The Association of National Advertisers (ANA) and the American Association of Advertising Agencies (4A’s) have released a Statement of Best Practices that encourages all marketers to take affirmative steps to address the serious problems of online piracy and counterfeiting. It was released today at a meeting of the International Anti-Counterfeiting Conference in Washington, DC.
The Statement specifically advises marketers to include language in their media placement contracts and insertion orders to prevent ads from appearing on ‘rogue sites’ dedicated to infringement of intellectual property rights of others. In addition to the ANA and 4A’s, the Statement is supported by a key industry partner, the Interactive Advertising Bureau (IAB).
Bob Liodice, ANA’s president and CEO, stated: “Marketers must have confidence that their ads are not unintentionally providing financial support or otherwise legitimizing ‘rogue’ Internet websites whose primary purpose is to steal the intellectual property of America’s innovators and creators.” Liodice noted that “ads for iconic and trusted brands can lend inadvertent legitimacy to the illicit business models and can mislead consumers into believing that these ‘rogue’ websites are offering authentic products and complying with the law.”
Addressing online piracy and counterfeiting has been a strong priority for both the White House Office of the Intellectual Property Enforcement Coordinator (IPEC) and the Congressional International Anti-Piracy Caucus. They have urged ANA, the 4A’s, IAB and other industry groups to play an active role in this fight. The Best Practices Statement supports this critical need by encouraging all marketers to take affirmative steps to avoid placement of their ads on ‘rogue’ websites.
“The deceptive practices of these ‘rogue’ websites are unfair both to consumers and the companies that invest vast resources to establish brand integrity,” said 4A’s president-CEO Nancy Hill. “Combating online piracy and counterfeiting is a key priority for the entire business community and we look forward to continuing to work with the White House, Congress and all of our industry partners on this important issue.”
Randall Rothenberg, IAB president and CEO, stated: “Protecting the availability of quality, original content is vital to the health of the Internet. IAB remains committed to combating online piracy and through our Quality Assurance Guidelines program we will continue to develop a more secure digital supply chain. We appreciate the initiative by ANA and the 4A’s and look forward to working with our marketer and agency partners to find effective business solutions that can choke off revenue from these criminals.”
Liodice concluded: “We strongly urge all marketers to discuss this matter with their ad agencies and media buyers to stress your company’s commitment to combating online piracy and counterfeiting. The entire Internet ecosystem must come together to address this problem.”
Directing and Editing “Conclave”; Insights From Edward Berger and Nick Emerson
It’s been a bruising election year but this time we’re referring to a ballot box struggle that’s more adult than the one you’d typically first think of in 2024. Rather, on the industry awards front, the election being cited is that of the Pope which takes front and center stage in director Edward Berger’s Conclave (Focus Features), based on the 2016 novel of the same title by Robert Harris. Adapted by screenwriter Peter Straugham, Conclave stars Ralph Fiennes as the cardinal leading the conclave that has convened to select the next Pope. While part political thriller, full of backstabbing and behind-closed-door machinations, Conclave also registers as a thoughtful adult drama dealing with themes such as a crisis of faith, weighing the greater good, and engaging in a struggle that’s as much about spirituality as the attainment of power.
Conclave is Berger’s first feature after his heralded All Quiet on the Western Front, winner of four Oscars in 2023, including for Best International Feature Film. And while Conclave would on the surface seem to be quite a departure from that World War I drama, there’s a shared bond of humanity which courses through both films.
For Berger, the heightened awareness of humanity hit home for him by virtue of where he was--in Rome, primarily at the famed Cinecittà studio--to shoot Conclave, sans any involvement from the Vatican. He recalled waking up in Rome to “soak up” the city. While having his morning espresso, Berger recollected looking out a window and seeing a priest walking about with a cigarette in his mouth, a nun having a cup of coffee, an archbishop carrying a briefcase. It dawned on Berger that these were just people going to... Read More