STREAMING OR STEALING: INDIA’S DIGITAL DILEMMA

ABSTRACT  

In a world where movies music and viral videos are just a click away it is easy to forget that  every stream upload or share carries hidden rules. Some actions are simple pay for your  subscription and enjoy the content but others tread into grey areas even seasoned creators’ approach cautiously. What happens when reaction videos go viral clips are remixed or entire  films appear online without permission? Who decides what is allowed and what risks lurk for  the unsuspecting? 

India has strengthened its copyright law and digital media rules to fight film piracy but courts  also weigh complex questions around fair dealing and fair use commentary criticism and  transformative content. Platforms enforce their own rules while authorities act against illegal  streams and downloads. Every click has consequences and not all of them are obvious. In this  digital maze understanding the rules is only half the battle. The other half is knowing how to  share and create responsibly without stepping into dangerous territory. 

Keywords: streaming law India, digital copyright, fair dealing, fair use, intellectual property  

INTRODUCTION  

In the digital age, movies, music, and other entertainment are now almost instantly available,  thanks to websites like Netflix, Amazon Prime, Disney+ Hotstar, and Spotify that offer a huge  selection of content at the touch of a button. Unauthorized sharing or distribution of this content  is against copyright law, even though these services are run under licenses that allow streaming  to particular audiences. As the importance of defending creators’ rights has grown, more  stringent measures to prevent piracy have been implemented through recent amendments to the  Cinematograph Act, 1952, and the enforcement of the Copyright Act. At the same time,  complicated questions about the definition of “fair dealing” under Indian law are brought up  by the increasing popularity of online reaction videos, covers, and commentary. Understanding  the legal restrictions as well as the transformative use principles is necessary to navigate this  environment and make sure that digital content is shared and consumed in a way that respects  the creators’ intellectual property. 

STREAMING OR STEALING? 

Today’s viewers have endless choices like Netflix, Amazon Prime, Disney Plus Hotstar, Spotify  and hundreds of other paid platforms are available at the touch of a button. These services  license content from studios and labels which means Netflix pays Warner Bros to stream Joker  in India but only to Indian viewers because geoblocking ensures that, so when you pay your  subscription and watch Dune you are on the right side of law.2  

But what happens if someone takes that licensed stream and shares it illegally? That is outright  infringement. Recently, the Government of India introduced important changes to the  Cinematograph Act, 1952, bringing in stricter laws and tougher punishments to fight film  piracy3. The move aims to protect the hard work of filmmakers and ensure that movies reach  audiences through legal platforms only.4 

Now you can face imprisonment which may extend to three years or with a fine of not less than  ten lakh rupees or with both as well as a fine of up to 5% of the audited gross production cost of the film as stated under Section 7 sub section 1A of the Act5. These penalties apply to anyone  who records, copies, transmits, or exhibits a film without authorization. This includes acts that  fall under the newly added Sections 6AA6and 6AB7. In simple terms, if you record a movie  inside a theatre, upload it on Telegram, or stream a pirated version online for your followers,  you have just entered criminal territory. 8Additionally, to strengthen enforcement, both the  Ministry of Information and Broadcasting and the CBFC can now act on complaints from  copyright owners and issue direct takedown orders to platforms hosting illegal copies.9 

WHAT ABOUT CONTENT CREATORS? THE REACTION VIDEO RIDDLE 

What if you upload something? On YouTube or Instagram, many people post reaction videos,  memes, covers or commentary using clips from films and songs. It feels like “fair game” to  many. But Indian law doesn’t have an open-ended “fair use” like in the US. Instead, it has a  narrower “fair dealing” exception. Section 5210 of the Copyright Act lists specific allowances:  private research, criticism or review, reporting current events, etc. That means you can use a  copyrighted clip if you’re genuinely reviewing it or commenting on it, but only the amount  needed and with a new purpose.11 

Courts look at factors to decide if a reaction video truly adds something new. Does your video  use only as much as necessary? Does it serve a distinct purpose such as education, criticism,  comedy, rather than merely replaying the original? How transformative is it? does it add new  expression or message? And crucially, is the market for the original harmed? Think of it this  way, if you show an entire movie to your audience, with just a few offhand comments, that’s  probably not fair dealing. But if you play a small clip, then launch into insightful or humorous  critique, it has a better shot at being allowed. 

