Digital rights management
This article may have too many section headers dividing up its content. (January 2017)
Digital rights management (DRM) is a set of access control technologies for restricting the use of proprietary hardware and copyrighted works. DRM technologies try to control the use, modification, and distribution of copyrighted works (such as software and multimedia content), as well as systems within devices that enforce these policies.
The use of digital rights management is not universally accepted. Proponents of DRM argue that it is necessary to prevent intellectual property from being copied freely, just as physical locks are needed to prevent personal property from being stolen, that it can help the copyright holder maintain artistic control, and that it can ensure continued revenue streams. Those opposed to DRM contend there is no evidence that DRM helps prevent copyright infringement, arguing instead that it serves only to inconvenience legitimate customers, and that DRM helps big business stifle innovation and competition. Furthermore, works can become permanently inaccessible if the DRM scheme changes or if the service is discontinued. DRM can also restrict users from exercising their legal rights under the copyright law, such as backing up copies of CDs or DVDs (instead having to buy another copy, if it can still be purchased), lending materials out through a library, accessing works in the public domain, or using copyrighted materials for research and education under the fair use doctrine. The Electronic Frontier Foundation (EFF) and the Free Software Foundation (FSF) consider the use of DRM systems to be an anti-competitive practice.
Worldwide, many laws have been created which criminalize the circumvention of DRM, communication about such circumvention, and the creation and distribution of tools used for such circumvention. Such laws are part of the United States' Digital Millennium Copyright Act, and the European Union's Copyright Directive, (the French DADVSI is an example of a member state of the European Union ("EU") implementing the directive).
The rise of digital media and analog-to-digital conversion technologies has vastly increased the concerns of copyright-owning individuals and organizations, particularly within the music and movie industries. While analog media inevitably lost quality with each copy generation, and in some cases even during normal use, digital media files may be duplicated an unlimited number of times with no degradation in the quality.
The rise of personal computers as household appliances has made it convenient for consumers to convert media (which may or may not be copyrighted) originally in a physical, analog or broadcast form into a universal, digital form (this process is called ripping) for portability or viewing later. This, combined with the Internet and popular file-sharing tools, has made unauthorized distribution of copies of copyrighted digital media (also called digital piracy) much easier.
In 1983, a very early implementation of Digital Rights Management (DRM) was the Software Service System (SSS) devised by the Japanese engineer Ryuichi Moriya.  and subsequently refined under the name superdistribution. The SSS was based on encryption, with specialized hardware that controlled decryption and also enabled payments to be sent to the copyright holder. The underlying principle of the SSS and subsequently of superdistribution was that the distribution of encrypted digital products should be completely unrestricted and that users of those products would not just be permitted to redistribute them but would actually be encouraged to do so.
Common DRM techniques include restrictive licensing agreements: The access to digital materials, copyright and public domain is restricted to consumers as a condition of entering a website or when downloading software.Encryption, scrambling of expressive material and embedding of a tag, which is designed to control access and reproduction of information, including backup copies for personal use.
DRM technologies enable content publishers to enforce their own access policies on content, such as restrictions on copying or viewing. These technologies have been criticized for restricting individuals from copying or using the content legally, such as by fair use. DRM is in common use by the entertainment industry (e.g., audio and video publishers). Many online music stores, such as Apple's iTunes Store, and e-book publishers and vendors, such as OverDrive, also use DRM, as do cable and satellite service operators, to prevent unauthorized use of content or services. However, Apple dropped DRM from all iTunes music files around 2009.
Industry has expanded the usage of DRM to more traditional hardware products, such as Keurig's coffeemakers, Philips' light bulbs, mobile device power chargers, and John Deere's tractors. For instance, tractor companies try to prevent farmers from making DIY repairs under usage of DRM-laws as DMCA.
Limited install activationsEdit
Computer games sometimes use DRM technologies to limit the number of systems the game can be installed on by requiring authentication with an online server. Most games with this restriction allow three or five installs, although some allow an installation to be 'recovered' when the game is uninstalled. This not only limits users who have more than three or five computers in their homes (seeing as the rights of the software developers allow them to limit the number of installations), but can also prove to be a problem if the user has to unexpectedly perform certain tasks like upgrading operating systems or reformatting the computer's hard drive, tasks which, depending on how the DRM is implemented, count a game's subsequent reinstall as a new installation, making the game potentially unusable after a certain period even if it is only used on a single computer.
In mid-2008, the publication of Mass Effect marked the start of a wave of titles primarily making use of SecuROM for DRM and requiring authentication with a server. The use of the DRM scheme in 2008's Spore backfired and there were protests, resulting in a considerable number of users seeking an unlicensed version instead. This backlash against the three-activation limit was a significant factor in Spore becoming the most pirated game in 2008, with TorrentFreak compiling a "top 10" list with Spore topping the list. However, Tweakguides concluded that the presence of intrusive DRM does not appear to increase the cracking of a game, noting that other games on the list such as Call of Duty 4 and Assassin's Creed use SafeDisc DRM, which has no install limits and no online activation. Additionally, other video games that use intrusive DRM such as BioShock, Crysis Warhead, and Mass Effect, do not appear on the list.
Persistent online authenticationEdit
Many mainstream publishers continued to rely on online DRM throughout the later half of 2008 and early 2009, including Electronic Arts, Ubisoft, Valve, and Atari, The Sims 3 being a notable exception in the case of Electronic Arts. Ubisoft broke with the tendency to use online DRM in late 2008, with the release of Prince of Persia as an experiment to "see how truthful people really are" regarding the claim that DRM was inciting people to use illegal copies. Although Ubisoft has not commented on the results of the "experiment", Tweakguides noted that two torrents on Mininova had over 23,000 people downloading the game within 24 hours of its release.
Ubisoft formally announced a return to online authentication on 9 February 2010, through its Uplay online gaming platform, starting with Silent Hunter 5, The Settlers 7, and Assassin's Creed II. Silent Hunter 5 was first reported to have been compromised within 24 hours of release, but users of the cracked version soon found out that only early parts of the game were playable. The Uplay system works by having the installed game on the local PCs incomplete and then continuously downloading parts of the game-code from Ubisoft's servers as the game progresses. It was more than a month after the PC release in the first week of April that software was released that could bypass Ubisoft's DRM in Assassin's Creed II. The software did this by emulating a Ubisoft server for the game. Later that month, a real crack was released that was able to remove the connection requirement altogether.
In early March 2010, the Uplay servers suffered a period of inaccessibility due to a large-scale DDoS attack, causing around 5% of game owners to become locked out of playing their game. The company later credited owners of the affected games with a free download, and there has been no further downtime.
Other developers, such as Blizzard Entertainment are also shifting to a strategy where most of the game logic is on the "side" or taken care of by the servers of the game maker. Blizzard uses this strategy for its game Diablo III and Electronic Arts used this same strategy with their reboot of SimCity, the necessity of which has been questioned.
Bohemia Interactive have used a form of technology since Operation Flashpoint: Cold War Crisis, wherein if the game copy is suspected of being unauthorized, annoyances like guns losing their accuracy or the players being turned into a bird are introduced.
Croteam, the company that released Serious Sam 3: BFE in November 2011, implemented a different form of DRM wherein, instead of displaying error messages that stop the illicit version of the game from running, it causes a special invincible foe in the game to appear and constantly attack the player until he or she is killed.
One of the oldest and least complicated DRM protection methods for computer and Nintendo Entertainment System games was when the game would pause and prompt the player to look up a certain page in a booklet or manual that came with the game; if the player lacked access to such material, they would not be able to continue the game. A product key, a typically alphanumerical serial number used to represent a license to a particular piece of software, serve a similar function. During the installation process or launch for the software, the user is asked to input the key; if the key correctly corresponds to a valid license (typically via internal algorithms), the key is accepted, then the user who bought the game can continue. In modern practice, product keys are typically combined with other DRM practices (such as online "activation"), as the software could be cracked to run without a product key, or "keygen" programs could be developed to generate keys that would be accepted.
Enterprise digital rights management (E-DRM or ERM) is the application of DRM technology to the control of access to corporate documents such as Microsoft Word, PDF, and AutoCAD files, emails, and intranet web pages rather than to the control of consumer media. E-DRM, now more commonly termed IRM (Information Rights Management), is generally intended to prevent the unauthorized use (such as industrial or corporate espionage or inadvertent release) of proprietary documents. IRM typically integrates with content management system software but corporations such as Samsung Electronics also develop their own custom DRM systems.
DRM has been used by organizations such as the British Library in its secure electronic delivery service to permit worldwide access to substantial numbers of rare (and in many cases unique) documents which, for legal reasons, were previously only available to authorized individuals actually visiting the Library's document centre at Boston Spa in England.
Electronic books read on a personal computer, or an e-book reader or e-reader app typically use DRM technology to limit copying, printing, and sharing of e-books. E-books are usually limited to be used on a limited number of reading devices, and some e-publishers prevent any copying or printing. Some commentors believe DRM makes e-book publishing complex.
As of August 2012[update], there were five main e-book formats: EPUB, KF8, Mobipocket, PDF, and Topaz. The Amazon Kindle uses KF8, Mobipocket, and Topaz; it also supports native PDF format e-books and native PDF files. Other e-book readers mostly use EPUB format e-books, but with differing DRM schemes.
- Adobe's ADEPT DRM is applied to EPUBs and PDFs, and can be read by several third-party e-book readers, as well as Adobe Digital Editions (ADE) software. Barnes & Noble uses a DRM technology provided by Adobe, applied to EPUBs and the older PDB (Palm OS) format e-books. In October 2014, Adobe released version 4.0.1 of the software, which sends data to Adobe in a secure transmission (using HTTPS).
- Amazon's DRM is an adaption of the original Mobipocket encryption and is applied to Amazon's .azw4, KF8, and Mobipocket format e-books. Topaz format e-books have their own encryption system.
- Apple's FairPlay DRM is applied to EPUBs and can currently only be read by Apple's iBooks app on iOS devices and Mac OS computers.
