数字技术环境下的版权法—危机与对策
摘要
作为知识产权制度之一的版权制度是与技术的发展与进步有密切关系的,这一点似乎是知识产权尤其是版权与专利权制度与其他法律制度的显著不同点之一;版权制度在其产生与发展过程中一直为技术的发展和进步而不断地加以修改和调整,并且从历史上看版权制度与技术之间的合作基本上是融洽的。
但是进入数字技术时代之后,版权制度似乎受到了前所未有的挑战和危机,从国际社会到一些主要国家或者组织如何应对这些危机是本论文主要介绍、研究和讨论的内容。本论文共分六章,从数字技术对版权制度所带来的挑战作为出发点,通过对有关国际条约的研究,对包括我国、美国和欧盟在内的一些主要国家或者组织的立法研究,以及对一些相关判例的研究来讨论应对这些挑战的措施和思想。
第一章主要讨论了技术尤其是数字技术对版权制度的挑战,这些挑战可以分为四种情况,一是私人复制与传播能力的迅速增强;二是作品出现了除了传统的出版社、印刷厂和广播电视组织等以外的新的传播途径,即以互联网络为代表的数字技术网络,这使得版权法实施时赖以存在的看门人制度必须做出调整;三是数字技术带来的媒体一体化现象,传统的版权法中作品的传播是依赖于不同的媒体的,而且版权法中的权利设计也与媒体有密切的关系,但是在数字技术环境下,这些不同的媒体都融合为一种即数字信息,分立的版权设计对这种一体化的媒体是不完全适应的;四是作品创作的大众参与现象,数字技术为作品的创作和传播提供了更为便宜和便捷的工具,这使得广大民众都可以参与作品的创作和再创作,版权法如何保护和规范这些大众化的创作行为是以前没有遇到过的问题。
第二章主要讨论了从国际层面上对数字技术给版权法制度带来的挑战所采取的应对措施和指导思想,其主要的成就是两个互联网络条约,通过对互联网络条约的制定过程的介绍和分析,以及对其主要内容的介绍和评价来讨论国际社会对这些挑战的态度、思想和困难,以及对成员国的指导意义。
第三章主要讨论了信息社会服务提供者如何对侵犯版权的行为承担责任的问题。在第一章中已经介绍了通过中间媒介组织即看门人来实施版权是版权制度中的一个重要特点和基础,但是由于作品新的传播途径的出现,版权法必须对参与各方的责任问题加以澄清,从而通过法律的形式寻找和确认新的看门人;而信息社会服务提供者的责任问题便成为保护版权权利人利益、促进技术进步和满足消费者需求这三者之间平衡的关键问题。
第四章主要讨论的版权作品了技术保护措施问题;数字技术为版权保护提供了除法律责任之外的新措施,这便是技术保护措施。WIPO的两个互联网络条约中一个重要内容是对技术保护措施的认可和对规避技术保护措施的限制。美国、欧盟和我国在版权法中也都相继采纳了这一措施。但是技术保护措施对版权制度原有的平衡造成了影响,这也成为有关技术保护措施争议最多也是最复杂的问题,论文在这一章中对这一问题进行了探讨。
第五章是关于版权特别费和数字权利管理的问题;确定信息社会服务提供者的责任,向用于对版权作品进行复制和传播的媒介征收版权特别费以及通过技术手段,即技术保护措施或者数字权利管理来保护和许可版权作品似乎是目前解决数字技术环境下版权问题的三个方向。但是这三者之间不是自然地可以相互合作的,特别是版权特别费和数字权利管理之间的矛盾更为突出,本章主要是讨论两者之间的关系以及如何进行选择。
第六章作为没有结论的总结,是对本论文的总结和一些可能的方案的展望,主要是对版权制度进行改革的支持者;基于数字技术的特点而建立新的版税征收方案的主张和通过市场机制来实现发现和形成新的版权制度的主张,论文对这些思想进行了一些介绍和讨论,希望能够引起知识产权法的学者们的注意和思考,从而起到抛砖引玉的目的。
The copyright law system, as one branch of the intellectual property system has theclose relationship with the development and progress of the technology, which maybeis a striking and different aspect compared with other law systems. During itshistory of the development, the copyright law system has been continuously amendedand adjusted for the progress of the new technologies. And the cooperation betweenthe them is basically workable from the historical point of view.
Since the emergence of the information society, one of which main characteristicsis the development and application of the digital technology, the copyright lawsystem has been suffering the challenges and crisis never experienced before. Themain content of this thesis is to discuss and analyze how the relevant internationalorganizations and some main countries to deal with these challenges and crisis fromthe legal and policy aspects. The thesis is composed of six chapters. Taking thechallenges and crisis brought about by the digital technology as the starting point,the thesis tries to compare and summarize the methods and ideas to resolve thesechallenges and crisis through the studying and analysis of the international legalinstruments, the relevant laws, the regulations and the cases of China, U.S.A andthe European Union.
Chapter I mainly discusses the challenges being brought out by the development ofthe technology, especially the digital technology; the challenges could be dividedinto four categories, the first one is the great improvement of the personalreproduction and distribution ability of the copyrighted works; the second one isthat the intermediaries by which the copyrighted works distribute have one morefamily member besides the traditional publishing entities and broadcasting stations,that is the digital technology networks, especially the Internet. So the copyrightlaw system which operates depending on these traditional intermediaries has toadjust accordingly; the third one is that the digital technology is improving theconvergence of the different media; the current copyrights are media-specific designed, which is not totally complied with the convergence of the media; the fourthone is the semiotic democracy phenomena; the digital technology provide the masswith cheap and easy tools to create works; so the ordiniary people can activelyparticipate in the creation and derivation of the works; the current copyright lawsystem has yet been ready for this mass participation of works creation.
In the chapter II, the thesis mainly discusses the guidelines and policy from theinternational levels, especially from the Internet treaties of the WIPO .
The liabilities of the information society service providers are the main topicsin the chapter III; as discussed in the chapter I, the intermediaries are in thefunction as the doorkeepers for the implementation of the copyright laws, but thedigital technology makes out the additional intermediary for the works distribution;how and what the liability the new intermediary shall take are the main issues forevery countries legislators.
The chapter IV is about the technical protection measures for the copyrighted works.Besides the enforcement of the copyright law, one more copyright protection measurefor copyright holders is available in the digital technology environment, that is,the technical protection measure. But the TPM also undermines the balance of thecopyright law system between the interests of the copyright holders and the publicinterests. Some key provisions in the Internet treaties, DMCA and European Uniondirectives deal with this issue. Whether and how to recover and maintain the balancein the digital environment is the main topic in this chapter.
