第十讲电视节目版式的保护与不正当竞争

,*,*,单击此处编辑母版标题样式,单击此处编辑母版文本样式,第二级,第三级,第四级,第五级,第十讲,电视节目版式的保护与不正当竞争,1,一、电视节目版式的内涵和外延,二、电视节目版式的著作权保护,三、电视节目版式的专利权保护,四、电视节目版式的不正当竞争保护,五、电视节目版式引进与文化垄断,2,一、电视节目版式的内涵和外延,电视节目可分为四大类：,-,新闻类节目,-,娱乐类节目（包括电视剧、电影和戏剧）,-,教育类节目,-,服务类节目,3,一、电视节目版式的内涵和外延,狭义电视节目模式：,电视节目模式是指电视节目的构成样式，包括编排方式、规则设计、环节安排、参与人员范围、主持风格、背景布置、独特的音乐或口号的使用等一整套节目构思和策划创意。,4,一、电视节目版式的内涵和外延,目前，世界上还没有任何一个国家明确地将电视节目模式列入受保护的作品范畴，也没有任何一部知识产权国际公约明文规定对其予以保护。在司法领域，也很少有判例支持涉诉的电视节目模式能够获得版权保护。,5,”If content is king, then rights are regal.”,-,Paul Gilbert,FRAPA,（the Format Recognition and Protection Association）,Steering Committee Member,VP International Program Development & Format Sales,Sony Pictures Television International,6,一、电视节目版式的内涵和外延,200,0,年,4,月，在法国戛纳成立了欧洲第一个电视节目版式版权协会,FRAPA,（the Format Recognition and Protection Association）,，旨在促进电视播出机构、电视制作公司和节目销售公司对节目版式的认可和保护。,7,The 2008 winning formats were:,Best game show: The Encounter by Sera Film Services (Turkey),Best scripted format: El Cartel by Caracol TV (Columbia),Best competition reality show: Make It Short by Distraction (Canada),8,The 2008 winning formats were:,Best factual entertainment show: Born To Be Wild by Zodiak (Scandinavia),Best future media format: The Cell by Endemol (UK) for O2/C,Best sketch comedy: Headcases by ITV Global Entertainment (UK),The IFA Gold Medal: Stephan Leahy and Trish Kinane,9,二、电视节目版式的著作权保护,1、节目版式著作权保护的障碍：,思想与表达二分原则,节目模式中的一些元素可以通过现行著作权法单独予以保护，比如节目的策划文案可作为文学作品保护，节目中使用的音乐可作为音乐作品保护，节目的背景布置可作为美术作品保护，而节目模式作为一个整体，则处于思想与表达之间的模糊地带。,10,二、电视节目版式的著作权保护,“,on the facts of this case there could be no copyright in an idea, and they established that there could be no copyright in the format of this game-show.,“,-,Green v Broadcasting Corporation of New Zealand,11,二、电视节目版式的著作权保护,“,there was no copyright in an idea, and that on the facts of that case there were no format rights in a television programme.,“,- CBC v ABC (2003,12,“Endemol Wins Copyright Protection for Big Brother in Brazil”,“,Television programme format, in the sense employed by the television business media, is a much wider concept that does not only include the central idea of the programme but also encompasses an extensive group of technical, artistic, economical, business . information. The format of television programmes is not just the idea of the programme, it is the idea and much more.,“,13,“Endemol Wins Copyright Protection for Big Brother in Brazil”,is not limited to spying on people locked up in a house for a certain period of time; it contemplates a programme with a beginning, middle and end, with meticulous description, not only of the atmosphere in which the people will live for a certain period of time but also the places where cameras are positioned. The format consists of details such as the use of microphones tied to the participants bodies, linked 24 hours a day, music styles, the form through which the participants will have contact with the external world, activities, among others. The images and audio situations captured for hundreds of thousands of people through the daily inserts in the programming of the television services and through the Internet with the consequent commercial exploitation is also a unique characteristic of the format.,14,二、电视节目版式的著作权保护,Italian courts have more consistently recognised the statements made in the decision of the Court of Monza, namely that a TV format can be protected when certain requirements are met.,In particular the courts have held that:,a),the format must be detailed and have some limited degree of originality;,b),the,format must provide sufficient elements to characterize in a definitive way the nature and developments of the events.,15,二、电视节目版式的著作权保护,Italys Copyright Collecting Society the Italian Society of Authors and Editors (SIAE) provides the possibility to register unpublished formats both to members and non-members.,Format is,a work of the mind having an original structure which sets out and explains a show”.,They require that a format must be:, characterized by a title;, have a narrative background structure;, a stage-setting; and, have fixed characters.,16,二、电视节目版式的著作权保护,2001年，北京某电视台曾试图为其制作的梦想成真栏目申请专利及版权保护,这是国内首次申请电视节目版式的法律保护。结果国家知识产权局和国家版权局指定的北京市版权事务所，对此均依法予以拒绝，并表示除有形实体外，游戏方法、规则和节目形式等创意性的事物不受我国著作权法保护。,17,二、电视节目版式的著作权保护,“,on the facts of this case there could be no copyright in an idea, and they established that there could be no copyright in the format of this game-show.,“,-,Green v Broadcasting Corporation of New Zealand,18,二、电视节目版式的著作权保护,“今后就此类事件（国外状告我国电视节目版式侵权诉讼）采取统一的应对口径 , 即明确告知对方，此类要求不符合中国法律，不予认可。电视制作机构对已制作的综艺节目在规则方面的任何改动，只来自于其艺术创作上的考虑，没有版权方面的原因。”,-,我国电视剧制作中心副主任张子扬,19,二、电视节目版式的著作权保护,著作权保护建议：,-将节目模式拆分成一个个单独的元素，各部分归类到不同的作品分别予以保护，这种保护方式无法满足节目模式作为一个整体的保护需要。,- 将电视节目模式列入著作权法保护范围，并在著作权法实施条例中对电视节目模式的含义予以明确。,20,三、电视节目版式的专利权保护,节目模式中包含的游戏规则和方法能否,申请专利？,专利法将游戏规则和方法明确排除在保护之外,。,21,四、电视节目版式的不正当竞争保护,我国反不正当竞争法规定,：,擅自使用知名商品特有的名称、包装、装潢，或者使用与知名商品近似的名称、包装、装潢，造成和他人的知名商品相混淆，使购买者误认为是该知名商品的行为属于商业混淆行为，是不正当竞争。,如果节目或栏目的制作模式被侵权或冒用或雷同或相似，属于商业混淆行为,。,22,五、电视节目版式引进与文化垄断,在2002年“亚洲电视”奖评选会上，来自中国、新加坡、马来西亚、印度、印度尼西亚及中国香港和台湾地区的评委们发现：用欧美国家提供的一批以“版式”输入的所谓“本土化”益智与娱乐节目已在亚洲地区形成了一种引人关注的文化现象。这种“版式”引进“本土化”后的节目，又因模式上的统一化，使其在亚洲地区显现出大批量的“雷同”电视栏目，更使其在评奖范围内既无个性，又不具竞争力，而横向比较之后，人们很为这种欧美“版式”化的新文化垄断现状深为担忧。,23,