In the rapidly evolving landscape of digital entertainment, the Balkan region has seen a significant shift from traditional television to on-demand streaming. At the forefront of this transition in Albania and Kosovo is Filmaon, a platform that has become synonymous with accessible, contemporary cinema for Albanian speakers.
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1. Introduction The evolution of media consumption from traditional broadcast to internet streaming was accelerated by early disruptors in the late 2000s. Among these was FilmOn, a service launched in 2010 that offered subscribers access to live television and on-demand content via the internet. While innovative in its delivery, FilmOn quickly found itself at the center of a global legal storm regarding the retransmission of copyrighted broadcast signals. This paper analyzes how FilmOn’s technological approach clashed with existing copyright laws, ultimately influencing how modern streaming services negotiate content rights. While innovative in its delivery, FilmOn quickly found
Central to its operation was the use of remotely located antennas. Similar to its contemporary, Aereo, FilmOn argued that it was merely providing a technological rental service. The company claimed that each subscriber was assigned a unique, remote antenna, meaning the service was simply facilitating a private performance rather than a public broadcast. This distinction was the crux of their legal defense against copyright infringement claims.