- The Marlin DRM was developed and is maintained in an open industry group known as the Marlin Developer Community (MDC) and is licensed by MTMO. (Marlin was founded by five companies, Intertrust, Panasonic, Philips, Samsung, and Sony.) The Kno online textbook publisher uses Marlin to protect e-books it sells in the EPUB format. These books can be read on the Kno App for iOS and Android.
In one instance of DRM that caused a rift with consumers, Amazon.com in July 2009, remotely deleted purchased copies of George Orwell's Animal Farm (1945) and Nineteen Eighty-Four (1949) from customers' Amazon Kindles after providing them a refund for the purchased products. Commentors have described these actions as Orwellian and have compared Amazon to Big Brother from Orwell's Nineteen Eighty-Four. After Amazon CEO Jeff Bezos issued a public apology, the Free Software Foundation wrote that this was just one more example of the excessive power Amazon has to remotely censor what people read through its software, and called upon Amazon to free its e-book reader and drop DRM. Amazon then revealed the reason behind its deletion: the e-books in question were unauthorized reproductions of Orwell's works, which were not within the public domain and to which the company that published and sold them on Amazon's service had no rights.
Websites – such as library.nu (shut down by court order on 15 February 2012), BookFi, BookFinder, Library Genesis, and Science Hub – have emerged which allow downloading e-books by violating copyright.
An early example of a DRM system is the Content Scrambling System (CSS) employed by the DVD Forum on film DVDs circa 1996. CSS uses an encryption algorithm to encrypt content on the DVD disc. Manufacturers of DVD players must license this technology and implement it in their devices so that they can decrypt the encrypted content to play it. The CSS license agreement includes restrictions on how the DVD content is played, including what outputs are permitted and how such permitted outputs are made available. This keeps the encryption intact as the video material is played out to a TV.
In 1999, Jon Lech Johansen released an application called DeCSS, which allowed a CSS-encrypted DVD to play on a computer running the Linux operating system, at a time when no licensed DVD player application for Linux had yet been created. The legality of DeCSS is questionable: one of the authors has been the subject of a lawsuit, and reproduction of the keys themselves is subject to restrictions as illegal numbers.
Also in 1999, Microsoft released Windows Media DRM, which read instructions from media files in a rights management language that stated what the user may do with the media. The language can define how many times the media file can be played, and whether or not it can be burned to a CD, forwarded, printed, or saved to the local disk. Later versions of Windows Media DRM also allow producers to declare whether or not the user may transfer the media file to other devices, to implement music subscription services that make downloaded files unplayable after subscriptions are cancelled, and to implement regional lockout.
The Microsoft operating system, Windows Vista, contains a DRM system called the Protected Media Path, which contains the Protected Video Path (PVP). PVP tries to stop DRM-restricted content from playing while unsigned software is running, in order to prevent the unsigned software from accessing the content. Additionally, PVP can encrypt information during transmission to the monitor or the graphics card, which makes it more difficult to make unauthorized recordings.
Advanced Access Content System (AACS) is a DRM system for HD DVD and Blu-ray Discs developed by the AACS Licensing Administrator, LLC (AACS LA), a consortium that includes Disney, IBM, Intel, Microsoft, Matsushita (Panasonic), Sony, Toshiba, and Warner Brothers. In December 2006, hackers published a process key online, which enabled unrestricted access to AACS-protected HD DVD content. After the cracked keys were revoked, further cracked keys were released.
Marlin (DRM) is a technology that is developed and maintained in an open industry group known as the Marlin Developer Community (MDC) and licensed by the Marlin Trust Management Organization (MTMO). Founded in 2005, by five companies: Intertrust, Panasonic, Philips, Samsung, and Sony, Marlin DRM has been deployed in multiple places around the world. In Europe, Philips NetTVs implement Marlin DRM. Also in Europe, Marlin DRM is required in such industry groups as the Open IPTV Forum and national initiatives such as HDForum in France, Tivu in Italy, and YouView in the UK, and which are starting to see broad deployments. In Japan, the acTVila IPTV service uses Marlin to encrypt video streams, which are permitted to be recorded on a DVR in the home.
OMA DRM is a system invented by the Open Mobile Alliance, whose members represent information technology companies (e.g., IBM and Microsoft), mobile phone network operators (e.g., Cingular, Deutsche Telekom, Orange, O2, and Vodafone), mobile phone manufacturers (e.g., LG, Motorola, Samsung, and Sony), mobile system manufacturers (e.g., Ericsson and Openwave).
Discs with DRM schemes are not standards-compliant Compact Discs (CDs) but are rather CD-ROM media. Therefore, they all lack the CD logotype found on discs which follow the standard (known as Red Book). These CDs cannot be played on all CD players or personal computers. Personal computers running Microsoft Windows sometimes even crash when attempting to play the CDs.
In 2005, Sony BMG introduced new DRM technology which installed DRM software on users' computers without clearly notifying the user or requiring confirmation. Among other things, the installed software included a rootkit, which created a severe security vulnerability others could exploit. When the nature of the DRM involved was made public much later, Sony BMG initially minimized the significance of the vulnerabilities its software had created, but was eventually compelled to recall millions of CDs, and released several attempts to patch the surreptitiously included software to at least remove the rootkit. Several class action lawsuits were filed, which were ultimately settled by agreements to provide affected consumers with a cash payout or album downloads free of DRM.
Sony BMG's DRM software actually had only a limited ability to prevent copying, as it affected only playback on Windows computers, not on other equipment. Even on the Windows platform, users regularly bypassed the restrictions. And, while the Sony BMG DRM technology created fundamental vulnerabilities in customers' computers, parts of it could be trivially bypassed by holding down the "shift" key while inserting the CD, or by disabling the autorun feature. In addition, audio tracks could simply be played and re-recorded, thus completely bypassing all the DRM (this is known as the analog hole). Sony BMG's first two attempts at releasing a patch which would remove the DRM software from users' computers failed.
In January 2007, EMI stopped publishing audio CDs with DRM, stating that "the costs of DRM do not measure up to the results." Following EMI, Sony BMG was the last publisher to abolish DRM completely, and audio CDs containing DRM are no longer released by the four largest commercial record label companies.
Many internet music stores employ DRM to restrict usage of music purchased and downloaded.
- Prior to 2009, Apple's iTunes Store utilized the FairPlay DRM system for music. Apple did not license its DRM to other companies, so only Apple devices and Apple's QuickTime media player could play iTunes music. In May 2007, EMI tracks became available in iTunes Plus format at a higher price point. These tracks were higher quality (256 kbit/s) and DRM free. In October 2007, the cost of iTunes Plus tracks was lowered to US$0.99. In April 2009, all iTunes music became available completely DRM-free. (Videos sold and rented through iTunes, as well as iOS Apps, however, were to continue using Apple's FairPlay DRM.)
- Napster music store offers a subscription-based approach to DRM alongside permanent purchases. Users of the subscription service can download and stream an unlimited amount of music transcoded to Windows Media Audio (WMA) while subscribed to the service. But when the subscription period lapses, all the downloaded music is unplayable until the user renews his or her subscription. Napster also charges users who wish to use the music on their portable device an additional $5 per month. In addition, Napster gives users the option of paying an additional $0.99 per track to burn it to CD or for the song to never expire. Music bought through Napster can be played on players carrying the Microsoft PlaysForSure logo (which, notably, do not include iPods or even Microsoft's own Zune). As of June 2009, Napster is offering DRM free MP3 music, which can be played on iPhones and iPods.
- Wal-Mart Music Downloads, another music download store, charges $0.94 per track for all non-sale downloads. All Wal-Mart downloads are able to be played on any Windows PlaysForSure marked product. The music does play on the SanDisk's Sansa mp3 player, for example, but must be copied to the player's internal memory. It cannot be played through the player's microSD card slot, which is a problem that many users of the mp3 player experience.
- Sony operated a music download service called "Connect" which used Sony's proprietary OpenMG DRM technology. Music downloaded from this store (usually via Sony's SonicStage software) was only playable on computers running Microsoft Windows and Sony hardware (including the PSP and some Sony Ericsson phones).
- Kazaa is one of a few services offering a subscription-based pricing model. However, music downloads from the Kazaa website are DRM-protected and can only be played on computers or portable devices running Windows Media Player, and only as long as the customer remains subscribed to Kazaa.
The various services are currently not interoperable, though those that use the same DRM system (for instance the several Windows Media DRM format stores, including Napster, Kazaa and Yahoo Music) all provide songs that can be played side-by-side through the same player program. Almost all stores require client software of some sort to be downloaded, and some also need plug-ins. Several colleges and universities, such as Rensselaer Polytechnic Institute, have made arrangements with assorted Internet music suppliers to provide access (typically DRM-restricted) to music files for their students, to less than universal popularity, sometimes making payments from student activity fee funds. One of the problems is that the music becomes unplayable after leaving school unless the student continues to pay individually. Another is that few of these vendors are compatible with the most common portable music player, the Apple iPod. The Gowers Review of Intellectual Property (to HMG in the UK; 141 pages, 40+ specific recommendations) has taken note of the incompatibilities, and suggests (Recommendations 8—12) that there be explicit fair dealing exceptions to copyright allowing libraries to copy and format-shift between DRM schemes, and further allowing end users to do the same privately. If adopted, some acrimony may decrease.
Although DRM is prevalent for Internet music, some online music stores such as eMusic, Dogmazic, Amazon, and Beatport, do not use DRM despite encouraging users to avoid sharing music. Major labels have begun releasing more music without DRM. Eric Bangeman suggests in Ars Technica that this is because the record labels are "slowly beginning to realize that they can't have DRMed music and complete control over the online music market at the same time... One way to break the cycle is to sell music that is playable on any digital audio player. eMusic does exactly that, and their surprisingly extensive catalog of non-DRMed music has vaulted it into the number two online music store position behind the iTunes Store." Apple's Steve Jobs called on the music industry to eliminate DRM in an open letter titled Thoughts on Music. Apple's iTunes Store will start to sell DRM-free 256 kbit/s (up from 128 kbit/s) AAC encoded music from EMI for a premium price (this has since reverted to the standard price).
