid to the copyright owner or representative. Some fair dealing laws, such as Canada's, include similar royalty requirements.

In Europe, the copyright infringement case had two prongs; one concerned whether a service infringed the copyright of the news generators; the other concerned whether the temporary created by the of a consumer of the aggregator's service, also infringed the copyright of the news generators. The first prong was decided in favor of the news generators; in June 2014 the second prong was decided by the Court of Justice of the European Union (CJEU), which ruled that the temporary web cache of consumers of the aggregator did not infringe the copyright of the news generators. Non-infringing types of works In order to qualify for protection, a work must be an expression with a degree of originality, and it must be in a fixed medium, such as written down on paper or recorded digitally. The idea itself is not protected. That is, a copy of someone else's original idea is not infringing unless it copies that person's unique, tangible expression of the idea.

Some of these limitations, especially regarding what qualifies as original, are embodied only in case law (judicial precedent), rather than in statutes. In the U.S., for example, copyright case law contains a requirement to determine whether the work was copied. Likewise, courts may require computer software to pass an (AFC Test) to determine if it is too abstract to qualify for protection, or too dissimilar to an original work to be considered infringing. Software-related case law has also clarified that the amount of R&D, effort and expense put into a work's creation doesn't affect copyright protection. Evaluation of alleged copyright infringement in a court of law may be substantial; the time and costs required to apply these tests vary based on the size and complexity of the copyrighted material. Furthermore, there is no standard or universally accepted test; some courts have rejected the AFC Test, for example, in favor of narrower criteria.

The POSAR test, a recently devised forensic procedure for establishing software copyright infringement cases, is an extension or an enhancement of the AFC test. POSAR, with its added features and additional facilities, offers something more to the legal and the judicial domain than what the AFC test offers. These additional features and facilities make the test more sensitive to the technical and legal requirements of software copyright infringement. Preventative measures The BSA outlined four strategies that governments can adopt to reduce software piracy rates in its 2011 piracy study results:. 'Increase public education and raise awareness about software piracy and IP rights in cooperation with industry and law enforcement.' .

'Modernize protections for software and other copyrighted materials to keep pace with new innovations such as cloud computing and the proliferation of networked mobile devices.' . 'Strengthen enforcement of IP laws with dedicated resources, including specialized enforcement units, training for law enforcement and judiciary officials, improved cross-border cooperation among law enforcement agencies, and fulfillment of obligations under the World Trade Organization's Agreement on Trade-Related Aspects of Intellectual Property Rights (TRIPS).' . 'Lead by example by using only fully licensed software, implementing software asset management (SAM) programs, and promoting the use of legal software in state-owned enterprises, and among all contractors and suppliers.' Legal Corporations and legislatures take different types of preventative measures to deter copyright infringement, with much of the focus since the early 1990s being on preventing or reducing digital methods of infringement.

Strategies include education, civil & criminal legislation, and international agreements, as well as publicizing anti-piracy litigation successes and imposing forms of digital media copy protection, such as controversial technology and laws, which limit the amount of control consumers have over the use of products and content they have purchased. Legislatures have reduced infringement by narrowing the scope of what is considered infringing. Aside from upholding international copyright treaty obligations to provide general limitations and exceptions, nations have enacted compulsory licensing laws applying specifically to digital works and uses. For example, in the U.S., the DMCA, an implementation of the 1996, considers digital transmissions of audio recordings to be licensed as long as a designated copyright collective's royalty and reporting requirements are met.

The DMCA also provides safe harbor for digital service providers whose users are suspected of copyright infringement, thus reducing the likelihood that the providers themselves will be considered directly infringing. Some copyright owners voluntarily reduce the scope of what is considered infringement by employing relatively permissive, 'open' licensing strategies: rather than privately negotiating license terms with individual users who must first seek out the copyright owner and ask for permission, the copyright owner publishes and distributes the work with a prepared license that anyone can use, as long as they adhere to certain conditions. This has the effect of reducing infringement – and the burden on courts – by simply permitting certain types of uses under terms that the copyright owner considers reasonable. Examples include, like the (GPL), and the, which are predominantly applied to visual and literary works. Protected distribution To prevent piracy of films, the standard drill of is to have a movie first released through (theatrical window), on average approximately 16 and a half weeks, before having it released to and (entering its video window).

During the theatrical window, digital versions of films are often transported in by couriers rather than. The data can be, with the key being made to work only at specific times in order to prevent leakage between screens. Marks can be added to films to identify the source of illegal copies and shut them down.

