Publication: El régimen jurídico de las interpretaciones audiovisuales
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2017-01-20
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Universidad Complutense de Madrid
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Abstract
Las interpretaciones audiovisuales constituyen un bien jurídico de extraordinario valor creativo, económico y cultural. Sin embargo, las legislaciones nacionales le han prestado poca atención y cuando lo han hecho, como la Ley de Propiedad Intelectual española, ha sido con cierto desdén y a un nivel inferior al que reciben otras contribuciones creativas a la obra audiovisual, que además se erige como paradigma de la obra en colaboración. Solo a partir de la adopción del Tratado de Beijing de 2012 estas creaciones audiovisuales cuentan con una marco regulatorio de mínimos de carácter universal, sin que dicho instrumento, pese al consenso alcanzado, haya entrado aún en vigor. La displicencia con que la norma jurídica trata a tan relevantes bienes culturales y económicos contrasta sobremanera con la valoración que reciben del público y del mercado de los contenidos audiovisuales. Tal disfunción e incoherencia entre realidad y norma responde a la concurrencia e influencia de interese diversos - y a veces perversos-, tanto en el ámbito de la propiedad intelectual como en el sector audiovisual. La presente Tesis, partiendo de la fundamentación fáctica, científica, artística y jurídica de la protección de las interpretaciones audiovisuales, analiza exhaustivamente todo el alcance, lagunas y conflictos de la actual regulación de las mismas en nuestra legislación, en la comparada –con especial referencia al Copyright de EEUU- y en el Derecho comunitario e internacional. El primer bloque de causas de las deficiencias del régimen jurídico de las interpretaciones audiovisuales deriva de las limitaciones conceptuales y dogmáticas con las que se ha ido construyendo la institución de la propiedad intelectual. La presente Tesis intenta superar el dogma anclado a los dos conceptos que tradicionalmente han delimitado la protección subjetiva y objetiva desde el origen de la institución: el autor y la obra. A tal fin, hemos desplegado un extraordinario esfuerzo exegético y hermenéutico para redefinir varias figuras jurídicas en búsqueda de su verdadera correspondencia con el supuesto de hecho que pretenden amparar. Así, y entre otros, los conceptos de autor, obra, originalidad, creatividad, interpretación, artista intérprete o ejecutante, artista, actor, actividad artística, fijación audiovisual e interpretación audiovisual han tenido que ser objeto de un exhaustivo análisis para armonizar su significado jurídico con la actividad artística del actor y con las bases mismas de la creatividad. El desconocimiento del trabajo creativo del actor por parte del público en general y de buena parte de la doctrina jurídica y del legislador constituye, a su vez, un hándicap fundamental para poder acercarse a la materia sin prejuicios y sin lastres de cualesquiera índole...
Audiovisual performances have an extraordinary creative, economic and cultural value. Notwithstanding this, national legislations have given them little attention, and when they have done so, as in the Spanish Intellectual Property Law, it has been with certain disdain and at a lower level than granted to other creative contributions to the audiovisual work, which furthermore rise as paradigm of the joint work. Only from the adoption of the 2012 Beijing Treaty these audiovisual creations count with a universal de minimis regulatory framework, even though such instrument, despite the consensus achieved, has not yet entered into force. The lack of enthusiasm with which the legal norm addresses such relevant cultural and economic goods contrasts enormously with the valuation by the public and the audiovisual contents market. Such dysfunction and incoherency between reality and norm is due to the concurrence and influence of diverse – and sometimes perverse – interests, both in the field of intellectual property and in the audiovisual sector. Departing from the factual and legal basis for the protection of audiovisual performances, this Thesis thoroughly analyses the scope, loopholes and conflicts of their current regulation in our legislation, in the Comparative law –with special reference to the US Copyright – and in the EU law and International law. The first set of causes of the deficiencies in the legal regime of audiovisual performances derives from the conceptual and dogmatic limitations with which the institution of intellectual property has been built. This Thesis attempts to overcome the dogma anchored to the two concepts that have traditionally defined the subjective and objective protection since the inception of the institution: the author and the work. To this end we have deployed an extraordinary exegetical and hermeneutical effort in order to redefine certain legal concepts, in search of their true correspondence with the de facto situation they aim to protect. Thus, and among others, the concepts of author, work, originality, creativity, performance, performer, actor, artistic activity, audiovisual fixation and audiovisual performance had been the subject matter of a comprehensive analysis, in order to harmonize their legal meaning with the artistic activity of the actor and with the very foundations of creativity. The lack of knowledge on the creative work of the actor, by the public in general as well as by much of the scholars and the legislator, constitutes, in turn, a fundamental handicap for approaching this matter without prejudices and without any kind of burdens...
Audiovisual performances have an extraordinary creative, economic and cultural value. Notwithstanding this, national legislations have given them little attention, and when they have done so, as in the Spanish Intellectual Property Law, it has been with certain disdain and at a lower level than granted to other creative contributions to the audiovisual work, which furthermore rise as paradigm of the joint work. Only from the adoption of the 2012 Beijing Treaty these audiovisual creations count with a universal de minimis regulatory framework, even though such instrument, despite the consensus achieved, has not yet entered into force. The lack of enthusiasm with which the legal norm addresses such relevant cultural and economic goods contrasts enormously with the valuation by the public and the audiovisual contents market. Such dysfunction and incoherency between reality and norm is due to the concurrence and influence of diverse – and sometimes perverse – interests, both in the field of intellectual property and in the audiovisual sector. Departing from the factual and legal basis for the protection of audiovisual performances, this Thesis thoroughly analyses the scope, loopholes and conflicts of their current regulation in our legislation, in the Comparative law –with special reference to the US Copyright – and in the EU law and International law. The first set of causes of the deficiencies in the legal regime of audiovisual performances derives from the conceptual and dogmatic limitations with which the institution of intellectual property has been built. This Thesis attempts to overcome the dogma anchored to the two concepts that have traditionally defined the subjective and objective protection since the inception of the institution: the author and the work. To this end we have deployed an extraordinary exegetical and hermeneutical effort in order to redefine certain legal concepts, in search of their true correspondence with the de facto situation they aim to protect. Thus, and among others, the concepts of author, work, originality, creativity, performance, performer, actor, artistic activity, audiovisual fixation and audiovisual performance had been the subject matter of a comprehensive analysis, in order to harmonize their legal meaning with the artistic activity of the actor and with the very foundations of creativity. The lack of knowledge on the creative work of the actor, by the public in general as well as by much of the scholars and the legislator, constitutes, in turn, a fundamental handicap for approaching this matter without prejudices and without any kind of burdens...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Derecho, Departamento de Derecho Civil, leída el 12/01/2016