외주제작 방송프로그램의 저작권 귀속에 관한 연구 (A Study on Copyright Ownership of Outsourcing Broadcast Program)

서지정보

· 발행기관 : 경북대학교 IT와 법연구소
· 수록지 정보 : IT와 법연구 / 12호 / 33 ~ 82페이지
· 저자명 : 박성호

초록

The purpose of this study is to examine a little further the ideal copyright ownership of outsourcing broadcast program, including the issue of equity and transparency in the copyright contract between broadcasting organizations and production companies. Korean Copyright Act(hereinafter, 'Act'), in Article 2 (xiii), defines cinematographic works as "creative works, with or without sound, consisting of sequences of moving images which are intended to be shown by the use of machines or electronic equipment, in which the works are embodied". The essential characteristic of all the material objects, such as films or TV broadcast programs(ex TV dramas), falling within the cinematographic works is the existence of 'a sequence of moving images'. Unlike other works, fixation is expressly required for cinematographic works as defined by Article 2 (xiii). A cinematographic work is a collaborative medium with many creative people contributing to the final products. The question of ownership of rights in cinematographic works has long posed problems in the national and international regulation of rights in this area. In order to cover the question of ownership of the copyright in the resulting cinematographic works, the Act have introduced a legal presumption in favor of the maker of cinematographic works, in Article 99～101.
The Act also stipulates that a legal entity is an employer who is deemed to be the author of a work made by his employee in the course of performing his duties, in Article 9. Then, the development of film industry in Korea poses a question as to the authorship of a cinematographic work produced in the course of performing their duty by modern authors(ex, director, etc.) of a film production company. The position as regards authorship of a cinematographic work is somewhat more complicated, this complexity proceeds from ambiguities between Article 9 and Article 100 (1). According to Article 2 (ii), since film-making requires the co-operation of many persons, there may be either a joint copyright in a cinematographic work for all of the co-authors or a separate copyright in it for each of the principal collaborators in his own creative contribution. Article 100 (1) stipulates that the right of commercial exploitation of a cinematographic work can only be assigned to maker of cinematographic works by presumption of law.
The legal issues and business practices which this paper deals with are as follows : Firstly, I addressed definition, types and features of outsourcing broadcast programs, and dealt with the basic aspects of copyright issues involving the concept of cinematographic work, the requirement for some particular kind of fixation for cinematographic work. Secondly, I reviewed the analysis of the structure of cinematographic works manufacturing process, especially relating to the definition and meaning of product placement. Thirdly, I reviewed the intial ownership of cinematographic works in relation to Article 100 (1), 2 (ii), or Article 9. Finally, based on the review stated above, I addressed briefly the areas of the laws on broadcast copyright which need to be improved.

영어초록

The purpose of this study is to examine a little further the ideal copyright ownership of outsourcing broadcast program, including the issue of equity and transparency in the copyright contract between broadcasting organizations and production companies. Korean Copyright Act(hereinafter, 'Act'), in Article 2 (xiii), defines cinematographic works as "creative works, with or without sound, consisting of sequences of moving images which are intended to be shown by the use of machines or electronic equipment, in which the works are embodied". The essential characteristic of all the material objects, such as films or TV broadcast programs(ex TV dramas), falling within the cinematographic works is the existence of 'a sequence of moving images'. Unlike other works, fixation is expressly required for cinematographic works as defined by Article 2 (xiii). A cinematographic work is a collaborative medium with many creative people contributing to the final products. The question of ownership of rights in cinematographic works has long posed problems in the national and international regulation of rights in this area. In order to cover the question of ownership of the copyright in the resulting cinematographic works, the Act have introduced a legal presumption in favor of the maker of cinematographic works, in Article 99～101.
The Act also stipulates that a legal entity is an employer who is deemed to be the author of a work made by his employee in the course of performing his duties, in Article 9. Then, the development of film industry in Korea poses a question as to the authorship of a cinematographic work produced in the course of performing their duty by modern authors(ex, director, etc.) of a film production company. The position as regards authorship of a cinematographic work is somewhat more complicated, this complexity proceeds from ambiguities between Article 9 and Article 100 (1). According to Article 2 (ii), since film-making requires the co-operation of many persons, there may be either a joint copyright in a cinematographic work for all of the co-authors or a separate copyright in it for each of the principal collaborators in his own creative contribution. Article 100 (1) stipulates that the right of commercial exploitation of a cinematographic work can only be assigned to maker of cinematographic works by presumption of law.
The legal issues and business practices which this paper deals with are as follows : Firstly, I addressed definition, types and features of outsourcing broadcast programs, and dealt with the basic aspects of copyright issues involving the concept of cinematographic work, the requirement for some particular kind of fixation for cinematographic work. Secondly, I reviewed the analysis of the structure of cinematographic works manufacturing process, especially relating to the definition and meaning of product placement. Thirdly, I reviewed the intial ownership of cinematographic works in relation to Article 100 (1), 2 (ii), or Article 9. Finally, based on the review stated above, I addressed briefly the areas of the laws on broadcast copyright which need to be improved.

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