The story goes: movie studios have seen their revenue from home entertainment media sales fall off a cliff; during the same time, Netflix nurtured a successful subscription service through streaming content and DVD mailings; movie studios realize their best interests lie in digital content delivery and have sought to re-price their licensing agreements with online providers; Netflix, in turn, having no choice, enter into these contracts and pass the costs to its customers; these very customers react negatively to the price increases and leave en masse; in order to clarify their long-term strategy Netflix announces it will divide its streaming service (Netflix) from its DVD mail service (Quickster), further angering its customers.

I appreciate Mr. Tenner’s thoughts and his coined term of “neo-analog culture.” As physical books move away from being vehicles of information to unique objects waiting to be discovered, I would like to understand the true motivation behind the rediscovery of the analog printed object through the push-back of digital media. Bibliophiles have always put a great value on rare editions of books—more as an artifact to be collected. But, what is described in the source article is more akin to a cultural study of human interaction in the form of the hand-crafted printed object. Is the motivation sentimentality? Nostalgia? Historicism? A pursuit of authenticity?

To better understand what a faster frame rate would look like, watch a movie on a 1080p HDTV with a 120hz or greater refresh rate. It is not necessarily an apples to apples comparison, but it gets you close to what you should expect. Two good examples would be the blu-ray discs of Indiana Jones and the Kingdom of the Crystal Skull and District 9. Considering the high production values of the former, the audience gets a you are there experience; while the documentary film-style of the latter is well served by the higher refresh rate. It should be noted that Neil Blomkamp shot District 9 on the Red One camera and the Sony EX1 camcorder.

In the case before the court, where Righthaven sued the Oregon-based Center for Intercultural Organizing for posting an entire article from the Las Vegas Review Journal about the deportation of illegal immigrants, the federal judge James Mahan took the initiative and ordered the plaintiff to show cause why the case should not be dismissed under the U.S. Copyright Law’s fair use exception. He did this despite defendant’s lawyers not contesting the plaintiff’s claims.