In March 2007, Musicload.de, one of Europe's largest internet music retailers, announced their position strongly against DRM. In an open letter, Musicload stated that three out of every four calls to their customer support phone service are as a result of consumer frustration with DRM.
Mobile ring tonesEdit
The Open Mobile Alliance created a standard for interoperable DRM on mobile devices. The first version of OMA DRM consisted of a simple rights management language and was widely used to protect mobile phone ringtones from being copied from the phone to other devices. Later versions expanded the rights management language to similar expressiveness as Fairplay, but did not become widely used.
The CableCard standard is used by cable television providers in the United States to restrict content to services to which the customer has subscribed.
The broadcast flag concept was developed by Fox Broadcasting in 2001, and was supported by the MPAA and the U.S. Federal Communications Commission (FCC). A ruling in May 2005, by a United States courts of appeals held that the FCC lacked authority to impose it on the TV industry in the US. It required that all HDTVs obey a stream specification determining whether a stream can be recorded. This could block instances of fair use, such as time-shifting. It achieved more success elsewhere when it was adopted by the Digital Video Broadcasting Project (DVB), a consortium of about 250 broadcasters, manufacturers, network operators, software developers, and regulatory bodies from about 35 countries involved in attempting to develop new digital TV standards.
An updated variant of the broadcast flag has been developed in the Content Protection and Copy Management group under DVB (DVB-CPCM). Upon publication by DVB, the technical specification was submitted to European governments in March 2007. As with much DRM, the CPCM system is intended to control use of copyrighted material by the end-user, at the direction of the copyright holder. According to Ren Bucholz of the EFF, which paid to be a member of the consortium, "You won't even know ahead of time whether and how you will be able to record and make use of particular programs or devices". The normative sections have now all been approved for publication by the DVB Steering Board, and will be published by ETSI as a formal European Standard as ETSI TS 102 825-X where X refers to the Part number of specification. Nobody has yet stepped forward to provide a Compliance and Robustness regime for the standard (though several are rumoured to be in development), so it is not presently possible to fully implement a system, as there is nowhere to obtain the necessary device certificates.
Sometimes, metadata is included in purchased media which records information such as the purchaser's name, account information, or email address. Also included may be the file's publisher, author, creation date, download date, and various notes. This information is not embedded in the played content, like a watermark, but is kept separate, but within the file or stream.
As an example, metadata is used in media purchased from Apple's iTunes Store for DRM-free as well as DRM-restricted versions of their music or videos. This information is included as MPEG standard metadata.
Digital watermarks exist since 1992. They are steganographically embedded within audio or video data during production or distribution. They can be used for recording the copyright owner, the distributor, the distribution chain or identifying the purchaser of the music.
Watermarks are not complete DRM mechanisms in their own right, but are used as part of a system for copyright enforcement, such as helping provide prosecution evidence for legal purposes, rather than direct technological restriction. Some programs used to edit video and/or audio may distort, delete, or otherwise interfere with watermarks. Signal/modulator-carrier chromatography may also separate watermarks from original audio or detect them as glitches. Additionally, comparison of two separately obtained copies of audio using simple, home-grown algorithms can often reveal watermarks.
Streaming media servicesEdit
Since the late-2000s the trend in media consumption has been towards renting content using online streaming services, for example Spotify for music and Netflix for video content. Copyright holders often require that these services protect the content they licence using DRM mechanisms.
This section needs additional citations for verification. (May 2014) (Learn how and when to remove this template message)
The examples and perspective in this section may not represent a worldwide view of the subject. (November 2012) (Learn how and when to remove this template message)
The 1996 World Intellectual Property Organization Copyright Treaty (WCT) requires nations to enact laws against DRM circumvention, and has been implemented in most member states of the World Intellectual Property Organization.
The United States implementation is the Digital Millennium Copyright Act (DMCA), while in Europe the treaty has been implemented by the 2001 European directive on copyright, which requires member states of the European Union to implement legal protections for technological prevention measures. In 2006[update], the lower house of the French parliament adopted such legislation as part of the controversial DADVSI law, but added that protected DRM techniques should be made interoperable, a move which caused widespread controversy in the United States. The Tribunal de grande instance de Paris concluded in 2006, that the complete blocking of any possibilities of making private copies was an impermissible behaviour under French copyright law.
In 1998 "Interim Regulations" were founded in China, referring to the DMCA. China also has Intellectual Property Rights, which to the World Trade Organization, was "not in compliance with the Berne Convention". The WTO panel "determined that China's copyright laws do not provide the same efficacy to non- Chinese nationals as they do to Chinese citizens, as required by the Berne Convention". and that "China's copyright laws do not provide enforcement procedures so as to permit effective action against any act of infringement of intellectual property rights". Because China has a form of DMCA and or copyright laws, it is assumed they are using some kind of technology to enforce those laws, however there is no mention of specific DRM technology.
On 22 May 2001, the European Union passed the EU Copyright Directive, an implementation of the 1996 WIPO Copyright Treaty, that addressed many of the same issues as the DMCA.
On 25 April 2007, the European Parliament supported the first directive of EU, which aims to harmonize criminal law in the member states. It adopted a first reading report on harmonizing the national measures for fighting copyright abuse. If the European Parliament and the Council approve the legislation, the submitted directive will oblige the member states to consider a crime a violation of international copyright committed with commercial purposes. The text suggests numerous measures: from fines to imprisonment, depending on the gravity of the offense. The EP members supported the Commission motion, changing some of the texts. They excluded patent rights from the range of the directive and decided that the sanctions should apply only to offenses with commercial purposes. Copying for personal, non-commercial purposes was also excluded from the range of the directive.
In 2012, the Court of Justice of the European Union ruled in favor of reselling copyrighted games, prohibiting any preventative action that would prevent such transaction. The court said that "The first sale in the EU of a copy of a computer program by the copyright holder or with his consent exhausts the right of distribution of that copy in the EU. A rightholder who has marketed a copy in the territory of a Member State of the EU thus loses the right to rely on his monopoly of exploitation in order to oppose the resale of that copy."
In 2014, the Court of Justice of the European Union ruled that circumventing DRM on game devices may be legal under some circumstances, limiting the legal protection to only cover technological measures intended to prevent or eliminate unauthorised acts of reproduction, communication, public offer or distribution.
India is not a signatory to WIPO Copyright Treaty nor the WIPO Performances and Phonograms Treaty. However, as a part of its 2012 amendment of copyright laws, it implemented digital rights management protection. Section 65A of Copyright Act, 1957 imposed criminal sanctions on circumvention of "effective technological protection measures". Section 65B criminalized interference with digital rights management information. Any distribution of copies whose rights management information was modified was also criminalized by Section 65B. The terms used in the provisions were not specifically defined, with the concerned Parliamentary Standing Committee indicating the same to have been deliberate. The Standing Committee noted that similar terms in developed terms were used to considerable complexity and therefore in light of the same, it was preferable to keep it open-ended.
A prison sentence is mandatory under both provisions, with a maximum term of 2 years in addition to fine, which is discretionary. While the statute doesn't include exceptions to copyright infringement, including fair use directly, Section 65A allows measures "unless they are expressly prohibited", which may implicitly include such exceptions. Section 65B however, lacks any exceptions. Further. Section 65B (digital rights management information) allows resort to other civil provisions, unlike Section 65A.
It is important to note that the WIPO Internet Treaties themselves do not mandate criminal sanctions, merely requiring "effective legal remedies". Thus, India's adoption of criminal sanctions ensures compliance with the highest standards of the WIPO internet treaties. Given the 2012 amendment, India's entry to the WIPO Internet Treaties appears facilitated, especially since ratification of the WIPO Internet Treaties is mandatory under agreements like the RCEP.
As of 2014[update] Israel had not ratified the WIPO Copyright Treaty. Israeli law does not currently expressly prohibit the circumvention of technological measures used to implement digital rights management. In June 2012 The Israeli Ministry of Justice proposed a bill to prohibit such activities, but the Knesset did not pass it. In September 2013, the Supreme Court ruled that the current copyright law could not be interpreted to prohibit the circumvention of digital rights management, though the Court left open the possibility that such activities could result in liability under the law of unjust enrichment.
In May 1998, the Digital Millennium Copyright Act (DMCA) passed as an amendment to US copyright law, which criminalizes the production and dissemination of technology that lets users circumvent technical copy-restriction methods.(For a more detailed analysis of the statute, see WIPO Copyright and Performances and Phonograms Treaties Implementation Act.)
Reverse engineering of existing systems is expressly permitted under the Act under the specific condition of a safe harbor, where circumvention is necessary to achieve interoperability with other software . See 17 U.S.C. Sec. 1201(f). Open-source software to decrypt content scrambled with the Content Scrambling System and other encryption techniques presents an intractable problem with the application of the Act. Much depends on the intent of the actor. If the decryption is done for the purpose of achieving interoperability of open source operating systems with proprietary operating systems, it would be protected by Section 1201(f) the Act. Cf., Universal City Studios, Inc. v. Corley, 273 F.3d 429 (2d Cir. 2001) at notes 5 and 16. However, dissemination of such software for the purpose of violating or encouraging others to violate copyrights has been held illegal. See Universal City Studios, Inc. v. Reimerdes, 111 F. Supp. 2d 346 (S.D.N.Y. 2000).
The DMCA has been largely ineffective in protecting DRM systems, as software allowing users to circumvent DRM remains widely available. However, those who wish to preserve the DRM systems have attempted to use the Act to restrict the distribution and development of such software, as in the case of DeCSS.
