Film, entertainment, Marketing
Staff Researcher
The Future of Independent Adult Animation: ...

In Part II, this study builds on the industry context established in Part I by shifting from macro-level analysis to audience-centered insights. While Part I identified independent adult animation as a growing global opportunity shaped by evolving production ecosystems and market conditions, Part II examines how these trends translate into audience behavior and engagement. Drawing on survey data from audiences ages 18–35 and interviews with industry professionals, this section explores what viewers are seeking from independent animated films, the factors that drive discovery and theatrical attendance, and the key elements that contribute to commercial and critical success. In doing so, Part II connects broader industry dynamics to actionable insights that inform strategic decision-making for distributors such as NEON.

The Future of Independent Adult Animation: Opportunities and Strategies for NEON, Part II
Artificial Intelligence, creative industries, Laws & Legal
Yao Pei
Art vs. Algorithm: Copyright and Visual Artists ...

This article examines how generative AI is reshaping copyright law and challenging traditional notions of authorship in the visual arts. By outlining key legal principles, including originality, fair use, and human authorship, it explores the growing tension between technological innovation and artists’ rights and highlights the urgent need for clearer legal frameworks in the age of AI.

Art vs. Algorithm: Copyright and Visual Artists in the Age of Generative AI
Film, entertainment, Marketing
Staff Researcher
The Future of Independent Adult Animation: ...

This study provides a foundational analysis of how independent adult animation is emerging as a significant opportunity within the contemporary film industry, with a particular focus on market trends, audience engagement, and the strategic role of distributors. As global demand for animated storytelling continues to grow - driven by streaming platforms, evolving audience tastes, and international co-production networks - independent distributors face increasing pressure to identify sustainable models for developing and distributing animated films. Part I examines the evolution of the independent animation landscape and situates the project’s client, NEON’s, recent exploration of the sector within broader industry trends. Drawing on existing research, industry reports, audience surveys, and expert interviews, this section frames the study’s central research questions and methodology. By outlining the challenges and opportunities surrounding independent adult animation, Part I establishes the conceptual groundwork for the industry interviews, survey analysis, and strategic recommendations that will be presented in Part II.

The Future of Independent Adult Animation: Opportunities and Strategies, Part I
Arts & Technology, creative industries, Artificial Intelligence, Digital Futures
Hales Wilson
Byte-Sized Culture: Black American Artists ...

This month's Byte-Sized Culture is a Black History highlight spotlighting five Black American artists — Martine Syms, Stephanie Dinkins, Rashaad Newsome, Sondra Perry, and Shaylin Wallace — who are pushing the boundaries of contemporary art through technology. Each artist uses a distinct set of digital tools, from AI systems and algorithmic video to 3D modeling, NFTs, and humanoid robotics, to examine how race, identity, and power are reflected and distorted within those technologies.

Byte-Sized Culture: Black American Artists Making Waves in Technology
entertainment, Research, Strategy, Gamification
Staff Researcher
How Games as a Service (GaaS) and Transmedia ...

In Part II, this part of the study moves from industry context to empirical analysis, translating strategic questions into evidence-based insights drawn from primary research. While Part I established the historical and market foundations of Games as a Service (GaaS) and transmedia adaptation and framed the challenges of player retention, monetization, and franchise longevity, Part II examines how these dynamics operate in practice. Using findings from a 1,159-response U.S. consumer survey, nine industry interviews with developers, influencers, and experiential professionals, as well as supporting secondary research, this section analyzes player behavior perceptions and expectations. Part II identifies the mechanisms that drive sustained engagement and trust in live service ecosystems, evaluates the effectiveness of current GaaS and transmedia strategies, and surfaces actionable insights that inform the strategic recommendations presented in the final chapter.

How Games as a Service (GaaS) and Transmedia Strategies Sustain Video Game Franchises, Part II

Laws & Legal

Fair Use and New Media

A new study by the Center for Social Media at American University examines user-generated content with respect to copyright issues. The study was conducted by Center director Pat Aufderheide and Peter Jaszi, co-director of the law school’s Program on Information Justice and Intellectual Property. The study shows that many online videos using copyrighted material could be protected under fair use policies.

Fair use, a hotly debated concept that lacks clear guidelines, allows for the quoting of copyrighted material without asking permission or paying royalties. The study warns that perfectly legal and valuable social commentary might be curbed by major content holders' (Sony, NBC, Viacom, etc.) new practices for controlling piracy.

The Center for Arts Management and Technology will feature an interview with the lead investigators of this study on episode 35 (scheduled for release on Friday, February 8, 2008) of its Technology in the Arts podcast.

Read the full study.

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Let's Take a Moment to Mourn DRM

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According to an article in Business Week, Sony BMG Music Entertainment will start selling songs without copyright protection sometime this quarter, a move that will essentially kill the much-loathed digital rights management, or DRM. Basically, this means that songs you download through iTunes, Amazon, eMusic, or any other service will be completely unprotected.

Naturally, the catalyst for this move is money. A company would never do anything out of the goodness of its collective corporate heart. Sony and other labels realized that DRM was not only restricting the illegal distribution of music; it was also restricting the LEGAL distribution of music. With the canning of DRM, we should begin to see a plethora of new platforms for online music sales.

The irony in this story? Well, apparently the music industry is frustrated by Apple's pricing structure and wants a larger piece of the pie from music sales. The funny thing is that DRM was really what led to Apple's domination in the legal download market. When online music sales started to take off, the iPod was the dominant MP3 player on the marketplace (and still is, really, though there are more options now), and the only way you could buy and play protected music for the iPod was from Apple.

The only way for the music industry to cut into Apple's iTunes dominance is to offer unrestricted mp3 sales to retailers like Amazon.com, as MP3s can be played on any digital audio device.

What does this mean for the arts community? In my opinion, it won't make it less likely that an orchestra's performance will be shared illegally. However, it does level the playing field. If music executives - the people with money - have to deal with unrestricted audio being freely distributed, perhaps the strategies they devise to curb illegal activity will help to inform the nonprofit world.

In other words, we're all in the same boat, so the rowing should get a little easier for us artists.

Read the full Business Week article.

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