Economic impact of copyright infringement Organizations disagree on the scope and magnitude of copyright infringement's economic effects and public support for the copyright regime. In relation to computer software, the (BSA) claimed in its 2011 piracy study: 'Public opinion continues to support intellectual property (IP) rights: Seven PC users in 10 support paying innovators to promote more technological advances.' Following consultation with experts on copyright infringement, the United States Government Accountability Office (GAO) clarified in 2010 that 'estimating the economic impact of IP intellectual property infringements is extremely difficult, and assumptions must be used due to the absence of data,' while 'it is difficult, if not impossible, to quantify the net effect of counterfeiting and piracy on the economy as a whole.' GAO's 2010 findings regarding the great difficulty of accurately gauging the economic impact of copyright infringement was reinforced within the same report by the body's research into three commonly cited estimates that had previously been provided to U.S. The GAO report explained that the sources – a (FBI) estimate, a Customs and Border Protection (CBP) press release and a Motor and Equipment Manufacturers Association estimate – 'cannot be substantiated or traced back to an underlying data source or methodology.'

Deaner explained the importance of rewarding the 'investment risk' taken by motion picture studios in 2014: Usually movies are hot because a distributor has spent hundreds of thousands of dollars promoting the product in print and TV and other forms of advertising. The major Hollywood studios spend millions on this process with marketing costs rivalling the costs of production.

They are attempting then to monetise through returns that can justify the investment in both the costs of promotion and production. Motion picture industry estimates In 2008, the Motion Picture Association of America (MPAA) reported that its six major member companies lost US$6.1 billion to piracy.

A 2009 Los Angeles Daily News article then cited a loss figure of 'roughly $20 billion a year' for Hollywood studios. According to a 2013 article, industry estimates in the range between $6.1B to $18.5B per year. In an early May 2014 Guardian article, an annual loss figure of US$20.5 billion was cited for the movie industry. The article's basis is the results of a University of Portsmouth study that only involved Finnish participants, aged between seven and 84.

The researchers, who worked with 6,000 participants, stated: 'Movie pirates are also more likely to cut down their piracy if they feel they are harming the industry compared with people who illegally download music'. However, a study conducted on data from sixteen countries between 2005 and 2013, many of which had enacted anti-piracy measures to increase box office revenues of movies, found no significant increases in any markets attributable to policy interventions, which calls into doubt the claimed negative economic effects of digital piracy on the film industry.

Software industry estimates claimed in 1983 that software piracy cost it £2.9 million a year, 30% of its revenue. According to a 2007 BSA and (IDC) study, the five countries with the highest rates of software piracy were: 1. (92%); and 5. According to the study's results, the five countries with the lowest piracy rates were: 1. New Zealand (22%); 4. Japan (23%); and 5. The 2007 report showed that the Asia-Pacific region was associated with the highest amount of loss, in terms of U.S.

Dollars, with $14,090,000, followed by the European Union, with a loss of $12,383,000; the lowest amount of U.S. Dollars was lost in the Middle East/Africa region, where $2,446,000 was documented. In its 2011 report, conducted in partnership with IDC and Ipsos Public Affairs, the BSA stated: 'Over half of the world's personal computer users – 57 percent – admit to pirating software.' The ninth annual 'BSA Global Software Piracy Study' claims that the 'commercial value of this shadow market of pirated software' was worth US$63.4 billion in 2011, with the highest commercial value of pirated PC software existent in the U.S.

During that time period (US$9,773,000). According to the 2011 study, Zimbabwe was the nation with the highest piracy rate, at 92%, while the lowest piracy rate was present in the U.S., at 19%. The GAO noted in 2010 that the BSA's research up until that year defined 'piracy as the difference between total installed software and legitimate software sold, and its scope involved only packaged physical software.' Music industry estimates. This section needs expansion.

You can help. (May 2014) In 2007, the Institute for Policy Innovation (IPI) reported that music piracy took $12.5 billion from the U.S.

According to the study, musicians and those involved in the recording industry are not the only ones who experience losses attributed to music piracy. Retailers have lost over a billion dollars, while piracy has resulted in 46,000 fewer production-level jobs and almost 25,000 retail jobs. Government was also reported to suffer from music piracy, losing $422 million in tax revenue. A report from 2013, released by the European Commission suggests that illegal music downloads have almost no effect on the number of legal music downloads.