Take for example some of India’s popular YouTubers. Haunting Tube, with over 2.18 million  subscribers, reviews and explains movies, especially in the horror genre, from around the world. He uses images and clips mostly sourced from trailers or publicly available content to  illustrate his commentary and analysis. Indian YouTuber Tanmay Bhat has a distinctive style  where he watches short TikTok or movie clips and adds his witty commentary. His reaction  videos are concise, combining brief segments of the original content with his own humorous  observations, similar to American YouTube creators such as KSI12 and Kai Cenat13. By  contrast, other channels that just stream whole scenes with minimal comment are taking a  bigger risk.14 

FAIR DEALING VS FAIR USE: INDIA’S HOME RULE VS GLOBAL NORMS 

Why is all this tricky? Because India chose “fair dealing” instead of the broad US-style “fair  use.” Under Section 5215, India does allow copying for criticism, review, private research or  reporting. However, India does not have a general provision for parody or educational fair use  like some other countries.16 

In the case Syndicate of the Press of The University vs B.D. Bhandari (2011)17, the Delhi  High Court observed that the exceptions under Section 5218 wasn’t strictly applicable. However,  the court decided that a guidebook based on copyrighted content did not amount to  infringement, adopting the idea of transformative use from US law. This decision was not  influenced by the Supreme Court. Although transformative fair use was never intended to be a  part of Indian “fair dealing,” Indian courts have occasionally borrowed the US concept to  decide whether certain works, such as guidebooks or commentary, are non-infringing, as legal  expert Jain explains. This demonstrates how the boundary between acceptable use and  infringement in India can be ambiguous and situation-specific.19 

GLOBAL RULES MEET LOCAL REALITY 

When we think about copyright, it’s not just about Indian laws. India has signed several  international treaties, like the Berne Convention and TRIPS, which basically say that if a work  is protected abroad, treat it the same way here.20 This ensures foreign movies, music, or games  get the same legal protection as local ones. On top of that, India has joined WIPO’s “Internet  treaties,” which focus on protecting digital works online, including rules against tampering  with digital locks or Digital Rights Managements21. 

In practice, this means that if someone tries to break a Netflix DRM lock, or bypass a Spotify  streaming restriction, it’s illegal under Indian law. Section 65A22 of the Copyright Act  specifically bans tampering with DRM, it’s India’s version of the US’s DMCA23 anti circumvention rule. Combined with the IT Act, which forces platforms like YouTube to take  down infringing content once notified, India has a robust legal framework to protect digital  works. 

But here’s the catch, while the rules exist, the way we interpret them differs from other  countries. In the US, “fair use” is flexible. Courts weigh context, purpose, and effect on the  market. In India, the law lists specific exceptions under “fair dealing”. Research, criticism,  review, news reporting. Courts sometimes borrow US ideas like “transformative use,” but that’s  rare and only in exceptional cases. 

Now consider services like Spotify, Netflix, or Amazon Prime. These businesses pay for  regional content licensing. For instance, The Irishman may be streamed on Netflix India, but  due to license differences, it may not be accessible on Netflix US or UK. You can’t share it  publicly just because you paid for your own subscription. Even if it seems innocuous, it is  illegal to embed Spotify music on your website without a license or to livestream a Netflix film  in a café. Being a small creator does not absolve you of responsibility.24 

CRACKDOWNS  

1. PIRACY SYNDICATE DISMANTLED 

On the enforcement front, raids and bans are common. In late 2025, Hyderabad’s  Cybercrime police busted, what they describe as India’s “largest movie piracy network in  India”25, arresting five key members and issuing notices to five others26. The gang,  operating across several states, was behind the illegal distribution of several prominent  Telugu films, including HIT: The Third Case, #Single, Kuberaa, and Hari Hara Veera  Mallu. These movies were uploaded to piracy websites, causing massive losses to the  industry. 