The chapter V is about the issues of levy and DRM. It seems that the three wayscurrently exist for copyright holders to protect their copyrighted works orguarantee their benefit, they depend on the liabilities of the intermediaries, thecollection of the copyright levy from the reproduction and distribution media andmanagement of the copyrighted works by DRM. But the three ways do not cooperatewell, especially the conflict between the levy system and DRM system is obviouslyexisting. This chapter will discuss these issues and recommend the suggestive optionbetween them. The chapter VI, as the conclusion chapter of the whole thesis will introduce anddiscuss some possible solutions for the challenges and crisis which have beensuggested or designed from the copyright experts. So far they cannot resolve theall the issues, but maybe they can enlighten us to some extent.
但是进入数字技术时代之后,版权制度似乎受到了前所未有的挑战和危机,从国际社会到一些主要国家或者组织如何应对这些危机是本论文主要介绍、研究和讨论的内容。本论文共分六章,从数字技术对版权制度所带来的挑战作为出发点,通过对有关国际条约的研究,对包括我国、美国和欧盟在内的一些主要国家或者组织的立法研究,以及对一些相关判例的研究来讨论应对这些挑战的措施和思想。
第一章主要讨论了技术尤其是数字技术对版权制度的挑战,这些挑战可以分为四种情况,一是私人复制与传播能力的迅速增强;二是作品出现了除了传统的出版社、印刷厂和广播电视组织等以外的新的传播途径,即以互联网络为代表的数字技术网络,这使得版权法实施时赖以存在的看门人制度必须做出调整;三是数字技术带来的媒体一体化现象,传统的版权法中作品的传播是依赖于不同的媒体的,而且版权法中的权利设计也与媒体有密切的关系,但是在数字技术环境下,这些不同的媒体都融合为一种即数字信息,分立的版权设计对这种一体化的媒体是不完全适应的;四是作品创作的大众参与现象,数字技术为作品的创作和传播提供了更为便宜和便捷的工具,这使得广大民众都可以参与作品的创作和再创作,版权法如何保护和规范这些大众化的创作行为是以前没有遇到过的问题。
第二章主要讨论了从国际层面上对数字技术给版权法制度带来的挑战所采取的应对措施和指导思想,其主要的成就是两个互联网络条约,通过对互联网络条约的制定过程的介绍和分析,以及对其主要内容的介绍和评价来讨论国际社会对这些挑战的态度、思想和困难,以及对成员国的指导意义。
第三章主要讨论了信息社会服务提供者如何对侵犯版权的行为承担责任的问题。在第一章中已经介绍了通过中间媒介组织即看门人来实施版权是版权制度中的一个重要特点和基础,但是由于作品新的传播途径的出现,版权法必须对参与各方的责任问题加以澄清,从而通过法律的形式寻找和确认新的看门人;而信息社会服务提供者的责任问题便成为保护版权权利人利益、促进技术进步和满足消费者需求这三者之间平衡的关键问题。
第四章主要讨论的版权作品了技术保护措施问题;数字技术为版权保护提供了除法律责任之外的新措施,这便是技术保护措施。WIPO的两个互联网络条约中一个重要内容是对技术保护措施的认可和对规避技术保护措施的限制。美国、欧盟和我国在版权法中也都相继采纳了这一措施。但是技术保护措施对版权制度原有的平衡造成了影响,这也成为有关技术保护措施争议最多也是最复杂的问题,论文在这一章中对这一问题进行了探讨。
第五章是关于版权特别费和数字权利管理的问题;确定信息社会服务提供者的责任,向用于对版权作品进行复制和传播的媒介征收版权特别费以及通过技术手段,即技术保护措施或者数字权利管理来保护和许可版权作品似乎是目前解决数字技术环境下版权问题的三个方向。但是这三者之间不是自然地可以相互合作的,特别是版权特别费和数字权利管理之间的矛盾更为突出,本章主要是讨论两者之间的关系以及如何进行选择。
第六章作为没有结论的总结,是对本论文的总结和一些可能的方案的展望,主要是对版权制度进行改革的支持者;基于数字技术的特点而建立新的版税征收方案的主张和通过市场机制来实现发现和形成新的版权制度的主张,论文对这些思想进行了一些介绍和讨论,希望能够引起知识产权法的学者们的注意和思考,从而起到抛砖引玉的目的。
The copyright law system, as one branch of the intellectual property system has theclose relationship with the development and progress of the technology, which maybeis a striking and different aspect compared with other law systems. During itshistory of the development, the copyright law system has been continuously amendedand adjusted for the progress of the new technologies. And the cooperation betweenthe them is basically workable from the historical point of view.
Since the emergence of the information society, one of which main characteristicsis the development and application of the digital technology, the copyright lawsystem has been suffering the challenges and crisis never experienced before. Themain content of this thesis is to discuss and analyze how the relevant internationalorganizations and some main countries to deal with these challenges and crisis fromthe legal and policy aspects. The thesis is composed of six chapters. Taking thechallenges and crisis brought about by the digital technology as the starting point,the thesis tries to compare and summarize the methods and ideas to resolve thesechallenges and crisis through the studying and analysis of the international legalinstruments, the relevant laws, the regulations and the cases of China, U.S.A andthe European Union.
Chapter I mainly discusses the challenges being brought out by the development ofthe technology, especially the digital technology; the challenges could be dividedinto four categories, the first one is the great improvement of the personalreproduction and distribution ability of the copyrighted works; the second one isthat the intermediaries by which the copyrighted works distribute have one morefamily member besides the traditional publishing entities and broadcasting stations,that is the digital technology networks, especially the Internet. So the copyrightlaw system which operates depending on these traditional intermediaries has toadjust accordingly; the third one is that the digital technology is improving theconvergence of the different media; the current copyrights are media-specific designed, which is not totally complied with the convergence of the media; the fourthone is the semiotic democracy phenomena; the digital technology provide the masswith cheap and easy tools to create works; so the ordiniary people can activelyparticipate in the creation and derivation of the works; the current copyright lawsystem has yet been ready for this mass participation of works creation.
In the chapter II, the thesis mainly discusses the guidelines and policy from theinternational levels, especially from the Internet treaties of the WIPO .
The liabilities of the information society service providers are the main topicsin the chapter III; as discussed in the chapter I, the intermediaries are in thefunction as the doorkeepers for the implementation of the copyright laws, but thedigital technology makes out the additional intermediary for the works distribution;how and what the liability the new intermediary shall take are the main issues forevery countries legislators.
