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電影產業智慧財產權管理研究-從製片觀點分析詹婷怡 Unknown Date (has links)
從知識經濟到創意經濟,我們看到一個新的產業典範來臨,主導現階段經濟發展的正是創意,並且能不斷生成、運用、及永續發展。
創意經濟時代,創意產業以智慧財產權為核心,是文化與商業的結合,要真正形成產業,進而產生效益並創造產值,在產業價值鏈的建構、智慧財產的創造、保護、流通與運用等面向,需要進一步探討與落實。
電影產業是創意產業的火車頭,是十分複雜的綜合體,談到電影,一般人應該是直接想到好萊塢,最近幾年,印度寶萊塢與韓流可能也映入腦中,後臥虎藏龍時代,華語電影則迅速竄起,吸引各界目光。
惟典型的關於電影討論與研究,多集中於電影發展的歷史、電影類型、電影風格、電影導演或演員的藝術成就、以及電影市場展介紹等。
電影創造的過程是最複雜的創意管理,電影的保護、流通與運用的過程,更是最複雜的智慧財產權管理,透過電影產業價值鏈當中契約交易過程,將可作為經濟財的智慧財產權的價值極大化,並經由多元管道及平台重複運用,是一項繁複的產業化的跨領域整合。
近年來,我國開始逐漸重視智慧財產相關理論研究與實務運作,惟相當程度仍侷限於所謂高科技產業的適用,就型態、內涵、及營運模式迥異的創意產業,由於其本身具有不同邏輯的產業特性,是否或如何適用,或是如何創新,相關研究仍屬缺乏。
從智慧財產權的創造、保護、流通與運用的角度,深入探究創意產業當中的電影產業,必須先了解電影產業的發展歷史、現況、與趨勢,並應同時針對產業特性以及產業價值鏈進行分析,才能夠清楚探討電影產業的智慧財產權管理相關議題。
對於高度變動性、內部價值鍊密切結合、混合複雜的創意團隊或個人的電影產業,實則是由各類型的契約組成,因此,透過交易契約內容之審視,將是分析及了解現代化電影產業結構及發展的重要切入面向之一,也才能真正活化電影產業並促進發展。
具有現代商業概念及操作的管理機制,在電影產業中已經同等重要,這項具有創意性的管理,即是由電影製片所擔綱,電影製片就如同一位新創事業的創業家,要致力於如何將促成一部成功電影的所有必要元素統籌成一份專案事業計畫,促成投資者投資,籌募足夠資金,並協調創意人完成電影專案並推向市場。
面對文化與藝術的體驗性、創意工作者對其作品的高度重視性、創作的不可確定性、成本的變動性、消費者及市場的不可預測性等,本研究從經濟運作及市場交易法則切入,探討電影產業背景、發展趨勢、產業價值鏈、與產業特性,並以製片觀點,分析電影產業的智慧財產權管理與相關實務契約,將商業及管理概念導入文化創意產業當中,以形成具體的產業發展典型。
文末並提出研究與研究建議。
以創意產業中相對複雜的電影產業作為研究對象,本研究希望除了促成並強化電影產業本身商業與藝術結合的健全發展之外,也期望可以作為其他創意產業領域發展的重要典範。
尤其是,創意產業由於具有無體性特質及外溢效果,在流通與應用本即具有多元化面向與特質,不能以傳統意義上的單一產業視之,而是藉由跨越多個產業多樣平台的價值實現過程,將相關產業連結在一起,包括動畫電影、影視與數位內容、數位影音、數位典藏、行動應用、表演藝術、流行音樂、品牌授權、甚至文化創意園區發展、閒置空間再造、文化觀光、城市及國家行銷等,將是跨越領域與界線的融合。 / In the transition from a Knowledge-Based Economy to a Creative Economy, we see the advent of a new industry mode. What dominates present-day economic development is Creativity, which is able to be regenerated, applied and developed in a sustainable fashion.
In the age of the creative economy, the creative industries are centered on intellectual property rights, and are a union of culture, art and commerce. In order for them to become real industries, generate profit and create output value, we need to further explore the establishment of an industry value chain, and create, protect, circulate and apply related intellectual property.
The film industry is the driving force of all creative industries. Film is an extremely complicated synthesis. The process of making a film involves the most sophisticated creativity management expertise, while the process of protecting, circulating and utilizing a film requires the most complex intellectual property right management skills. Through the contract negotiation process within the film industry’s value chain, the value of intellectual property rights as economic goods are maximized. With multiple channels and repeated use of application platforms, film-making is a complex multidisciplinary integration process.
