魔术表演的立法保护研究

发布时间：2018-05-25 14:46

本文选题：魔术表演 + 作品　；参考：《华东政法大学》2014年硕士论文

【摘要】：狼蛛案——原告Yigal Messika诉被告北京爵克文化发展有限公司和杨琦一案是我国首例以判决方式结案的魔术作品著作权纠纷案，同时也是2012年度全国知识产权典型案例，对国内的魔术保护产生了重大的影响。将杂技作为作品给予著作权法保护，是《中华人民共和国著作权法》（以下简称“《著作权法》”）的特色，世界上少有国家采用此种模式。一般情况下魔术的确符合作品的定义：独创性、能以有形形式复制、智力成果。但是将魔术定义为作品加以保护，《著作权法》保护的应当是魔术表演中呈现给观众的外在的形态、姿势等，而这些形态又与音乐、舞蹈等重叠，具有独创性的音乐和舞蹈本身就受我国《著作权法》保护。而那些无法被感知的，包括隐藏在装置后面的技巧和动作以及魔术表演的原理，却都不能构成《著作权法》保护的客体。因此《著作权法》这样简单的规定并没有可操作性，无法从实践层面对魔术表演进行保护。本文将通过三个部分来厘清我国关于魔术的相关规定、这样规定的利弊，与国际条约、外国法相关的规定作比较，最后对我国相关的立法作出建议。第一部分，笔者首先通过2012年我国首个以判决形式结案的魔术作品侵权案——狼蛛案为切入点，从我国《著作权法》及《著作权法实施条例》关于魔术的规定为切入点，窥探立法者的原意，分析魔术的含义与法律保护魔术的范围，并从表演者的角度对魔术师的权利进行分析，从而得出魔术及魔术师在我国法律体系中的定位。第二部分，笔者通过《罗马条约》、《世界知识产权组织表演和录音制品条约》、日本著作权法、法国著作权法等国际条约和外国法中关于魔术师的规定来分析各国及国际上对于表演者的规定，从各国的规定中寻找共同点，，与我国现行的法律制度进行比较，为我国相关立法作出参考。第三部分，对我国《著作权法》提出了修改意见，建议将魔术等杂技艺术去除在作品范围之外，赋予魔术师等表演者地位。只要是发生在艺术、文学领域内具有艺术性质的表演，这些表演非文学、艺术作品的人都应当视为表演者，从而通过完善我国表演者的制度来对魔术师的表演进行保护。另外，借助其它法律制度来弥补著作权法无法保护到的地方：借用专利制度来保护实用性较强的魔术道具；通过对道具说明书的保护间接保护魔术道具；借用商业秘密制度来保护魔术原理等等。第三部分试图通过对现有著作权法的修正以及借助其他相关法律制度来对魔术表演建立一套完整、周全的保护体系。本文的主要创新点：一、国内对于魔术的相关案件少之又少，通过国内首例以判决形式结案的魔术作品纠纷案为切入点研究国内外关于魔术的立法规定；二、厘清魔术与魔术作品的区别，通过对表演者范围的扩大来解决魔术作品与魔术表演概念混淆的问题；三、借助相关法律制度建立一个全面的保护魔术表演的体系。
[Abstract]:It is the first case of copyright law in China . It is also a typical case of intellectual property rights in 2012 . It is also a typical case of intellectual property rights in 2012 .

In the first part , the author first analyzes the meaning of the magic and the scope of the law to protect the rights of the magician from the perspective of the performer , and then obtains the position of the magician and the magician in our country ' s legal system .

In the second part , the author analyzes the provisions of the magician in international treaties and foreign laws , such as the treaties of the Rome Treaty , the World Intellectual Property Organization ( WIPO ) , the Japanese Copyright Law , the French Copyright Law and other international treaties and foreign law , and looks for common points from the rules of the countries and makes a comparison with the existing legal system in our country and makes a reference for the relevant legislation in our country .

In the third part , the author puts forward the amendment to the copyright law of China , and proposes to remove the acrobatic art such as magic from the scope of the work , to give the magician the performer status . As long as it takes place in the field of art and literature , these performances should be regarded as performers , so as to protect the magician ' s performance by perfecting the system of the performer .
indirectly protecting the magic props through the protection of the props ;
The third part attempts to establish a complete and comprehensive protection system for the magic show through the amendment to the existing copyright law and the use of other relevant legal systems .

The main innovation points in this paper are as follows : Firstly , there are few relevant cases of magic in China , and the legislation of magic is researched at home and abroad through the first case of magic works in the form of judgement .
2 . To clarify the difference between magic and magic works , and to solve the confusion of magic works and magic show concepts through the expansion of the performer ' s scope ;
III . Establish a comprehensive system for the protection of magic shows with the help of the relevant legal system .
【学位授予单位】：华东政法大学
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：D923.41

【参考文献】