Authorities reported that the Telugu film sector alone lost around ₹3,700 crore in 2024 due  to piracy, while nationwide losses across theatres and OTT platforms reached nearly  ₹22,400 crore in 2023. The syndicate used advanced methods such as hacking servers,  installing hidden cameras in cinemas, sharing content via Telegram, and receiving  payments in cryptocurrency.27 

Commissioner CV Anand described this operation as part of India’s “multi-billion-rupee  piracy economy,” highlighting how organized and widespread film piracy has become. The  case underlines that streaming or downloading pirated films is not harmless and that Indian  law is increasingly targeting such offenses to protect creators and the industry’s economic  interests.28 

2. TORRENT SITES BLOCKED IN INDIA 

On April 10, 2019. the Delhi High Court issued an order blocking nearly 30 torrent websites  that were infringing on the copyrights of film production companies like Twentieth Century  Fox and UTV Software Communication Ltd.29 

The legal action was initiated by UTV Communications and Twentieth Century Fox, who  sought to stop sites such as RARBG, YTS, Extra Torrent, and The Pirate Bay from  providing access to torrents containing their original movies, music, and shows. 

Justice Manmohan’s ruling now prohibits these platforms from hosting, streaming,  copying, or distributing any copyrighted content.30 This is part of a broader trend in India,  where courts have consistently targeted torrent and streaming services that facilitate piracy.  Notably, in 2019, the Delhi High Court permanently blocked around 30 similar torrent sites  for hosting copyrighted films and music, and even urged the government to penalize users  who knowingly download pirated material.31The takeaway is clear: accessing movies  through unauthorized apps or torrent sites is not “fair use” but an illegal violation of  copyright law. 

3. THOP CONTROVERSY  

In May 2022, the Maharashtra Cyber Crime Cell arrested Subhanjan Kayet, the developer  behind the pirated platform Thop TV, for illegally streaming content from Viacom18’s  television channels and its OTT service, Voot. The arrest followed a complaint filed by  Viacom18, which accused Kayet of facilitating unauthorized access to its copyrighted  material. Kayet was apprehended in Gobardanga, West Bengal, and brought to Mumbai,  where a court remanded him to five days in police custody.32 Additionally, the authorities  froze his bank account, which allegedly contained proceeds from the illicit activities. This  case underscores the dual threat posed by digital piracy not only does it infringe upon  intellectual property rights, but it also facilitates the spread of malware and other cyber  threats. Pirated content often serves as a vector for malicious software, compromising user  data and system security. I4C’s integrated approach, combining law enforcement  coordination and cybersecurity expertise, is crucial in addressing these multifaceted  challenges.33 

SUGGESTIONS 

It has never been simpler to stream content online, but convenience also comes with  responsibility. Being legal online involves more than just avoiding problems; it also entails  respecting creators and upholding an equitable digital environment for everything from music  and films to fan edits and remixes. You and the creators of the work will both gain from  knowing how to enjoy content safely. 

➢ Respecting copyright is the first step. Copyright exists to protect creators, whether they are  filmmakers, musicians, writers, or artists, allowing them to control how their work is used.  Streaming or sharing content without permission is not only illegal but also unfair to the  people who invested time, effort, and money into producing it.  

➢ Using official streaming platforms like Netflix, Spotify, Amazon Prime, or YouTube is a  simple way to stay safe.34Keeping clips short is equally important. Even when your content  is transformative, only use the portion necessary to make your point. Long clips risk  appearing as if you are giving away the original content, which can undermine your legal  protections. Short, precise clips not only make your commentary more effective but also  ensure that viewers come for your unique perspective rather than the full work itself. 

