《视听表演北京条约》中的表演者权利转让研究

发布时间：2018-05-06 20:55

本文选题：《视听表演北京条约》 + 表演者权利　；参考：《西南政法大学》2014年硕士论文

【摘要】：2012q年6月《视听表演北京条约》的问世，是表演者权利保护历史上又一具有里程碑意义的大事。《视听表演北京条约》的一个亮点是在表演者权利转让——这一困扰保护视听表演国际条约制定工作多年的问题上形成了突破。著作权法传统上意义上的“表演者”是指“以各种方式表演文学艺术作品的人”。1如果没有歌手的演唱和舞者展现舞蹈动作，音乐作品与舞蹈作品是无法呈现给公众的。而对于由文字构成的戏剧剧本和电影剧本而言缺少演员的表演，剧本中的故事情节是无法淋漓尽致地展现。国际社会逐渐达成共识，表演者对于传播作品发挥着不可比拟的关键作用，因此“表演者权利”作为邻接权中的权利类型也逐渐得到了各国著作权立法和国际条约的承认。但是，保护表演者权利的三大国际条约《保护表演者、音像制品制作者和广播组织的国际公约》(Rome International Convention for the Protection ofPerformers, Producers of Phonograms and Broadcasting Organizations)（以下简称“罗马公约”）、《与贸易有关的知识产权协议》（Agreement On Trade-relatedAspects of Intellectual Property Right）（以下简称“TRIPS协定”）以及《世界知识产权组织表演和录音制品条约》（WIPO Performances and Phonograms Treaty）（以下简称“WPPT”）均未对视听表演者的“表演者权利”问题进行规定。以往的国际条约为什么对以视听形式录制和传播的表演未提供全面的保护？为什么在保护视听表演者权利的问题上美国和欧共体存在激烈的利益博弈？若缺乏对上述问题清楚的了解与认识，就不能明确《视听表演北京条约》中关键条款的含义内涵以及我国在批准加人条约之后应当承担的国际义务是什么。故此，研究《视听表演北京条约》表演者权利转让问题不仅具有理论价值，也具有重要的现实意义。本文除引言和结语外，全文共分为四个部分，二万余字。第一部分“表演者权利转让导论”。主要分析了表演者权利转让所涉及转让客体——表演者权利，以及表演者权利转让规则。第二部分“《视听表演北京条约》中的表演者权利转让条款的制定”。这一部分，笔者对《视听表演北京条约》签署前国际条约中对表演者权利转让条款的规定进行了概述，并简要介绍了《视听表演北京条约》制定的背景和过程。第三部分“《视听表演北京条约》表演者权利转让条款解释”。在这一部分笔者借用WTO争端解决机制的常用解释条文的方法——《维也纳条约法公约》第31、32条的规定，对《视听表演北京条约》表演者权利转让条款进行了详细的分析和解释。第四部分“表演者权利转让条款对我国的启示”。在这一部分，笔者首先通过对《著作权法》修改草案中有关表演者权利转让内容的条款进行合理性反思，然后得出修改二稿中关于职务表演的规定是符合《视听表演北京条约》的、修改二稿中权利转让规定需要“矫正”的结论，并阐明《视听表演北京条约》权利转让条款对我国的启示。在研究方法上，本文主要运用了比较研究方法、历史研究方法、法律解释学方法和实证研究方法。在理解《视听表演北京条约》权利转让条款的概念和基本特征上，笔者运用比较研究方法，客观全面分析《视听表演北京条约》权利转让条款与其他类似条款的关系，正确理解本文定义的权利转让条款的内涵。在关于《视听表演北京条约》权利转让条款的法理分析上，笔者采用历史研究的方法，对近代以来知识产权保护的路径发展进行了客观梳理和总结。在分析《视听表演北京条约》权利转让条款对我国的启示上笔者运用法律解释学的方法和实证分析的方法，，通过法律解释学方法对我国《著作权法》修改草案进行文本解读与分析，对条款的内容，适用条件等加以阐明。
[Abstract]:The advent of the June Beijing Treaty of audio-visual performance, 2012q, was another landmark in the history of performers' rights protection. A bright spot in the Beijing Treaty of audio-visual performance was a breakthrough in the issue of performers' rights transfer for many years. The tradition of copyright law was a breakthrough. "Performers" in the sense of "performers" are "people who perform literary and artistic works in a variety of ways".1 can not be presented to the public without singers and dancers to show the dance movements. The plot can not be demonstrated vividly. The international community has gradually reached a consensus, the performers play an incomparable role in disseminating the works, so the "performer's right", as a right type in the neighbouring right, has gradually been recognized by various countries' copyright legislation and international treaties.
However, the three major international treaties on the protection of performers' rights < protective performers, audio-visual products producers and broadcasting organizations' international conventions > (Rome International Convention for the Protection ofPerformers, Producers of Phonograms and Broadcasting) (hereinafter referred to as the "Rome Convention"), < trade related knowledge production The Agreement On Trade-relatedAspects of Intellectual Property Right (hereinafter referred to as the "TRIPS agreement") as well as the world intellectual property organization performance and recording Treaty (WIPO Performances and Phonograms) (hereinafter referred to as "WIPO Performances") have not stipulated the "performer's rights" of the audio-visual performers.
