“创意”的知识产权保护之探析

现行知识产权制度对"创意"的保护存在诸多局限,而随着知识经济时代的到来,创意产业的发展急需与之相配的法律制度的护航,知识产权制度这种与知识经济时代联系最为直接紧密的法律制度则责无旁贷。文章就知识产权制度和其它法律制度对创意的保护优劣进行评述,并对探讨了如何完善创意保护的法律制度。     

发展创意产业与振兴东北老工业基地

在东北老工业基地的振兴中,创意产业具有推动新兴产业的形成、培育地方经济新的增长点、促进体制创新和产业结构升级、缓解就业压力等作用.应采取培育创意产业园区、加强政府引导扶持和知识产权的保护、营造创意产业平台、培育创意人才和经营管理技能等促进创意产业发展的策略.     

文化创意产业中知识产权评估方法的探讨

文章探讨了文化创意产业中知识产权的评估方法。首先,辨析了文化创意产业的知识产权与普通知识产权的区别;其次,根据文化创意产业的知识产权与普通知识产权的区别,分析了三种传统的评估方法——成本法、市场法、收益法在文化创意产业知识产权评估中的局限性;最后,结合实际运用实物期权法评估文化创意产业知识产权的案例,为文化创意产业中知识产权评估提供一个思路。     

北京能否成为创意之都

什么叫创意之都创意人人都有,自古就有,发展到后来有些创意便成了知识成果和知识产权,运用这些成果和产权进行的生产和消费,就构成了创意产业。创意之都,是一个形象的比喻,说明一个城市或地区是知识成果和知识产权的汇集地,也是创意产业的聚集区。作为创意之都应该是创意人才、创意产业、创意产品和创意消费的聚集区;同时也是知识成果和知识产权能够受到很好保护,创意人才受到特别重视的地区。     

城市创意产业竞争力实证分析——以深圳为例

在创意经济时代,创意产业成为城市发展的新引擎。本文基于波特的“钻石模型”建立城市创意产业竞争力评价指标体系,然后运用SPSS软件对相关数据进行因子分析。以深圳为例,根据数据处理结果比较分析深圳同其他22个大中城市创意产业发展水平的整体差异和具体优劣。依据因子分析结果和SWOT分析矩阵．提出要通过大力培养和引进创意人才,深度发掘文化和旅游资源,明确园区产业定位．优化创意产业内部结构,完善知识产权保护以及凝聚创意氛围来提升深圳创意产业的竞争力。     

景德镇陶瓷创意文化产业体系改进策略研究

笔者首先阐述了景德镇陶瓷创意文化存在发展规划不清晰、企业规模较小、人才相对缺乏、知识产权保护不够等问题。并针对性地提出:完善政府政策机制;加大资源整合力度,实现资源共享;完善人才引进和培育机制,壮大产业发展的人才队伍;完善投融资体制,拓宽筹资渠道;完善知识产权保护体系;制定和完善相关法规体系,强化产业发展的制度保障等有实践指导意义的策略。     

文化创意产业知识产权评估相关问题的研究

文化创意产业知识产权的交易、质押、投融资都离不开对知识产权价值的评估，这需要评估人员能够提供一个合理的公允市场价值。本文探讨的是文化创意产业知识产权的特点及其价值评估中应注意的问题。     

文化创意产业发展催生评估规范

中评协发布的《著作权资产评估指导意见》是继《专利资产评估指导意见》之后又一份重要的知识产权资产评估准则性文件。它不仅填补了我国文化创意产业发展中的一项制度性缺失,也为文化创意产业的蓬勃发展提供了有力的技术支持。文化创意产业是指以创作、创造、创新为根本手段,以文化内容和创意成果为核心价值,以知识产权实现或消费为交易特征,为社会公众提供文化体验的具有内在联系的行业集群。     

海淀文化创意产业渐向高端

海纳百川、淀积千里。海淀区拥有发展文化创意产业极为丰富的智力资源和深厚的文化底蕴,同时,还拥有着经过二十年发展形成的雄厚高新技术产业基础和丰富的产业发展经验。早在2005年5月,海淀建立了全市第一个创意产业基地——中关村创意产业先导基地;成立了海淀区建设创意产业基地领导小组,制定和发布了《海淀区文化创意产业行动计划》,建设了北京市第一个创意产业联     

创意企业上市的特殊困难与培育

一、创意产业的含义与特征 （一）创意产业定义与范围 1998年，英国创意产业专责小组首次对创意产业进行了如下定义：“源于个人创造力与技能及才华、通过知识产权的生成和取用、具有创造财富并增加就业潜力的产业”。但是，在实际的政策运用或政府的产业统计中。由于各个国家和地区的经济社会发展阶段以及文化背景的不同，对创意产业内涵与外延界定也存在一定的差异。     

建设版权交易中心 提高首都文化创意产业核心竞争力——访北京市版权局副局长王野霏

每年中国都有大量的文化创意产品面世,但真正走向市场的不到三分之一,走向市场后能盈利的不到五分之一交易不畅已经成为制约版权产业发展的瓶颈建设版权交易中心,可以很大程度地改变目前我国版权贸易落后的局面《投资北京》:请问目前国际上对版权产业是怎样界定的?版权产业链主要包括哪几部分?王野霏:世界知识产权组织以及美国等国家把文化创意产业也称作版权产业     

