Paramount Pictures v. Axanar Productions: identifying the infringed work when an unauthorized production is set in an existing fictional universe

Q3 Social Sciences Interactive Entertainment Law Review Pub Date : 2018-12-01 DOI:10.4337/IELR.2018.02.01
M. Dunford
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引用次数: 2

Abstract

The copyright status of the fictional universes that form the foundation of many interactive and conventional entertainment franchises is unclear, making it difficult to determine how to assess copyright infringement claims when the universe is appropriated for use by an unauthorized work. A recent American case, Paramount Pictures v. Axanar Productions, represents one of the only known examples of such a case that does not involve the corresponding use of major plot elements or characters from within the main franchise works. This paper uses the Paramount Pictures v. Axanar Productions case as an example of the effect that decisions about how to identify the infringed work have on both the substantial similarity and fair use inquiries. The aggregation approach adopted by the court is critiqued, and an alternative approach – treating the fictional universe itself as a copyright protected work – is suggested as an alternative consistent with existing law. However, even that approach is likely to have potential pitfalls. Ultimately, those interested in copyright as applied to multi-work franchises should be aware that this is an area of lingering uncertainty, with both the nature and the extent of the copyright protection afforded to fictional universes undefined at the current time.
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派拉蒙影业诉Axanar制片公司:当未经授权的制作发生在现有的虚构世界中时,识别被侵权的作品
构成许多互动和传统娱乐特许经营基础的虚构宇宙的版权状况尚不清楚,这使得当宇宙被未经授权的作品占用时,很难确定如何评估版权侵权索赔。最近在美国发生的派拉蒙电影公司(Paramount Pictures)诉Axanar Productions一案,是目前所知的为数不多的不涉及使用主要系列作品中的主要情节元素或角色的案例之一。本文以派拉蒙电影公司诉Axanar制作公司案为例,说明如何识别侵权作品对实质相似性和合理使用调查的影响。法院采用的综合方法受到了批评,另一种方法——将虚构的宇宙本身视为受版权保护的作品——被建议作为与现行法律一致的替代方法。然而,即使这种方法也可能存在潜在的缺陷。最后,那些对多作品授权的版权感兴趣的人应该意识到,这是一个不确定的领域,目前对虚构世界的版权保护的性质和范围都不明确。
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