Page 126 - Arts Innovation Report_2022_May11
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首先在香港,版權議題並未獲得如南韓及台灣般的重                         To begin, copyright in Hong Kong does not carry the same weight as
                                                           it does in South Korea or Taiwan. Structurally it may be overseen by
           視,甚至容易被忽略。政策方面,知識產權署亦沒有
                                                           IPD, but operationally, IPD has no policy mandate over how copyright
           特別為完善版權資料收集及授權等業務制訂策略;而
                                                           information collection and licensing is done—yet in South Korea and
           在南韓和台灣,這些都是由政府主導的。
                                                           Taiwan, these are mandated and government-led.
           由於版權在香港毋須註冊自動生效,版權資料收集和
                                                           Because copyright is an automatic right in Hong Kong, copyright
           授權多數是由獨立營運的版權特許機構管理,這些機                         information collection and licensing largely fall on independently-
           構亦稱為「版權集體管理機構」或「收集機構」,版權                        run, and privatised “copyright licensing bodies”, also known as
           特許機構獲版權擁有者授權,以代表其批出特許給版                         “collective management organisations (CMOs)” or “collecting
           權作品使用者(IPD,2004)。                               societies”, which are organisations that are authorised by copyright
                                                           owners to grant licenses of copyrighted works to users on their behalf
                                      50
           香港目前有六家版權特許機構。 而知識產權署只是                         (IPD, 2004).
           負責協助這六家機構進行再註冊,卻無其他支持版權
                                                                                                            50
                                                           There are currently six of these licensing bodies in Hong Kong.  And
           交流和交易的措施,更遑論制訂利用文化IP 的策略,
                                                           as far as IPD is concerned, other than assisting the re-registrations for
           以提升香港的文化軟實力。
                                                           these six licensing bodies, there is no further mandate for IPD to
                                                           bolster opportunities for cultural IP trading and exchange, let alone
           因此,我們認為香港的版權制度是有龐大的發展空
                                                           devise strategic policies of exploiting cultural IP in Hong Kong to
           間,去專門推動文創產業發展,特別是在文化 IP 交
                                                           boost cultural softpower.
           易方面,促進線上貿易。
                                                           Hence, we suggest that Hong Kong’s copyright regime has a lot of
                                                           room for development as a standalone portfolio for the CCI,
                                                           especially in the realm of cultural IP trading—and an online one
                                                           at that.














           50 六家機構分別是香港作曲家及作詞家協會有限公司、香港音像聯盟有限公司、Motion Picture Licensing Company (Hong Kong) Limited、香港音像版權有限公司、香港複印授權協會有限公司,以及香港書刊版
            權授權協會有限公司。
              The six licensing bodies are Composers and Authors Society of Hong Kong Limited, Hong Kong Recording Industry Alliance Limited, Motion Picture Licensing Company (Hong Kong) Limited, Phonographic Performance
            (South East Asia) Limited, The Hong Kong Copyright Licensing Association Limited, and the Hong Kong Reprographic Rights Licensing Society Limited.
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