視聽著作議題:以戲謔仿作為核心

Abstract

著作權旨在保障人民的創作自由與創作權益，在原著作權人與後繼的創作者之間取得平衡。本文所聚焦之視聽著作為21世紀對各國產業、經濟最具有影響力之著作類型之一，在介紹視聽著作的製作過程、觀察視聽著作的方法後，遂進入視聽著作常見議題—思想與表達分離原則、必要場景原則、以及戲謔仿作議題，藉由上述三主題以及戲謔仿作所隸屬的合理使用法則之下，我們得以釐清視聽著作的龐大內容中，得以獨立受著作權保護的創作元素，以及視聽著作創作元素中無法獨立成為著作的客體，正因為知識或是創作皆必須奠基於前人的發現與累積，合理使用制度必須發揮使後繼創作者就一定的風格、作品內容發揮其創意，呈現出新穎的表達。

有鑑於我國並無豐富的視聽著作或是戲謔仿作判決，因此本文就娛樂產業發達的美國作為比較法討論焦點，以美國法院判決探討電影、廣告影片之戲謔仿作案件，以及網路上眾多的混和影片案件，在本章結論綜合出視聽著作戲謔仿作特殊之處。而在本文的尾聲，也會提出本文就將來發生視聽著作的戲謔仿作案件，我國法院得依據現行法制，如何進行審理的建議。

Copyright regime aims to protect the freedom of creativity and the interests of authors by means of striking a balance between copyright holders and subsequent creators. This thesis focuses on audiovisual works, which are crucial to industries and economies across various countries in the 21st century. Firstly, this article introduces the production as well as the analysis of audiovisual works, and then addresses three common issues of copyright law, namely idea-expression dichotomy, scènes à faire, and parody. Through these three subjects and the “fair use doctrine” under which parody applies, we seek to delineate what aspects with an audiovisual work are copyrightable, together with the elements which cannot be copyrightable. Due to the necessity for knowledge and creativity to develop on the basis of previous works or innovations, the fair use doctrine is essential for enabling subsequent creators to produce brand new expressions with the intellectual resources.

There is limited jurisprudence with regard to audiovisual works or parody in Taiwanese courts. Hence, this article builds its argument on U.S. copyright law, where parody in motion pictures, commercial clips, as well as remix videos have been extensively litigated. By examining these cases from the U.S., this thesis identifies the distinctions of audiovisual works under parody compared to other types of works. Finally, this article proposes how Taiwanese courts may judge parody cases involving audiovisual works under our existing copyright framework.