㐃⥆௻⏬㸸ⴭసᶒἲࡢࣜࣇ࢛࣮࣒ㄽ ࡑࡢ㸯ჇƷᓸ˺ೌȪȕǩȸȠ Jessica LITMANẚⰋ཭ె⌮ ヂ ࠙せ⣙ࠚ ⴭసᶒไᗘࡣⴭస≀ࡢ๰సࠊᬑཬࠊࡑࡋ࡚฼⏝ࢆ⫱ࡴ࢚ࢥࣟࢪ࣮ࢆ⏕ࡳฟࡍࡓࡵ࡟タィࡉࢀ࡚࠸ࡿࠋⴭసᶒไᗘࡀ࠺ࡲࡃᶵ⬟ࡋ࡚࠸ࢀࡤࠊࡑࢀࡣࢡ࢚ࣜ࢖ࢱ࣮
ࡀ᪂ࡓ࡞ⴭస≀ࢆ⏕ࡳฟࡍࡢࢆಁࡋࠊ፹௓ᴗ⪅ intermediaries ࡀᗈࡃᬑཬࡉࡏࡿ
ࡢࢆᨭ࠼ࠊㄞ⪅ࡸど⫈⪅ࡀࡑࢀࡽࢆாཷࡍࡿࡢࢆຓࡅࡿࠋࡶࡋไᗘࡀࢡ࢚ࣜ࢖ࢱ
࣮ࡢཧධ㞀ቨࢆ㧗ࡵࡓࡾࠊ፹௓ᴗ⪅࡟ࡁࡘ࠸㞀ᐖࢆㄢࡋࡓࡾࠊ࠶ࡿ࠸ࡣ࣮ࣘࢨ࣮
࡟གྷ௓࡞᮲௳ࡸࣁ࣮ࢻࣝࢆᢲࡋ௜ࡅࡿ࡞ࡽࡤࠊࡑ࠺ࡋࡓไᗘࡣᑡ࡞ࡃ࡜ࡶ୍㒊ࡢ┠ⓗࡢ㐩ᡂ࡟ኻᩋࡋ࡚࠸ࡿ࡜࠸࠼ࡿࠋ⌧ᅾࡢ⡿ᅜⴭసᶒࡢไᐃἲࡣࡇࢀࡽ  Ⅼ࡟࠾࠸࡚୙᏶඲࡞ࡶࡢ࡛࠶ࡿࠋᮏ✏࡛ࡣࠊ⌧ᅾࡢⴭసᶒไᗘࡀ࠸࠿࡟ᮏ᮶ពᅗࡋ࡚
࠸ࡓཷ┈⪅ࡢᙺ࡟❧ࡗ࡚࠸࡞࠸ࡶࡢ࠿ࢆ᫂ࡽ࠿࡟ࡍࡿࠋ⚾ぢ࡟ࡼࢀࡤࠊⴭసᶒἲࡢ
ṇ⤫ᛶࡢᅵྎ࡜࠸࠺ࡢࡣࠊࢡ࢚ࣜ࢖ࢱ࣮࡜࣮ࣘࢨ࣮࡟ࡶࡓࡽࡉࢀࡿ᫂ⓑ࡞౽┈࡟ồࡵࡽࢀࡿࠋࡋ࠿ࡋࡇ࠺ࡋࡓᅵྎ࡟ࡣ⌧ᅾ኱ࡁ࡞ட⿣ࡀධࡗ࡚ࡋࡲࡗ࡚࠸ࡿ࡜⪃࠼ࡽࢀࡿࠋࡑࡢ⌮⏤ࡢ኱༙ࡣ⌧௦ࡢⴭసᶒἲࡀ≉࡟ࢡ࢚ࣜ࢖ࢱ࣮ࡸ࣮ࣘࢨ࣮ࡢࡓ
ࡵ࡟࡞ࡗ࡚࠸ࡿ࡜ࡣ࠸࠼࡞࠸࡜࠸࠺ㄆ㆑ࡀᗈࡀࡗ࡚࠸ࡿࡇ࡜࡟ᖐࡏࡽࢀࡿࠋⴭస
ᶒἲࡣࡑࡢ௦ࢃࡾ࡜ࡋ࡚ࠊࢡ࢚ࣜ࢖ࢱ࣮࡜࣮ࣘࢨ࣮ࡢ㛫ࡢᑟ⟶ࢆྖࡿ፹௓ᴗ⪅ࡢ
