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題 名 | 數位取樣之著作權問題=Copyright Issues of Digital Sampling |
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作 者 | 林昱梅; | 書刊名 | 興大法學 |
卷 期 | 4 2008.11[民97.11] |
頁 次 | 頁129-192 |
分類號 | 588.34 |
關鍵詞 | 數位取樣; 著作權; 微量準則; 明確界線規則; 後現代藝術; Digital sampling; Copyright; De minimis doctrine; Bright-line rule; Postmodern art; |
語 文 | 中文(Chinese) |
中文摘要 | 數位取樣在今日相當廣泛地被利用。取樣者常利用所取樣的錄音以製成新的音樂,特別是饒舌歌或嘻哈音樂。有評論者認為數位取樣是已發展的藝術,有其發展歷史。因此數位取樣可歸類為後現代藝術的聲音拼貼。有些人則認為數位取樣是竊盜行為。數位取樣的增加迫使著作權法必須釐清利用他人有著作權錄音的行為是否侵害著作財產權。 本論文將探討數位取樣的法律議題,且集中在數位取樣是否侵權或構成合理使用的議題上。相關的問題例如原創性、著作種類及授權也將會一併分析。同時也將介紹美國聯邦巡迴上訴法院的相關判決,包含微量準則及明確界線規則。但著作人格權的部分不予討論。最後本論文將提出解決數位取樣著作權問題之若干建議。 |
英文摘要 | The Practice of digital sampling is now widespread. Samplers often use the sampled sound recording to produce new music, especially rap songs or hip hop music. Some commentators believe that digital sampling is a developed art with distinct history. Thus, digital sampling can be classified as sound collage in postmodern art. Some argue that digital sampling is nothing else but theft. The increase of digital sampling has forced copy-right law to specify whether using small portions of a copyrighted sound recording infringes on the exclusive rights of the owner. This article explores the legal implications of digital sampling and focuses on the issues whether digital sampling amounts to copyright infringement or constitutes fair use. Related issues such as originality, categories of works and license will be also analyzed. The decisions of US circuit courts will be also introduced, including the de minimis doctrine and bright-line rule. But the moral rights will not be discussed. Finally this article will provide several suggestions for solving the copyright problems of digital sampling. |
本系統中英文摘要資訊取自各篇刊載內容。