张春艳

    内容提要：我国现有视听作品著作权归属模式兼采意大利立法模式和日本立法模式，造成了我国著作权立法体系和逻辑上的混乱。从属性上分析，视听作品既非纯粹的作品，也非纯粹的商品，这决定了其著作权归属的特殊性。我国立法在确定视听作品著作权归属时，要注重洛克劳动财产权理论所体现的公平理念和人格理论对作者创作劳动的充分尊重，更要运用激励理论鼓励投资和创作，合理配置著作权：一方面，明确视听作品的创作者为作者；另一方面，规定在无相反书面约定的情况下，著作权中的财产权由制片者享有。

    关 键 词：视听作品   著作权   作者   制片者

    Abstract: The existing audiovisual works copyright attribution pattern in China is the integration of Italian and Japanese legislative models, which results in the confusion of the system and logic of copyright law. Through the analysis of property, audiovisual works are neither purely works, nor mere commodities, which determine the specificity of its copyright ownership. To determine copyright ownership of audiovisual works, not only our legislation should focus on Locke’s labor property theory contains fair idea and the respect for the work of the creator, but also incentives theory should be applied to encourage investment and creation and allocate copyright rationally: on the one hand, regarding creators of audiovisual works as authors; on the other hand, in the absence of contrary provisions agreed in writing, the property rights of copyright is enjoyed by the producer.

    Key Words: audiovisual works; copyright; author; producer