John F. Nickoll Professor of Law and Professor of Information, University of Michigan.ึᮇࡢⲡ✏࡟ࢥ࣓ࣥࢺࢆୗࡉࡗࡓ Jon Weinberg, Seana Shiffrin, Jane Ginsburg, Rebecca Tushnet, Tom Cotter, Kurt Hunt ྛ఩࡟ឤㅰ⏦ࡋୖࡆࡿࠋࡲࡓࠊⴭసᶒࣜࣇ࢛࣮࣒࡜
࠸࠺ㄽ㢟ࢆ❧࡚ࠊࣜࣇ࢛࣮࣒ࡢᙧసࡾ࡟ࡘ࠸࡚⌧ᅾ⾜ࢃࢀ࡚࠸ࡿ㆟ㄽࢆࡲ࡜ࡵ࡚ୗ
ࡉࡗ࡚࠸ࡿ Pamela Samuelson ࡟ࡣከ኱࡞ᜠ⩏ࢆឤࡌ࡚࠸ࡿࠋ⚾ࡢ⪃࠼ࡣከࡃࡢே࡜
ࡢᑐヰ࡟ᙳ㡪ࢆཷࡅ࡚࠸ࡿࡀࠊ≉࡟ Jon Baumgarten, Mike Carroll, Julie Cohen, Troy
Dow, Laura Gasaway, Daniel Gervais, Terry Illardi, Lydia Loren, Tyler Ochoa, Tony Reese,
Jule Sigall, Kate Spelman, Chris Sprigman, Jeremy Williams ࡟ᚚ♩⏦ࡋୖࡆࡿࠋࡇࢀࡽ
ࡢ᪉ࠎࡣ⚾ࡢ⤖ㄽࡢ኱㒊ศ࡟㈶ྠࡋ࡞࠸ࡔࢁ࠺ࡇ࡜ࡣ☜ಙࡋ࡚࠸ࡿࡀࠊᑐヰࡢ࠾㝜࡛⚾⮬㌟ࡀᮏᙜࡣఱࢆ⪃࠼࡚࠸ࡿࡢ࠿ࢆࢃ࠿ࡿࡇ࡜ࡀ࡛ࡁࡓࠋ

▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ᡭඖ࡟ຊࢆ㞟୰ࡉࡏ࡚ࡋࡲࡗ࡚࠸ࡿࠋࡇ࠺ࡋࡓ፹௓ᴗ⪅ࡽࡣ㏆᫬ࠊࡑࡢᙳ㡪ຊࡸไᐃⴭసᶒἲࡣྂࡃࠊ᫬௦㐜ࢀ࡛ࠊᰂ㌾ᛶࢆḞࡁࠊᵝࠎ࡞ไᗘࡢḞ㝗ⴭస≀࡟㛵ࡍࡿᶒ฼ࢆ⏝࠸࡚ࠊ஫࠸࡟ⴭస≀ࡢ฼⏝ࢆጉᐖࡋྜࡗ࡚࠸ࡿࠋ፹௓ᴗ

ࢆ㟢࿊ࡍࡿࡼ࠺࡟࡞ࡗ࡚ࡁ࡚࠸ࡿࠋ㆟఍ࡀ⌧ᅾࡢⴭసᶒἲࢆไᐃࡋࡓࡢ

⪅࡬ࡢᶒ฼ࡢ㞟୰ࡣࠊ௨๓ࡣ⤒῭ⓗ࡟⌮࡟㐺ࡗ࡚࠸ࡓࡀࠊ௒᪥࡛ࡣࡑ࠺࡜ࡣ࠸࠼
࡞ࡃ࡞ࡗ࡚࠸ࡿࡢ࡛ࡣ࡞࠿ࢁ࠺࠿ࠋ┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ࢆ⾜࠺ୖ࡛㘽࡜࡞ࡿࡢࡣࠊࢡ࢚ࣜ࢖ࢱ࣮࡟ࡶࡗ࡜ᶒ฼ࢆ୚࠼ࠊ࣮ࣘࢨ࣮࡟ࡶࡗ࡜⮬⏤ࢆ୚࠼ࠊⴭసᶒࡢ
፹௓ᴗ⪅ࡢࢥࣥࢺ࣮ࣟࣝࢆῶࡽࡍࡇ࡜࡛ࠊⴭసᶒࡀࡶࡓࡽࡍ౽┈ࢆ෌㓄ศࡍࡿࡇࡣᖺ௨ୖ๓ࡢࡇ࡜࡛࠶ࡿࠋࡑࡢ୰࡛ࡶ㔜せ࡞᮲㡯ࡢ࡯࡜ࢇ࡝ࡣࠊࡑࢀ
ࡼࡾ๓࡟ᩘᖺࢆ࠿ࡅ࡚㉳ⲡࡉࢀ࡚ࡁࡓࡶࡢ࡛࠶ࡿࠋ㛗ᮇⓗ࠿ࡘ」ᒙ໬ࡋࡓ஺΅㐣⛬ࡢ୰࡛ࠊⴭసᶒࡢࣟࣅ࢖ࢫࢺࡀᖺⴭసᶒἲࢆ᭩ࡁ⾲ࡋࡓࠋ࡜࡛࠶ࡿ࡜ᥦ᱌ࡍࡿࠋ

ไᐃἲࡣ㞴ゎ࡞ㄽதࢆゎỴࡍࡿࡓࡵ࡟ヲ⣽ࢆグ㏙ࡋࡓ኱㔞ࡢつᐃࢆྵࢇ࡛࠸ࡿࠋࡇࢀࡣ๓㌟ࡢไᐃἲ࡟࠾ࡅࡿ୍⯡ⓗ࡞ཎ๎ࢆࠊᖺ௦࠿ࡽ

ᖺ௦ึᮇࡢᢏ⾡࡜ᕷሙ࡟᰿ࡊࡋࡓ≉ᐃࡢᩥゝ࡟ྲྀࡗ࡚௦࠼ࡿࡶࡢ࡛࠶ࡗ┠ ḟϨ㸬⌧ᅾࡢⴭసᶒไᗘࡢḞⅬ㸿㸬ࢡ࢚ࣜ࢖ࢱ࣮ࡢⴭసᶒ
㹀㸬࣮ࣘࢨ࣮ࡢⴭసᶒ
㹁㸬፹௓ᴗ⪅ࡢⴭసᶒ

ࡓࠋࡋ࠿ࡋไᐃἲࡣኚ໬࡟ᑐᛂࡍࡿࡼ࠺࡟ࡣ࠺ࡲࡃタィࡉࢀ࡚࠾ࡽࡎࠊ
᫬ࡢ⤒㐣࡜࡜ࡶ࡟⥢ࡧࡀ┠❧ࡘࡼ࠺࡟࡞ࡗࡓࠋලయⓗ࡟᭩ࡁ㎸ࡲࢀࡓ≉ᐃࡢゎỴ᪉ἲࡣࠊ♫఍ⓗࠊᩥ໬ⓗࠊᢏ⾡ⓗኚ໬ࢆ┠ࡢ๓࡟ࠊ୙㐺ษ࡛᫬௦㐜ࢀࡢࡶࡢ࡜࡞ࡗ࡚ࡋࡲࡗ࡚࠸ࡿࠋⴭసᶒ㞟⣙ⓗ࡞ࣅࢪࢿࢫࡣ㆟఍࡟㸯㸬ศ㓄ᴗ⪅ᑐࡋࠊ᪂ࡓ࡞ၥ㢟ࢆゎỴࡍࡿࡓࡵࡢ᪂ࡋ࠸ヲ⣽࡞グ㏙ࢆせồࡍࡿࡼ࠺࡟