➢ Using licensed material whenever possible provides an extra layer of safety. Creative  Commons media or platform-provided libraries, like YouTube’s audio library or stock  video resources, are pre-approved for reuse and sharing. By using these materials, you minimize the risk of copyright claims and maintain a responsible online presence. 

➢ It is also essential to follow subscription rules. Most streaming platforms provide content  for personal use only. Sharing your login credentials, streaming paid content publicly, or  posting full episodes online violates both copyright law and the platform’s terms of service.  Enjoy your subscriptions responsibly to avoid legal issues and respect the service’s  intended use. Staying legally online is ultimately about respect, creativity, and awareness.  By understanding copyright, creating transformative content, using short clips, relying on  licensed materials, following subscription rules, and seeking permission when needed, you can enjoy, share, and create content confidently. Streaming safely protects you, supports  creators, and contributes to a fair and thriving digital world.35 

CONCLUSION  

The modern era of streaming has revolutionized how people consume entertainment, offering  easy access to films, music, and shows from across the world. However, this convenience has  also made it easier for users to misuse or illegally distribute copyrighted material. India’s recent  legal developments, including the amendments to the Cinematograph Act, 1952, and the  strengthened enforcement of the Copyright Act, reflect the government’s growing commitment  to protecting creative industries from piracy and unauthorized use. These measures not only  safeguard the rights and earnings of filmmakers, musicians, and artists but also emphasize the  importance of ethical engagement with digital content. 

At the same time, the rise of reaction videos, parodies, and online commentary has created new  challenges in defining the limits of fair dealing. While the law allows certain exceptions for  criticism, review, and education, these are narrow and must be applied with care. The  distinction between fair use and infringement depends largely on intent, purpose, and how  much of the original work is used. Thus, the responsibility lies with content creators and  audiences alike to understand these principles and act within the boundaries of the law. 

Ultimately, creating a fair digital environment requires awareness, respect, and accountability.  When users stream through legal platforms, seek permission for derivative works, and use  content in a transformative and limited way, they not only stay compliant with the law but also  contribute to a healthier creative ecosystem. By balancing access and respect for rights, India  can continue to encourage both innovation and integrity in the digital age. 

REFERENCE(S): 