The chapter IV is about the technical protection measures for the copyrighted works.Besides the enforcement of the copyright law, one more copyright protection measurefor copyright holders is available in the digital technology environment, that is,the technical protection measure. But the TPM also undermines the balance of thecopyright law system between the interests of the copyright holders and the publicinterests. Some key provisions in the Internet treaties, DMCA and European Uniondirectives deal with this issue. Whether and how to recover and maintain the balancein the digital environment is the main topic in this chapter.
The chapter V is about the issues of levy and DRM. It seems that the three wayscurrently exist for copyright holders to protect their copyrighted works orguarantee their benefit, they depend on the liabilities of the intermediaries, thecollection of the copyright levy from the reproduction and distribution media andmanagement of the copyrighted works by DRM. But the three ways do not cooperatewell, especially the conflict between the levy system and DRM system is obviouslyexisting. This chapter will discuss these issues and recommend the suggestive optionbetween them. The chapter VI, as the conclusion chapter of the whole thesis will introduce anddiscuss some possible solutions for the challenges and crisis which have beensuggested or designed from the copyright experts. So far they cannot resolve theall the issues, but maybe they can enlighten us to some extent.
引文
①Lucie M. C.R. Guibault, Copyright Limitations and Contracts ----- An Analysis of the ContractualOverridability of Limitations on Copyright, KluwerLawInternational2002,pp13~14.
②JohnPerryBarlow,“TheEconomyofIdeas—SellingWineWithoutBottlesontheGlobalNet”,at:http://www.eff.org/~barlow/EconomyOfIdeas.html.
③PamelaSamuelson,“Copyright,DigitalData,andFairUseinDigitalNetworkedEnvironments”,http://www.lexum.umontreal.ca/conf/ae/en/samuelson.html
①[澳]G.德.Q.沃克:《法治的危机-危险与机遇》,载《清华法治论衡》,第一辑,高鸿钧主编,清华大学出版社,2000年。
②Peter S. Menell,“Envisioning Copyright’s Digital Future”, UC Berkley Public Lawand Legal TheoryResearchPaperNo.95,2002,pp1.http://papers.ssrn.com/sol3/papers.cfm?abstract_id=328561.
③[澳]彼得·达沃豪斯/约翰·布雷斯韦特:《信息封建主义》,刘雪涛译,知识产权出版社,2005年,第32页。
④Geller, Paul Edward, "Copyright History and the Future: What's Culture Got to Do With It?". Journal of theCopyright Society of the USA, Vol. 47, P. 209, 2000 Available at SSRN: http://ssrn.com/abstract=243115 orDOI:10.2139/ssrn.243115,p210.
⑤《《保护文学和艺术作品伯尔尼公约》(1971年巴黎文本)指南》,刘波林译,中国人民大学出版社,2002年,第44页。
①《《保护文学和艺术作品伯尔尼公约》(1971年巴黎文本)指南》,刘波林译,中国人民大学出版社,2002年,第62页。
②《《保护文学和艺术作品伯尔尼公约》(1971年巴黎文本)指南》,前引书,第54页。
③《卫星公约》第2条(一)规定:“各缔约国保证采取适当的措施,防止任何播送者在该国领土上或从该国领土上播送任何发射到或通过人造卫星但并非为了提供给他们的载有节目的信号。这确保证应当适用于以下情况,即起源组织是另一缔约国的国民和播送的信号是接收信号。”
④Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,P300.
①《伯尔尼公约》第9条2。
②SonyCorp.ofAmericav.UniversalCityStudios,Inc.,464U.S.417(1984).
③SonyCorp.ofAmericav.UniversalCityStudios,Inc.,464U.S.417(1984).
④Pamela Samuelson,“Economic and Constitutional Influences on Copyright Law in the United States”, U.S.IntellectualPropertyLawandPolicy,editedbyHughHanson,EdwardElgar,2006,pp164.
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,p85.
②WilliamW.FisherIII,ibid, pp86.
③The Audio Home Recording Act of 1992, Section 1001“As used in this chapter, the following terms have thefollowing meanings: (3) A "digital audio recording device" is any machine or device of a type commonlydistributed to individuals for use by individuals, whether or not included with or as part of some other machine ordevice, the digital recording function of which is designed or marketed for the primary purpose of, and that iscapable of, making a digital audio copied recording for private use, except for-- (A) professional model products,and (B) dictation machines, answering machines, and other audio recording equipment that is designed andmarketedprimarilyforthecreationofsoundrecordingsresultingfromthefixationofnonmusicalsounds.
④The Audio Home Recording Act of 1992, Section 1001 As used in this chapter, the following terms have thefollowing meanings: (1) A "digital audio copied recording" is a reproduction in a digital recording format of adigital musical ecording, whether that reproduction is made directly from another digital musical recording orindirectlyfromatransmission.”
①The Audio Home Recording Act of 1992, Section 1001“As used in this chapter, the following terms have thefollowing meanings: 5)(A) A "digital musical recording" is a material object-- (i) in which are fixed, in a digitalrecordingformat,onlysounds,andmaterial,statements,orinstructionsincidentaltothosefixedsounds,ifany,and(ii) from which the sounds and material can be perceived, reproduced, or otherwise communicated, either directlyorwiththeaidofamachineordevice.”
②WilliamW. Fisher III,Promises To Keep,Technology, Lawand the FutureofEntertainment, Stanford LawandPolitics,2004,pp86.
③WilliamW.FisherIII,ibid,pp87.
④Jane C. Ginsburg,“Copyright and Control over New Technologies of Dissemination”, Columbia Law Review,November,2001,101Colum.L.Rev.1613,pp5.
①Jane C. Ginsburg,“Copyright and Control over New Technologies of Dissemination”, Columbia Law Review,November,2001,101Colum.L.Rev.1613,pp5.
②JaneC.Ginsburg,ibid,pp7~8.
①Jane C. Ginsburg,“Copyright and Control over New Technologies of Dissemination”, Columbia Law Review,November,2001,101Colum.L.Rev.1613,pp8~9.
①P.Bernet.Hugenholtz, etc,“The Future of Levies in a Digital Environment”, Institute for Information,Amsterdam,March2003,pp10.
②Williams&WilkinsCo.v.UnitedStates,420U.S.376(1975).
③TimWu,“WhenCodeisn’tLaw”,VirginiaLawReview,Volume89,June2003,Number4.pp135.
④SonyCorp.ofAmericav.UniversalCityStudios,Inc.,464U.S.417(1984).