Although the Act contains an exception for research, the exception is subject to vague qualifiers that do little to reassure researchers. Cf., 17 U.S.C. Sec. 1201(g). The DMCA has affected cryptography, because many[who?] fear that cryptanalytic research may violate the DMCA. In 2001, the arrest of Russian programmer Dmitry Sklyarov for alleged infringement of the DMCA was a highly publicized example of the law's use to prevent or penalize development of anti-DRM measures. He was arrested in the US after a presentation at DEF CON, and spent several months in jail. The DMCA has also been cited as chilling to non-criminal inclined users, such as students of cryptanalysis including, Professor Felten and students at Princeton University; security consultants, such as Netherlands based Niels Ferguson, who declined to publish vulnerabilities he discovered in Intel's secure-computing scheme due to fear of being arrested under the DMCA when he travels to the US; and blind or visually impaired users of screen readers or other assistive technologies.
In Europe, there have been several ongoing dialog activities that are characterized by their consensus-building intention:
- January 2001 Workshop on Digital Rights Management of the World Wide Web Consortium .
- 2003 Participative preparation of the European Committee for Standardization/Information Society Standardization System (CEN/ISSS) DRM Report.
- 2005 DRM Workshops of Directorate-General for Information Society and Media (European Commission), and the work of the High Level Group on DRM.
- 2005 Gowers Review of Intellectual Property by the British Government from Andrew Gowers published in 2006 with recommendations regarding copyright terms, exceptions, orphaned works, and copyright enforcement.
- 2004 Consultation process of the European Commission, DG Internal Market, on the Communication COM(2004)261 by the European Commission on "Management of Copyright and Related Rights" (closed).
- The AXMEDIS project, a European Commission Integrated Project of the FP6, has as its main goal automating content production, copy protection, and distribution, to reduce the related costs, and to support DRM at both B2B and B2C areas, harmonizing them.
- The INDICARE project is an ongoing dialogue on consumer acceptability of DRM solutions in Europe. It is an open and neutral platform for exchange of facts and opinions, mainly based on articles by authors from science and practice.
Many organizations, prominent individuals, and computer scientists are opposed to DRM. Two notable DRM critics are John Walker, as expressed for instance, in his article "The Digital Imprimatur: How Big brother and big media can put the Internet genie back in the bottle", and Richard Stallman in his article The Right to Read and in other public statements: "DRM is an example of a malicious feature – a feature designed to hurt the user of the software, and therefore, it's something for which there can never be toleration". Stallman also believes that using the word "rights" is misleading and suggests that the word "restrictions", as in "Digital Restrictions Management", be used instead. This terminology has since been adopted by many other writers and critics unconnected with Stallman.
Other prominent critics of DRM include Professor Ross Anderson of Cambridge University, who heads a British organization which opposes DRM and similar efforts in the UK and elsewhere, and Cory Doctorow, a writer and technology blogger.
There have been numerous others who see DRM at a more fundamental level. This is similar to some of the ideas in Michael H. Goldhaber's presentation about "The Attention Economy and the Net" at a 1997 conference on the "Economics of Digital Information". (sample quote from the "Advice for the Transition" section of that presentation: "If you can't figure out how to afford it without charging, you may be doing something wrong.")
The final version of the GNU General Public License version 3, as released by the Free Software Foundation, has a provision that "strips" DRM of its legal value, so people can break the DRM on GPL software without breaking laws like the DMCA. Also, in May 2006, the FSF launched a "Defective by Design" campaign against DRM.
Creative Commons provides licensing options encouraging the expansion of and building upon creative work without the use of DRM. In addition, Creative Commons licenses have anti-DRM clauses, therefore the use of DRM by a licensee to restrict the freedoms granted by a Creative Commons license is a breach of the Baseline Rights asserted by the licenses.
Bill Gates spoke about DRM at CES in 2006. According to him, DRM is not where it should be, and causes problems for legitimate consumers while trying to distinguish between legitimate and illegitimate users.
According to Steve Jobs, Apple opposes DRM music after a public letter calling its music labels to stop requiring DRM on its iTunes Store. As of 6 January 2009, the iTunes Store is DRM-free for songs.
The Norwegian consumer rights organization "Forbrukerrådet" complained to Apple Inc. in 2007, about the company's use of DRM in, and in conjunction with, its iPod and iTunes products. Apple was accused of restricting users' access to their music and videos in an unlawful way, and of using EULAs which conflict with Norwegian consumer legislation. The complaint was supported by consumers' ombudsmen in Sweden and Denmark, and is currently being reviewed in the EU. Similarly, the United States Federal Trade Commission held hearings in March 2009, to review disclosure of DRM limitations to customers' use of media products.
DRM opponents argue that the presence of DRM violates existing private property rights and restricts a range of heretofore normal and legal user activities. A DRM component would control a device a user owns (such as a digital audio player) by restricting how it may act with regard to certain content, overriding some of the user's wishes (for example, preventing the user from burning a copyrighted song to CD as part of a compilation or a review). Doctorow has described this possibility as "the right to make up your own copyright laws".
An example of this restriction to legal user activities may be seen in Microsoft's Windows Vista operating system in which content using a Protected Media Path is disabled or degraded depending on the DRM scheme's evaluation of whether the hardware and its use are 'secure'. All forms of DRM depend on the DRM-enabled device (e.g., computer, DVD player, TV) imposing restrictions that (at least by intent) cannot be disabled or modified by the user. Key issues around DRM such as the right to make personal copies, provisions for persons to lend copies to friends, provisions for service discontinuance, hardware agnosticism, software and operating system agnosticism, contracts for public libraries, and customers' protection against one-side amendments of the contract by the publisher have not been fully addressed.(see references 80–89) It has also been pointed out that it is entirely unclear whether owners of content with DRM are legally permitted to pass on their property as inheritance to another person.
Valve Corporation president Gabe Newell also stated "most DRM strategies are just dumb" because they only decrease the value of a game in the consumer's eyes. Newell suggests that the goal should instead be "[creating] greater value for customers through service value". Valve operates Steam, a service which serves as an online store for PC games, as well as a social networking service and a DRM platform.
At the 2012 Game Developers Conference, the CEO of CD Projekt Red, Marcin Iwinski, announced that the company will not use DRM in any of its future releases. Iwinski stated of DRM, "it's just over-complicating things. We release the game. It's cracked in two hours, it was no time for Witcher 2. What really surprised me is that the pirates didn't use the GOG version, which was not protected. They took the SecuROM retail version, cracked it and said 'we cracked it' – meanwhile there's a non-secure version with a simultaneous release. You'd think the GOG version would be the one floating around." Iwinski added after the presentation, "DRM does not protect your game. If there are examples that it does, then people maybe should consider it, but then there are complications with legit users."
Bruce Schneier argues that digital copy prevention is futile: "What the entertainment industry is trying to do is to use technology to contradict that natural law. They want a practical way to make copying hard enough to save their existing business. But they are doomed to fail." He has also described trying to make digital files uncopyable as being like "trying to make water not wet". The creators of StarForce also take this stance, stating that "The purpose of copy protection is not making the game uncrackable – it is impossible."
The Association for Computing Machinery and the Institute of Electrical and Electronics Engineers have historically opposed DRM, even going so far as to name AACS as a technology "most likely to fail" in an issue of IEEE Spectrum.
In reaction to opposition to DRM, many publishers and artists label their works as "DRM-free". Major companies that have done so include the following:
- Apple Inc. sold DRM content on their iTunes Store when it started 2003, but made music DRM-free after April 2007 and has been labeling all music as "DRM-Free" since January 2009. The music still carries a digital watermark to identify the purchaser. Other works sold on iTunes such as apps, audiobooks, movies, and TV shows continue to be protected by DRM.
- Since 2014, Comixology, which distributes digital comics, has allowed rights holders to provide the option of a DRM-free download of purchased comics. Publishers which allow this include Dynamite Entertainment, Image Comics, Thrillbent, Top Shelf Productions, and Zenescope Entertainment.
- GOG.com (formerly Good Old Games), a digital distributor started in 2008, specializes in the distribution of PC video games. While most other digital distribution services allow various forms of DRM (or have them embedded), gog.com has a strict non-DRM policy.
- All music sold on Google Play is DRM free.
- Tor Books, a major publisher of science fiction and fantasy books, started selling DRM-free e-books in July 2012. Smaller e-book publishers, such as Baen Books and O'Reilly Media, had already forgone DRM previously.
- Vimeo on Demand is one of the publishers included in the Free Software Foundation's DRM-free guide.
DRM server and Internet outagesEdit
Many DRM systems require authentication with an online server. Whenever the server goes down, or a region or country experiences an Internet outage, it effectively locks out people from registering or using the material. This is especially true for a product that requires a persistent online authentication, where, for example, a successful DDoS attack on the server would essentially make all copies of the material unusable.
DRM bypass methods for audio and video contentEdit
One simple method to bypass DRM on audio files is to burn the content to an audio CD and then rip it into DRM-free files. Some software products simplify and automate this burn-rip process by allowing the user to burn music to a CD-RW disc or to a Virtual CD-R drive, then automatically rip and encode the music, and automatically repeat this process until all selected music has been converted, rather than forcing the user to do this one CD (72–80 minutes worth of music) at a time.
Many software programs have been developed that intercept the data stream as it is decrypted out of the DRM-restricted file, and then use this data to construct a DRM-free file. These programs require a decryption key. Programs that do this for Blu-ray Discs, DVDs, and HD DVDs include universal decryption keys in the software itself. Programs that do this for iTunes audio, PlaysForSure songs, and TiVo ToGo recordings, however, rely on the user's own key – that is, they can only process content the user has legally acquired under his or her own account.
Another method is to use software to record the signals being sent through the audio or video cards or plug analog recording devices into the analog outputs of the media player. These techniques utilize the "analog hole".
To bypass DRM technologies embedded in video-streaming services, hackers employ a variety of methods. Besides rerecording and redistributing video streams, they place links to video-streaming services in web pages owned by the hackers, sell legitimate users' data on the black market for other people's use, and legitimate users sharing their account with family or friends who intend not to pay for the service.