㸰㸬࣓࣮࣮࢝

࡞ࡗࡓࠋ⥆࠸࡚⏘ᴗ⏺ෆ࡛⾜ࢃࢀࡓ஺΅ࡢ㐣⛬࡛ࡣࠊไᐃἲࡢᥦ᱌ࢆ୍

㹂㸬ࡲ࡜ࡵ
ϩ㸬ⴭసᶒࣜࣇ࢛࣮࣒ࡢᐇ㝿㸦௨ୖࠊᮏྕ㸧Ϫ㸬ⴭసᶒࣜࣇ࢛࣮࣒ࡢ┠ⓗ㸿㸬ᢤᮏⓗ࡞⡆⣲໬㹀㸬ࢡ࢚ࣜ࢖ࢱ࣮ࡢᶒཎࡢᙉ໬
㹁㸬࣮ࣘࢨ࣮ࡢᶒཎࡢᙉ໬
㹂㸬௰௓ࡢ᤼㝖㸦Disintermediation㸧㹃㸬ࡲ࡜ࡵ
ϫ㸬┿ࡢⴭసᶒᨵ㠉࡟ྥࡅ࡚
㸿㸬ⴭసᶒࡢಖㆤ⠊ᅖࡢぢ┤ࡋ㸯㸬ၟᴗⓗ฼⏝ᶒࡢ୍ඖ໬㸽㸰㸬ᐇຠᛶࡢ᳨ド㸱㸬ࡼࡾៅ㔜࡞௦᭰᱌
㹀㸬ࢡ࢚ࣜ࢖ࢱ࣮࡜ⴭసᶒࡢ෌⤖ྜ㹁㸬࣮ࣘࢨ࣮ࡢᶒ฼ࡢㄆ㆑
㹂㸬ሀᅛ࡞௰௓ᴗ⪅ࡢ㝖ཤ㹃㸬ࡲ࡜ࡵ
Ϭ㸬ࡇࡇ࠿ࡽࡑࡇ࡬ྥ࠿࠺࡟ࡣ
ϭ㸬⤖ㄒ✀⊂≉࡛Ẽࡲࡄࢀ࡞฼ᐖ㛵ಀ࡟ྜࢃࡏࡿࡼ࠺ㄪᩚࡀヨࡳࡽࢀࠊࡑࡢ⤖ᯝヲ⣽࡞グ㏙ࡣ୍㐃ࡢไ㝈つᐃࡸణࡋ᭩ࠊไ⣙ࠊ᮲௳࡜࡞ࡗ࡚ࠊᚑ㡰࡞㆟఍ࡢᡭ࡛ἲࡢ୰࡟⤌ࡳ㎸ࡲࢀࡿ࡟⮳ࡗࡓ  ࠋ௒᪥ࠊྜ⾗ᅜἲᚊ㞟 United
Copyright Act of 1976, Pub. L. No. 94-553, 90 Stat. 2541 (codified as amended at 17

U.S.C. §§ 101–1205 (2006)).
See JESSICA LITMAN, DIGITAL COPYRIGHT 22–34, 54–63, 122–45 (2d ed. 2006). Com-pare, e.g., Copyright Act of 1909, ch. 320, § 1(e), 35 Stat. 1075 Ⴀ฼┠ⓗࡢබ࡛ࡢ㡢ᴦ
సရࡢ₇ዌ࡟ࡘࡁࠊ⠊ᅖ࡜౛እࢆᐃࡵ࡚࠸ࡿ , with Copyright Act of 1976 § 110 බࡢ฼⏝ᶒ࡟ᑐࡍࡿ౛እࢆิᣲࡋ࡚࠸ࡿ .
LITMAN, supra note 2, at 57–63, 197–202.

See, e.g., Performance Rights Act of 2009, H.R. 848, 111th Cong. (2009); Fair Copyrightin Research Works Act of 2009, H.R. 801, 111th Cong. (2009); Shawn Bentley Orphan
Works Act of 2008, S. 2913, 110th Cong. (2008); Intellectual Property Enforcement Act of
2007, S. 2317, 110th Cong. (2007); Inducing Infringement of Copyrights Act of 2004,
S. 2560, 108th Cong. (2004).