广东构建现代产业体系的理论探析

广东产业结构调整已进入一个新阶段。广东构建现代产业体系的目标是建设先进服务业、先进制造业和高新技术产业;实质是提升产业的科技含量;关键是发展民族产业,拥有企业自主知识产权。在构建广东现代产业体系过程中,珠江三角洲的一部分劳动密集型产业必须外迁,另一部分则应就地改造。     

我国高科技企业发展与自主知识产权问题研究

知识经济背景下发展起来高新技术及其产业在经济增长、国家竞争中的作用日益凸显。本文指出了在改革开放30年的历史进程中我国高科技企业虽然己经取得了较大的发展,但却存在着核心竞争力不足的现实问题,主要体现为缺乏自主知识产权的技术支撑,在此基础上分析了自主知识产权与高新技术企业发展问题的原因,并提出了发展我国高新技术企业的对策。     

我国文化创意产业政策现状、问题及对策分析

近年来,我国文化创意产业发展迅猛,成为了经济发展的新引擎.我国的文化创意产业属于政府主导型产业,所以对于我国文化创意产业政策进行研究很有意义.本文介绍了我国文化创意产业的发展历程,对于我国文化创意产业的培育重点、存在的问题进行了分析,并提出了对策,以促使文化创意产业政策在产业发展中发挥更大的作用.     

知识排他性、知识产权保护与区域技术差距

由于高技术产业的技术排他性特征更明显,加强知识产权保护将引起中国高技术产业密集的省份技术进步速度优于其他省份。基于中国省际数据经验研究表明,知识产权保护在短期内帮助扩大了区域之间的技术差距。     

Needed: a new system of intellectual property rights

The world's current system of intellectual property rights has in recent years become unworkable and ineffective. Designed more than 100 years ago to meet the needs of an industrial era, it is inadequate to handle the ownership and distribution of intellectual property generated by the brainpower industries that have come to dominate the world's economy. The prevailing wisdom is that minor tweaking can remedy the problem. But MIT economist Lester Thurow challenges such thinking and calls instead for a new system--one redesigned from the ground up. In making his case for why the old system doesn't work anymore, Thurow lays out the challenges the new system must meet. It must offer incentives to inventors that are strong enough to offset the decline in publicly funded research. At the same time, it must protect the public interest by keeping some intellectual property--basic scientific knowledge, for example--in the public domain. The new system must be flexible enough to deal with the fact that new technologies have created new potential forms of intellectual property rights (Can pieces of a human being be patented?) and have made old rights unenforceable (When books can be downloaded from an electronic library, what does a copyright mean?). And in an increasingly global economy, a new system must meet the needs of both "catch-up" states and "keep-ahead" states. A system that ignores the lesson of history--that every country that has caught up has done so by copying--will be an unenforceable one.     

Intellectual property rights reform and the cost of corporate debt

This paper investigates the role of intellectual property rights (IPR) protection on the cost of bank loans for firms in 48 countries. Using substantial reforms of patent rights as a source of identifying variation, the paper provides strong evidence that borrowers from countries that underwent IPR reform experience significant reductions in the cost of bank debt. Importantly, the effects of IPR reform on loan rates are significantly larger in industries that are more IP-intensive. Additional analysis shows that in the wake of reforms borrowers obtain larger size loans, which indicates that improvements in IPR are associated with greater credit availability. IPR reform also increases foreign lenders participation in loan syndicates. Overall, these findings suggest that legal protection afforded to intellectual property has a significant impact on the cost of corporate borrowing and the ability of innovative firms to raise debt capital.     

Parallel imports and price controls

Price controls create opportunities for international arbitrage. Many have argued that such arbitrage, if tolerated, will undermine intellectual property rights and dull the incentives for investment in research‐intensive industries such as pharmaceuticals. We challenge this orthodox view and show, to the contrary, that the pace of innovation often is faster in a world with international exhaustion of intellectual property rights than in one with national exhaustion. The key to our conclusion is to recognize that governments will make different choices of price controls when parallel imports are allowed by their trade partners than they will when they are not.     

Wealth from creativity: Insights and strategies for the future of international cultural relations

Regardless of frontier, the creative community has begun to benefit financially from the democratisation of creative production and distribution opened up via the Internet, a place where planetary plurality and diversity is implicit. Artists are major ambassadors for their cultures operating in a collaborative environment that recognises the distinctive differences between cultures without threat to indigenous expression.

The cultural ecology may have changed but the response of government has been obstructive. Until the second Iraq war cultural diplomacy seemed to have replaced gunboat diplomacy and there was a growing movement to foster cultural relations in an environment being characterised as mutual. In parallel, at national level, governments were seeking to recognise the strong economic value of the cultural industries sector in the new globalised technology. This has now all been thrown into reverse gear by the practice of public diplomacy, a policy of unreformed imperialist hubris that seeks to influence policy in other nations by using domestic producers of intellectual, scientific, creative or economic content to promote selected values and so dominate the international relations agenda.

What if one were to integrate into the activities of international cultural relations the dynamic ways of working and thinking of the creative industries? A more beneficial model emerges if creators are given centre-stage and the values of the creative community applied to the management of international cultural relations. A series of insights borne of many years work in the creative industries could lead to a new set of strategies that would call the bluff of those currently seeking to promote the advantages of liberal democracy. For these strategies demonstrably uphold the rights of individuals to creative expression and to enrich their local economies. This does require the managers of international cultural relations to live more dangerously than at present and it is to them that this paper is addressed.