All forms of DRM for audio and visual material (excluding interactive materials, e.g., videogames) are subject to the analog hole, namely that in order for a viewer to play the material, the digital signal must be turned into an analog signal containing light and/or sound for the viewer, and so available to be copied as no DRM is capable of controlling content in this form. In other words, a user could play a purchased audio file while using a separate program to record the sound back into the computer into a DRM-free file format.
All DRM to date can therefore be bypassed by recording this signal and digitally storing and distributing it in a non DRM limited form, by anyone who has the technical means of recording the analog stream. Furthermore, the analog hole cannot be overcome without the additional protection of externally imposed restrictions, such as legal regulations, because the vulnerability is inherent to all analog means of transmission. However, the conversion from digital to analog and back is likely to force a loss of quality, particularly when using lossy digital formats. HDCP is an attempt to plug the analog hole, although as of 2009, it was largely ineffective.
Asus released a soundcard which features a function called "Analog Loopback Transformation" to bypass the restrictions of DRM. This feature allows the user to record DRM-restricted audio via the soundcard's built-in analog I/O connection.
In order to prevent this exploit, there has been some discussions between copyright holders and manufacturers of electronics capable of playing such content to no longer include analog connectivity in their devices. The movement, dubbed as "Analog Sunset", has seen a steady decline in analog output options on most Blu-ray devices manufactured after 2010.
General computing platformsEdit
Many of the DRM systems in use are designed to work on general purpose computing hardware, such as desktop PCs, apparently because this equipment is felt to be a major contributor to revenue loss from disallowed copying. Large commercial copyright infringers avoid consumer equipment, so losses from such infringers will not be covered by such provisions.
Such schemes, especially software based ones, can never be wholly secure since the software must include all the information necessary to decrypt the content, such as the decryption keys. An attacker will be able to extract this information, directly decrypt and copy the content, which bypasses the restrictions imposed by a DRM system.
Many DRM schemes use encrypted media which requires purpose-built hardware to hear or see the content. This appears to ensure that only licensed users (those with the hardware) can access the content. It additionally tries to protect a secret decryption key from the users of the system.
While this in principle can work, it is extremely difficult to build the hardware to protect the secret key against a sufficiently determined adversary. Many such systems have failed in the field. Once the secret key is known, building a version of the hardware that performs no checks is often relatively straightforward. In addition user verification provisions are frequently subject to attack, pirate decryption being among the most frequented ones.
A common real-world example can be found in commercial direct broadcast satellite television systems such as DirecTV and Malaysia's Astro. The company uses tamper-resistant smart cards to store decryption keys so that they are hidden from the user and the satellite receiver.
Watermarks can often be removed, although degradation of video or audio can occur.
Undecrypted copying failureEdit
Mass redistribution of hard copies does not necessarily need DRM to be decrypted or removed, as it can be achieved by bit-perfect copying of a legally obtained medium without accessing the decrypted content. Additionally, still-encrypted disk images can be distributed over the Internet and played on legitimately licensed players.
When standards and formats change, it may be difficult to transfer DRM-restricted content to new media, for instance Microsoft's new media player Zune did not support content that uses Microsoft's own PlaysForSure DRM scheme they had previously been selling.
Additionally, any system that requires contact with an authentication server is vulnerable to that server's becoming unavailable, as happened in 2007, when videos purchased from Major League Baseball (mlb.com) prior to 2006, became unplayable due to a change to the servers that validate the licenses.
Furthermore, when a company undergoes business adjustment or even bankrupt, its legacy service may become unavailable. Examples include MSN Music, Yahoo! Music Store, Adobe Content Server 3 for Adobe PDF, Acetrax Video on Demand, etc.
DRM can accelerate hardware obsolescence, turning it into electronic waste sooner:
- DRM-related restrictions on capabilities of hardware can artificially reduce the range of potential uses of the device (to the point of making a device consisting of general-purpose components usable only for a purpose approved, or with “content” provided, by the vendor), limit upgradeability and repairability. Cf. proprietary abandonware, orphan works, planned obsolescence. Examples:
- Users may be forced to buy new devices for compatibility with DRM (i.e., through having to upgrade an operating system to one with different hardware requirements).
Moral and legitimacy implicationsEdit
According to the EFF, "in an effort to attract customers, these music services try to obscure the restrictions they impose on you with clever marketing."
DRM laws are widely flouted: according to Australia Official Music Chart Survey, copyright infringements from all causes are practised by millions of people.
Relaxing some forms of DRM can be beneficialEdit
Jeff Raikes, ex-president of the Microsoft Business Division, stated: "If they're going to pirate somebody, we want it to be us rather than somebody else". An analogous argument was made in an early paper by Kathleen Conner and Richard Rummelt. A subsequent study of digital rights management for e-books by Gal Oestreicher-Singer and Arun Sundararajan showed that relaxing some forms of DRM can be beneficial to digital rights holders because the losses from piracy are outweighed by the increases in value to legal buyers.
Also, free distribution, even if unauthorized, can be beneficial to small or new content providers by spreading and popularizing content and therefore generating a larger consumer base by sharing and word of mouth. Several musicians have grown to popularity by posting their music videos on sites like YouTube where the content is free to listen to. This method of putting the product out in the world free of DRM not only generates a greater following but also fuels greater revenue through other merchandise (hats, T-shirts), concert tickets, and of course, more sales of the content to paying consumers.
Can increase infringementEdit
While the main intent of DRM is to prevent unauthorized copies of a product, there are mathematical models that suggest that DRM schemes can fail to do their job on multiple levels. The biggest failure that can result from DRM is that they have a potential to increase the infringement rate of a product. This goes against the held belief that DRM can always reduce unauthorized distribution. There also seems to be evidence that DRM will reduce profits.
The driving factor behind this is related to how many restrictions DRM imposes on a legal buyer. An ideal DRM would be one which imposes zero restrictions on legal buyers but makes imposing restrictions on infringers. Even if an ideal DRM can be created and used, in certain cases, it can be shown that removing the DRM will result in less unauthorized copying. For the ideal DRM, the reason why profits can increase is because of the demand is elastic. When there are more people legally buying and few people sharing the product, more profits are going to be made.
The mathematical models are strictly applied to the music industry (music CDs, downloadable music). These models could be extended to the other industries such as the gaming industry which show similarities to the music industry model. There are real instances when DRM restrain consumers in the gaming industry. Some DRM games are required to connect to the Internet in order to play them. Good Old Games' head of public relations and marketing, Trevor Longino, in agreement with this, believes that using DRM is less effective than improving a game's value in reducing video game infringement. However, TorrentFreak published a "Top 10 pirated games of 2008" list which shows that intrusive DRM is not the main reason why some games are copied more heavily than others. Popular games such as BioShock, Crysis Warhead, and Mass Effect which use intrusive DRM are strangely absent from the list.
Several business models have been proposed that offer an alternative to the use of DRM by content providers and rights holders.
"Easy and cheap"Edit
The first business model that dissuades illegal file sharing is to make downloading digital media easy and cheap. The use of noncommercial sites makes downloading digital media complex. For example, misspelling an artist's name in a search query will often fail to return a result, and some sites limit internet traffic, which can make downloading media a long and frustrating process. Furthermore, illegal file sharing websites are often host to viruses and malware which attach themselves to the files (see torrent poisoning). If digital media (for example, songs) are all provided on accessible, legitimate sites, and are reasonably priced, consumers will purchase media legally to overcome these frustrations.
Comedian Louis C.K. made headlines in 2011, with the release of his concert film Live at the Beacon Theater as an inexpensive (US$5), DRM-free download. The only attempt to deter unlicensed copies was a letter emphasizing the lack of corporate involvement and direct relationship between artist and viewer. The film was a commercial success, turning a profit within 12 hours of its release. Some, including the artist himself, have suggested that file sharing rates were lower than normal as a result, making the release an important case study for the digital marketplace.
Webcomic Diesel Sweeties released a DRM-free PDF e-book on author R Stevens's 35th birthday, leading to more than 140,000 downloads in the first month, according to Stevens. He followed this with a DRM-free iBook specifically for the iPad, using Apple's new software, which generated more than 10,000 downloads in three days. That led Stevens to launch a Kickstarter project – "ebook stravaganza 3000" – to fund the conversion of 3,000 comics, written over 12 years, into a single "humongous" e-book to be released both for free and through the iBookstore; launched 8 February 2012, with the goal of raising $3,000 in 30 days, the project met its goal in 45 minutes, and went on to be funded at more than 10 times its original goal. The "payment optional" DRM-free model in this case was adopted on Stevens' view that "there is a class of webcomics reader who would prefer to read in large chunks and, even better, would be willing to spend a little money on it."
Crowdfunding or pre-order modelEdit
In February 2012, Double Fine asked for an upcoming video game, Double Fine Adventure, for crowdfunding on kickstarter.com and offered the game DRM-free for backers. This project exceeded its original goal of $400,000 in 45 days, raising in excess of $2 million. In this case DRM freedom was offered to backers as an incentive for supporting the project before release, with the consumer and community support and media attention from the highly successful Kickstarter drive counterbalancing  Also, crowdfunding with the product itself as benefit for the supporters can be seen as pre-order or subscription business model in which one motivation for DRM, the uncertainty if a product will have enough paying customers to outweigh the development costs, is eliminated. After the success of Double Fine Adventure, many games were crowd-funded and many of them offered a DRM-free game version for the backers.
Digital content as promotion for traditional productsEdit
Many artists are using the Internet to give away music to create awareness and liking to a new upcoming album. The artists release a new song on the internet for free download, which consumers can download. The hope is to have the listeners buy the new album because of the free download. A common practice used today is releasing a song or two on the internet for consumers to indulge. In 2007, Radiohead released an album named in Rainbows, in which fans could pay any amount they want, or download it for free.
Artistic Freedom VoucherEdit
The Artistic Freedom Voucher (AFV) introduced by Dean Baker is a way for consumers to support “creative and artistic work.” In this system, each consumer would have a refundable tax credit of $100 to give to any artist of creative work. To restrict fraud, the artists must register with the government. The voucher prohibits any artist that receives the benefits from copyrighting their material for a certain length of time. Consumers can obtain music for a certain amount of time easily and the consumer decides which artists receive the $100. The money can either be given to one artist or to many, the distribution is up to the consumer.