The study analyzed the behavior of 16,000 European music consumers and found that although music piracy negatively affects offline music sales, illegal music downloads had a positive effect on legal music purchases. Without illegal downloading, legal purchases were about two percent lower. The study has received criticism, particularly from, which believes the study is flawed and misleading. One argument against the research is that many music consumers only download music illegally. The IFPI also points out that music piracy affects not only online music sales but also multiple facets of the music industry, which is not addressed in the study. Criticism of industry estimates The methodology of studies utilized by industry spokespeople has been heavily criticized.

Inflated claims for damages and allegations of economic harm are common in copyright disputes. Some studies and figures, including those cited by the MPAA and RIAA with regards to the economic effects of film and music downloads, have been widely disputed as based on questionable assumptions which resulted in statistically unsound numbers. In one extreme example, the RIAA claimed damages against totaling $75 trillion – more than the global GDP – and 'respectfully' disagreed with the judge's ruling that such claims were 'absurd'. However, this $75 trillion figure is obtained through one specific interpretation of copyright law that would count each song downloaded as an infringement of copyright.

After the conclusion of the case, LimeWire agreed to pay $105 million to RIAA. The judicial system has also found flaws in industry estimates and calculations. In one decision, US District Court Judge found that the ' request problematically assumes that every illegal download resulted in a lost sale,' indicating profit-loss estimates were likely extremely off. Other critics of industry estimates argue that those who use peer-to-peer sharing services, or practice 'piracy' are actually more likely to pay for music. A study in 2000 found that 'Napster users were 45 percent more likely to have increased their music purchasing habits than online music fans who don't use the software were.'

This indicated that users of peer-to-peer sharing didn't hurt the profits of the music industry, but in fact may have increased it. Professor Aram Sinnreich, in his book The Piracy Crusade, states that the connection between declining music sales and the creation of peer to peer file sharing sites such as Napster is tenuous, based on correlation rather than causation. He argues that the industry at the time was undergoing artificial expansion, what he describes as a 'perfect bubble'—a confluence of economic, political, and technological forces that drove the aggregate value of music sales to unprecedented heights at the end of the twentieth century'. Sinnreich cites multiple causes for the, including the CD format replacement cycle; the shift from music specialty stores to wholesale suppliers of music and 'minimum advertised pricing'; and the economic expansion of 1991–2001.

He believes that with the introduction of new digital technologies, the bubble burst, and the industry suffered as a result. Economic impact of infringement in emerging markets The 2011 Business Software Alliance Piracy Study Standard, estimates the total commercial value of illegally copied software to be at $59 billion in 2010, with emerging markets accounting for $31.9 billion, over half of the total. Furthermore, mature markets for the first time received less PC shipments than emerging economies in 2010. In addition with software infringement rates of 68 percent comparing to 24 percent of mature markets, emerging markets thus possess the majority of the global increase in the commercial value of counterfeit software. China continues to have the highest commercial value of such software at $8.9 billion among developing countries and second in the world behind the US at $9.7 billion in 2011.

In 2011, the Business Software Alliance announced that 83 percent of software deployed on PCs in has been pirated (excluding South Africa). Some countries distinguish corporate piracy from private use, which is tolerated as a welfare service. This is the leading reason developing countries refuse to accept or respect copyright laws., the president of Romania, stated that 'piracy helped the young generation discover computers. It set off the development of the IT industry in Romania.' Pro-open culture organizations.

^ (1985), 473 U.S. From the original on 30 November 2013. Retrieved November 30, 2013. From the original on 3 December 2013.

Retrieved November 30, 2013. ^ Matt Eaton (17 April 2014). Retrieved 21 April 2014. Nick Ross (8 April 2014). ABC technology+games. Retrieved 21 April 2014. Dictionary.com, LLC.

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Malden, MA: Blackwell Pub., 2008. P.202. McDonald, Paul, and Janet Wasko. The Contemporary Hollywood Film Industry. Malden, MA: Blackwell Pub., 2008.

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Print.p.203. Retrieved 2012-01-27.

Howard Smith of Geelong. 19 February 2015. Retrieved 19 February 2015. Retrieved 2012-01-27. Act of Jan. Miriam Bitton (2012) The Journal of Criminal Law & Criminology 102(1):67–117.

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November 2009. Retrieved 8 June 2010. 28 December 1994. Archived from on 2008-04-12. Downloading music for personal, non-commercial purposes is arguably legal in Canada due to the private copying levy which places a levy on blank media such as blank CDs.

The private copying levy does not extend to video as it only covers sound recordings. Making a personal copy of a music CDs is also covered by the private copying levy. Fundacja Nowoczesna Polska. Retrieved January 2014. Check date values in: access-date=.

