earticle

영어

In recent years, with the development of China’s economy, the film and television industry has also developed rapidly with the flood situation. But since the film industry is a capital-intensive industry, the first problem is financing difficulties. It often takes a longer period for a movie to be played from the early stage to the final broadcast, and any link can’t be separated from the support of sufficient funds. Once the source of funds is stopped, the follow-up work will be difficult. In the face of such difficulties, the film companies usually have to borrow money from banks to get funds, but there is a shortage of guaranteed assets, especially for small and medium-sized film companies. In order to solve this dilemma, a large number of film and television companies choose to use the future copyright pledge to obtain funds .The future copyright is recognized by some foreign countries, but there is no uniform regulation on whether it can be transferred. The Anglo-American law system thinks that the future copyright can be transferred freely. In the continental law countries, Germany thinks that the future copyright is not transferable, while France thinks that the right of human rights in future copyright is not transferable, and the property rights can be transferred. Although China’s property law clearly stipulates that the copyright can be pledged and encourages this behavior, there is no stipulation on whether the future copyright can be pledged .This paper is based on this problem, first of all, from the future copyright as a kind of the essence of the right of expectation, theoretically analyzed its This paper is based on this problem, first of all, from the future copyright as a kind of the essence of the right of expectation, theoretically analyzed its transferability. Then it discusses the applicable rules of the future copyright, and thinks it should refer to the relevant rules applicable to movable property. On this basis, the conflict between human rights and property rights in the future copyright pledge is analyzed, and the legal license is adopted to solve this problem. Finally, the paper discusses ways of demonstration of the future copyright, and thinks that it should be applied in the formalism censor, and unify the pledge registration of copyright and the transfer registration of copyright to registration antagonism. It is hoped that it can provide theoretical basis for the regulation of future copyright pledge.

중국어

近年来, 随着我国经济的发展, 影视产业也以洪水之势迅速发展。 但是由于影视产业属于资金 密集型产业, 其面临的首要问题就是融资困难。 一部电影从前期准备到最终播放往往需要经过较长 的周期, 任何一个环节都离不开充足资金的支持, 一旦间断资金来源, 后续工作便会举步维艰。 面 对这样的困境, 电影公司通常只能向银行贷款以获取资金, 但又缺乏可供担保的资产, 特别是对于 中小型影视公司而言。 为了解决这一困境, 出现了大量影视公司以尚未拍摄的电影版权出质以获取 资金的现象。 未来版权在域外法律中虽然被部分国家所承认, 但对于其是否可以转让的问题并没有 统一的规定。 英美法系认为未来版权可以自由转让, 大陆法系国家中德国认为未来版权不可转让, 而法国认为未来版权中人身权不可转让, 财产权可以转让。 我国法律虽然明确规定可以将著作权出 质, 并鼓励这一行为, 但对于未来版权是否可以用以质押却未置一词。 本文正是基于这一问题出发, 首先从未来版权作为一种期待权的本质出发, 对其可转让性进行理论分析。 后对未来版权应适用的 规则进行讨论, 认为适用动产浮动抵押的相关规则更符合未来版权的特征。 在此基础上对未来版权 质押中人身权和财产权的冲突进行分析, 在这一问题的解决上采纳了法定许可说的观点。 最后认为 对于未来版权的公示规则, 应采取形式审查主义并将版权质押登记和版权转让登记统一化, 都采取 登记对抗主义。 由此希望可以为将来规范未来版权质押相关制度提供一定的理论依据。