TAILIEUCHUNG - A Key Management Architecture for Digital Cinema

A seminal idea proposed in The Intimate Enemy which has subsequently come rather to define Nandy's (frequently mis-represented) public political stance concerns the disjunctions imposed by colonialism which have returned to haunt contemporary India. The pen- etration of the West has created a class of mimic men, "modernists, whose attempts to identify with the colo- nial aggressors has copies man in the subcontinent" (1983:74) and Nandy places his hopes with a different class of Indians who are "neither pre-modern, nor anti-modern but only non-modern" (ibid). It is here that Nandy' s essentialism ceases to look merely "strategic" as he seeks to ontologize his preferred brand of wisdom ("perfect weakness") in the depths. | A Key Management Architecture for Digital Cinema Sebastian Knop1 Jan Frohlich1 Roland Schmitz2 1CinePostProduction GmbH Munich Germany @ j @ cinemedia. de 2Hochschule der Medien Stuttgart Germany schmitz @ 1 Introduction The advent of digital cinema technology called for the creation of open standards to ensure high technical performance reliability and interoperability of these systems. This call was answered by the Digital Cinema System Specification 1 which was first published in July 2005 by the Digital Cinema Initiatives LLC a jointventure of the motion picture studios Disney Fox Metro-Goldwyn-Mayerl Paramount Pictures Sony Pictures Entertainment Universal Studios and Warner Bros. Studios. The specification regulates formats interfaces equipment behavior and testing procedures affecting every stage from the creation of the final content distribution package at a production studio to the actual exhibition at a theater. It has since become the de-facto standard for the rapidly growing number of installed digital cinema systems. Content protection is provided by a digital rights management DRM system described in the specification making use of asymmetric key cryptography and digital certificates. The renting of analog film reels is emulated by content decryption keys with limited validity periods. Thus the generation and management of those keys becomes part of the service that has to be offered by content providers production studios or distributors. Compared to the development in the USA or UK the adoption of digital cinema technology by theaters in Germany has been slower. Nevertheless the numbers are increasing fast. From the total of approximately 4800 screens in Germany 2 164 screens were equipped with digital projection technology in June 2008 3 . By December 2009 an approximate total of 350 screens had already been switched 4 and by October 2010 the estimated amount grew over 800 screens. In this

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