Van Der Sar, Ernesto. Retrieved 16 August 2012. Court of Justice of the European Union. April 10, 2014. Retrieved 2012-12-27. The Hollywood Reporter (2013-01-07).

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World Intellectual Property Organisation (WIPO). Retrieved September 2010. Check date values in: access-date=. Edwards, Lilian; Waelde, Charlotte (2005). Keynote paper at WIPO Workshop on Online Intermediaries and Liability for Copyright, Geneva.

World Intellectual Property Organisation (WIPO). Retrieved September 2010. Check date values in: access-date=. Edwards, Lilian; Waelde, Charlotte (2005). Keynote paper at WIPO Workshop on Online Intermediaries and Liability for Copyright, Geneva.

World Intellectual Property Organisation (WIPO). Retrieved September 2010.

Check date values in: access-date=. Edwards, Lilian; Waelde, Charlotte (2005). Keynote paper at WIPO Workshop on Online Intermediaries and Liability for Copyright, Geneva. World Intellectual Property Organisation (WIPO). Retrieved September 2010. Check date values in: access-date=.

Horten, Monica (2012). Palgrave Macmillan. Edwards, Lilian; Waelde, Charlotte (2005). Keynote paper at WIPO Workshop on Online Intermediaries and Liability for Copyright, Geneva. World Intellectual Property Organisation (WIPO). Retrieved September 2010.

Check date values in: access-date=. Edwards, Lilian; Waelde, Charlotte (2005). Keynote paper at WIPO Workshop on Online Intermediaries and Liability for Copyright, Geneva. World Intellectual Property Organisation (WIPO).

Retrieved September 2010. Check date values in: access-date=. Edwards, Lilian; Waelde, Charlotte (2005). Keynote paper at WIPO Workshop on Online Intermediaries and Liability for Copyright, Geneva.

World Intellectual Property Organisation (WIPO). Retrieved September 2010. Check date values in: access-date=. Smith, Chris. Boy Genius Report. Retrieved 20 December 2014. ^ Berne Convention,., 219, 221 (U.S.

In which the court describes fair use as a 'free speech safeguard' and a 'First Amendment accommodation'. (PDF).

Association of Universities and Colleges of Canada. Retrieved 2014-02-14. ^ Meyer, David. Retrieved 20 December 2014.

External link in website=. Court of Justice of the European Union. Court of Justice of the European Union. Retrieved 21 December 2014. SCL - The IT Law Community (UK). Retrieved 21 December 2014., for example. Retrieved 2012-09-20.

February 13, 2010, at the. Retrieved 2012-01-27. Retrieved 2014-04-14. 2011 BSA Global Software Piracy Study. Business Software Alliance (BSA). Retrieved 21 April 2014.

Lawrence Sanders. 'International Software Piracy: Analysis of Key Issues and Impacts.' Information Systems Research 9, no. 4 (December 1998): 380–397. Ethan Smith; Lauren A. Schuker (12 February 2010).

^ Virginia Crisp, Gabriel Menotti Gonring (2015). Palgrave Macmillan. ^ United States Government Accountability Office (April 2010). Report to Congressional Committees. United States Government Accountability Office. Retrieved 21 April 2014.

Shea Serrano (19 March 2008). Houston Press. Retrieved 21 April 2014. Bob Strauss (6 April 2009). Los Angeles Daily News. Retrieved 21 April 2014.

Bialik, Carl. Wall Street Journal. Retrieved 14 March 2016. McKenzie, Jordi. Information Economics and Policy. Gosnell, Kelvin (12 May 1983). New Scientist.

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Reid, Robert (March 20, 2012). Salmon, Felix E. (October 4, 2007). Vijayan, Jaikumar (28 March 2011).

Korte, Travis (2011-05-17). Huffington Post. United States of America v. Daniel Dove; the decision, entered November 7, 2008, can be viewed at. Aram Sinnreich, 'Digital Music Subscriptions: Post-Napster Product Formats,' Jupiter Research (2000). Sinnreich, Aram (2013). The Piracy Crusade: How the Music Industry's War on Sharing Destroys Markets and Erodes Civil Liberties.

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August 22, 2011. Nathan Davis.

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Karaganis, Joe, ed. Social Science Research Council. Rosen, Ronald (2008). Music and Copyright. Oxford Oxfordshire: Oxford University Press. External links.

of the, a non-profit group. Department for Professional Employees, AFL-CIO. International Intellectual Property Alliance.