This "see also" section may contain an excessive number of suggestions. Please ensure that only the most relevant links are given, that they are not red links, and that any links are not already in this article. (June 2016) (Learn how and when to remove this template message)
- Closed platform
- Digital asset management
- Floating licensing
- Genetic use restriction technology
- Hardware restrictions
- License manager
- Obfuscation (software)
- Open Music Model
- Product activation
- Regional lockout
- Smart contract
- Smart cow problem
- Software metering
- Software protection dongle
- Trusted Computing
- Virtual data room
- Voluntary Collective Licensing
- DVD Copy Control Association, Inc. v. Bunner
- DVD Copy Control Association, Inc. v. Kaleidescape, Inc.
- RealNetworks, Inc. v. DVD Copy Control Association, Inc.
- Universal v. Reimerdes
- DigitalEurope – European Information, Communications and Consumer Electronics Technology Industry Associations
- Free Software Foundation Europe
- Motion Picture Association of America
- Open Rights Group
- Pirate Party, a Swedish political party which is a proponent of free culture and free knowledge
- Recording Industry Association of America
- Secure Digital Music Initiative
- Trusted Computing Group
- Computer Forensics: Investigating Network Intrusions and Cybercrime. Cengage Learning. 16 September 2009. pp. 9–26. ISBN 1435483529.
- "Fact Sheet: Digital Rights Management and have to do: Technical Protection Measures". Priv.gc.ca. 24 November 2006. Retrieved 29 July 2013.
- "The pros, cons, and future of DRM". Cbc.ca. 7 August 2009. Retrieved 7 January 2012.
Digital locks – also known as digital rights management (DRM) technologies or technological protection measures (TPM)
- "Images and the Internet".
- Christopher Levy (3 February 2003). "Making Money with Streaming Media". streamingmedia.com. Archived from the original on 14 May 2006. Retrieved 28 August 2006.
- "DRM". Electronic Frontier Foundation. Retrieved 7 January 2012.
- "The DRM graveyard: A brief history of digital rights management in music". opensource.com. 3 November 2011. Retrieved 7 January 2012.
- "FairPlay: Another Anti-competitive Use of DRM". Electronic Frontier Foundation. Retrieved 6 September 2012.
- "Fair Use and DRM". Electronic Frontier Foundation. Archived from the original on 30 December 2011. Retrieved 7 January 2012.
- "Public Law 105 – 304 – Digital Millennium Copyright Act". U. S. Government Publishing Office. U. S. Government Publishing Office. Retrieved 26 July 2015.
- "Directive 2001/29/EC of the European Parliament and of the Council of 22 May 2001 on the harmonisation of certain aspects of copyright and related rights in the information society". Official Journal of the European Union. 22 June 2001. Retrieved 26 July 2015.
- "LOI n° 2006-961 du 1er août 2006 relative au droit d'auteur et aux droits voisins dans la société de l'information". Journal officiel de la République française (in French). 3 August 2006. Retrieved 26 July 2015.
- Patent application 58-186100 (Publication #60-077218), Software Control System, Japan Patent Office, 5 October 1983, Ryoichi Mori, applicant. Reported by Industrial Property Digital Library.
- "Digital Rights Management Systems and Copy Protection Schemes". eff.org.
- Kranich, Nancy. "Chap 1(pg.8)." The Information Commons. Creative Commons, 2004. Print.
- "QuickPlay Distributes TV Over Mobile Wi-Fi". MediaDaily News. 11 November 2009. Retrieved 28 December 2014.
- Bobbie Johnson, San Francisco (6 January 2009). "Apple drops copy protection from iTunes". Guardian. Retrieved 6 June 2012.
- Bode, Karl (3 March 2014). "Keurig Will Use DRM in New Coffee Maker To Lock Out Refill Market". techdirt.com. Retrieved 3 May 2015.
- Chris Welch (28 August 2014). "Keurig's coffee brewer 'DRM' has already been defeated".
- Philips pushes lightbulb firmware update that locks out third-party bulbs by Cory Doctorow on boingboing (14 December 2015)
- Light Bulb DRM: Philips Locks Purchasers Out Of Third-Party Bulbs With Firmware Update on techdirt.com (14 December 2015)
- Another Thing You Need: 'DRM For Chargers' on techdirt.com by Carlo Longino (25 July 2007)
- Ed Felten (26 July 2007). "DRM for Chargers: Possibly Good for Users". freedom-to-tinker.com.
Apple has filed a patent application on a technology for tethering rechargeable devices (like iPods) to particular chargers. The idea is that the device will only allow its batteries to be recharged if it is connected to an authorized charger. Whether this is good for consumers depends on how a device comes to be authorized. If "authorized" just means "sold or licensed by Apple" then consumers won't benefit – the only effect will be to give Apple control of the aftermarket for replacement chargers.
- hacking-dell-laptop-charger-identification on hackaday.com (3 March 2014)
- Wiens, Kyle (21 April 2015). "We Can't Let John Deere Destroy the Very Idea of Ownership". wired.com. Retrieved 3 May 2015.
- Sydell, Laura (17 August 2015). "DIY Tractor Repair Runs Afoul of Copyright Law". npr.com. Retrieved 31 August 2015.
- Ernesto (4 December 2008). "Top 10 Most Pirated Games of 2008". TorrentFreak. Retrieved 24 November 2011.
- Andy Greenberg; Mary Jane Irwin (12 September 2008). "Spore's Piracy Problem". Forbes. Retrieved 22 October 2011.
- Koroush Ghazi (14 December 2008). "PC Game Piracy Examined: Page 4". Tweakguides. Retrieved 24 November 2011.
- "The Sims 3 Will Not Use DRM: News from". 1UP.com. 29 March 2009. Retrieved 31 August 2010.
- Kuchera, Ben (12 December 2008). "PC Prince of Persia contains no DRM. It's a trap!". Arstechnica.com. Retrieved 31 August 2010.
- Koroush Ghazi (11 December 2008). "PC Game Piracy Examined: Page 8". Tweakguides. Retrieved 3 December 2012.
- Ubisoft (9 February 2010). "Ubisoft Press Release". Ubisoft. Retrieved 4 March 2010.
- Nic Simmonds (4 March 2010). "Ubisoft's contentious DRM scheme already hacked". MyGaming. Retrieved 4 March 2010.
- Andy Chalk (4 March 2010). "Ubisoft Denies Launch Day Crack for Silent Hunter 5 DRM". Escapist Magazine. Retrieved 27 March 2010.
- Ben Kuchera (18 February 2010). "Official explanation of controversial Assassin's Creed 2 DRM". Escapist Magazine. Retrieved 27 March 2010.
- "Ubisoft's DRM for Assassin's Creed II is Cracked". Tomshardware.com. 23 April 2010. Retrieved 31 August 2010.
- Lowensohn, Josh (21 April 2010). "Ubisoft's controversial 'always on' PC DRM hacked". News.cnet.com. Retrieved 31 August 2010.
- John Leyden (8 March 2010). "Ubisoft undone by anti-DRM DDoS storm". The Register. Retrieved 27 March 2010.
- Andre Yoskowitz (8 March 2010). "Ubisoft apologizes to users affected by 'always on' DRM". Afterdawn. Retrieved 27 March 2010.
- Summer اWalker (20 March 2013). "SimCity Modder Catches EA Lying". Gamebreaker TV. Retrieved 28 March 2013.
- Nathan Grayson (17 November 2011). "Interview: Bohemia Interactive's CEO on fighting piracy, creative DRM". pcgamer.com.
- John Walker (7 December 2011). "Serious Sam's DRM Is A Giant Pink Scorpion". rockpapershotgun.com. Retrieved 9 December 2011.
- socketboy (8 December 2011). "Serious Sam 3 Non-Traditional DRM Solutions Part 2". ign.com. Archived from the original on 16 February 2012. Retrieved 9 December 2011.
- ""DRM vs. ERM: Battle to Control Data", Network World". Archived from the original on 3 March 2008. Retrieved 2 April 2008.
- "NASCA is a DRM solution..." Retrieved 16 July 2013.
- Braid, Andrew (22 June 2005). "The use of a Digital Rights Management System for Document Supply" (PDF). 71th IFLA General Conference and Council. IFLA World Library and Information Congress. Archived from the original (PDF) on 11 June 2016.
- "Practical problems for libraries distributing ebooks & secure electronic delivery". LockLizard. 2016.
- "How to open your on Demand order". British Library. 1 April 2014.
- TinHat (June 2006). "eBooks and Digital Rights Management (DRM), for ePublishers". tinhat.com. Retrieved 28 May 2008.
- "Topaz". Mobileread.com. mobileread.com. Retrieved 21 August 2012.
- What We Can Learn From The Adobe E-Reader Mess
- Stone, Brad (18 July 2009). "Amazon Erases Orwell Books From Kindle Devices". New York Times. Retrieved 1 May 2010.
- David Pogue (17 July 2009). "Some E-Books Are More Equal Than Others". New York Times.
- Pete Cashmore (17 July 2009). "Big Brother: Amazon Remotely Deletes 1984 From Kindles".
- Mark Frauenfelder (17 July 2009). "Amazon zaps purchased copies of Orwell's 1984 and Animal Farm from Kindles".
- Ina Fried (17 July 2009). "Amazon recalls (and embodies) Orwell's '1984'".
- Free Software Foundation (23 July 2009). "Amazon's CEO Jeff Bezos apologizes for Kindle ebook deletion. Free Software Foundation calls upon Amazon to free the ebook reader".
- "Why Amazon went Big Brother on some Kindle e-books". arstechnica.com. 17 July 2009.
- Kelty, Christopher M. (1 March 2012). "The disappearing virtual library". Al Jazeera.
- "Court Orders Shutdown of Libgen, Bookfi, and Sci-Hub". torrentfreak.com. 2 November 2015. Retrieved 5 November 2015.
