Panorama jurídico internacional de la regulación de la titularidad de la obra cinematográfica. El caso español
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2019
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Derecom.com
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Gutiérrez García, E. (2019). Panorámica jurídico internacional de la regulación de la titularidad de la obra cinematográfica. El caso español. Derecom, 27. 25-44. http://www.derecom.com/derecom/
Abstract
La aparición de la obra cinematográfica en la escena jurídica como objeto de protección por el derecho de autor fue una tarea complicada que se intentó armonizar a nivel internacional y trasladarse a las legislaciones nacionales, junto a las otras realidades creativas ya existentes. No obstante, este nuevo tipo de obra presentaba unas características en su creación y explotación que le hacían más compleja que el resto de obras existentes hasta entonces y que fueron abordadas regulatoriamente de diferente forma por los países. El presente artículo busca ofrecer al lector una visión general sobre las distintas respuestas regulatorias que los principales sistemas jurídicos articularon en el panorama internacional al afrontar la titularidad de los derechos de explotación sobre las obras cinematográficas, con especial atención al caso español.
The appearance of the cinematographic work in the legal scene as an object of copyright protection was a complicated task that was both attempted to harmonize internationally and move to national legislations, along with the other existing creative realities. However, this new kind of work presented some characteristics in its creation and exploitation that made it more complex than the rest of existing works until then and that were dealt with in a different way by countries. This paper seeks to give the reader an overview of the different regulatory responses that the main legal systems have articulated in the international scene when dealing with the ownership of exploitation rights over cinematographic works, with special attention to the Spanish case.
The appearance of the cinematographic work in the legal scene as an object of copyright protection was a complicated task that was both attempted to harmonize internationally and move to national legislations, along with the other existing creative realities. However, this new kind of work presented some characteristics in its creation and exploitation that made it more complex than the rest of existing works until then and that were dealt with in a different way by countries. This paper seeks to give the reader an overview of the different regulatory responses that the main legal systems have articulated in the international scene when dealing with the ownership of exploitation rights over cinematographic works, with special attention to the Spanish case.