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首页> 外文学位 >Artist's rights versus copyright owner's rights: Conflict resolution when the logic of intellectual property law is articulated with motion picture production, a collaborative mode of production.
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Artist's rights versus copyright owner's rights: Conflict resolution when the logic of intellectual property law is articulated with motion picture production, a collaborative mode of production.

机译：艺术家的权利与版权所有者的权利：通过电影作品的生产（一种合作的生产方式）阐明知识产权法的逻辑时的冲突解决。

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摘要

This abstract describes a case-study research project that investigates methods of conflict resolution between artists and copyright owners over artist rights issues in the production and distribution of Motion Pictures by Hollywood Studios. The principal research methodology the project uses is the historical method. In order to more fully understand the history of conflicts involving artist's rights the project traces concepts of intellectual property from conjectured pre-historic beginnings through recorded history to the present era. The research suggests that the current Anglo-American Intellectual Property Law is based on the romantic notion of the individual author and the individual copyright owner. As an incentive to cultural production Copyright law grants the individual author both an author's moral rights and an owner's property rights in his or her cultural production. The financing of a Hollywood Motion Picture generally requires that the cultural production be owned by a corporate owner instead of its artist creator. This research finds that the interests of the two parties often don't coincide. Thus conflicts arise between artist creators and the corporate copyright owner. The research is based on the view that culture is socially constructed. The research is also informed by three other principal theoretical bases. The first is a theory of articulation. The second is Gramsci's theory of hegemony which suggests that a dominant group exercises power over another group by shaping the world-view of that group with a particular ideology (in this case the ideology inherent in intellectual property law). The third theoretical basis of this research is the theory of intertextuality which suggests that artists in constructing motion pictures must refer directly or indirectly to other motion pictures and to other texts or meaning systems. This theory-building research explores the broad research question "how are conflicts resolved between artists and copyright owners surrounding the issue of artist's rights?" The research suggests that the "author" ideology inherent in intellectual property law is used as a hegemonic discourse to resolve conflicts in favor of the commercial interests of dominant corporate intellectual property rights holders in preference to the rights of artists and the information-seeking public.
机译：此摘要描述了一个案例研究研究项目，该项目研究好莱坞电影公司制作和发行电影时，艺术家与版权所有者之间关于艺术家权利问题的冲突解决方法。该项目使用的主要研究方法是历史方法。为了更充分地了解涉及艺术家权利的冲突的历史，该项目追溯了从推测的史前时期到记录的历史到当今时代的知识产权概念。研究表明，当前的英美知识产权法是基于个人作者和个人版权拥有者的浪漫观念。作为对文化生产的激励，著作权法授予个人作者其文化生产中的精神权利和所有者财产权。好莱坞电影的融资通常要求文化产品归公司所有人所有，而不是其艺术家创作者所有。这项研究发现，两党的利益往往不一致。因此，艺术家创作者和公司版权拥有者之间会发生冲突。该研究基于文化是社会建构的观点。其他三个主要的理论基础也为这项研究提供了信息。第一个是发音理论。第二种是葛兰西的霸权理论，该理论认为，一个统治群体通过以一种特定的意识形态（在这种情况下是知识产权法固有的意识形态）来塑造该群体的世界观，从而对该群体行使权力。这项研究的第三个理论基础是互文性理论，该理论建议艺术家在构造电影时必须直接或间接地引用其他电影以及其他文本或含义系统。这项理论构建研究探讨了广泛的研究问题：“艺术家与版权所有者之间围绕艺术家权利问题的冲突如何解决？”研究表明，知识产权法中固有的“作者”意识形态被用作霸权话语，以解决冲突，有利于占主导地位的公司知识产权持有人的商业利益，而不是艺术家和寻求信息的公众的权利。

著录项

  • 作者

    Larsen, Randall U.;

  • 作者单位

    University of Hawai'i at Manoa.;

  • 授予单位 University of Hawai'i at Manoa.;
  • 学科 Information Science.; Law.
  • 学位 Ph.D.
  • 年度 2005
  • 页码 261 p.
  • 总页数 261
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 信息与知识传播;法律;
  • 关键词

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