- "Pirate research-paper sites play hide-and-seek with publishers". Nature News & Comment. Retrieved 6 December 2015.
- "Sci-hub, bookfi and libgen resurface after being shut down". TorrentFreak. 21 November 2015. Retrieved 7 January 2016.
- "Memorandum Order, in MPAA v. Reimerdes, Corley and Kazan". Electronic Frontier Foundation. New York. 2 February 2000.
- Ross J. Anderson. Security Engineering. p. 705. ISBN 0-471-38922-6.
- "Rights Management comes to the Enterprise". Archived from the original on 21 August 2012.
- "Windows Media Player DRM: frequently asked questions". Retrieved 22 June 2013.
- "22: Copyright and DRM". Security Engineering. WILEY.
- Xeni Jardin (28 December 2006). "Report: HD-DVD copy protection defeated". BoingBoing. Retrieved 1 January 2008.
- Cory Doctorow (30 May 2007). "New AACS processing key leaks onto the net". BoingBoing. Archived from the original on 24 January 2009.
- Lewis, Rita (8 January 2008). "What is DRM and Why Should I Care?". Firefox News. Archived from the original on 14 June 2008. Retrieved 10 July 2008.
- McMillan, Robert (23 May 2006). "Settlement Ends Sony Rootkit Case". PC World. Retrieved 8 April 2007.
- Marechal, Sander (9 January 2007). "DRM on audio CDs abolished".
- Holahan, Catherine (4 January 2008). "Sony BMG Plans to Drop DRM".
- "iTunes Plus DRM-free tracks expanding, dropping to 99 cents". Apple News from ARS Technica. 16 October 2007. Retrieved 16 October 2007.
- Nick Timeraos (6 July 2006). "Free, Legal and Ignored". WSJ.com (Wall Street Journal). Retrieved 27 November 2006.
- Eric Bangeman (6 December 2006). "Testing DRM-free waters: EMI selling a few MP3s through Yahoo Music". Ars Technica.
- Steve Jobs. "Thoughts on Music".
- Ken Fisher (18 March 2007). "Musicload: 75% of customer service problems caused by DRM". Ars Technica. Retrieved 20 March 2007.
- "Who Controls Your Television?". Electronic Frontier Foundation. Archived from the original on 29 January 2008. Retrieved 1 January 2008.
- "Tunes Plus DRM-free, not free of annoying glitches". Engadget.
- "Watermarked iTunes files". Macworld.
- Natali Helberger (1 March 2006). "Christophe R. vs Warner Music: French court bans private-copying hostile DRM". INDICARE. Retrieved 31 May 2014.
- Gerk, David; Dannenberg, Ross (13 May 2009). "Digital age copyright law in Asia: DMCA-type provisions in China and India". Lexology.
- "European Court of Justice rules on the right to sell your digital games and licenses". PC Gamer. Retrieved 8 October 2014.
- Greg Voakes (3 July 2012). "European Courts Rule in Favor of Consumers Reselling Downloaded Games". Forbes. Retrieved 8 October 2014.
- "Europe's Highest Court Says DRM Circumvention May Be Lawful in Certain Circumstances". Techdirt. Retrieved 8 October 2014.
- "DRM Circumvention May Be Legal, European Union Court Rules". The Escapist. 23 January 2014. Retrieved 8 October 2014.
- Seemantani Sharma, ‘India, RCEP and the WIPO Internet Treaties: Time For a Rethink’ (The Diplomat, 16 August 2017) <https://thediplomat.com/2017/08/india-rcep-and-the-wipo-internet-treaties-time-for-a-rethink/> accessed 16 May 2018.
- Devika Agarwal, Radhika Agarwal ‘Needless Pressure to Change Copyright Laws’ (The Hindu Businessline, 4 May 2016) <https://www.thehindubusinessline.com/opinion/needless-pressure-to-change-copyright-laws/article8557036.ece> accessed 16 May 2018.
- Zakir Thomas, 'Overview of Changes to Indian Copyright Law'  17 Journal of Intellectual Property Rights pp 324-334, 332 <available at http://nopr.niscair.res.in/bitstream/123456789/14460/1/JIPR%2017(4)%20324-334.pdf?trk=right_banner&id=1423737542&ref=e882cae5bee920357317f68469dd25a2 accessed 16 May 2018>
- Arul George Scaria, 'Does India Need Digital Rights Management Provisions or Better Digital Business Management Strategies?'  17 Journal of Intellectual Property Rights pp. 463-477, 465 <available at: http://nopr.niscair.res.in/bitstream/123456789/14771/1/JIPR%2017%285%29%20463-477.pdf last accessed 16 May 2018>
- Urs Gasser, 'Legal Frameworks and Technological Protection Measures: Moving towards a Best Practices Model' Research Publication No. 2006-04 at Berkman Klein Center for Internet and Society (Harvard) <available at: https://courses.edx.org/c4x/HarvardX/HLS1.1x/asset/Urs_Gasser.pdf last accessed 17 May 2018>
- Arul George Scaria, 'Does India Need Digital Rights Management Provisions or Better Digital Business Management Strategies?'  17 Journal of Intellectual Property Rights pp. 463-477, 464 <available at: http://nopr.niscair.res.in/bitstream/123456789/14771/1/JIPR%2017%285%29%20463-477.pdf last accessed 16 May 2018>
- "Israel Technology Law Blog – No Digital Rights Management Here".
- Doctorow, Cory (24 March 2007). "DMCA's author says the DMCA is a failure, blames record industry". Archived from the original on 23 June 2011. Retrieved 12 January 2011.
- "RIAA challenges SDMI attack" (PDF). 7 January 2002.
- "Joint Comments of the American Council of the Blind and the American Foundation for the Blind, DOCKET NO. RM 2011-7" (PDF). American Council of the Blind and American Foundation for the Blind. 2011.
- "W3C Workshop – Digital Rights Management for the Web". W3.org. Retrieved 31 August 2010.
- "Digital Rights Management". European Committee for Standardization (CEN). Archived from the original on 5 October 2006.
- "eEurope 2005 Action Plan". European Commission – Information Society – eEurope 2005. 2005. Archived from the original on 2006-05-20.
- "The address you requested is obsolete". Europa.eu.int. 23 February 2009. Archived from the original on 22 April 2006. Retrieved 31 August 2010.
- Walker, John (13 September 2003). "The Digital Imprimatur: How big brother and big media can put the Internet genie back in the bottle".
- Richard Stallman. "The Right to Read".
- O'Riordan, Ciaran (16 January 2006). "Transcript of Opening session of first international GPLv3 conference".
- "Opposing Digital Rights Mismanagement (Or Digital Restrictions Management, as we now call it)?". Retrieved 29 May 2014.
- David Berlind (18 November 2005). "Sony rootkit: The untold story". ZDNet. Retrieved 20 August 2015.
- Grassmuck, Volker (2003), "Vom PC zum TC: Trusted Computing und Digital Restrictions Management" (PDF), Trusted Computing, Kommunikation & Recht, Frankfurt am Main: Verlag Recht und Wirtschaft, retrieved 20 August 2015
- Jamali, Hamid R.; Nicholas, David; Rowlands, Ian (2009). "Scholarly e‐books: the views of 16,000 academics: Results from the JISC National E‐Book Observatory". Aslib Proceedings. Emerald Insight. pp. 33–47.
- Doctorow, Cory (17 June 2004). "Microsoft Research DRM Talk" (PDF). craphound.com. Retrieved 17 August 2007.
At the end of the day, all DRM systems share a common vulnerability: they provide their attackers with ciphertext, the cipher and the key. At this point, the secret isn't a secret anymore.
- "The Attention Economy and the Net". Retrieved 28 July 2008.
- "DRM". Electronic Frontier Foundation. Electronic Frontier Foundation. Retrieved 13 January 2016.
- Pavlik, John (2008). Media in the Digital Age. New York: Columbia University Press. p. 181. ISBN 0231142099.
- "Frequently Asked Questions about the GNU Licenses – GNU Project – Free Software Foundation". FSF. 28 July 2010. Retrieved 31 August 2010.
- "The Campaign to Eliminate DRM". DefectiveByDesign.org. Retrieved 31 August 2010.
- "Frequently Asked Questions – CcWiki". 9 November 2006. Retrieved 22 November 2006.
- "Baseline Rights – Creative Commons Wiki". 13 July 2007. Retrieved 23 December 2007.
- "Bill Gates on the Future of DRM".
- apple.com (6 January 2009). "Changes Coming to the iTunes Store". Retrieved 8 March 2009.
- "FTC Town Hall to Address Digital Rights Management Technologies". Federal Trade Commission. Archived from the original on 29 October 2014.
- DRM Is The Right To Make Up Your Own Copyright Laws – Mike Masnick, Techdirt, 6 February 2014
- "What Content Will Be Crippled When Output in Vista?". Retrieved 8 September 2010.
- "Why is Netflix ignoring Linux?". Retrieved 8 September 2010.
- Why the Kindle's DRM is anti-elderly: AARP should fight against it Archived 3 May 2009 at the Wayback Machine., 26 February 2009
- "Engadget FairUse4WM strips Windows Media DRM!". Retrieved 25 August 2006.
- "Gabe Newell Says DRM Strategies 'Are Just Dumb'". 2 December 2008.
- Kain, Eric. "'Witcher 2' Developer: 'We Will Never Use Any DRM Anymore'". Forbes. Retrieved 30 March 2012.
- The Futility of Digital Copy Prevention Crypto-Gram Newsletter, 15 May 2001
- Bruce Schneier (7 September 2005). "Quickest Patch Ever". Wired. Archived from the original on 3 January 2010.
- "Official words of StarForce on DRM". Retrieved 8 September 2010.
- Tekla S. Perry (January 2007). "Loser: DVD Copy Protection, Take 2". Spectrum Online. Archived from the original on 8 June 2007. Retrieved 4 May 2007.
- "Apple Unveils Higher Quality DRM-Free Music on the iTunes Store". Retrieved 13 September 2008.
