이 논문은 연극저작물의 저작권법적 개념에 관하여 미국과 우리나라의 경우를 중심으로 고찰하였다. 뮤지컬을 중심으로 공연예술시장이 커져감에 따라 연극저작물의 저작권법적 개념을 원론적으로 고찰함으로써 그 명확한 저작자 및 소유관계를 규명하는데 기초적 이론을 제공하고자 한다.
특별히 법원에서 연극저작물은 결합저작물이라는 일관된 입장을 보이고 있는데, 이에 따라 법상 저작자가 아닌 연출자의 창작을 소외시켜버리게 되는, 현행 ‘결합저작물’이라는 개념이 갖고 있는 불충분함을 지적하고자 한다. 또한 연극저작물의 실체와 그에 합당한 용어의 정립에 있어서 영어표기와 더불어 통일된 기준을 마련하여 그 지칭하는 대상을 명확히 하고자 한다.
결국 논문에서 강조하고 싶은 것은 법원에서 결합저작물이라는 고정된 시각을 버리고 유동적으로 경우마다 고찰해주었으면 하는 바람이다.
이 논문은 연극저작물의 저작권법적 개념에 관하여 미국과 우리나라의 경우를 중심으로 고찰하였다. 뮤지컬을 중심으로 공연예술시장이 커져감에 따라 연극저작물의 저작권법적 개념을 원론적으로 고찰함으로써 그 명확한 저작자 및 소유관계를 규명하는데 기초적 이론을 제공하고자 한다.
특별히 법원에서 연극저작물은 결합저작물이라는 일관된 입장을 보이고 있는데, 이에 따라 법상 저작자가 아닌 연출자의 창작을 소외시켜버리게 되는, 현행 ‘결합저작물’이라는 개념이 갖고 있는 불충분함을 지적하고자 한다. 또한 연극저작물의 실체와 그에 합당한 용어의 정립에 있어서 영어표기와 더불어 통일된 기준을 마련하여 그 지칭하는 대상을 명확히 하고자 한다.
결국 논문에서 강조하고 싶은 것은 법원에서 결합저작물이라는 고정된 시각을 버리고 유동적으로 경우마다 고찰해주었으면 하는 바람이다.
This study researches copyright statutory definitions of dramatic works of both America and this country. In the case of America, the terminology ‘dramatico-musical composition’ was made in 1909, and has changed into ‘dramatic works’ in 1976. It includes any accompanying music. Pantomimes and choreo...
This study researches copyright statutory definitions of dramatic works of both America and this country. In the case of America, the terminology ‘dramatico-musical composition’ was made in 1909, and has changed into ‘dramatic works’ in 1976. It includes any accompanying music. Pantomimes and choreographic works have become independent subject matter since 1976. In America, the two essential elements for a dramatic composition are ① The substantial portion of the story should be provided by action of real actors. (Dialogue is not important elements.) ② There should be a story(a thread of consecutively related events). Also, the statutory class of dramatic works overlaps four other statutory classes of works. In this country, dramatic(theatrical) works include pantomimes and choreographic works, and mean the works made of choreograph or actionㆍmovements. There is a essential point that the authors of dramatic works are performers. Furthermore, this courts has a consistent view about dramatic works which are combined works(결합저작물). This point has a few problems. In comparison between America and this country, we don’t devide dramatic works and choreographic works. While we regard musical theatre as combined works, They regard musical theatre as collective works in America. However, musical melody and scripts are copyright protected respectively in both countries. The expression of action is essential when we make the definition of dramatic works. They set forth conditions for copyrightable material that must be fixed in a tangible form in America. In our case, dramatic works need to record in a tangible media so that we could strengthen copyright protection for dramatic works. In conclusion, terminology of dramatic works has confusion and dissatisfaction recently, I want to propose redefinition and re-meaning of translation for dramatic works.
This study researches copyright statutory definitions of dramatic works of both America and this country. In the case of America, the terminology ‘dramatico-musical composition’ was made in 1909, and has changed into ‘dramatic works’ in 1976. It includes any accompanying music. Pantomimes and choreographic works have become independent subject matter since 1976. In America, the two essential elements for a dramatic composition are ① The substantial portion of the story should be provided by action of real actors. (Dialogue is not important elements.) ② There should be a story(a thread of consecutively related events). Also, the statutory class of dramatic works overlaps four other statutory classes of works. In this country, dramatic(theatrical) works include pantomimes and choreographic works, and mean the works made of choreograph or actionㆍmovements. There is a essential point that the authors of dramatic works are performers. Furthermore, this courts has a consistent view about dramatic works which are combined works(결합저작물). This point has a few problems. In comparison between America and this country, we don’t devide dramatic works and choreographic works. While we regard musical theatre as combined works, They regard musical theatre as collective works in America. However, musical melody and scripts are copyright protected respectively in both countries. The expression of action is essential when we make the definition of dramatic works. They set forth conditions for copyrightable material that must be fixed in a tangible form in America. In our case, dramatic works need to record in a tangible media so that we could strengthen copyright protection for dramatic works. In conclusion, terminology of dramatic works has confusion and dissatisfaction recently, I want to propose redefinition and re-meaning of translation for dramatic works.
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