数字盗版因其破坏了版权产业对其产品的流通控制及其非盈利性知识共享理念而被广泛认为具有颠覆资本主义文化生产与传播模式的反抗潜力。然而，数字盗版对全球音乐产业的转型推动以及中国电影（数字）盗版对好莱坞文化霸业的暗中助推却表明，世人应该从数字盗版的文化反抗幻象中清醒过来，应该从版权话语体系及其权力实践所支撑的消费主义空间中抽离出来。只有彻底地抛弃知识与文化私有产权概念而转向一种数字公地式的知识与文化生产和传播模式，数字盗版所想象的信息自由乌托邦才能获得独立自洽的正当性和可能性依据。

It’s widely assumed that digital piracy holds the potential of subverting the capitalist model of cultural production and distribution because it undermines the tight control of the circulation of intellectual products by the copyright industry and embodies a mentality of information communism. However, the facts that digital piracy of music has actually facilitated the institutional transformation of the global music industry and that (digital) piracy of movies in mainland China has served insidiously as an agent for Hollywood’s ambition towards global cultural hegemony expose the illusionary nature of digital piracy’s potential of cultural resistance, which in turn informs the necessity of distancing from the consumerist space maintained by the copyright system and its discursive practice of power. Only by totally abandoning the conception of private ownership in the arena of knowledge and cultural production and dissemination and turning to a model based on a conception of digital commons can the utopia of information freedom imagined by digital pirates obtain self-sustaining moral justification and practical feasibility.