- "Apple hides account info in DRM-free music, too". Retrieved 13 September 2008.
- "Apple announces all music on iTunes to go DRM-free – no word on movies, TV shows, games, audiobooks and applications". 8 January 2009.
- "Amazon's comixology introduces DRM-free downloads". The Guardian. 25 July 2014. Retrieved 30 July 2014.
- Caron, Frank (9 September 2008). "First look: GOG revives classic PC games for download age". Ars Technica. Retrieved 27 December 2012.
[...] [Good Old Games] focuses on bringing old, time-tested games into the downloadable era with low prices and no DRM.
- "Tor/Forge E-book Titles to Go DRM-Free". Tor.com. Retrieved 24 April 2012.
- "Guide to DRM-Free Living | Defective by Design". www.defectivebydesign.org. Retrieved 3 August 2015.
- TvTechnology. "DRM and the Challenge of Securing Content". TV Technology. Retrieved 26 May 2017.
- Sicker, Douglas, Paul Ohm, and Shannon Gunaji. "The Analog Hole and the Price of Music: An Empirical Study". Journal of Tellecommunications and High Technology. 2006–2007.
- "MPAA shows how to videorecord a TV set". Retrieved 4 September 2009.
- Sander, Tomas (26 April 2002). Security and Privacy in Digital Rights Management. ISBN 9783540436775. Retrieved 4 September 2009.
- "Computex 2007: ASUS Showcases New Generation Audio Card". www.techpowerup.com. 6 June 2007. Retrieved 28 December 2014.
- "PC Pro Product Reviews Asus Xonar D2". Pcpro.co.uk. 1 August 2007. Retrieved 20 February 2012.
- "Zune Won't Play Old DRM Infected Files". slashdot.org. 19 September 2006. Retrieved 19 September 2007.
- "MLB Fans Who Bought DRM Videos Get Hosed". slashdot.org. 7 November 2007. Retrieved 8 November 2007.
- Cheng, Jacqui (22 April 2008). "DRM sucks redux: Microsoft to nuke MSN Music DRM keys". Ars Technica. Retrieved 22 April 2008.
- Anderson, Nate (24 July 2008). "DRM still sucks: Yahoo Music going dark, taking keys with it". Ars Technica. Retrieved 18 May 2012.
- "Adobe Content 3 Server Discontinued". Retrieved 22 February 2011.
- "VOD Service Acetrax Shutting Down, Forcing Customers Through DRM Hoops To Retain Their Purchased Movies". Retrieved 23 May 2013.
- Heller, Gregory (26 January 2007). ""Wow starts now"? Software Freedom Activists Stand Up To VISTA Launch". Defective By Design.org. Free Software Foundation, Inc. Retrieved 1 January 2013.
- "The Customer Is Always Wrong". Electronic Frontier Foundation. Retrieved 6 February 2011.
- "Australia Recording industry Association Survey, 2003". Retrieved 5 February 2011.
- "Microsoft executive: Pirating software? Choose Microsoft!". Retrieved 6 February 2011.
- Conner, Kathleen and Richard Rummelt (1991). "Software Piracy: An Analysis of Protection Strategies". Management Science. 37 (2). doi:10.1287/mnsc.37.2.125. JSTOR 2632386.
- Oestreicher-Singer, Gal and Arun Sundararajan (2004). "Are Digital Rights Valuable? Theory and Evidence from the eBook Industry". Proceedings of the International Conference on Information Systems.
- Dinah A. Vernik; Devavrat Purohit; Preyas S. Desai (2011). "Music Downloads and the Flip Side of Digital Rights Management" (PDF). Retrieved 12 July 2012.
- Sinclair, Brendan. "Ubisoft DRM games to be temporarily unplayable".
- Dobra, Andrei. "DRM Doesn't Stop Piracy, Game Content Does, Good Old Games Believes". Retrieved 12 July 2012.
- Committee on Intellectual Property Rights in the Emerging Information Infrastructure, National Research Council. (2000) "The Digital Dilemma: Intellectual Property in the Information Age." 3 May 2011. http://www.nap.edu/catalog.php?record_id=9601#toc
- "Surprise, surprise – almost every piracy website features cyber scams". BetaNews. Retrieved 8 October 2014.
- "Louis CK: Live at the Beacon Theater". Buy.louisck.net. 13 December 2011. Retrieved 7 January 2012.
- Ingram, Mathew (14 December 2011). "What Louis C.K. Knows That Most Media Companies Don't". Businessweek. Retrieved 7 January 2012.
- chris hannay (6 September 2012). "Why Louis C.K.'s big payday proves the Internet has ethics". The Globe and Mail. Retrieved 7 January 2012.
- "A New DRM-free Experiment: Diesel Sweeties". news.cnet.com. 17 January 2012. Retrieved 17 February 2012.
- "Diesel Sweeties Webcomics Ebook". www.dieselsweeties.com. Retrieved 17 February 2012.
- "Free PDF of the first Diesel Sweeties comic collection". boingboing.net. Retrieved 17 February 2012.
- "Diesel Sweeties eBook-Stravaganza 3000 by Richard Stevens – Kickstarter". Kickstarter.com. Retrieved 20 February 2012.
- "An Experiment in iBookery". dieselsweeties.com. 23 January 2012. Retrieved 17 February 2012.
- "iBooks Follow-up". dieselsweeties.com. 26 January 2012. Retrieved 17 February 2012.
- "Diesel Sweeties eBook-Stravaganza 3000". Retrieved 17 February 2012.
- "Double Fine Adventure". Retrieved 17 February 2012.
- "Double Fine's adventure game will be DRM free for backers". videogamer.com. 16 February 2012. Retrieved 17 February 2012.
- drmfree-torment-is-the-most-richly-backed-game-on-kickstarter on theinquirer.net
- civitas-the-drm-free-alternative-to-simcity-hits-kickstarter on techspot.com
- Kitaru Kickstarter supporters get DRM-free copy of the game on technologytell.com
- Monaghan, Angela. (2007). "Radiohead Challenges Labels With Free Album." Web. 10 May 2011. https://www.telegraph.co.uk/finance/markets/2816893/Radiohead-challenges-labels-with-free-album.html
- Baker, Dean. (2003). "The Artistic Freedom Voucher: An Internet Age Alternative to Copyrights." Pg. 2–8. Web. 3 May. 2011. http://www.cepr.net/documents/publications/ip_2003_11.pdf
- Lawrence Lessig's Free Culture, published by Basic Books in 2004, is available for free download in PDF format. The book is a legal and social history of copyright. Lessig is well known, in part, for arguing landmark cases on copyright law. A Professor of Law at Stanford University, Lessig writes for an educated lay audience, including for non-lawyers. He is, for the most part, an opponent of DRM technologies.
- Rosenblatt, B. et al., Digital Rights Management: Business and Technology, published by M&T Books (John Wiley & Sons) in 2001. An overview of DRM technology, business implications for content publishers, and relationship to U.S. copyright law.
- Consumer's Guide to DRM, published in 10 languages (Czech, German, Greek, English, Spanish, French, Hungarian, Italian, Polish, Swedish), produced by the INDICARE research and dialogue project
- Eberhard Becker, Willms Buhse, Dirk Günnewig, Niels Rump: Digital Rights Management – Technological, Economic, Legal and Political Aspects. An 800-page compendium from 60 different authors on DRM.
- Arun Sundararajan's Managing Digital Piracy: Pricing and Protection uses the following digital rights conjecture, that "digital rights increases the incidence of digital piracy, and that managing digital rights therefore involves restricting the rights of usage that contribute to customer value" to show that creative pricing can be an effective substitute for excessively stringent DRM.
- Fetscherin, M., Implications of Digital Rights Management on the Demand for Digital Content, provides an excellent view on DRM from a consumers perspective. "Buch- und online Publikationen". dissertation.de. 5 February 1998. Retrieved 31 August 2010.
- The Pig and the Box, a book with colorful illustrations and having a coloring book version, by 'MCM'. It describes DRM in terms suited to kids, written in reaction to a Canadian entertainment industry copyright education initiative, aimed at children.
- Present State and Emerging Scenarios of Digital Rights Management Systems – A paper by Marc Fetscherin which provides an overview of the various components of DRM, pro and cons and future outlook of how, where, when such systems might be used.
- DRM is Like Paying for Ice – Richard Menta article on MP3 Newswire discusses how DRM is implemented in ways to control consumers, but is undermining perceived product value in the process.
- A Semantic Web Approach to Digital Rights Management – PhD Thesis by Roberto García that tries to address DRM issues using Semantic Web technologies and methodologies.
- Patricia Akester, "Technological Accommodation of Conflicts between Freedom of Expression and DRM: The First Empirical Assessment" available at http://papers.ssrn.com/sol3/papers.cfm?abstract_id=1469412 (unveiling, through empirical lines of enquiry, (1) whether certain acts which are permitted by law are being adversely affected by the use of DRM and (2) whether technology can accommodate conflicts between freedom of expression and DRM).
|Wikiquote has quotations related to: Digital rights management|
|Wikimedia Commons has media related to Digital rights management.|
- BBC News Technology Q&A: What is DRM?
- Copyright vs Community in the Age of Computer Networks by Richard Stallman
- Windows Media DRM FAQ at the Wayback Machine (archived 8 December 2010) from Microsoft
- Microsoft Research DRM talk, by Cory Doctorow
- iTunes, DRM and competition law by Reckon LLP
- Digital Rights Management at the Wayback Machine (archived 8 March 2008) from CEN/ISSS (European Committee for Standardization / Information Society Standardization System). Contains a range of possible definitions for DRM from various stakeholders. 30 September 2003
- PC Game Piracy Examined Article investigating the effects of DRM and piracy on the video game industry
- DRM.info Information about DRM by Chaos Computer Club, Defective by design, Electronic Frontier Foundation, Free Software Foundation Europe, and other organisations.
- DRM Is Failure, by Adam Singer at Future Buzz media marketing