Digital content: copycat websites represent threat to creative industries
The UK entertainment industries are working together to tackle a growing problem, the inability of audiences to spot the difference between pirate and legal websites. New research shows that many consumers cannot spot the difference because of misleading copycat tactics. Older generations have been found to be more susceptible, and this demographic is increasingly migrating from physical to online content.
A YouGov study for the UK entertainment industries asked more than 2,000 adults to differentiate between websites offering film and TV illegally and legitimate retailer sites. One in four (24%) were unable to differentiate any of the pirate websites from the real deal, with the figure even higher among parents, at 36%. In fact, 98% of all consumers were caught out by at least one of the pirate sites.
Illegal downloading and streaming have long been recognised as a big problem for the entertainment industry, but confusion – and the inability to spot the difference between legal and illegitimate sites – pose an increasing and considerable threat, as consumers of all ages migrate online to enjoy digital content. Using misleading tactics to mimic legitimate online retailers, pirate sites can look alarmingly similar. They carry advertisements from trusted brands. Sometimes they offer premium content for free, but some also charge for content and use the same established payment providers you'd expect from trusted retailers. It's understandable then why so many are unsure whether the entertainment they are accessing is legal or not.
To combat this and guide audiences to access film safely and legally, the film discovery tool FindAnyFilm.com was created. Partnerships are being established with major media outlets and technology companies to provide real-time film availability across formats. When consumers are reading about or searching for films they want to watch, from the latest releases to iconic classics, links to purchase legal content will be provided – whether that's local cinema listings, physical discs, video-on-demand or download services. By making this data immediately available for consumers, the aim is to nudge them towards legitimate sources of content. And again, this is an integrated approach across the entertainment industry.
Through continued public awareness campaigns, the problem of consumer confusion can be reduced, and we're seeing a focus on user-interface design, social integration, instant access and, of course, great entertainment as a recipe for success. Britain's world class entertainment sector may reinvest their revenues so that thousands may continue to do what they do best: create fantastic film and television moments worth paying for.
Much has been done, but there's still more we can do collaboratively. At an industry level, the video, film, TV and music industries have come together to launch a series of initiatives to help audiences of all ages enjoy digital entertainment safely and legally. We've collaborated with internet safety charity, Childnet International, to launch an online resource for parents that includes information on how to identify legal entertainment sites and how to ensure the whole family stays safe online. As confusion is currently highest among parents, many of whom are migrating online, this was a priority. We're also creating online destinations that aggregate the wealth of legal content services together into easy-to-use hubs: the Content Map provides links to legal providers of music, film and TV, e-books, games and sport.
These are just some of numerous ways in which the creative industries are tackling the challenge of digital copyright infringement head on. By combining technological innovation with industry-wide education and awareness campaigns, I'm confident we will succeed. We must, to secure the future of Britain's world-renowned creative talent and output.
Liz Bales is the director general of the Industry Trust for IP Awareness
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