数字音乐版权独家授权的反垄断法规制逻辑及展开

网络经济时代,知识产权法在化解数字音乐版权独家授权垄断违法风险过程中存在一定的局限性,而反垄断法在维护数字音乐市场有序竞争和高效创新方面却展现出明显优势,奠定了数字音乐版权独家授权反垄断法规制的逻辑起点.承认反垄断法规制的正当性并不意味着从根本上否定数字音乐版权独家授权模式.数字音乐版权独家授权的反垄断法规制应以谦抑理...     

Public Law and Popular Justice

Group litigation is becoming commonplace. Rules of standing have been relaxed to allow groups to bring representative actions on behalf of their members or to act 'in the public interest'. Groups increasingly intervene in actions between third parties, presenting amicus briefs. This article traces the origins of group action in courts and speculates on the possible effects of changes which blur traditional distinctions between legal and political process, concluding that the legal process must be kept broadly within traditional boundaries, if the qualities of independence, rationality and finality for which it is valued are to be maintained.     

歌曲翻唱行为的合法抑或非法——兼评《著作权法》修改草案第46条

翻唱行为是指在制作录音制品或者在具有商业性质的表演中,演唱由他人享有著作权的歌曲的行为,并分为直译性翻唱与演绎性翻唱。对未经著作权人许可的翻唱行为侵权责任的认定,首先应区分翻唱行为的类型,进而在综合考量著作权人、侵权行为人与社会公共利益等相关因素的基础上进行判断。     

版权法上的公共领域研究

公共领域是版权法的核心,它是保证作者得以有效运用各种创作素材从而使版权的其余部分得以良好运转的工具。公共领域具有开放性、有主性、不可撤销性和程序性等特征,它以保证作者的创作为前提,但却最终以自身的不断扩大和人类社会的文化繁衍为依归。公共领域在版权法上的生成既是历史的,更是逻辑的,没有公共领域的被承认,也就没有版权的正当性可言,因此公共领域和版权实际上是一同诞生的。公共领域不仅是一种制度存在物,它更是一种思想倾向和方法论,公共领域对版权具有评价和检视功能,它既是版权运行的重要前提,更是控制版权扩张和实现版权目的的重要手段。     

论著作权法与公共利益

著作权法与公共利益存在着密切的关系 ,这是因为著作权法具有重要的公共利益目标。著作权法需要确保公共利益 ,这在长期的著作权立法和司法实践中已经被不断地得到确认。总体上 ,著作权法中的公共利益表现为确保社会公众对智力作品的必要接近与分享。著作权法通过对公共利益的确保 ,在保护著作权人专有权利的基础之上更好地实现了其立法宗旨。     

Towards Law and Music

Through a review of Sara Ramshaw’s, Justice as Improvisation, the essay evaluates recent scholarly directions in the interdisciplinary field of law and music. The essay considers both methodological and epistemological questions motivating this scholarship, and argues that there yet remains the opportunity to pursue with even greater specificity the meaning of music, in terms of its own vocabulary and genre. The new field of law and music is slowly but surely combining these formal considerations with an ever richer vocabulary, and a richer inter-disciplinary dialogue not just about jazz but with it. What might have been a somewhat sterile exercise in virtuosity is turning into a fully-fledged interdisciplinary claim, with its own methodology and its own epistemology, capable of illuminating not just law or music, but both in light of the other.     

罗马法中的四大民众发动程序

包括民众诉权、民众令状、人民控告和检举四项制度的罗马法公益诉讼制度群，是现代公益诉讼制度的起源。四项制度的递嬗，展现了罗马诉讼法从民众主义到国家主义的发展史，由此揭示了在国家机器完善的现代条件下民众诉讼的存在依据问题。由于人民利益与官僚利益可能发生不一致，民众诉权仍有存在余地，但必须采用众有利益理论对原告资格制度进行改革，才能保证民众诉权良好地运作。     

Semiotics and the Spectacle of Transformation in Copyright Law

Copyright law is often premised on the identification of an author of a literary, dramatic, musical, or artistic work, and then giving this author exclusive rights for a limited period to control the commercial exploitation of his or her intellectual creation. However, the hegemonic modernist position of the romantic authorial text has been challenged by numerous scholars who have argued that the meaning of a text lies not in its origin but in its destination. Roland Barthes’ work, controversial at the time of publication with its assault on modernity and the primacy of authorial control, has nonetheless laid the groundwork for an important body of scholarship on interpretive communities. Whether one adopts the position of neoconservative postmodernism or poststructural postmodernism, this article argues that a semiotic analysis of works of copyright as “signs”, “myths” and “polysemous texts” will nonetheless offer an important framework to understand the full reach of the transformative use doctrine in the United States today.     