⑤A&MRecords,Inc.v.Napster,Inc.,239F.3d1004(9thCir.2001).
⑥InreAimster,334F.3d643(7thCir.2003).
⑦Metro-Goldwyn-MayerStudiosInc.,etalv.Grokster,Ltd.,etal.No.04-480.
①《伯尔尼公约》第9条2。
②TRIPs第13条“限制与例外:全体成员均应将专有权的限制或例外局限于一定特例中,该特例应不与作品的正常利用冲突,也不应不合理地损害权利持有人的合法利益。”
③TimWu,“WhenCodeisn’tLaw”,VirginiaLawReview,Volume89,June2003,Number4.pp137.
④TimWu,ibid,pp134.
⑤蒂姆·吴是这样认为的,但是笔者应该再次说明:实际上严格意义上讲,有这样的案例出现,即Sony案,该案中的一个个人被告便是利用Bemax机器进行私人复制的个人,但是这个被告是原告雇佣来的,并且承诺不要其承担侵权责任,因此从这一点讲Sony案确实不是真正针对个人复制的诉讼,因为该案的主要目标是产品制造商。TimWu,ibid,pp135.
①P.Bernet.Hugenholtz, etc,“The Future of Levies in a Digital Environment”, Institute for Information,Amsterdam,March2003,pp31~33.
②William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp84.
③《CD迎来25岁生日网络技术冲击未来令人担忧》,http://ent.sina.com.cn/y/2007-08-17/19311680149.shtml
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp84～85.
②[美]劳伦斯·莱斯格:《代码》,中信出版社,李旭等译,2004年,第154～155页。
③Jane C. Ginsburg,“FromHaving Copies to Experiencing Works: The Development of An Access Right in U.S.Copyright Law”, U.S. Intellectual Property Law and Policy, edited by Hugh Hansen, Edward Elgar, 2006, pp46.例如德国版权法规定对私人使用的音像磁带征收特别费;法国知识产权法典也是这样,西班牙也是这样,美国1992年的《家庭录音法》对数字声音的私人复制征收特别费;欧盟的《信息社会指令》要求因为私人复制而对版权人给予公平的补偿。
④BMGMusicv.Gonzalez,No.05-1314(7thCir.Dec.9,2005).
①Zittrain,Jonathan,AHistoryofOnlineGatekeeping,HarvardJournalofLaw&Technology,Volume19,Number2,Spring2006,pp255.
②Jane C. Ginsburg,“FromHaving Copies to Experiencing Works: The Development of An Access Right in U.S.CopyrightLaw”,U.S.IntellectualPropertyLawandPolicy,editedbyHughHansen,EdwardElgar,2006,pp40.
③郑成思:《知识产权法》(第二版),法律出版社,2003年,第28~29页。
①例如郑渊洁的博客已经有两千余万的访问量, http://blog.sina.com.cn/zhyj ;徐静蕾的博客http://blog.sina.com.cn/xujinglei已经有上亿的访问量。
②“按照他的设想,来观看的人必须使用实名,点击一次付费一次。如果还是喜欢纸上阅读,可以,无论你想要普通印刷书,还是100万元的镶钻牛皮书,他都签上名,装订好,送到你家里。王朔对网络销售兴致勃勃,因为省掉了中间书商环节,省掉了出版社的审查,最大的好处是,再没有校对将“找不着北”改成“不知道北在哪里”。”《王朔说说说》,《南方周末》,2007年1月18日,http://www.nanfangdaily.com.cn/zm/20070118/wh/whxw/200701180034.asp
③OECD, Working Party on the Information Economy: Digital Broadband Content: Music,http://www.oecd.org/dataoecd/13/2/34995041.pdf,pp47.
④William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp18~24.
①TimWu,“WhenCodeisn’tLaw”,VirginiaLawReview,Volume89,June2003,Number4.pp132~134.
②在这方面我国版权界应该有更深的体会,当由于数字技术的发展使得盗版变得越来越严重的时候,我们面对怀抱着孩子在街上游走的妇女们兜售着盗版的光盘时,不论是我们司法还是我们的行政执法都显得力不从心。《全国整规办召开打击制假售假、保护知识产权专项行动协调会》,正义网http://www.jcrb.com/zyw/n358/ca294554.htm
③PamelaSamuelson,“Copyright,DigitalData,andFairUseinDigitalNetworkedEnvironments”,http://www.lexum.umontreal.ca/conf/ae/en/samuelson.html
④PLAYBOYENTERPRISES,INC.,v.GeorgeFRENA,d/b/aTechsWarehouseBBSSystemsandConsulting,andMarkDyess,Dec.9,1993. 839F.Supp.1552No.93-489-Civ-J-20.
⑤OECD, Working Party on the Information Economy: Digital Broadband Content: Music,http://www.oecd.org/dataoecd/13/2/34995041.pdf,pp72.
①PamelaSamuelson,“Copyright,DigitalData,andFairUseinDigitalNetworkedEnvironments”,http://www.lexum.umontreal.ca/conf/ae/en/samuelson.html
②William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp99.
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp100.
②WilliamW.FisherIII,ibid,pp100.
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp100.
②WilliamW.FisherIII,ibid,pp101~102.
③WilliamW.FisherIII,ibid,pp102.
①http://www.answers.com/semiotic+democracy?gwp=11&ver=2.3.0.609&method=3
②Gasser, Urs and Ernst, Silke, "From Shakespeare to DJ Danger Mouse: A Quick Look at Copyright and UserCreativity in the Digital Age". Berkman Center Research Publication No. 2006-05 Available at SSRN:http://ssrn.com/abstract=909223
③WilliamW.FisherIII, Promises To Keep, Technology, Law and the Future of Entertainment, StanfordLawandPolitics,2004,pp30～31.
④《一个馒头引发的血案》视频见http://www.ku6.com/show/qhR7da3KcakynLeZ.html
⑤《巴士大叔》视频见http://www.youtube.com/watch?v=vX9vopMypxc
⑥《社会记录——千里寻母记》视频见http://news.xinhuanet.com/video/2005-08/13/content_3348567.htm
⑦《中学生网上私译"哈7"出版社如遭灭顶之灾》,http://learning.sohu.com/20070731/n251336024.shtml
⑧http://www.wikipedia.org.
①http://zhidao.baidu.com/
②这句广告的意思通过使用苹果公司的电脑等设备,通过扒取、混成和刻录光盘,使用者就可以制作出自己的音乐。该广告见:http://www.theapplecollection.com/Collection/AppleMovies/mov/concert_144a.html,Petrick,Paul, "Why DRM Should be Cause for Concern: An Economic and Legal Analysis of the Effect of DigitalTechnology on the Music Industry" (November 2004). Berkman Center for Internet & Society at Harvard LawSchool Research Publication No. 2004-09. Available at SSRN: http://ssrn.com/abstract=618065 orDOI:10.2139/ssrn.618065,pp6.
