(Canadian) Industry Minister Tony Clement won’t talk about the secrets of ACTA. Instead, he’s pointed curious critics to Michael Geist’s website. This week, Michael explains why he’s the wrong man for that job.
It’s always a pleasure to hear the wise words of champion Canadian #copyfighter Michael Geist. This week on Search Engine you can hear him talk about our Government’s latest lame attempts to deny that they’re Hollywood’s bitch.
If you didn’t already know there’s some background info on the secret ACTA talks here. Trust me, this is important stuff…
It seems that the Society of Composers, Authors & Music Publishers of Canada (or SOCAN) tried to make their public submission for last summer’s Copyright Consultation anything but. While our country’s government rightly denied SOCAN’s request to not publish their document online, in order to see it you must request it by email on the CopyCon site.
Just in case you were worried that someone might be building a secret list of citizens who don’t blindly worship the music industry or something, you can read the document right here without turning over any of your personal information.
Last night I finally got around to watching The Fast and the Furious: Tokyo Drift — mostly to see how it compared to the China/Japan co-production Initial D. Seeing how Initial D was based on a long-running animé of the same title and released almost a full year before the latest Fast and Furious franchise, I fully expected that the two projects would share the same director, or stunt driving team at least.
But to my surprise, it turns out that they’re not at all related, despite the fact that they’re almost exactly the same movie!
Granted, neither can effectively claim ownership of the drifting phenomenon, but both films feature young male protagonists who happen upon the Tokyo street-racing scene, and thanks to their daddy’s ride win a dangerous race down windy mountain roads against a local thug with connections to the mob. Their only real difference lies in the treatment of the heroes’ love interests, and Initial D‘s is much more believable.
So to put this into perspective, Hollywood can blatantly steal and profit from an existing film without so much as a tip of the hat to the original producers, but it’s illegal for anyone else to share their film for free.
Not that anyone would want to, of course. Tokyo Drift is so inferior in every way to its predecessor that it’s virtually unshareable — unless you’re illiterate and can’t read subtitles, I guess…