WIPO杂志，第1/2013期（2月）

100 years of IndIan cInemap.2|navIgatIng the smartphonepatent thIcketp.7|catalyzIng researchInto neglectedtropIcaldIseasesp.15 contents Editor:Catherine JewellGraphic Designer:Annick DemierreCover image:Harris Tweed Authority p.2100 years of Indian cinema:an interview with Bollywood’s Anurag Basu p.7The sky is not falling: navigating the smartphonepatent thicketp.11Art goes digital: Japan’s teamLab breaks new groundp.15Catalyzing research into neglected tropical diseasesp.20Cigarettes will kill you: the High Court of Australia& plain packaging of tobacco productsp.24From croft to catwalk:the Harris Tweed collective markp.29Algeria’s anti-piracy campaignp.31Harnessing Central and Eastern Europe’sinnovative potential Acknowledgements:p.7James Pooley, Innovation & Technology Sector, WIPOp.15Konji Sebati, Anatole Krattiger, Thomas Bombelles,Department of Traditional Knowledge & Global Challenges, WIPOp.20Marcus Höpperger, Law & Legislative Advice Division, WIPOp.29Eun-Joo Min, Building Respect for IP Division, WIPOp.31Michal Svantner, Division for certain Countries in Europe and Asia, WIPO ©World IntellectualProperty Organization 100 years ofIndIancInema: an interview with Bollywood’s Anurag Basu From December 4 to 7, 2012, WIPO hosted a Festival ofIndian Film in celebration of 100 years of Indian film-making. The release of the black-and-white silent movie,Raja Harishchandra, in May 1913 marked the beginningof the country’s indigenous film industry. Since then,India has become the world’s largest producer of fea-ture films, with over 1,200 releases a year in more than25 languages. The five films screened during the Festival–Raja Harishchandra, Barfi!, Zindagi Na Milegi Dobara,36 Chowringhee Laneand3 Idiots– offered a glimpse ofthe diversity, depth and distinctiveness of Indian cinema.Ahead of the opening of the Film Festival, a first for WIPO,Anurag Basu, the writer and director ofBarfi!– one ofthe highest-grossing films in India in 2012 – shared hisviews about India’s thriving film industry and discussedthe strengths of Indian filmmaking, the major challengesthe industry faces and his most recent film. We have been unaffected by the dominance of Hollywood, un-like other cinema industries. We aren’t threatened by Hollywoodand don’t look at its calendar before releasing our movies.That is the plus side. At present we are catering to the Indiandiaspora and, beyond that, we are not well known but want tobe recognized more widely because we know we are talented. There is a ray of hope. This year, Indian filmmakers produceddifferent kinds of films.Barfi!’s box office success suggeststhings are changing. I’m not saying thatBarfi!is completelydifferent from Bollywood, but it’s a step in a new directionand has given me the courage to make a film next year thathas global appeal. We have to be in the system to change it.In recent years all Indian film genres have done well, and ourfilms are increasingly respected at international film festivals. What challenges do Indian filmmakers face? How did you get into the film industry? Making a film in India is tough. Every 200 kilometers the lan-guage and culture changes, so you have to make a film fordifferent cultures inside your own country. It was in the early 1990s, when I went to University in Mumbai,that I decided to follow my dream. I always had a hidden desireto be part of the Indian film industry. Hidden because my familythought people from good families didn’t go to Indian cinema.It was socially looked down upon. But I wanted to be on afilm set, so I lied to my parents, went to an audition and got asmall acting role in a typical singing and dancing Bollywoodproduction. I soon realized it is not as glamorous as it looks,and decided I needed a “plan B” in case things didn’t work out,so I finished my physics studies. But, fortunately, things didwork out for me. I have produced seven movies and writtenand directed many TV series and commercials. Being a film producer or director in India is like being a straydog crossing a busy highway. We can get run over at any time.There are so many risks but piracy is the biggest challenge,because most Indians don’t understand that it is a crime. Theday after you release your film in the theatres, pirated copiesare available on the market. Piracy affects us a lot and wehave to stop it. The industry loses around INR 18,000 crores (approx.US$3.34 billion) and some 60,000 jobs every year because ofpiracy. It’s a huge thing. We remain a flourishing industry, butimagine the business movies would do without piracy. How would you characterize India’s cinemajourney? What steps need to be taken to tackle piracy? Cinema has become an integral part of Indian culture; it ac-tually binds the country together. When you watch a film atthe cinema you don’t see the religion, cast or culture of theperson beside you. People sit together and laugh, cry andenjoy. Indian cinema binds them together. That is one of itsgreatest achievemen