③Solum, Lawrence B. and Chung, Minn, "The Layers Principle: Internet Architecture and the Law" . U San DiegoPublic Law Research Paper No. 55. Available at SSRN: http://ssrn.com/abstract=416263, p6.
④中央电视台《社会记录——千里寻母记》视频见新华网http://news.xinhuanet.com/video/2005-08/13/content_3348567.htm
①Web2.0是对下一代万维网模式的统称,在这种模式下与现在的万维网模式的重要区别是用户的对网页内容的全面参与,形成共同创造,共同维护的模式。http://www.answers.com/web+2.0?cat=technology&gwp=11&method=3&ver=2.3.0.609
②Wong, Mary Wai San, "The Next Ten Years in Copyright Law: An Asian Perspective" (February 2007).AvailableatSSRN:http://ssrn.com/abstract=1017144,pp7~8.
①[美]劳伦斯·莱斯格:《代码》,中信出版社,李旭等译,2004年,中文版序。
②David Nimmer,“ARiffon FairUse in the DigitalMillenniumCopyright Act”, UniversityofPennsylvania LawReviewJanuary,2000 ,148U.Pa.L.Rev.673.
③DavidNimmer,ibid.
④http://ec.europa.eu/internal_market/copyright/documents/documents_en.htm.
⑤DavidNimmer,ibid.
①WCT前言。
②Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp4~5.
①Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp26~27.
②MihalyFicsor,ibid,pp27~28.
③MihalyFicsor,ibid,pp29~45.
①DavidNimmer, Copyright Sacred Text, Technology, and the DMCA, KluwerLawInternational2003,pp148.
②DavidNimmer,ibid,pp175~176.
③WCT,第1条(1)。
①WPPT前言。
②David Nimmer, Copyright Sacred Text, Technology, and the DMCA, Kluwer Law International 2003,pp152~153.
①WCT第1条(4),议定声明。
②Mihaly Ficsor: The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp142.
③David Nimmer, Copyright Sacred Text, Technology, and the DMCA, Kluwer Law International 2003,pp155~156.
④MihalyFicsor,ibid,pp62~63.
①Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp450~451.
②WPPT第7条。
③WPPT第11条。
④《伯尔尼公约》第9条1.受本公约保护的文学艺术作品的作者,享有授权以任何方式和采取任何形式复制这些作品的专有权利。
⑤《罗马公约》第7条
①WCT第8条。
②Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp208~209.
①Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp74.
①InreAimster,334F.3d643(7thCir.2003).
②DMCA, Sec. 512. (k) DEFINITIONS- (1) SERVICE PROVIDER- (A) As used in subsection (a), the term‘service provider’means an entityoffering the transmission, routing, orproviding ofconnections fordigitalonlinecommunications, between or among points specified by a user, of material of the user's choosing, withoutmodification to the content of the material as sent or received. (B) As used in this section, other than subsection(a), the term‘service provider’means a provider of online services or network access, or the operator of facilitiestherefor,andincludesanentitydescribedinsubparagraph(A).
③Directive 2000/31/EC of the European Parliament and of the Council of 8 June 2000 on certain legal aspects ofinformation society services, in particular electronic commerce, in the Internal Market , Article 2 Definitions For
②Ellisonv.Roberston,357F.3d1072,1080(9thCir.2004).
③DMCA, Sec. 512. (k) DEFINITIONS- (1) SERVICE PROVIDER- (A) As used in subsection (a), the term‘service provider’means an entityoffering the transmission, routing, orproviding ofconnections fordigitalonlinecommunications, between or among points specified by a user, of material of the user's choosing, withoutmodification to the content of the material as sent or received. (B) As used in this section, other than subsection(a), the term‘service provider’means a provider of online services or network access, or the operator of facilitiestherefor,andincludesanentitydescribedinsubparagraph(A).
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张玉瑞:《互联网上知识产权—诉讼与法律》,人民法院出版社2000年版。
郑成思:《WTO知识产权协议逐条讲解》,中国方正出版社2001年版。
郑成思:《版权法》(修订版),中国人民大学出版社1997年版。
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周林:《中国版权史研究文献》,中国方正出版社1999年版。
李明德:《互联网与知识产权法律制度》,《环球法律评论》,2001年春季号,第65~67页。
李明德:《欧盟“版权指令”评述》,《环球法律评论》,2002年冬季号,第457~465页。
李明德:《网络环境中的版权保护》,《环球法律评论》,2001年春季号,第5~19页。
张平:《网络环境下传统的知识产权法律特征的变异》,《科技与法律》,1998年,第4期。
张平:《中美数据库著作权保护的司法比较》,《知识产权》,1998年,第5期。
张平:《国际互联网络的发展对工业产权保护的影响》,《知识产权》,1997年,第6期。
张平:《知识产权法的地位及其渊源》,《知识产权》,1994年,第6期。
王迁、朱建:《技术措施的“有效性”标准——评芬兰DVD—CSS技术措施保护案》,《电子知识产权》,2007年,第9期。
王迁:《再论“信息定位服务提供者”间接侵权的认定——兼比较“百度案”与“雅虎案”的判决》,《知识产权》,2007年第4期。
王迁、王丽娜:《对收费网站中作品提供链接的法律性质——评“娱乐基地”诉百度案》,《电子知识产权》,2007年,第8期。
张今:《版权法上“技术中立”的反思与评析》,《知识产权》,2008年,第1期。
张今、宁静:《技术变迁中的个人使用》,《电子知识产权》,2008年,第1期。
张今:《数字环境下私人复制的限制与反限制——以音乐文件复制为中心》,《中国知识产权发展战略论坛论文集》, 2005年。
张今:《网络传播权立法的价值取向》,《法律适用》,2005年,第1期。
[美]莱斯格:《代码》,李旭等译,中信出版社, 2004年。
[美]费舍尔:《说话算数——技术、法律以及娱乐的未来》,李旭译,上海三联出版社, 2008年。
[澳]彼得·达沃豪斯著:《信息封建主义》,刘雪涛译,知识产权出版社,2005年版。
[美]《美国版权法》,孙新强、于改之译,中国人民大学出版社,2002年版。
《保护文学和艺术作品伯尔尼公约(1971巴黎文本)指南》,刘波林译,中国人民大学出版社,2002年版。
[德]M·雷炳德著:《著作权法》(第13版),张恩民译,法律出版社2005年版。
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[美]保罗·戈尔斯坦著:《国际版权原则、法律与惯例》,王文娟译,中国劳动社会保障出版社2003年版。
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《大学生》杂志社诉北京京讯公众技术信息有限公司案,北京市第二中级人民法院(2000)二中知初字第18号
广东梦网诉百度案,北京市海淀区人民法院(2007)海民初字第17776号;
李锦英诉北京新浪互联信息服务有限公司案,北京市海淀区人民法院民事判决书(2007)海民初字第3355号;
北京融信合经济信息咨询有限公司诉北京搜狐互联网信息服务有限公司案,北京市海淀区人民法院民事判决书(2007)海民初字第13608号;
何勇诉百度案,北京市海淀区人民法院民事判决书(2007)海民初字第9277号
上海步升音乐文化传播有限公司诉北京飞行网音乐软件开发有限公司案,北京市第二中级人民法院民事判决书(2005)二中民初字第13739号
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BMG Music v. Gonzalez, No. 05-1314 (7th Cir. Dec. 9, 2005).
