%0 Journal Article
%T 浅析域外法系视听作品著作权权属规范对我国立法的启示<br>A Brief Analysis of the Enlightenment of the Copyright Ownership Norms of Audiovisual Works in Extraterritorial Legal Systems to China’s Legislation
%A 董雅文
%A 刘秀红
%J Open Journal of Legal Science
%P 4549-4554
%@ 2329-7379
%D 2024
%I Hans Publishing
%R 10.12677/ojls.2024.127649
%X 当今世界现行的作品保护制度基本可以划分为版权法体系和作者权体系。两者的都是立法者试图平衡视听作品中各价值要素以合理配置各利益主体的权利与义务而产生的制度体系。版权法体系主要起源于英国，大多被英美法系国家采纳；作者权体系主要起源于德国与法国，大多被大陆法系国家采纳。近年来两大法系在传统作品保护制度的方面的差异性逐步缩小，但关于视听作品著作权归属模式方面仍存在较大的区别。2020年我国新修订的《著作权法》更新了“视听作品”保护的相关内容，本文探究域外两大法系视听作品著作权归属立法，厘清他们的保护重心和立法逻辑，有利于完善我国视听作品著作权权属的相关规范。<br />
The current work protection system in the world today can be basically divided into copyright law system and authorship rights system. Both are institutional systems produced by legislators trying to balance the various value elements in audiovisual works and rationally allocate the rights and obligations of various stakeholders. The copyright law system originated mainly in the United Kingdom and was mostly adopted by common law countries, while the author’s rights system originated mainly in Germany and France, and was mostly adopted by civil law countries. In recent years, the differences between the two legal systems in terms of the traditional protection system of works have gradually narrowed, but there are still major differences in the mode of copyright ownership of audiovisual works. In 2020, China’s newly revised Copyright Law updated the relevant content of the protection of “audiovisual works”, and this article explores the legislation on the ownership of copyright of audiovisual works in the two major foreign legal systems, clarifies their protection focus and legislative logic, and is conducive to improving the relevant norms of copyright ownership of audiovisual works in China.
%K 知识产权，著作权法，视听作品著作权<br>Intellectual Property
%K Copyright Law
%K Copyright of Audiovisual Works
%U http://www.hanspub.org/journal/PaperInformation.aspx?PaperID=92044