發(fā)布時(shí)間：2018-07-07 09:47

  本文選題：視聽作品 + 權(quán)利��； 參考：《海南大學(xué)》2017年碩士論文

【摘要】：相比較枯燥無味的詩歌、劇本、小說等文字性作品,電視、電影等視聽作品,在導(dǎo)演的統(tǒng)籌下,通過演員與語言的表演,展現(xiàn)人物的特點(diǎn)與心理活動(dòng),并且在后期剪輯師、燈光師、攝影師的共同努力下,通過連續(xù)的畫面,將作品中的思想傳達(dá)給每一位觀眾,能夠通過觀眾聽覺與視覺來強(qiáng)化表達(dá)效果,給觀眾帶來生動(dòng)、形象的藝術(shù)體驗(yàn)。越來越多的投資人由小說改編攝制而成的視聽作品,在娛樂大眾的同時(shí),進(jìn)一步擴(kuò)大了文字作品的感染力。在諸多作品類型中,視聽作品比較復(fù)雜,在形成中需要采用很多之前存在的作品,有圖形、美術(shù)、舞蹈、文字等作品,同時(shí)還包括了視聽作品和戲劇作品中的片段等,包含了大部分已經(jīng)存在作品類別。作品在改編攝制完成后,要解決視聽作品的利用、權(quán)利分配,糾紛解決等問題,同時(shí)也應(yīng)當(dāng)兼顧經(jīng)濟(jì)社會(huì)的發(fā)展。隨著科技的發(fā)展,版權(quán)保護(hù)顯得尤為重要,基于此,我國正在開展《著作權(quán)法》的第三次修訂工作。國家版權(quán)局在2012年3月公布《著作權(quán)法(修改草案)》(下文中簡稱《草案第一稿》),在社會(huì)各界引起巨大的反響。社會(huì)各界紛紛建言獻(xiàn)策,之后在7月公布了《著作權(quán)法(修改草案第二稿)》(下文中簡稱《草案第二稿》),10月公布了《著作權(quán)法(修訂草案送審稿)》(以下簡稱《送審稿》),但時(shí)至今日該草案還沒有通過,說明很多內(nèi)容分歧較大,不能夠達(dá)成一致意見。其中把之前的"電影作品及類似以攝制電影的方式創(chuàng)作的作品"這一表述改成"視聽作品",使得針對(duì)視聽作品的法律修改成為了社會(huì)各界的關(guān)注焦點(diǎn)。目前《著作權(quán)法》能夠給予影視作品相應(yīng)的法律保護(hù),但是因?yàn)榇嬖谥贫鹊牟蛔阋约坝行┍硎鲚^為模糊,使得理論界與實(shí)踐界都頗有微詞。正因?yàn)槿绱?本文劃分為以下五方面內(nèi)容:第一部分是視聽作品和已有作品的概論。主要是對(duì)視聽作品及已有作品概念特征的分析,對(duì)基本內(nèi)容、基本發(fā)展過程及和其他概念的關(guān)系的界定等內(nèi)容。只有明確了這兩個(gè)基礎(chǔ)概念的基礎(chǔ)上才能做進(jìn)一步的研究,并為下文兩者的法律關(guān)系做鋪墊。第二部分是視聽作品與已有作品的法律關(guān)系。該部分主要介紹了視聽作品與已有作品之間關(guān)系包括演繹關(guān)系、合作關(guān)系、委托/雇傭關(guān)系。不同的法律關(guān)系決定了已有作品作者在視聽作品中享有不同的權(quán)利,所以各國在立法上都會(huì)衡量這三種關(guān)系并進(jìn)行適當(dāng)?shù)倪x擇。第三部分是域外已有作品作者在視聽作品中的權(quán)利。闡述了域外一些國家在視聽作品與已有作品之間法律關(guān)系上的選擇,并在此基礎(chǔ)上已有作品作者享有哪些權(quán)利或通過什么方式來解決權(quán)利糾紛的。通過對(duì)域外有關(guān)國家的立法規(guī)定來為我國已有作品作者權(quán)利探究提供借鑒。第四部分是我國對(duì)已有作品作者權(quán)利規(guī)定及存在的問題。該部分主要介紹現(xiàn)行法和《送審稿》中關(guān)于已有作品作者權(quán)利的規(guī)定,并指出其存在的問題,為提出完善構(gòu)想奠定基礎(chǔ)。第五部分是完善我國已有作品作者的權(quán)利之構(gòu)想。該部分主要介紹了已有作品作者權(quán)利的基礎(chǔ)理論,以及已有作品作者權(quán)利的維護(hù),并結(jié)合全文提出具體的司法和立法建議。
[Abstract]:Compared with the dry and dull poems, scripts, novels and other literal works, TV, film and other audio-visual works, under the co-ordination of the director and the performance of the language, the characters and psychological activities are displayed by the actor and the language, and the ideas of the works are conveyed to the works by the continuous images. Each audience can strengthen the expression effect through the audience's hearing and vision, and bring the audience a vivid and vivid artistic experience. More and more investors have been adapted from the novel by the novel. At the same time, it has further expanded the power of the text works. In many types of works, the audio-visual works are more complex. In the formation, many of the previous works, such as graphics, art, dance, and text, are included, including audio-visual and dramatic pieces, including most of the existing types of works. After the adaptation of the works, the works should solve the problems of the use of audio-visual works, the distribution of rights, and the settlement of disputes. With the development of science and technology, copyright protection is particularly important. Based on this, China is carrying out the third revision of the copyright law. In March 2012, the State Copyright Administration published the copyright law (Revised Draft) (hereinafter referred to as the first draft of the grass case), which has caused great repercussions in all circles of society. In July, the copyright law (the second draft of the revised draft) was published in July, and the copyright law (hereinafter referred to as the second draft) was published. In October, the copyright law (revise draft) was published (hereinafter referred to as the draft for review). The expression of "film works and works like film making" is changed into "audio-visual works", which makes the legal modification of audio-visual works become the focus of attention of all circles of society. Because of this, this article is divided into five aspects: the first part is the introduction of audio-visual works and the existing works. It is mainly the analysis of the visual and audio-visual works and the characteristics of the existing works, the basic content, the basic development process and the relationship between the other concepts and the basic content. Only on the basis of these two basic concepts can we do further research, and make a paving for the legal relationship between the following two. The second part is the legal relationship between audio-visual works and the existing works. This part mainly introduces the relationship between audio-visual and existing works including deductive relations, cooperative relations, entrustment / employment. Relationship. Different legal relations determine that the author has different rights in audio-visual works, so each country will measure these three relations and make appropriate choices in legislation. The third part is the right of the author in the field of sight and audio-visual works. On the basis of the choice of the legal relationship between them, and on this basis, what rights or ways to solve the rights disputes by the author of the works has been provided for the study of the rights of the authors in our country. The fourth part is about the rights and problems of the authors in our country. This part mainly introduces the current law and the provisions on the rights of the authors of the existing works, and points out the existing problems, and lays the foundation for the improvement of the conception. The fifth part is the conception of improving the rights of the author of the works in our country. This part mainly introduces the basic theory of the author's rights of the existing works, as well as the existing works. The protection of the rights of the people and the specific judicial and legislative proposals in combination with the full text.
【學(xué)位授予單位】：海南大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：D923.41

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