Sony Corp. of America v. Universal City Studios, Inc., 464 U.S. 417 (1984).
In re Aimster, 334 F.3d 643 (7th Cir. 2003).
Metro-Goldwyn-Mayer Studios Inc., et al v. Grokster, Ltd., et al. No. 04-480.
Playboy Enterprises., v. George FRENA, d/b/a Techs Warehouse BBS Systems andConsulting, and Mark Dyess, Dec. 9, 1993. 839 F.Supp. 1552 No. 93-489-Civ-J-20.
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②JohnPerryBarlow,“TheEconomyofIdeas—SellingWineWithoutBottlesontheGlobalNet”,at:http://www.eff.org/~barlow/EconomyOfIdeas.html.
③PamelaSamuelson,“Copyright,DigitalData,andFairUseinDigitalNetworkedEnvironments”,http://www.lexum.umontreal.ca/conf/ae/en/samuelson.html
①[澳]G.德.Q.沃克:《法治的危机-危险与机遇》,载《清华法治论衡》,第一辑,高鸿钧主编,清华大学出版社,2000年。
②Peter S. Menell,“Envisioning Copyright’s Digital Future”, UC Berkley Public Lawand Legal TheoryResearchPaperNo.95,2002,pp1.http://papers.ssrn.com/sol3/papers.cfm?abstract_id=328561.
③[澳]彼得·达沃豪斯/约翰·布雷斯韦特:《信息封建主义》,刘雪涛译,知识产权出版社,2005年,第32页。
④Geller, Paul Edward, "Copyright History and the Future: What's Culture Got to Do With It?". Journal of theCopyright Society of the USA, Vol. 47, P. 209, 2000 Available at SSRN: http://ssrn.com/abstract=243115 orDOI:10.2139/ssrn.243115,p210.
⑤《《保护文学和艺术作品伯尔尼公约》(1971年巴黎文本)指南》,刘波林译,中国人民大学出版社,2002年,第44页。
①《《保护文学和艺术作品伯尔尼公约》(1971年巴黎文本)指南》,刘波林译,中国人民大学出版社,2002年,第62页。
②《《保护文学和艺术作品伯尔尼公约》(1971年巴黎文本)指南》,前引书,第54页。
③《卫星公约》第2条(一)规定:“各缔约国保证采取适当的措施,防止任何播送者在该国领土上或从该国领土上播送任何发射到或通过人造卫星但并非为了提供给他们的载有节目的信号。这确保证应当适用于以下情况,即起源组织是另一缔约国的国民和播送的信号是接收信号。”
④Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,P300.
①《伯尔尼公约》第9条2。
②SonyCorp.ofAmericav.UniversalCityStudios,Inc.,464U.S.417(1984).
③SonyCorp.ofAmericav.UniversalCityStudios,Inc.,464U.S.417(1984).
④Pamela Samuelson,“Economic and Constitutional Influences on Copyright Law in the United States”, U.S.IntellectualPropertyLawandPolicy,editedbyHughHanson,EdwardElgar,2006,pp164.
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,p85.
②WilliamW.FisherIII,ibid, pp86.
③The Audio Home Recording Act of 1992, Section 1001“As used in this chapter, the following terms have thefollowing meanings: (3) A "digital audio recording device" is any machine or device of a type commonlydistributed to individuals for use by individuals, whether or not included with or as part of some other machine ordevice, the digital recording function of which is designed or marketed for the primary purpose of, and that iscapable of, making a digital audio copied recording for private use, except for-- (A) professional model products,and (B) dictation machines, answering machines, and other audio recording equipment that is designed andmarketedprimarilyforthecreationofsoundrecordingsresultingfromthefixationofnonmusicalsounds.
④The Audio Home Recording Act of 1992, Section 1001 As used in this chapter, the following terms have thefollowing meanings: (1) A "digital audio copied recording" is a reproduction in a digital recording format of adigital musical ecording, whether that reproduction is made directly from another digital musical recording orindirectlyfromatransmission.”
①The Audio Home Recording Act of 1992, Section 1001“As used in this chapter, the following terms have thefollowing meanings: 5)(A) A "digital musical recording" is a material object-- (i) in which are fixed, in a digitalrecordingformat,onlysounds,andmaterial,statements,orinstructionsincidentaltothosefixedsounds,ifany,and(ii) from which the sounds and material can be perceived, reproduced, or otherwise communicated, either directlyorwiththeaidofamachineordevice.”
②WilliamW. Fisher III,Promises To Keep,Technology, Lawand the FutureofEntertainment, Stanford LawandPolitics,2004,pp86.
③WilliamW.FisherIII,ibid,pp87.
④Jane C. Ginsburg,“Copyright and Control over New Technologies of Dissemination”, Columbia Law Review,November,2001,101Colum.L.Rev.1613,pp5.
①Jane C. Ginsburg,“Copyright and Control over New Technologies of Dissemination”, Columbia Law Review,November,2001,101Colum.L.Rev.1613,pp5.
②JaneC.Ginsburg,ibid,pp7~8.
①Jane C. Ginsburg,“Copyright and Control over New Technologies of Dissemination”, Columbia Law Review,November,2001,101Colum.L.Rev.1613,pp8~9.
①P.Bernet.Hugenholtz, etc,“The Future of Levies in a Digital Environment”, Institute for Information,Amsterdam,March2003,pp10.
②Williams&WilkinsCo.v.UnitedStates,420U.S.376(1975).
