發(fā)布時(shí)間：2018-04-09 21:41

  本文選題：表演者權(quán)　切入點(diǎn)：獨(dú)創(chuàng)性　出處：《華中師范大學(xué)》2015年碩士論文

【摘要】：表演者權(quán)是表演者對其表演所享有的專有性權(quán)利,區(qū)別于作者的表演權(quán)。表演者權(quán)產(chǎn)生于作品傳播技術(shù)的進(jìn)步,隨著錄制及傳播技術(shù)的不斷出現(xiàn),表演者失去了對自己“表演”的控制,法律亦形成了對表演者權(quán)保護(hù)的制度回應(yīng)。目前,表演者權(quán)的法律保護(hù)已逐漸在各國形成了多種模式的選擇。本文通過對表演者權(quán)進(jìn)行保護(hù)的代表性國家之保護(hù)模式進(jìn)行考察,分析了這些模式產(chǎn)生的理論基礎(chǔ)以及存在的合理性和不足之處。同時(shí),采用比較分析的方法,對著作權(quán)體系國家和版權(quán)體系國家表演者權(quán)保護(hù)的立法所依據(jù)的理念差異進(jìn)行分析,闡釋了表演者權(quán)的保護(hù)模式之不同和各模式下的權(quán)利內(nèi)容之差異等。通過對不同模式的基礎(chǔ)理論分析,以獨(dú)創(chuàng)性為視角,厘清了表演者權(quán)的本質(zhì),對表演者權(quán)采用“兩分法”進(jìn)行歸類,主張對創(chuàng)作高度高且符合作品構(gòu)成標(biāo)準(zhǔn)的表演行為以著作權(quán)制度保護(hù)；對創(chuàng)作高度較低的表演行為以鄰接權(quán)制度保護(hù)。采用“兩分法”對表演行為進(jìn)行保護(hù),體現(xiàn)立法的公正、公平。本文主要分為四個(gè)部分：第一部分,對表演者權(quán)及其法律保護(hù)模式進(jìn)行一般性考察,厘清表演者權(quán)產(chǎn)生背景和發(fā)展軌跡,進(jìn)而整體把握表演者權(quán)的保護(hù)模式。第二部分,首先分別介紹表演者權(quán)法律保護(hù)的典型模式,對各理論基礎(chǔ)進(jìn)行分析,考察各保護(hù)模式的立法實(shí)踐,再對各保護(hù)模式進(jìn)行比較研究,評(píng)析其合理性和不足。第三部分,對各國的獨(dú)創(chuàng)性要求進(jìn)行考察,再從獨(dú)創(chuàng)性角度對表演者權(quán)的本質(zhì)進(jìn)行分析,進(jìn)而得出獨(dú)創(chuàng)性與模式選擇的關(guān)聯(lián)性,以及表演者權(quán)以著作權(quán)制度保護(hù)的可能性。第四部分,檢視我國表演者權(quán)保護(hù)的現(xiàn)狀,并對其進(jìn)行完善研究。把創(chuàng)作高度高的表演者權(quán)納入著作權(quán)保護(hù)范疇,對創(chuàng)作高度較低的表演者權(quán)進(jìn)行鄰接權(quán)保護(hù),不具有獨(dú)創(chuàng)性的表演行為不給予保護(hù)。比較分析不同國家對表演者權(quán)的保護(hù)模式,并不能以某一種保護(hù)模式的立制而告終。不同國家采取不同的模式,都有其存在的原因和理由,結(jié)合本國的實(shí)際情況,采用最適合本國國情的保護(hù)方式,既體現(xiàn)對表演者的權(quán)利之保護(hù),又不損害作者的權(quán)利,才是著作權(quán)法的目標(biāo)所在。
[Abstract]:The right of performer is the performer enjoys exclusive rights to their performance, performance rights from the author. The rights of performers produced in the dissemination of works and technological progress, with recording and communication technologies and the emergence of a lost control of his "performances", also formed a legal system in response to the protection of the performers' rights. At present, the legal protection of the rights of performers in the world has gradually formed a variety of model selection. This paper investigates through the protection of the performers' rights representative national protection mode, analyzes theoretical foundation of these models and the rationality of the existence and deficiencies. At the same time, using the method of comparative analysis, analysis of differences in philosophy according to the national copyright system and national copyright system of performers rights protection legislation, interpretation of the performers' rights protection mode and different mode of right The contents of the differences. Through the analysis of the basic theory of different modes, viewing from the angle of originality, to clarify the nature of the right of performer, classify the performers'right using "dichotomy", advocated for creation and meet the high performance standard works constitute the copyright protection system; the performance behavior of creative height is low to neighboring rights protection system. The "dichotomy" to protect the performance behavior, embody the legislative justice and fairness. This paper is divided into four parts: the first part, a review on the mode of performers' rights and its legal protection, to clarify the rights of performers background and development path, and grasp the overall protection mode the performers' rights. In the second part, firstly introduces the typical pattern of legal protection of the rights of performers, on the theoretical basis of the analysis, study the legislative practice of the protected mode, and the. A comparative study of nursing mode, analyses its rationality and deficiency. In the third part, the originality requirement investigation, further analysis of the nature of the right of performer from the original point of view, and then draw the relevance of originality and mode selection, and the rights of performers to the possibility of copyright protection. The fourth part examines the status quo. The protection of the performers' rights in our country, and improve the research on it. The creation of high performers' rights included in the copyright protection category, on the creation of lower height of the performers' rights of neighboring rights, does not have the original performance of the do not give protection. A comparative analysis of the different national protection mode for the rights of performers, and not with a protective mode of legislation in the end. Different countries adopt different modes, there are reasons for its existence, combined with China's actual situation, the most suitable for their own country The protection of love, not only the protection of the rights of the performers, but also the rights of the author, is the goal of the copyright law.

【學(xué)位授予單位】：華中師范大學(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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本文編號(hào)：1728291