1. Banerjee A and Gane N, ‘Copyright piracy and cybercrime: enforcement challenges in  India’ (WIPO Magazine, 13 December 2022) https://www.wipo.int/web/wipo magazine/articles/copyright-piracy-and-cybercrime-enforcement-challenges-in-india 42977 accessed 4 October 2025. 
2. Burke J, ‘What is Geo-blocking?’ (TechTarget, 20 August 2025)  https://www.techtarget.com/searchnetworking/definition/geo-blocking accessed 5 October 2025. 
3. Fortinet, ‘Digital Rights Management (DRM)’ (Fortinet, 2025)  https://www.fortinet.com/resources/cyberglossary/digital-rights-management-drm accessed 5 October 2025. 
4. Hyderabad Cybercrime Cops Bust India’s Biggest Film Piracy Racket’ (The New Indian  Express, Hyderabad, 30 September 2025)  https://www.newindianexpress.com/states/telangana/2025/Sep/30/hyderabad-cybercrime cops-bust-indias-biggest-film-piracy-racket accessed 4 October 2025. 
5. Pandey K, ‘Would An AI Model Training On Purchased Copyright Work Constitute ‘Fair  Dealing’ In India?’ (MediaNama, 1 July 2025) https://www.medianama.com/2025/07/223- ai-model-copyright-work-fair-dealing-india/ accessed 4 October 2025. 
6. Syndicate of the Press of the University of Cambridge & Ors v B.D. Bhandari & Ors (2011)  47 PTC 244. 
7. UTV Software Communication Ltd & Ors v 1337x.To & Ors (2019) SCC OnLine Del  8002. 
8. Wikipedia contributors, ‘Digital Millennium Copyright Act’ (Wikipedia, The Free  Encyclopedia, 20 July 2025, 13:44 UTC)  https://en.wikipedia.org/w/index.php?title=Digital_Millennium_Copyright_Act&oldid=1 301562097 accessed 5 October 2025.
9. World Intellectual Property Organization, ‘Berne Convention for the Protection of Literary  and Artistic Works’ (WIPO, 9 September 1886) https://www.wipo.int/treaties/en/ip/berne/ accessed 5 October 2025. 
10. Inc42, ‘Delhi HC Bans 30 Torrent Websites For Infringing Copyrights’ (16 April 2019)  https://inc42.com/buzz/delhi-hc-bans-torrent-websites-infringing-copyrights/ accessed 4  October 2025. 
11. The Hindu, ‘Hyderabad Cybercrime Police Bust Major Movie Piracy Racket, Five Arrested’  (Hyderabad) https://www.thehindu.com/news/national/telangana/hyderabad-cybercrime police-bust-major-movie-piracy-racket-five-arrested/article70109014.ece accessed 5  October 2025. 
12. Teaching & Learning, Ohio State University Libraries, ‘Respecting Copyright’ in Choosing  & Using Sources: A Guide to Academic Research (Ohio State University Pressbooks, 2025)  https://ohiostate.pressbooks.pub/choosingsources/chapter/respecting-copyright/ accessed  3 October 2025. 
13. Carolyn S. Toto and Mark R. Kendrick, ‘What You Should Know About Electronic  Subscriptions and Copyright Law: A Best Practices Guide’ (Pillsbury, 19 August 2013)  https://www.pillsburylaw.com/en/news-and-insights/what-you-should-know-about electronic-subscriptions-and.html accessed 4 October 2025. 
14. Creative Commons, ‘About CC Licenses’ (Creative Commons, 2025)  https://creativecommons.org/share-your-work/cclicenses/ accessed 5 October 2025. 
15. Admin, ‘AI Voice Cloning Through the Lens of Copyright Laws: Challenges on the Rights  of Singers’ (The IP Press, 9 June 2024) https://www.theippress.com/2024/06/09/ai-voice cloning-through-the-lens-of-copyright-laws-challenges-on-the-rights-of-singers/ accessed  5 October 2025. 
16. YAGAY and SUN, ‘Deep-Fake: Copyright on Face and Voice – International Laws’ (Indian  IPR Organisation, 4 October 2025) https://www.taxtmi.com/article/detailed?id=15171 accessed 5 October 2025.
17. Dipak G. Parmar, ‘AI Voice Cloning: How a Bollywood Veteran Set a Legal Precedent’  (WIPO Magazine, 17 April 2025) https://www.wipo.int/web/wipo-magazine/articles/ai voice-cloning-how-a-bollywood-veteran-set-a-legal-precedent-73631 accessed 5 October  2025. 
18. Dinesh Parmar, ‘Copyrights in the Creative Economy: Empowering Content Creators in  India’ (Parker & Parker Co. LLP, 22 January 2025)  https://www.parkerip.com/blog/copyright-law-in-india-empowering-content-creators-in indiaempowering-content-creators-in-india/ accessed 5 October 2025. 
19. Sukeerti Samalei Mishra, ‘Facets of Copyright in a Film’ (iPleaders, 16 December 2022)  https://blog.ipleaders.in/facets-of-copyright-in-a-film/ accessed 5 October 2025. 
20. Sankalpita Pal, ‘Introduction to CBFC and the Cinematograph Act, 1952’ (iPleaders, 4  November 2020) https://blog.ipleaders.in/introduction-cbfc-cinematograph-act-1952/ accessed 5 October 2025. 
21. ‘Penalties for Contraventions of this Part’ in The Cinematograph Act, 1952 (AdvocateKhoj)  https://www.advocatekhoj.com/library/bareacts/cinematograph/7.php?Title=Cinematogra ph%20Act,%201952&STitle=Penalties%20for%20contraventions%20of%20this%20Part accessed 5 October 2025. 
22. Wikipedia contributors. Kai Cenat. Wikipedia, The Free Encyclopedia. October 4, 2025,  19:29 UTC. Available  at: https://en.wikipedia.org/w/index.php?title=Kai_Cenat&oldid=1315081064. Accessed  October 5, 2025. 
23. Wikipedia contributors. KSI. Wikipedia, The Free Encyclopedia. October 2, 2025, 14:01  UTC. Available at: https://en.wikipedia.org/w/index.php?title=KSI&oldid=1314641059.  Accessed October 5, 2025. 
24. Riya Gupta, ‘Right of Reaction: Does It Come Under Fair Use?’ (Naik Naik & Company,  10 December 2024) https://www.mondaq.com/india/copyright/1555226/right-of-reaction does-it-come-under-fair-use accessed 5 October 2025.