③TimWu,“WhenCodeisn’tLaw”,VirginiaLawReview,Volume89,June2003,Number4.pp135.
④SonyCorp.ofAmericav.UniversalCityStudios,Inc.,464U.S.417(1984).
⑤A&MRecords,Inc.v.Napster,Inc.,239F.3d1004(9thCir.2001).
⑥InreAimster,334F.3d643(7thCir.2003).
⑦Metro-Goldwyn-MayerStudiosInc.,etalv.Grokster,Ltd.,etal.No.04-480.
①《伯尔尼公约》第9条2。
②TRIPs第13条“限制与例外:全体成员均应将专有权的限制或例外局限于一定特例中,该特例应不与作品的正常利用冲突,也不应不合理地损害权利持有人的合法利益。”
③TimWu,“WhenCodeisn’tLaw”,VirginiaLawReview,Volume89,June2003,Number4.pp137.
④TimWu,ibid,pp134.
⑤蒂姆·吴是这样认为的,但是笔者应该再次说明:实际上严格意义上讲,有这样的案例出现,即Sony案,该案中的一个个人被告便是利用Bemax机器进行私人复制的个人,但是这个被告是原告雇佣来的,并且承诺不要其承担侵权责任,因此从这一点讲Sony案确实不是真正针对个人复制的诉讼,因为该案的主要目标是产品制造商。TimWu,ibid,pp135.
①P.Bernet.Hugenholtz, etc,“The Future of Levies in a Digital Environment”, Institute for Information,Amsterdam,March2003,pp31~33.
②William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp84.
③《CD迎来25岁生日网络技术冲击未来令人担忧》,http://ent.sina.com.cn/y/2007-08-17/19311680149.shtml
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp84～85.
②[美]劳伦斯·莱斯格:《代码》,中信出版社,李旭等译,2004年,第154～155页。
③Jane C. Ginsburg,“FromHaving Copies to Experiencing Works: The Development of An Access Right in U.S.Copyright Law”, U.S. Intellectual Property Law and Policy, edited by Hugh Hansen, Edward Elgar, 2006, pp46.例如德国版权法规定对私人使用的音像磁带征收特别费;法国知识产权法典也是这样,西班牙也是这样,美国1992年的《家庭录音法》对数字声音的私人复制征收特别费;欧盟的《信息社会指令》要求因为私人复制而对版权人给予公平的补偿。
④BMGMusicv.Gonzalez,No.05-1314(7thCir.Dec.9,2005).
①Zittrain,Jonathan,AHistoryofOnlineGatekeeping,HarvardJournalofLaw&Technology,Volume19,Number2,Spring2006,pp255.
②Jane C. Ginsburg,“FromHaving Copies to Experiencing Works: The Development of An Access Right in U.S.CopyrightLaw”,U.S.IntellectualPropertyLawandPolicy,editedbyHughHansen,EdwardElgar,2006,pp40.
③郑成思:《知识产权法》(第二版),法律出版社,2003年,第28~29页。
①例如郑渊洁的博客已经有两千余万的访问量, http://blog.sina.com.cn/zhyj ;徐静蕾的博客http://blog.sina.com.cn/xujinglei已经有上亿的访问量。
②“按照他的设想,来观看的人必须使用实名,点击一次付费一次。如果还是喜欢纸上阅读,可以,无论你想要普通印刷书,还是100万元的镶钻牛皮书,他都签上名,装订好,送到你家里。王朔对网络销售兴致勃勃,因为省掉了中间书商环节,省掉了出版社的审查,最大的好处是,再没有校对将“找不着北”改成“不知道北在哪里”。”《王朔说说说》,《南方周末》,2007年1月18日,http://www.nanfangdaily.com.cn/zm/20070118/wh/whxw/200701180034.asp
③OECD, Working Party on the Information Economy: Digital Broadband Content: Music,http://www.oecd.org/dataoecd/13/2/34995041.pdf,pp47.
④William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp18~24.
①TimWu,“WhenCodeisn’tLaw”,VirginiaLawReview,Volume89,June2003,Number4.pp132~134.
②在这方面我国版权界应该有更深的体会,当由于数字技术的发展使得盗版变得越来越严重的时候,我们面对怀抱着孩子在街上游走的妇女们兜售着盗版的光盘时,不论是我们司法还是我们的行政执法都显得力不从心。《全国整规办召开打击制假售假、保护知识产权专项行动协调会》,正义网http://www.jcrb.com/zyw/n358/ca294554.htm
③PamelaSamuelson,“Copyright,DigitalData,andFairUseinDigitalNetworkedEnvironments”,http://www.lexum.umontreal.ca/conf/ae/en/samuelson.html
④PLAYBOYENTERPRISES,INC.,v.GeorgeFRENA,d/b/aTechsWarehouseBBSSystemsandConsulting,andMarkDyess,Dec.9,1993. 839F.Supp.1552No.93-489-Civ-J-20.
⑤OECD, Working Party on the Information Economy: Digital Broadband Content: Music,http://www.oecd.org/dataoecd/13/2/34995041.pdf,pp72.
①PamelaSamuelson,“Copyright,DigitalData,andFairUseinDigitalNetworkedEnvironments”,http://www.lexum.umontreal.ca/conf/ae/en/samuelson.html
②William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp99.
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp100.
②WilliamW.FisherIII,ibid,pp100.
①William W. Fisher III, Promises To Keep, Technology, Law and the Future of Entertainment, Stanford LawandPolitics,2004,pp100.
②WilliamW.FisherIII,ibid,pp101~102.
③WilliamW.FisherIII,ibid,pp102.
①http://www.answers.com/semiotic+democracy?gwp=11&ver=2.3.0.609&method=3
②Gasser, Urs and Ernst, Silke, "From Shakespeare to DJ Danger Mouse: A Quick Look at Copyright and UserCreativity in the Digital Age". Berkman Center Research Publication No. 2006-05 Available at SSRN:http://ssrn.com/abstract=909223
③WilliamW.FisherIII, Promises To Keep, Technology, Law and the Future of Entertainment, StanfordLawandPolitics,2004,pp30～31.
④《一个馒头引发的血案》视频见http://www.ku6.com/show/qhR7da3KcakynLeZ.html
⑤《巴士大叔》视频见http://www.youtube.com/watch?v=vX9vopMypxc
⑥《社会记录——千里寻母记》视频见http://news.xinhuanet.com/video/2005-08/13/content_3348567.htm
⑦《中学生网上私译"哈7"出版社如遭灭顶之灾》,http://learning.sohu.com/20070731/n251336024.shtml
⑧http://www.wikipedia.org.
