DCI as Theft
One common argument touted by opponents of DCI is that it is essentially tantamount to theft. This argument is valid in the sense that by engaging in DCI, one is benefiting from unlicensed copies of someone else’s copyrighted work, without paying that person fairly. This is even more so in the case of piracy syndicates, who profit from selling unauthorized copies of copyrighted work, and hence “steal” such profits from its rightful owner.
Back to topLosses to creative industries
Organizations representing the creative industries often raise the issue lost revenue to attack the ethics of DCI. The Motion Picture Association of America estimates that in 2005, about US$18.2 billion was lost to movie piracy worldwide. These losses essentially translate into lesser profits for the creative industries, and will eventually have an impact on the welfare of those working in the field.
The argument here, therefore, is that the adverse impact of DCI eventually trickles down to the rank and file employees of the creative industries, by depriving them of benefits which they would otherwise enjoy. This argument, however, rests upon the premise that consumers of unauthorized copies of copyrighted material would have brought the originals had the unauthorized copies not been available; this will be further discussed in a later section.
Back to topAdverse impact on the livelihoods of workers
The creative industry, as a major sector in the economy, provides employment to many, ranging from actors to support staff such as lighting technicians. These people have staked their career and lives on the success of the creative industry. Using copyrighted work without proper remuneration, such as when we download an unauthorized copy off the internet, would arguably be an act of betrayal to these people; we would not be giving them their due credit, and in fact threatening their survivability.
