慶應義塾大学 経済学部 PEARL入試 志望理由書 提出例(田中 辰雄先生ゼミ向け)

慶應義塾大学 経済学部 PEARL入試 志望理由書 提出例(田中 辰雄先生ゼミ向け)

Dr. Tatsuo Tanaka

Professor

Department of Economics, International Economics

Keio University

Dear Professor Tanaka,

I am writing this letter to explain my motivation behind application for Department of Economics at Keio University, specializing in copyrights and international laws. I have read a number of your published work which I was very intrigued by. I would be extremely grateful if you could kindly give this a consideration.

Abstract
In the digital era, is the economic value of copyrighted works changing? Just about a decade ago, it was common sense, you pay for each and every piece of copyrighted art – music, publication, movie when you buy on iTunes etc. However, with the emergence of do-it-yourself and pay-per-subscription curation models represented by Youtube, Netflix, SoundCloud, the industry landscape has changed dramatically. Though we enjoy these types of new offerings, we have very little knowledge about what is happening behind the scenes, value of copyrighted work, distribution, laws, competition etc. 

Discussion
The effects of Internet-enabled infringing use have received considerable attention from many economists, most of them addressing the phenomenon in specific industries, mainly computer software, recorded music and film. According to them, what is worth studying is the extent of infringing digital copying on the ratios of legitimate users to users of pirated source, as well as new way of income for copyright holders within the new market dynamics.

Findings
Copyright came about with the invention of the printing press and was established first in Britain, as a reaction to printers’ monopolies at the beginning of the 18th century. The English parliament was concerned about the unregulated copying of books and passed the Licensing of the Press Act 1662, thus continuing the licensing of material that had long been in effect. Over the centuries, copyright has grown from such legal concept regulating copying rights in the publishing of books and maps to one with a significant effect on nearly every modern industry, covering such items as songs, films, photographs, artworks, architectural works, software, etc. In 2017, the report on world film market trends published by the Marché du Film at the 2017 Cannes Film Festival, notes that, while films available on transactional Video On Demand (TVOD, such as iTunes) and subscription VOD (SVOD, such as Netflix or Amazon Prime) are on the rise, there are still barriers to release on VOD in Europe mostly objections around copyrights. At the EU level, a whole legal framework has been put in place since, in order to protect copyright within the 28 member-states and in the digital world – collecting society. Collecting societies are organisations handling the outsourcing function of right management from granting nonexclusive license, collecting loyalties, enforcing laws.

 

Conclusion
International laws and organizations have progressed to adapt to the digitalization of all sorts of art. I believe it is an important mission for us to study market innovation, international laws and collective efforts in order to shed light to areas consumers may not have visibility to. I would love to take part in your seminar to conduct meaningful research. Thank you very much for taking the time and I look forward to hearing from you soon.

Thank you and Kind Regards,

 

*Copyright in the Digital Era, Building Evidence for Policy (2013), Consensus Study Report

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