本文關(guān)鍵詞：淺析《著作權(quán)法》“電影作品”定義的局限性——以《夏洛特?zé)⿶馈烦u案為例　出處：《視聽》2016年06期 　論文類型：期刊論文

  更多相關(guān)文章： 著作權(quán) 版權(quán) 電影作品 局限性

【摘要】：我國(guó)影視作品的抄襲現(xiàn)象,已非個(gè)案。這種普遍現(xiàn)象的背后,一方面反映出我國(guó)文化創(chuàng)新力、原創(chuàng)力的薄弱,但更反映出我國(guó)《著作權(quán)法》對(duì)于"電影作品"的保護(hù)能力不足。本文以《夏洛特?zé)⿶馈烦u案為例,通過(guò)分析《著作權(quán)法》中"電影作品"這一定義,并結(jié)合現(xiàn)在新媒體環(huán)境的變化,認(rèn)為只有不斷豐富、完善《著作權(quán)法》中對(duì)于"電影作品"這一定義的內(nèi)涵,強(qiáng)化尊重版權(quán)的意識(shí),讓版權(quán)保護(hù)與時(shí)俱進(jìn),才能適應(yīng)文化的繁榮,促進(jìn)文化產(chǎn)業(yè)的發(fā)展。
[Abstract]:The phenomenon of plagiarism in Chinese film and television works is no longer a case. Behind this universal phenomenon, on the one hand, it reflects the weak ability of cultural innovation and originality in our country. But it reflects the lack of protection of "film works" in the copyright Law of China. This paper takes the case of "Charlotte annoyance" as an example to analyze the definition of "film works" in "copyright Law". Combined with the change of the new media environment, the author thinks that the only way to improve the connotation of the definition of "film works" in the copyright Law is to strengthen the consciousness of respecting the copyright and to keep the copyright protection with the times. In order to adapt to the prosperity of culture, promote the development of cultural industry.
【作者單位】： 河南大學(xué)新聞與傳播學(xué)院;
【分類號(hào)】：D923.41
【正文快照】： 2015年國(guó)慶檔上映的幾部影片,紛紛被指抄襲,如《港V紜繁恢賦端氖昀洗δ小，

本文編號(hào)：1416306