In recent years, Taiwan has begun to pay more attention to the study of the theory and practice of intellectual property. However, this study has so far been limited to applications of the high-tech industries. With regards to the creative industries, whose forms, contents and operating modes are rather different from those of the high-tech industries, little study has been conducted due to their different industry characteristics.
To investigate the film industry from the angle of creating, protecting, circulating and applying intellectual property rights, one needs to first understand the history, current status and trends of the film industry as well as analyze the industry’s characteristics and value chain before investigating issues concerning management of the industry’s intellectual property rights and revitalization of the industry.
Modern-day business concepts and management mechanisms are equally important to the film industry. The producer is charged with this creative management task. The producer is like the entrepreneur of a newly established business, who endeavors to turn all the elements a successful film contains into a business plan, raise sufficient funds and coordinate efforts to complete the film and release it.
From economic and market perspectives, this study examines the film industry’s historical background, trends, value chain and characteristics. In addition, from the producer’s viewpoint, the study analyzes the industry’s management of intellectual property rights and contracts, and introduces business and management concepts into creative industries in order to form a concrete industry development model. At the end of the study, it puts forward its research findings and suggestions for future research.
With the film industry, a relatively complicated industry within the creative industries, as the subject, the study hopes to promote integration of commercial and artistic aspects, as well as aspiring to set an example for other creative industries.
As a result of their intangible nature and spillover effects, the circulation and application of creative industries possess diverse facets and qualities and therefore cannot be viewed as a single industry from a traditional perspective. Rather, through a value realization process spanning several industries and a variety of platforms, relevant industries that include animated features, visual and digital content, digital videos, digital archives, mobile applications, performing arts, popular music, and brand authorization are linked. Creative industries even include development of cultural parks, rejuvenation of disused spaces, cultural tourism, and city and national marketing. They are a fusion of different fields and boundaries.
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時裝設計產業智慧財產保護之研究 / A study on the intellectual property rights in apparel design industry古詩苹 Unknown Date (has links)
快速時尚為目前服飾零售業的主流經營理念,快速時尚服飾零售業者自時裝週伸展台上的華服汲取靈感,透過對供應鏈的設計與改良,縮短產品自設計、生產到上架的時間,販售高度客製化的流行服飾產品。同時,隨著網路購物市場持續膨脹發展,網路購物模式不斷新生,如團體合購與代買、代下標、連線等突破跨國購物障礙的中介服務。快速時尚的即時生產概念與暢通的網路通路,彷彿仿製時裝的雙翼,使之如蒲公英的種子般輕盈地飄落全球、遍地開花。
在仿製時裝的態樣及規模皆與過往顯著不同的當下,智慧財產權相關法律制度是否賦予原創時裝設計師保障?在專利權與商標權方面,由於時裝設計的流行性本質與新式樣專利之創作性要件有所矛盾,亦不易符合立體商標之識別性要件,且專利權與商標權須申請註冊獲核准始受保護,設計師得花費大量時間、費用及作業勞力成本,所費不貲,設計師與欲藉該二種智慧財產權維護其權益,既有難度也不適合。而在著作權方面,本研究一一檢視著作權取得要件後,則認為時裝設計為得受現行著作權法保護之客體,且不限於平面形式之時裝設計圖,立體形式同受保護,原創時裝設計師得依該法主張權利。
我國司法實務見解及近期行政函示亦肯定時裝設計受著作權法之保護,認定抄襲改作屬侵害他人時裝設計作品著作權之行為,就此本研究擇我國時裝設計侵權訴訟中的代表性案例,分析法院判決理由。本研究另挑選美國最新時裝設計侵權訴訟二案,進行個案分析,自該二案例顯見於法律並未明文保護時裝設計之情況下,訴訟並非有效對抗仿製時裝之手段。
最後,本研究以產業分析、法律分析及個案分析之研究結果為基礎,分別對政府與企業經營者提供建議:政府應釐清時裝設計產業政策走向,選擇較適我國之快速時尚服飾零售業扶植之,繼而朝有利發展快速時尚服飾零售業之方向解釋著作權法;我國快速時尚服飾零售業者應穩固基礎建設、善用網路通路,前進大中華市場;我國原創時裝設計師則應注意各國法制動態,提升商品與服務品質,並把握利用侵權訴訟宣傳行銷品牌之機會。
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