区块链技术在版权登记中的创新应用

随着数字版权时代的发展，作品的传播方式变得更加灵活，传播速度也更加迅捷。传统版权登记制度因存在登记成本较高、标准不一、泄露隐私等弊端，在实际应用中面临困境，区块链技术的出现为推动版权登记的适时发展提供了一种新思路。区块链技术应用于版权登记，其去中心化特质可以降低登记成本；分布式共享机制能够统一登记标准；难以篡改的性质能够提高登记的证明效力；弥补了既有版权登记制度的缺陷。同时，区块链技术利用自身特性建立新的版权信任机制，既能清晰地分配版权利益，又能创新传统的版权商业模式，推动版权市场的发展，最大化地利用版权的固有价值。区块链技术在与版权登记相结合的过程中，会出现一些技术上难以解决的问题，既无法对作品的独创性进行准确的判断，也无法发挥版权制度原有的公示力作用。因此，必须创新版权登记规则，加快制定区块链版权平台市场准入机制，并设置统一的监管机构，将区块链锁在版权制度的笼子里，防止出现滥用区块链技术的情形，以最终实现技术和法律的融合发展。     

人工智能生成物的著作权保护路径探析——兼评人工智能生成物著作权第一案

人工智能技术的发展对传统著作权制度带来了显著的冲击。以人工智能生成物著作权第一案为例，通过审视作品构成要件判断标准发现，独创性始终贯彻以人类作者为中心的评价标准，同时，智力成果要件则是认定人工智能生成物构成著作权法意义上作品与否的重要标准。从人类是否实际参与作品的创作过程来看，多数人工智能生成物不构成作品，而保护人工智能生成物的价值追求与邻接权制度的基本理念相适应，且邻接权制度的扩张趋势也为把人工智能生成物纳入其保护范畴创造了机会。建议立法通过扩张邻接权制度的权利内容与客体类型以对人工智能生成物提供必要保护。而在当前阶段，反不正当竞争法可以为人工智能生成物相关利益主体提供一定限度的过渡保护。     

Documentarians,fair use,and free expression: changes in copyright attitudes and actions with access to best practices

This study, based on a survey of 489 documentary filmmakers, is a case study in copyright policy in and through practice. It assesses the changes in documentary production practice around clearance of copyrighted material since the creation of the Documentary Filmmakers' Statement of Best Practices in fair use in 2005. Fair use, an exotic and occasional feature of documentary film in 2004, has become well known and commonly employed. Creative options for filmmakers concerning the use of third-party material have dramatically improved with changes in norms after the issuing of the Statement. Attitudes about fair use are strongly associated with free expression and creative opportunity, and vary with experience. Where filmmakers have changed work because of copyright concerns, they themselves rather than any gatekeeper have made the decision to do so. Where change is associated with fair use, risk is a common concern. Newer filmmakers are more likely to support the use of copyrighted material to make new work, but less likely to know about fair use, and also more likely to have experienced takedowns online. Both education about and experience with fair use appear to have an effect on practice. Filmmakers continue to lack reliable information on the actual risk landscape, and about fair use on digital platforms.     

同人二次创作作品独创性界定

同人二次创作是一种新兴的作品创作方式,其产物即为同人二次创作作品。由于对同人二次创作作品的原创性界定不明,这种新的作品类型始终游走在违法与侵权的边缘,既不利于产业的发展,也无法体现著作权法立法的本意。对同人二次创作作品的的独创性界定标准进行研究,试图从界定标准适用的意义、应当遵循的基本原则、界定标准的内容对同人二次创作作品的独创性标准进行界定,并加以规范。     

我国互联网市场不正当竞争规制制度的创新——以中国网络视频反盗版联盟诉百度为例

我国互联网市场是目前急需规范的领域,大量不正当竞争行为在互联网市场出现,严重扰乱了互联网市场的秩序,其中互联网版权不正当竞争是典型表现之一。规制互联网市场的不正当竞争行为,创新互联网市场不正当竞争规制制度,不仅应认清现今规制所处的困境,规制之缺陷,还需在规制理念上进行完善,从而进一步建构我国互联网市场不正当竞争之规制制度。     

The politics of the Digital Single Market: culture vs. competition vs. copyright

This paper examines the implications for European music culture of the European Union’s (EU) Digital Single Market strategy. It focuses on the regulatory framework being created for the management of copyright policy, and in particular the role played by collective management organisations (CMOs or collecting societies). One of the many new opportunities created by digitalisation has been the music streaming services. These depend on consumers being able to access music wherever they are, but such a system runs counter to the management of rights on a national basis and through collecting organisations which act as monopolies within their own territories. The result has been ‘geo-blocking’. The EU has attempted to resolve this problem in a variety of ways, most recently in a Directive designed to reform the CMOs. In this paper, we document these various efforts, showing them to be motivated by a deep-seated and persisting belief in the capacity of ‘competition’ to resolve problems that, we argue, actually lie elsewhere – in copyright policy itself. The result is that the EU’s intervention fails to address its core concern and threatens the diversity of European music culture by rewarding those who are already commercially successful.     

著作权法定许可使用费制度的完善

著作权法定许可使用费制度是知识产权保护制度构建的重要组成部分。针对中国法律法规对著作权法定许可使用费制度规定的不明确状态,从实际运用的角度对整个法定许可使用费制度进行了剖析,分别在使用费的收转机构、收取标准、支付期限、法律责任四个方面上提出了相应建议。     

卡通角色的版权保护初探

卡通角色常被他人进行商业性使用,而权利人的权利却常常得不到保护。我国运用版权法、商标法、专利法、反不正当竞争法等法律制度对卡通角色进行保护,但著作权法未作出规定。基于卡通角色属于动漫作品的一部分,版权法对卡通角色的保护更为有利。一部动漫作品中存在有多个卡通角色,可以获得版权法保护的卡通角色应当具有独创性和可版权性两个标准。     

数字水印技术在版权保护中的应用

阐述了数字水印技术的概念和原理,通过数字水印技术与传统的版权保护技术的对比说明了数字水印技术的特性和优点,同时给出了数字水印技术在不同的数字出版物中的应用,重点介绍了数字水印技术在音频作品中的应用,并给出了一种音频数字水印的算法。     

论出版合同履行中版权瑕疵的类型及其法律责任

版权瑕疵是指作为出版合同客体的作品存在侵犯他人权利或附有他人的权利负担的不圆满状态。司法实务中的版权瑕疵主要包括作品侵犯他人人格权、作品侵犯他人著作权、权利过期、重复许可和违反国家利益及社会公共利益等类型。在出版合同履行过程中,若版权存在以上瑕疵,出版者可以通过行使同时履行抗辩权、减价、要求著作权人补充履行、依法解除合同或请求损害赔偿等方式进行救济。