①http://zhidao.baidu.com/
②这句广告的意思通过使用苹果公司的电脑等设备,通过扒取、混成和刻录光盘,使用者就可以制作出自己的音乐。该广告见:http://www.theapplecollection.com/Collection/AppleMovies/mov/concert_144a.html,Petrick,Paul, "Why DRM Should be Cause for Concern: An Economic and Legal Analysis of the Effect of DigitalTechnology on the Music Industry" (November 2004). Berkman Center for Internet & Society at Harvard LawSchool Research Publication No. 2004-09. Available at SSRN: http://ssrn.com/abstract=618065 orDOI:10.2139/ssrn.618065,pp6.
③Solum, Lawrence B. and Chung, Minn, "The Layers Principle: Internet Architecture and the Law" . U San DiegoPublic Law Research Paper No. 55. Available at SSRN: http://ssrn.com/abstract=416263, p6.
④中央电视台《社会记录——千里寻母记》视频见新华网http://news.xinhuanet.com/video/2005-08/13/content_3348567.htm
①Web2.0是对下一代万维网模式的统称,在这种模式下与现在的万维网模式的重要区别是用户的对网页内容的全面参与,形成共同创造,共同维护的模式。http://www.answers.com/web+2.0?cat=technology&gwp=11&method=3&ver=2.3.0.609
②Wong, Mary Wai San, "The Next Ten Years in Copyright Law: An Asian Perspective" (February 2007).AvailableatSSRN:http://ssrn.com/abstract=1017144,pp7~8.
①[美]劳伦斯·莱斯格:《代码》,中信出版社,李旭等译,2004年,中文版序。
②David Nimmer,“ARiffon FairUse in the DigitalMillenniumCopyright Act”, UniversityofPennsylvania LawReviewJanuary,2000 ,148U.Pa.L.Rev.673.
③DavidNimmer,ibid.
④http://ec.europa.eu/internal_market/copyright/documents/documents_en.htm.
⑤DavidNimmer,ibid.
①WCT前言。
②Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp4~5.
①Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp26~27.
②MihalyFicsor,ibid,pp27~28.
③MihalyFicsor,ibid,pp29~45.
①DavidNimmer, Copyright Sacred Text, Technology, and the DMCA, KluwerLawInternational2003,pp148.
②DavidNimmer,ibid,pp175~176.
③WCT,第1条(1)。
①WPPT前言。
②David Nimmer, Copyright Sacred Text, Technology, and the DMCA, Kluwer Law International 2003,pp152~153.
①WCT第1条(4),议定声明。
②Mihaly Ficsor: The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp142.
③David Nimmer, Copyright Sacred Text, Technology, and the DMCA, Kluwer Law International 2003,pp155~156.
④MihalyFicsor,ibid,pp62~63.
①Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp450~451.
②WPPT第7条。
③WPPT第11条。
④《伯尔尼公约》第9条1.受本公约保护的文学艺术作品的作者,享有授权以任何方式和采取任何形式复制这些作品的专有权利。
⑤《罗马公约》第7条
①WCT第8条。
②Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp208~209.
①Mihaly Ficsor, The Law of Copyright and the Internet --- The 1996 WIPO Treaties, Their Interpretation andImplementation, OxfordUniversityPress,2002,pp74.
①InreAimster,334F.3d643(7thCir.2003).
②DMCA, Sec. 512. (k) DEFINITIONS- (1) SERVICE PROVIDER- (A) As used in subsection (a), the term‘service provider’means an entityoffering the transmission, routing, orproviding ofconnections fordigitalonlinecommunications, between or among points specified by a user, of material of the user's choosing, withoutmodification to the content of the material as sent or received. (B) As used in this section, other than subsection(a), the term‘service provider’means a provider of online services or network access, or the operator of facilitiestherefor,andincludesanentitydescribedinsubparagraph(A).
③Directive 2000/31/EC of the European Parliament and of the Council of 8 June 2000 on certain legal aspects ofinformation society services, in particular electronic commerce, in the Internal Market , Article 2 Definitions For
②Ellisonv.Roberston,357F.3d1072,1080(9thCir.2004).
③DMCA, Sec. 512. (k) DEFINITIONS- (1) SERVICE PROVIDER- (A) As used in subsection (a), the term‘service provider’means an entityoffering the transmission, routing, orproviding ofconnections fordigitalonlinecommunications, between or among points specified by a user, of material of the user's choosing, withoutmodification to the content of the material as sent or received. (B) As used in this section, other than subsection(a), the term‘service provider’means a provider of online services or network access, or the operator of facilitiestherefor,andincludesanentitydescribedinsubparagraph(A).
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李明德:《网络环境中的版权保护》,《环球法律评论》,2001年春季号,第5~19页。
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张平:《知识产权法的地位及其渊源》,《知识产权》,1994年,第6期。
王迁、朱建:《技术措施的“有效性”标准——评芬兰DVD—CSS技术措施保护案》,《电子知识产权》,2007年,第9期。
王迁:《再论“信息定位服务提供者”间接侵权的认定——兼比较“百度案”与“雅虎案”的判决》,《知识产权》,2007年第4期。
王迁、王丽娜:《对收费网站中作品提供链接的法律性质——评“娱乐基地”诉百度案》,《电子知识产权》,2007年,第8期。
张今:《版权法上“技术中立”的反思与评析》,《知识产权》,2008年,第1期。
张今、宁静:《技术变迁中的个人使用》,《电子知识产权》,2008年,第1期。
张今:《数字环境下私人复制的限制与反限制——以音乐文件复制为中心》,《中国知识产权发展战略论坛论文集》, 2005年。
张今:《网络传播权立法的价值取向》,《法律适用》,2005年,第1期。
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《大学生》杂志社诉北京京讯公众技术信息有限公司案,北京市第二中级人民法院(2000)二中知初字第18号
广东梦网诉百度案,北京市海淀区人民法院(2007)海民初字第17776号;
李锦英诉北京新浪互联信息服务有限公司案,北京市海淀区人民法院民事判决书(2007)海民初字第3355号;
北京融信合经济信息咨询有限公司诉北京搜狐互联网信息服务有限公司案,北京市海淀区人民法院民事判决书(2007)海民初字第13608号;
何勇诉百度案,北京市海淀区人民法院民事判决书(2007)海民初字第9277号
上海步升音乐文化传播有限公司诉北京飞行网音乐软件开发有限公司案,北京市第二中级人民法院民事判决书(2005)二中民初字第13739号
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