TFL Vsebine / Zbornik znanstvenih razprav

Glasba je pomemben izrazni element v filmski umetnosti. Skladatelja, ki glasbo ustvari posebej za uporabo v filmu, zato slovenska zakonodaja priznava za soavtorja avdiovizualnega dela. Druge avtorje glasbe, ki je uporabljena v avdiovizualnih delih, pa se obravnava samo kot glasbene avtorje. Vendar se ustvarjalno delo skladatelja filmske glasbe razlikuje od prispevkov drugih filmskih umetnikov po tem, da je filmska glasba ustvarjena ločeno od preostalih prispevkov in jo je zlahka mogoče izkoriščati tudi samostojno, zunaj okvira avdiovizualnega dela. Da so skladatelji filmske glasbe hkrati glasbeni in filmski ustvarjalci, se v slovenski pravni ureditvi kaže tudi pri kolektivnem upravljanju avtorskih pravic, ki poteka drugače, če se filmska glasba izkorišča v okviru avdiovizualnega dela ali pa kot samostojno glasbeno delo. To razlikovanje delno odstopa od prevladujoče prakse v drugih primerljivih pravnih redih. Prispevek analizira pojem avtorstva avdiovizualnega dela in prispevkov k njemu po slovenskem pravu. Predstavlja, kako se je slovenski sistem kolektivnega upravljanja avtorskih pravic na filmski glasbi izoblikoval z odločitvami Urada RS za intelektualno lastnino, Sveta za avtorsko pravo in v sodni praksi. Opredeljena so sporna vprašanja pravne ureditve in predstavljene različne interpretacije, ki so jih zastopali različni deležniki.

Music is an important expressive element in the film art. Slovenian legislation recognises a composer who creates music specifically for the use in a film (film score) as a co-author of the audiovisual work. Other authors of music used in audiovisual works are treated solely as musical authors. However, the creative work of film music composers differs from the contributions of other audiovisual artists as film music is created separately from other contributions and can easily be exploited independently, outside the scope of the audiovisual work. The fact that film music composers are simultaneously musicians and filmmakers is reflected in the Slovenian system of collective management of copyrights, which depends on whether film music is used in the context of an audiovisual work or as an independent musical work. This distinction partially deviates from the prevailing practice in other comparable legal orders. The paper analyses the concept of authorship of an audiovisual work and contributions to it under Slovenian law. It presents how the Slovenian system of collective management of copyrights in film music was shaped by the decisions of the Intellectual Property Office of the Republic of Slovenia, the Copyright Council and judicial practice. Controversial issues of legal regulation are defined and different interpretations represented by different stakeholders are presented.