發(fā)布時(shí)間：2018-01-19 05:24

  本文關(guān)鍵詞： 視聽作品 著作權(quán)權(quán)利主體 著作權(quán)權(quán)益分配 送審稿　出處：《中國(guó)政法大學(xué)》2015年碩士論文　論文類型：學(xué)位論文

【摘要】：視聽作品作為一種綜合性的藝術(shù)表現(xiàn)形式,其創(chuàng)作經(jīng)常需要大量的投資,并且創(chuàng)作班底呈現(xiàn)出數(shù)量龐大、成分復(fù)雜的特點(diǎn),因此視聽作品創(chuàng)作者的認(rèn)定一直是其著作權(quán)制度存在爭(zhēng)議的問(wèn)題之一。同時(shí),由于視聽作品的創(chuàng)作可能涉及對(duì)在先作品的使用,我國(guó)現(xiàn)行《著作權(quán)法》中卻并沒(méi)有明確使用在先作品創(chuàng)作的視聽作品與原作品之間的關(guān)系,從而導(dǎo)致實(shí)踐中原作作者與視聽作品著作權(quán)人之間著作權(quán)利益關(guān)系的混亂。隨著視聽文化產(chǎn)業(yè)的不斷發(fā)展,視聽作品的版權(quán)交易形式不斷豐富,對(duì)視聽作品衍生的利益分配問(wèn)題逐漸成為制約我國(guó)視聽產(chǎn)業(yè)進(jìn)一步發(fā)展的矛盾。我國(guó)現(xiàn)行《著作權(quán)法》對(duì)于上述問(wèn)題缺乏明確的規(guī)定,無(wú)法妥善調(diào)解實(shí)踐中產(chǎn)生的矛盾,正值我國(guó)《著作權(quán)法》第三次修改之際,立法者對(duì)于視聽作品著作權(quán)制度進(jìn)行了大膽的重構(gòu)。本文試圖通過(guò)對(duì)國(guó)外有代表性的法律規(guī)定、相關(guān)國(guó)際條約、案例進(jìn)行分析、比較,同時(shí)結(jié)合《著作權(quán)法》修訂草案的三稿征求意見稿以及送審稿中條文的更迭加以研究,以期能夠較為透徹地理解圍繞視聽作品的著作權(quán)法律關(guān)系,并對(duì)我國(guó)此次《著作權(quán)法》修訂的內(nèi)容作出客觀合理評(píng)價(jià)的基礎(chǔ)上提出有價(jià)值的建議。第一章為視聽作品概論,就視聽作品的內(nèi)涵、外延以及受保護(hù)的一般要件進(jìn)行闡述。送審稿中正式引入了視聽作品這一術(shù)語(yǔ)統(tǒng)一涵蓋電影作品、以類似攝制電影的方法創(chuàng)作的作品和錄像制品。筆者就此更改作出了評(píng)論和分析。第二章主要論述視聽作品可能涉及的著作權(quán)主體以及各主體之間對(duì)視聽作品著作權(quán)權(quán)利的初次分配問(wèn)題。包括制片者與創(chuàng)作作者的認(rèn)定、可單獨(dú)使用作品的著作權(quán)行使方式、作者精神權(quán)利的保障等問(wèn)題。送審稿對(duì)視聽作品著作權(quán)的初次分配也作出修改,將原先法定授予制片者的經(jīng)濟(jì)權(quán)利變更為可由合同約定。第三章就所謂的“二次獲酬權(quán)”制度進(jìn)行分析,立法者意欲在中國(guó)引入類似的利益分享制度卻遭到制片者利益團(tuán)體的強(qiáng)烈抵制,最終送審稿中采取了更加折衷式的條文,筆者在分析比較代表性立法方式的基礎(chǔ)上對(duì)送審稿的規(guī)定以及在我國(guó)實(shí)施利益分享制度的優(yōu)勢(shì)和不足之處作出評(píng)析。第四章是總結(jié)性章節(jié),主要對(duì)此次修訂中對(duì)視聽作品著作權(quán)制度作出的重構(gòu)進(jìn)行總結(jié)和分析。筆者首先闡述了制度重構(gòu)的理論基礎(chǔ),并針對(duì)修訂草案征求意見稿以及送審稿中就法律概念的厘清、權(quán)利主體的認(rèn)定、視聽作品著作權(quán)權(quán)益的初次分配和二次分配作出的規(guī)定進(jìn)行評(píng)析。
[Abstract]:Audiovisual works as a comprehensive form of artistic expression, its creation often requires a large amount of investment, and the creation class presents a large number of complex composition characteristics. Therefore, the identification of the authors of audio-visual works has always been one of the controversial issues in their copyright system. At the same time, the creation of audio-visual works may involve the use of previous works. In the present copyright Law of China, however, there is no clear relationship between the audio-visual works created by the previous works and the original works. This leads to the confusion of the relationship between the copyright interests of the original author and the copyright owner of audio-visual works in practice. With the continuous development of audio-visual cultural industry, the form of copyright transaction of audio-visual works is constantly rich. The distribution of interests derived from audiovisual works has gradually become a contradiction that restricts the further development of audiovisual industry in China. The contradiction which can not be properly conciliated in practice is at the time of the third revision of the copyright Law of our country. The legislator has carried on the bold reconstruction to the audio-visual work copyright system. This article attempts to carry on the analysis, the comparison through the foreign representative law stipulation, the correlation international treaty, the case analysis. At the same time combined with the "copyright Law" revised draft of the three drafts of the draft to solicit comments and draft for review of the provisions of the change to be studied, in order to be able to understand more thoroughly the legal relationship around the copyright of audio-visual works. And on the basis of the objective and reasonable evaluation of the contents of the revision of the copyright Law in China, some valuable suggestions are put forward. The first chapter is an overview of audio-visual works, the connotation of audio-visual works. The extension and the general elements of protection are elaborated. The term audio-visual works is formally introduced in the draft submission to cover film works in a unified way. Works and videos created in a movie-like way. The author makes comments and analyses on the changes. Chapter two mainly deals with the possible copyright subjects involved in audiovisual works and their works on audiovisual works. The first assignment of the right of copyright, including the identification of the producer and the author. The ways to exercise the copyright of the works and the protection of the author's mental rights can be used separately. The initial distribution of the copyright of the audio-visual works is also modified by the draft submitted for trial. Change the economic rights of the original statutory conferring producer to contractual agreement. Chapter III analyzes the so-called "right to second pay" system. Lawmakers' desire to introduce similar benefit-sharing systems in China was strongly resisted by filmmakers' interest groups, and a more eclectic version was adopted in the final draft submission. On the basis of analyzing and comparing the representative legislative methods, the author comments on the provisions of draft submission and the advantages and disadvantages of implementing the benefit-sharing system in China. Chapter 4th is a concluding chapter. The author summarizes and analyzes the reconstruction of the copyright system of audio-visual works in this revision. Firstly, the author expounds the theoretical basis of the system reconstruction. It also comments on the provisions of the revised draft, including the clarification of the legal concept, the determination of the subject of the right, the initial distribution and the secondary distribution of the rights and interests of the audio-visual works.
【學(xué)位授予單位】：中國(guó)政法大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2015
【分類號(hào)】：D923.41

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