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中国电影导演协会8月1日向国家版权局提交《著作权法》修正提案,要求将“导演是影片的作者”明确写入。此举一出,一石激起千层浪。4日,汪海林发表博文《导演是电影的作者吗?》认为,导演的工作融合在与各个艺术部门的合作中,不可分割,不可单独使用,这是导演们面对著作权法无法突破的一个事实。在此后的一段日子里,关于电影中的作者问题论战被不断升级,有关编剧的讨论也再次成为舆论的焦点。为此特邀两位编剧老师田卉群和汪海林共同关注中国编剧的当下生态,以及这种生态形成的历史动因和其未来的发展方向。
On August 1, the China Film Directors’ Association submitted a proposal of amendment to the Copyright Law to the State Copyright Administration, asking that “the director is the author of the film” be clearly written. This move is a stone aroused Melaleuca waves. On the 4th, Wang Hailin published a blog post, “Is the director the author of the movie?” That the director’s work is integrated into the cooperation with various art departments and is indivisible and can not be used alone. This is a fact that directors face the inability to break through copyright law . In the ensuing days, the controversy over the writer’s issue in the movie was escalating, and the discussion about screenwriters once again became the focus of public opinion. To this end invited two screenwriter teacher Tian Huiqun and Wang Hailin to pay close attention to the current ecology of Chinese screenwriters, as well as the history of this ecological formation and its future development direction.