1 Student at Xavier Law School, St. Xavier’s University.

2John Burke, ‘What is Geo-blocking?’ (TechTarget, 20 August 2025)  https://www.techtarget.com/searchnetworking/definition/geo-blocking accessed 5 October 2025.

3 Dinesh Parmar, ‘Copyrights in the Creative Economy: Empowering Content Creators in India’ (Parker & Parker  Co. LLP, 22 January 2025) https://www.parkerip.com/blog/copyright-law-in-india-empowering-content creators-in-indiaempowering-content-creators-in-india/ accessed 5 October 2025. 

4 Sukeerti Samalei Mishra, ‘Facets of Copyright in a Film’ (iPleaders, 16 December 2022)  https://blog.ipleaders.in/facets-of-copyright-in-a-film/ accessed 5 October 2025.

5 Cinematograph Act 1952, s 7(1)(a). 

6 Cinematograph Act 1952, s 6AA. 

7 Cinematograph Act 1952, s 6AB. 

8 Sankalpita Pal, ‘Introduction to CBFC and the Cinematograph Act, 1952’ (iPleaders, 4 November 2020)  https://blog.ipleaders.in/introduction-cbfc-cinematograph-act-1952/ accessed 5 October 2025.

9‘Penalties for Contraventions of this Part’ in The Cinematograph Act, 1952 (AdvocateKhoj)  https://www.advocatekhoj.com/library/bareacts/cinematograph/7.php?Title=Cinematograph%20Act,%201952 &STitle=Penalties%20for%20contraventions%20of%20this%20Part accessed 5 October 2025.

10 Copyright Act 1957, s 52. 

11 Dinesh Parmar, ‘Copyrights in the Creative Economy: Empowering Content Creators in India’ (Parker & Parker  Co. LLP, 22 January 2025) https://www.parkerip.com/blog/copyright-law-in-india-empowering-content creators-in-indiaempowering-content-creators-in-india/ accessed 5 October 2025.

12 Wikipedia contributors. KSI. Wikipedia, The Free Encyclopedia. October 2, 2025, 14:01 UTC. Available  at: https://en.wikipedia.org/w/index.php?title=KSI&oldid=1314641059. Accessed October 5, 2025.

13 Wikipedia contributors. Kai Cenat. Wikipedia, The Free Encyclopedia. October 4, 2025, 19:29 UTC. Available  at: https://en.wikipedia.org/w/index.php?title=Kai_Cenat&oldid=1315081064. Accessed October 5, 2025.

14 Riya Gupta, ‘Right of Reaction: Does It Come Under Fair Use?’ (Naik Naik & Company, 10 December 2024)  https://www.mondaq.com/india/copyright/1555226/right-of-reaction-does-it-come-under-fair-use accessed 5  October 2025. 

