摘要
表演权的产生,打破了传统著作权法中复制权一统天下的局面,著作权制度被引入新的公共演出市场和演绎市场。随着公共播放市场的兴盛,表演权制度不断扩张,机械表演权、广播权等相继产生。表演权的扩张,本质上是将作品的无形再现行为纳入到著作权保护范围,体现出对著作权人合法权益的维护。我国《著作权法》第53条是关于复制品的合法来源之辩,鉴于该条的自身特点及表演权的扩张本质质,《著作权法》的这一规定宜修改为授权形式合法之辩,以扩大适用于表演行为。
The generation of performance right broke the situation that the copy right in the traditional Copyright Law dominated the whole world, so the copyright system was introduced into performance market and deduction market. With the flourish of public broadcasting market, performance right expanded gradually, and indirect performance right, broadcast right and oth- er new rights were born. The expansion of performance right essentially helped authors control the intangible use of their works as to protect the authors＇ profits. The aim of Article 53 in our Copyright Law is to protect sellers from being charged when they can prove the source of the copies is legal. In view of its characteristic and the essence of performance right ex- pansion, Article 53 should be modified to protect users from being sued when they can prove their authorization is legal in form. Only by this means can Article 53 be applied to the performance behavior.
出处
《企业经济》
北大核心
2014年第10期185-188,共4页
Enterprise Economy
基金
江西省社会科学"十一五"规划项目"演绎作品著作权保护研究"(批准号:10FX35)
江西省高校人文社会科学研究2011年度规划基金项目"高校名称的知识产权保护研究"(批准号:FX1122)
关键词
表演权
扩张
反思
performance right
expansion
introspection
作者简介
孙玉芸，南昌大学立法研究中心研究员、南昌大学法学院讲师，博士，研究方向为知识产权法；（江西南昌330031）
孙玉华，江西省樟树市淦阳街道办事处东村小学教师，研究方向为经济法。（江西樟树331200）
