論傳播娛樂產業所原創之節目版式的法律保護-以著作權法為中心

觀賞網路或電視節目、聽廣播、參加各種演唱會與音樂節，是每個人一生之中必定會參與到的活動，而這些活動實際上分屬不同種類的著作，有戲劇、音樂、舞蹈等；上述各種不同種類的節目製作，背後都有一群製作團隊默默地付出心血，投入時間、金錢與創意，自節目內容、流程順序、舞美設計、演出選角、臺詞對白、燈光音響設計及相關的製作流程規劃等細節，進而形成使閱聽人或是活動參與者得到足以識別的內容；近年來隨著傳播娛樂產業不斷興盛，國際間跨國合作節目或舉辦活動的產值亦不斷提升，隨著市場的發展，在歐美地區已研發成熟的『節目版式』（Program Format），成為近年來熱門交易授權的新興標的；從荷蘭Talpa公司的「荷蘭之聲」之於中國大陸浙江衛視的「中國好聲音」、英國Fremantle Media公司的「TAKE ME OUT」之於臺灣電視公司的「王子的約會」、美國Ultra Enterprises. Inc「Ultra Music Festival」之於臺灣斯邦奈有限公司的「Ultra Taiwan」、臺灣奧汀整合行銷傳播股份有限公司的「泡泡音樂節」之於中國大陸廈門廣電集團與廈門市天視文化傳媒股份有限公司的「廈門泡泡音樂節」，這些都是節目版式交易的具體成功例證。不過我們身處一個資訊流動快速的時代，各種創意與概念的表現很容易透過各種方式被傳遞出去，而依照智慧財產權的法理來說，『節目版式』究竟是否能夠被視為著作權法中所謂的「創作」？抑或是被認定為創意、概念？倘若節目製作方的先行者被後到者抄襲、模仿，是否能構成對著作權的侵害呢？或者可以被認定是一種不公平競爭？而製作方的先行者投入了大量資金、創意、時間與各種資源並尋找合作對象後，是否有可能來阻止同業之間的惡意競爭與抄襲模仿呢？以營業秘密來認定節目版式是否也是一種保護的手段呢？本論文將透過著作權法、營業秘密法、公平交易法來探討節目版式與法律之間的關係，進而討論節目版式是否可以透過著作權法來保護。由於節目版式涵蓋的範圍廣泛，目前未能有明確的定義，在現行法律上似乎也難具確定性，以致於其在智慧財產法方面的適用模糊；雖說國內外對節目的模仿、剽竊案件近年來層出不窮，但本論文也將探究國內外之文獻與世界主要國家針對節目版式的判決，對於節目版式究竟是思想，還是可以被認定為表達，在思想與表達二分法的概念下，做更進一步的探討。而實務上，節目版式已成為傳播娛樂產業界之發展重心，除了國際交易市場日趨熱絡外，其交易規模發展亦逐年成長，本論文認為節目版式經過製作團隊在經過多方的創意發想，落實到確切的企劃內容，將核心理念、節目流程、遊戲規則、臺詞口號、舞臺美術設計、氛圍營造、整體形象...等等，透過製作方進行串聯編排後，形成可供辨識並且能重複製作時，本論文認為『節目版式』已具備充分的對外表達及原創性質，不應被認為是僅僅被認定是思想，而應該被認定是一種表達，應可為著作權法所保護的「創作」，由於現行法律保護不足，或許可以思考另外設定「版式權」作為將來節目版式在法律上保護的依據。

關鍵字

著作權；智慧財產權；節目版式；創作；抄襲；保密義務；不公平競爭；電視節目；音樂節；娛樂；版式權

並列摘要

Watching online or Television shows, listening to radio, participating in various concerts and music festivals are activities that everyone will definitely experience during their lifetime. As a matter of fact, these activities are divided into different kinds of works - drama, music, dance, etc. Behind the scenes, there are various groups of people devoting their time, financial resources and creativities into all the productions and programs with content, process, artistic design, casting, lines and dialogue, lighting and sound design, and more detailed planning, to form a sufficient content that enables the audience and participants to recognize. In recent years, as the entertainment industry continues to prosper, the value of internationally cooperative programs or events continue to increase. The well-developed “Program Format”, known in the market in Europe and the United States, has become a popular target for authorization trade. From “The Voice of Holland” by Talpa from the Netherlands versus “Sing! China” by Zhejiang Satellite TV in China; “TAKE ME OUT" by Fremantle Media from the United Kingdom to “The Prince's Date” by Taiwan Television Enterprise, Ltd.; “Ultra Music Festival" by Ultra Enterprises. Inc. from the United States to "Ultra Taiwan" by Taiwan Spunite Productions; "Foam Party" by Taiwan Odin Integrated Marketing Communication Co., Ltd. to "Xiamen Foam Party" by Xiamen Broadcasting Group and Tianshi Culture Media Co., Ltd. in Xiamen, China. All of these are the successful demonstrations of the trading of Program Format. 　　However, given the fact that the expression of ideas and concepts can be easily transmitted through different means in this era of rapid information flow, can the “Program Format” be regarded as the so-called “creation" in the copyright law, according to the legal principle of intellectual property rights? Or would it be identified as a creation or concept? If the pioneer productions are copied and imitated by the latecomers, can they constitute a violation of copyright? Or can it be considered an unfair competition? After the pioneers have invested a lot of money, creativity, time and resources and partners, how will it be possible to prevent malicious competition and plagiarism within the industry? Is it also a means of protection to identify Program Format as trade secrets? This study is focusing on copyright law, business secret law and fair trade law to investigate the relationship between Program Format and law. Then, whether program format can be protected by copyright law is discussed. 　　Due to the wide scope of the Program Format, there is currently no clear definition, and it is difficult to be certain in the current law, thus the application in intellectual property law is vague. On the basis of various studies of thesis and judgments, despite the emerging cases for imitation of programs domestically and internationally in recent years, this study is focusing on the judgements of Program Format among key countries across the world in various studies both domestically and internationally. Under the concept of idea-expression dichotomy, we have investigated further wether it can be recognized as idea or expression. 　　Practically, Program Format has become the developmental focus of entertainment industry. It is increasingly hot not just in international trading market but also growing its scale annually. This study believes that after Program Format has experienced many creative ideas and implementation on planning content, core concept, programs, game rules, lines and slogans, art designs, atmosphere creation, visual image, etc., with a compact series of careful arrangements, to form a recognizable and repeatable production. Therefore, this study showed "Program Format" has sufficient external expression and originality. It should not be viewed as merely an idea but should be considered an expression, a "creation" supposedly protected by copyright law. However, due to, the lack of insufficient legal protection, it is suggested that we shall be able to add additional "Format rights" as the basis for legal protection of future program.

並列關鍵字

Copyright ； Intellectual Property Rights ； Program Format ； Creation ； Plagiarism ； Confidentiality Obligations ； Unfair Competition ； Television shows ； Music festivals ； Entertainment ； Format right