音乐作品版权证券化现状及原因探讨

1997年鲍伊债券的发行拉开了知识产权证券化的序幕1,资产证券化由有形资产领域扩展到了版权、专利和商标等无形资产领域。如今,知识产权证券化的对象资产又从电子游戏、音乐、电影、主题公园等与文化产业关联的知识产权,延伸到时装品牌、最新医药产品专利、半导体芯片,甚至涉及到了专利诉讼的胜诉金,由此,知识产权证券化业务的比重正在快速增长。那么开启知识产权证券化的音乐作品版权证券化目前现状如何呢?本文将介绍音乐作品版权证券化的现状并探讨其中的原因,以期为我国研究和借鉴版权证券化这种新型的融资工具提供参考。一、音乐作品版…     

网络版权保护十年:产业与制度的相生相克

自2006年《信息网络传播权保护条例》颁布至今,中国网络版权保护已走过十年历程,立法上形成了以《侵权责任法》互联网专条为核心的侵权规则体系,执法上形成了以“剑网行动”为核心的行政管理手段,网络版权侵权形态也从网络服务提供者与著作权人的冲突逐步转向网络服务提供者之间的矛盾.然而展望未来制度变革方向,可以发现对部分版权制度的认知和固守已给版权产业的进步造成制度瓶颈,立法者和主管机关往往过于依赖采取“堵”的方式解决保护问题,却不愿意放手产业主体自行构建授权机制来完善“疏”的途径,致使高效合规的版权市场因授权机制的落后而无法形成.     

著作权制度的反思与改组

著作权制度是17、18世纪欧洲政治经济结构变迁的一部分.中国对著作权制度的移植是功利主义的.著作权的扩张加剧了文学艺术领域的固有矛盾.历史上一直存在着对著作权制度的批评声音,它们调用的是反垄断、自由贸易、道德优劣、广开民智等话语.公共基金和作者津贴制度是替代现有著作权制度的主要论调,在宪政秩序下不具可行性.公共领域这一概念的提出有利于对现有著作权制度进行一定的改组,但仍不是成熟的理论.著作权的政治经济学进路调用福利经济学和生态学在一定程度上克服了权利人和利用人之间的对立,并有可能缓解因此而导致的道德分化.     

Copyright and the Death of the Author in Literature and Law

Martha Woodmansee and Peter Jaszi, The Construction of Authorship: Textual Appropriation in Law and Literature David Saunders, Authorship and Copyright     

“复制”版权之反思与重构

传统版权法是建立在复制权基础之上的,一部技术发展史也是版权人所享有的复制权不断扩张的历史,数字网络技术则将这种扩张推向极至,而与之相伴的控制社会公众获得作品的后果又促使人们思考放弃传统的复制版权模式,以重构适应数字网络环境需要的新型版权制度.在数字网络环境下应以获得作品权取代复制权,而在模拟世界传统复制版权依然能够有效运行,如何协调现实和网络世界的版权保护是版权法不能回避的问题.     

音乐作品著作权侵权问题案例评析

当你乘坐飞机聆听美妙的乐曲,在空中自由翱翔时;当你伴着流行歌曲,愉快购物之时;当你欣赏着轻松乐曲,品尝着美味佳肴时;当你在电视广告中听到了熟悉的歌声时,或许你不会想到,使用这些背景音乐,可能会带来侵犯著作权的法律责任。日前,北京市海淀区人民法院审结了一起著作权纠纷案,涉及到背景音乐侵犯著作权的问题。【案情简介】本案三原告分别为:魏某,系四川省川剧艺术研究院顾问;王某,系海军政治部歌舞团编剧;陈某,作曲家。本案三被告分别为:帝豪集团、标格广告有限公司、未来广告公司。三原告诉称,歌曲《众人划桨开大船》由魏某、王某作词,…     

Balancing in Light of the Purposes of Copyright: Whether Video Music Lessons Constitute Copyright Infringement

Faced with diminished sources of revenue, school systems in recent years have cut funding for music education. Looking for alternative ways to learn about music, budding musicians have turned to the Internet. On YouTube and other Web sites, visitors can view thousands of instructional videos on how to play popular songs, complex genres, and a seemingly unlimited variety of musical techniques. Despite altruistic motivations, creators of video music lessons routinely use copyrighted content during lessons. This article argues that the defense of fair use should protect the creators of video music lessons from liability in a copyright infringement lawsuit. Specifically, the author argues that it is the purpose of copyright law to promote knowledge and that video music lessons further this objective.     

Multimedia Works and Categorization in UK Copyright Law

‘A book may be good for nothing; or there may be onlyone thing in it worth knowing; are we to read it all through?’(Samuel Johnson) This section is dedicated to the review ofideas, articles, books, films and other media. It will includereplies (and rejoinders) to articles, the evaluation of newideas or proposals, and reviews of books and articles both directlyand indirectly related to intellectual property law.

Copyright Law in the Digital Society—The Challenges ofMultimedia By Tanya Aplin, 2005, Hart Publishing Price: £60,Hardback, ISBN: 1-84113-356-6, pp. 320   The protection of multimedia