制作录音制品法定许可制度研究

发布时间：2018-05-15 10:56

本文选题：制作录音制品 + 法定许可　；参考：《华中师范大学》2016年硕士论文

【摘要】：现代著作权法中,如何协调著作权人的私人利益与社会公共利益之间的冲突而达到两者之间的利益平衡,成为著作权制度的重要功能。一方面,著作权法通过赋予著作权人合法的垄断来保障私人利益以鼓励创作,另一方面,过多的垄断可能会影响作品的传播和使用,影响到社会公共利益。只有当法律制度设计既能够鼓励创作,又可以促进传播,则经济、社会效益才可能达到最大化。著作权法定许可作为著作权限制制度的重要构成,其本身就是一种利益平衡的工具,而制作录音制品法定许可是其中的重要构成部分。通过对音乐作品著作权人的录音许可权进行限制,防止市场垄断的发生,简化作品授权使用方式,促进作品的传播,同时亦给予著作权人经济补偿,以维持著作权人的利益和社会公共利益之间的平衡。我国《著作权法》中的制作录音制品法定许可制度,是建立在对发达国家成熟立法的参考之上设立的,从1991年新中国第一部《著作权法》颁布至今在数次著作权法修订中几经调整,但仍旧存在一些问题。尤其是当下在多网融合为作品的传播提供了更广泛市场的现状下,制作录音作品所涉及利益剧增且相关利益主体愈发多样化,制作录音制品法定许可的制度安排受到各界更广泛的关注。本文拟从制作录音制品法定许可制度的本质出发,对该制度中存在的问题以及司法实践中存在的分歧进行分析,并参考相关国际公约和发达国家成熟立法,结合我国市场实际情况,提供完善相关规则的具体建议。本文分为四部分：第一部分,制作录音制品法定许可的基础理论。首先,从对制作录音制品法定许可的起源及发展的分析中,阐明了其立法目的是为预防市场垄断的发生,从而降低唱片价格,增加市场活力,促进音乐作品的传播,增加社会文化总量。然后,分析了制作录音制品法定许可的性质,对主要的几种学说进行了评价。最后,从法理学以及经济学的角度论证了制作录音制品法定许可制度的正当性。第二部分,制作录音制品法定许可制度的域外立法考察。通过对《伯尔尼公约》等国际公约以及美国《版权法》、德国《著作权法》的相关立法考察,为完善我国制作录音制品法定许可制度提供参考。第三部分,我国制作录音制品法定许可制度存在的问题。从我国制作录音法定许可的历史发展脉络进行梳理入手,指出我国制作录音制品法定许可制度存在的不足包括：使用制作录音制品法定许可的条件不清,制作的方法以及制作之后是否可以复制和发行不明,作者声明制度的不足,报酬支付制度不完善。第四部分,完善我国制作录音制品法定许可制度的建议。根据我国音乐市场的现状,参考发达国家成熟立法,结合文章前三部分的分析,针对我国制作录音制品法定许可制度存在的问题提出相应的修法建议。
[Abstract]:In modern copyright law, how to coordinate the conflict between the private interests of copyright owners and the public interests of the society and achieve a balance between the interests of the two has become an important function of the copyright system. On the one hand, copyright law protects private interests by giving copyright owners a legal monopoly to encourage creation. On the other hand, too much monopoly may affect the dissemination and use of works and the public interest. Only when the legal system design can not only encourage creation, but also promote dissemination, then the economic and social benefits can be maximized. As an important component of copyright restriction system, the legal license of copyright is a tool of balancing interests, and the legal license of making sound recording is an important part of it. By restricting the recording license of the copyright owner of a musical work, preventing the occurrence of a market monopoly, simplifying the way in which the work is authorized to be used, promoting the dissemination of the work, and at the same time giving the copyright owner economic compensation, In order to maintain the balance between the interests of copyright owners and the public interest. The legal licensing system for the production of sound recordings in China's copyright Law is established on the basis of reference to mature legislation in developed countries. Since the first copyright Law of New China was promulgated in 1991, it has been adjusted several times in several amendments of copyright Law, but there are still some problems. Especially in the current situation that multi-net fusion provides a wider market for the dissemination of works, the interests involved in making sound recordings have increased dramatically and the relevant stakeholders have become more diversified. The system arrangement of making the legal permit of sound recording has received wider attention from all walks of life. Based on the essence of the legal license system for the production of sound recordings, this paper analyzes the problems existing in the system and the differences in judicial practice, and refers to the relevant international conventions and mature legislation of developed countries. Combined with the actual market situation in China, to provide specific suggestions to improve the relevant rules. This paper is divided into four parts: the first part, the basic theory of making sound recording legal license. First of all, from the analysis of the origin and development of the legal license for the production of sound recordings, it is expounded that its legislative purpose is to prevent the occurrence of market monopoly, thereby reducing the record price, increasing market vitality, and promoting the dissemination of music works. Increase the total amount of social culture. Then, it analyzes the nature of the legal license for making sound recording, and evaluates the main theories. Finally, from the point of view of jurisprudence and economics, the legitimacy of the legal license system for making sound recordings is demonstrated. The second part, the legal permit system of the production of sound recordings outside the legislative investigation. By investigating the relevant legislation of the international conventions such as the Berne Convention and the copyright Law of the United States and the copyright Law of Germany, this paper provides a reference for perfecting the legal license system for the production of sound recordings in China. The third part, our country produces the sound recording legal license system existence question. Starting with the historical development of the legal license for making sound recordings in China, the author points out that the shortcomings of the legal license system for making sound recording products in China include: the conditions for the use of legal permits for the making of sound recordings are unclear, The method of production and whether it can be reproduced and distributed after production, the deficiency of the author's declaration system and the imperfection of payment system. The fourth part, consummates our country to produce the sound recording the legal license system suggestion. According to the current situation of music market in our country, referring to the mature legislation of developed countries, combining the analysis of the first three parts of the article, the author puts forward the corresponding suggestions on the revision of the legal license system for making sound recording products in China.
【学位授予单位】：华中师范大学
【学位级别】：硕士
【学位授予年份】：2016
【分类号】：D923.41

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