The classic exploitation windows are lately more and more under pressure. They had long been the goal of the profit of the film to maximize recovery, several factors are keeping the window in question. The main argument is usually called piracy, hardly a great film, not shortly after its theatrical release digitally on the Internet is offered. Virgil Widrich filmmaker keeps the idea of a cinema of protection for “meanwhile antiquated”: “pirate copies can be particularly succeeding because the films often not otherwise available. The DVD and online evaluations will be more and more happen at the same time” . [1] This is not too much commercial potential for the film is lost, the blocking and recovery windows increasingly shortened. Some countries may already three months after the start of the movie as a movie DVD or VOD purchased.

< / p> Figure 38: Window in the recovery change [2] The window for exploitation cinema is traditionally six months. It is, however, in recent years the trend is observed that films ever shorter average length which. While in the U.S. Top 100 Blockbusters only on average 3.2 months in the cinema are [3] , may be less successful films already after the first weekend in movie theaters are disappearing. On a DVD of the most successful films in the U.S. waited an average of 4.3 months (no protection), to less successful, only three months. Also in Europe are trying producers, TV channels, pay TV and VOD service providers to shorten the window, but it is understandably always be resistance from the cinema operators who fear for their business. While now also film in the protection and windows floating point (for example, shortening the vesting period, the German Film Law in January 2009, between the cinema and pay TV from 18 to 12 months, VOD from 12 to six months, free TV from 24 to 18 months) , the importance of the cinema, because of the effect of marketing and strategic importance, at the beginning of the chain to be great. A successful movie can push further evaluation and negotiation position with sales to TV stations or VOD platforms strengthened. The so-called “Day-and-date” release strategy is the most far-leveling of the recovery window. It starts at the same time as the film in the cinema and / or in other forms such as DVD, TV or VOD. One of the first, this form of recycling used, was Steven Soderbergh with his film “Bubble”: He had his film simultaneously in cinemas, on DVD and cable television (HDNet) start. This allows the marketing efforts on a date to be bundled in order to achieve maximum attention. The advantage is obvious: A single application of the film can be compared to several marketing efforts to save costs. The film will be offered through various channels, the customer can decide where and how he wants to see him. The revenue figures were a mixed success, however: Despite the name Soderbergh and lively coverage around the film and the new recovery strategy, the 1.6 million [4] U.S. Dollar film at the U.S. box office only 145,000 U.S. Dollar time. [5] As a protest against this new recovery strategy imposed namely the largest cinema chains a spell against the film. Another picture showed the recovery from TV or DVD: At least about the TV license and the good DVD sales (100,000 units) was Todd Wagner of 2929 Entertainment distribution but then finally satisfied. “The Bubble on revenue far exceeded what we would have with a traditional gottes window. If Bubble had waited six months to go out on DVD, it would not have anywhere near the sales we are having with day-and-date. “ While legal protection the cinema as a cultural preserve to be increasing at the same time, the votes on the question of why the several taxpayers pay for the film should, at the end he might not see it. The film conveying system is the development of the script, through production to distribution to almost everything promoted. The taxpayer must not only finance the production, he is also still at the cinema and DVD retailer to pay. Persons who are not in places with live cinema, the film can not possibly see, because they have to travel long distances. For some, the question arises whether it would not be legitimate, supported films to coincide with the movie on VOD broadcast and / or top free. read more

---

[1] oV (2007.05.08.) cinema protection before the fall. In: http://futurezone.orf.at/stories/191295/ (Stand 24.2.2009) [2] Wolfgang Popp / Parke, Lennart / Kaumanns, Ralf (2008): Rights Management in the digital media world. In: Media Perspektiven, 9 / 2008, 459 [3] ibid [4] Thompson, Anne (2006.03. 17.): Distributors hold firm against day-and-date. In: http://www.hollywoodreporter.com/hr/search/article_display.jsp?vnu_content_id = 1002198452 (Stand: 16.03.2009) [5] see (no date): Bubble. In: http://www.boxofficemojo.com/movies/?id=bubble.htm ( Stand: 16.03.2009)