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Creative Destruction and CopyrightProtection
Regulatory Responses to File-sharing
Bart Cammaerts and Bingchun Meng 
London School of Economics and Political Science Department of Media and Communications 
media
olic brief 1
 
 
 
1
LSE Media Policy Project: Media policy brief 1Creative destruction and copyright protection 
Acknowledgements
The authors would like to thank Professors Robin Mansell and SoniaLivingstone for their insightful editorial contributions on earlier drafts of thismedia policy brief. We are also grateful for the research and organizationalassistance of our resourceful and talented interns: Dorota Kazcuba, NateVaagen, Ben Murray, Davide Morisi and Liam O’Neill. In addition, Jim Killockand Mark Margaretten contributed to stimulating discussion during theproject’s expert meeting on ‘File-sharing, the DEA and its implementation’.The LSE Media Policy Project is funded by the Higher Education InnovationFund 4.
LSE Media Policy Project Series EditorsZoetanya Sujon and Damian Tambini
Creative Commons copyright licence, Attribution-NonCommercial.This license lets others remix, tweak, and build upon your work non-commercially,and although their new works must also acknowledge you and be non-commercial,they don’t have to license their derivative works on the same terms.
March 2011.LSE Media Policy Project. http://blogs.lse.ac.uk/mediapolicyproject/ 
 
 
2
LSE Media Policy Project: Media policy brief 1Creative destruction and copyright protection 
Key Messages
o
The DEA gets the balance between copyright enforcement andinnovation wrong. The use of peer-to-peer technology should beencouraged to promote innovative applications. Focusing onefforts to suppress the use of technological advances and toprotect out-of-date business models will stifle innovation in thisindustry.
o
Providing user-friendly, hassle-free solutions to enable users todownload music legally at a reasonable price, is a much moreeffective strategy for enforcing copyright than a heavy-handedlegislative and regulatory regime.
o
Decline in the sales of physical copies of recorded music cannotbe attributed solely to file-sharing, but should be explained by acombination of factors such as changing patterns in musicconsumption, decreasing disposable household incomes forleisure products and increasing sales of digital content throughonline platforms.
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