Why did the previous international treaties provide no comprehensive protection for performances recorded and transmitted by audio-visual forms? Why the United States and the European community have a fierce interest game on the protection of the rights of audiovisual performers? If there is a lack of clear understanding and understanding of the above issues, the key clauses in the Beijing treaty of audio-visual performance can not be clearly defined. What is the connotation of the meaning and the international obligations that China should undertake after the ratification of the addition treaty. Therefore, it is not only of theoretical value but also of practical significance to study the issue of the transfer of the rights of performers in the Beijing Treaty of audio-visual performance.
In addition to the introduction and conclusion, the paper is divided into four parts, more than 20000 words.
The first part is an introduction to the transfer of performers' rights. It mainly analyzes the object of the transfer of performers, the rights of performers and the transfer rules of performers' rights.
The second part, "the formulation of the performers' rights transfer clause in the Beijing Treaty of audio-visual performance". This part summarizes the provisions of the performers' rights transfer clauses in the international treaties before the signing of the Beijing Treaty of audio-visual performance, and briefly introduces the background and process of the formulation of the Beijing treaty of audio-visual performance.
The third part "the interpretation of the performers' rights transfer clause of the Beijing Treaty of audio-visual performance". In this part, the author borrows the provisions of the common interpretation of the WTO dispute settlement mechanism, the provisions of article 31,32 of the Vienna Convention on the law of the Treaty of treaties, and gives a detailed analysis and explanation of the rights transfer clauses of the performers of the Beijing Treaty of audio-visual performance.
The fourth part is "the Enlightenment of the performer's rights transfer clause to our country". In this part, the author first gives a reasonable reflection on the terms of the performers' rights transfer in the copyright law, and then draws a conclusion that the provisions on the job performance in the revised two draft are in accordance with the Beijing Treaty of audio-visual performance, and the two draft is revised. The transfer of rights in China requires the conclusion of "correction" and the Enlightenment of the right transfer provisions of the Beijing Convention on audio-visual performance to China.
In the study method, this paper mainly uses comparative research methods, historical research methods, legal hermeneutics and empirical research methods. In understanding the concept and basic characteristics of the rights transfer clause in the Beijing Treaty of audio-visual performance, the author makes an objective and comprehensive analysis of the terms and conditions for the transfer of rights of the Treaty of visual and audio-visual performance in Beijing. The relation of other similar clauses correctly understands the connotation of the right transfer clause defined in this article. In the jurisprudential analysis of the Beijing Treaty of audio-visual performance, the author uses the method of historical research to review and summarize the path development of the protection of intellectual property since modern times. In the analysis of the Beijing article of audio-visual performance, the author has analyzed and analyzed the course of the protection of intellectual property rights in modern times. The author uses the method of legal hermeneutics and the method of empirical analysis to enlighten our country by the method of legal hermeneutics and the text interpretation and analysis of the revised draft of copyright law in China through legal hermeneutics, and clarifies the contents and applicable conditions of the terms.

【学位授予单位】：西南政法大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：D923.41

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