15 Copyright Act 1957, s 53. 

16 Kamya Pandey, ‘Would An AI Model Training On Purchased Copyright Work Constitute ‘Fair Dealing’ In  India?’ (MediaNama, 1 July 2025) https://www.medianama.com/2025/07/223-ai-model-copyright-work-fair dealing-india/ accessed 4 October 2025. 

17 Syndicate of the Press of the University of Cambridge & Ors v B.D. Bhandari & Ors (2011) 47 PTC 244.

18 Copyright Act 1957, s 53. 

19 Riya Gupta, ‘Right of Reaction: Does It Come Under Fair Use?’ (Naik Naik & Company, 10 December 2024)  https://www.mondaq.com/india/copyright/1555226/right-of-reaction-does-it-come-under-fair-use accessed 5  October 2025.

20 World Intellectual Property Organization, ‘Berne Convention for the Protection of Literary and Artistic Works’  (WIPO, 9 September 1886) https://www.wipo.int/treaties/en/ip/berne/ accessed 5 October 2025.

21Fortinet, ‘Digital Rights Management (DRM)’ (Fortinet, 2025)  https://www.fortinet.com/resources/cyberglossary/digital-rights-management-drm accessed 5 October 2025.

22 Copyright Act 1957, s 65a. 

23 Wikipedia contributors. Digital Millennium Copyright Act. Wikipedia, The Free Encyclopedia. July 20, 2025,  13:44UTC.availableat: https://en.wikipedia.org/w/index.php?title=Digital_Millennium_Copyright_Act&oldid =1301562097 accessed October 5, 2025. 

24 Creative Commons, ‘About CC Licenses’ (Creative Commons, 2025) https://creativecommons.org/share-your work/cclicenses/ accessed 5 October 2025.

25 Hyderabad Cybercrime Cops Bust India’s Biggest Film Piracy Racket’ The New Indian Express (Hyderabad,  30 September 2025) https://www.newindianexpress.com/states/telangana/2025/Sep/30/hyderabad-cybercrime cops-bust-indias-biggest-film-piracy-racket accessed 4 October 2025. 

26 Hyderabad Cybercrime Police Bust Major Movie Piracy Racket, Five Arrested’ The Hindu (Hyderabad, [date  of publication]) https://www.thehindu.com/news/national/telangana/hyderabad-cybercrime-police-bust-major movie-piracy-racket-five-arrested/article70109014.ece accessed 4 October 2025. 

27 Ibid. 

28 Ibid. 

29Inc42, ‘Delhi HC Bans 30 Torrent Websites For Infringing Copyrights’ (16 April 2019)  https://inc42.com/buzz/delhi-hc-bans-torrent-websites-infringing-copyrights/ accessed 4 October 2025.

30 UTV Software Communication Ltd & Ors v 1337x.To & Ors (2019) SCC OnLine Del 8002.

31 Ibid. 

32 Arpan Banerjee and Neil Gane, ‘Copyright piracy and cybercrime: enforcement challenges in India’ (WIPO  Magazine, 13 December 2022) https://www.wipo.int/web/wipo-magazine/articles/copyright-piracy-and cybercrime-enforcement-challenges-in-india-42977 accessed 4 October 2025. 

33 Ibid.

34 Teaching & Learning, Ohio State University Libraries, ‘Respecting Copyright’ in Choosing & Using Sources:  A Guide to Academic Research (Ohio State University Pressbooks, 2025)  https://ohiostate.pressbooks.pub/choosingsources/chapter/respecting-copyright/ accessed 3 October 2025.

35 Carolyn S. Toto and Mark R. Kendrick, ‘What You Should Know About Electronic Subscriptions and Copyright  Law: A Best Practices Guide’ (Pillsbury, 19 August 2013) https://www.pillsburylaw.com/en/news-and insights/what-you-should-know-about-electronic-subscriptions-and.html accessed 4 October 2025.