The Cultural Algorithm

Since people increasingly access and depend upon content distributed through electronic communications networks, the Luxembourg legislators introduced the Act of Feb. 26 2021 that modifies the Law of 27 July 1991 on electronic media, otherwise known as the “Electronic Media Law.”

Remember when your parents required you to do your homework before you could watch TV? I clearly recall working to quickly solve my math equations or finish my English essay so I could kick my parents out of the living room, change the channel away from those droning Bob Vila informercials and watch something truly entertaining—like “Family Guy.”

During 2020’s lockdown, we all found ways of coping. For a growing number of people, Korean TV shows and films offer an enchanting escape from pandemic reality. Netflix has reportedly seen a “370% increase in viewership of Korean content in 2020” over the previous year, and this order of growth is expected to continue as lockdown restrictions ease. In 2017 there were only two Korean series, “White Nights” and “Man to Man”; now there are hundreds of K-Dramas available to viewers on Netflix, proving that the “Hallyu wave,” or rise in the popularity of Korean content, will continue to grow.

ndia is the fourth largest film market on the planet. Besides Hollywood releases, the country’s Bollywood industry churns out film and TV shows at a prodigious rate, adding $2.4B annually to the Indian GDP. As readers of this blog are aware, India is one of 53 countries that have governmental film review or censorship boards. India’s regulator is known as the Central Board of Film Certification ( CBFC ). The CBFC reviews content intended for release for compliance and cultural appropriateness. If they find something they don’t like, they can mandate cuts, edits, change classification ratings and, in extreme instances, ban titles altogether. Up until April 4, 2021, content creators who did not agree with the CBFC rating or decisions could appeal to the Film Certification Appellate Tribunal (FCAT) for redress.

In two previous posts, “ Worldwide Content Classification – What Happens When You Get It Wrong ,” and “ Worldwide Content Classification – How Hard Can It Be? ” we’ve laid out the challenge facing content creators and distributors who want to market their content globally. In this post, we will discuss how to avoid making mistakes that can be costly either economically, legally or reputationally, and get your content released in international markets faster than ever before.

In a recent announcement , Sri Lanka’s Information Minister, Keheliya Rambukwella, shared that the country is drafting a new law to check the spread of fake news on social media platforms. “The spread of false information on the internet poses a serious threat and is seen as being used to divide society, to spread hatred and to weaken democratic institutions.”

The Justice for Rights Foundation, an Indian non-government organization (NGO), filed a plea “seeking regulation on the functioning of” over-the-top (OTT) platforms such as Netflix, Amazon Prime and Disney+ Hotstar, among others before the Supreme Court.

In our previous blog post, “ Worldwide Content Classification – How Hard Can It Be? ” we examined how the exponential growth of the OTT and VOD markets, along with the annual release of hundreds of thousands of new titles, places pressure on content regulators and platforms to obtain in-country age-ratings before release. In this post, we’ll explore what happens when content providers attempt to short-cut the process.