See, e.g., Prioritizing Resources and Organization for Intellectual Property Act of 2008,

Pub. L. No. 110-403, 122 Stat. 4256 (codified as amended in scattered sections of 15 U.S.C.,
18 U.S.C., and 42 U.S.C.); Family Entertainment and Copyright Act of 2005, Pub. L.

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 States Code ➨⦅ࡣ⭾ࢀୖࡀࡾࠊࡘࡓ࡛そࢃࢀࡓࠊ⌮ゎ୙⬟࡞ᩥ❶ࡢ㞟ࡲࡾ࡜࡞ࡗ࡚ࡋࡲࡗ࡚࠸ࡿ ࠋグ᠈ຊࡢⰋ࠸Ṕྐᐙࡸⴭసᶒἲ࡟㛵ࢃࡿἲ᭪࡛࠶ࢀࡤࡇ࠺ࡋࡓၥ㢟࡟ࡀࠊࡑࡢሙࡋࡢࡂࡢゎỴ⟇ࢆ௚ࡢ฼ᐖ㛵ಀ⪅࡜஺΅ࡋ࡚ࡁࡓ࡜࠸࠺ࡶࡢ
࡛࠶ࡾࠊࡑࡇ࡛ࡣ⮬ศࡓࡕࡀᮃࡴࡼ࠺࡞ෆᐜࡀไᐃἲࡢ᮲ᩥ࡟᭩࠿ࢀ࡚
࠸ࡿ࠿ࡢࡼ࠺࡟᣺ࡿ⯙࠺ࡇ࡜࡛ྜពࡀ࡞ࡉࢀࡓࠋ➨୕࡟ࠊᙼࡽࡣ஫࠸࡟

ᡃࠎࡀ௨๓ࡶ┤㠃ࡋࡓࡇ࡜ࡀ࠶ࡿࡢࢆࡼࡃぬ࠼࡚࠸ࡿ࠿ࡶࡋࢀ࡞࠸ࠋⴭ

ྲྀỴࡵࢆ⾜࠸ࠊࡑࢀࡒࢀࡢ࠿ࡺ࠸࡜ࡇࢁࢆᥙࡅࡿࡼ࠺࡞ⴭసᶒἲ࡬࡜ᨵసᶒἲࡀⓎᒎࡍࡿᢏ⾡࡟❧ࡕྥ࠿࠺࡜࠸࠺Ⅼࡣࠊ㆟఍ࡀ᭱ึࡢⴭసᶒἲ

ṇࡍࡿࡼ࠺ᥦ᱌ࡋࡓࠋࡇ࠺ࡋࡓࣉࣟࢭࢫࡣᙼࡽࡀ᝿ീࡍࡿ௨ୖ࡟᫬㛫ࡀࢆᖺ࡟ไᐃࡋ࡚௨᮶࡯ࡰ㏵⤯࠼ࡿࡇ࡜࡞ࡃࢸ࣮࣐࡛࠶ࡾ⥆ࡅ࡚ࡁࡓࠋ

࠿࠿ࡿࡶࡢ࡛࠶ࡗࡓࡀࠊ᭱⤊ⓗ࡟ࡣ㆟఍ࡀ༠ຊⓗ࡟ไᐃࡋ࡚ࡃࢀࡓࡇ࡜

ࡇࢀࡲ࡛ࡶఱᗘࡶࠊⴭసᶒ⏘ᴗࡀࡑࡢᨻ἞ⓗᙳ㡪ຊࢆ㥑౑ࡋ࡚㆟఍࡟ᑐࡶ࠶ࡾࠊⴭసᶒࡢࣟࣅ࢖ࢫࢺࡓࡕࡀไᐃἲࡢᩥゝࢆ⏕ࡳฟࡋࡓࢃࡅ࡛࠶

ࡋ᪂ࡋ࠸ἲࢆไᐃࡍࡿࡼ࠺㏕ࡗ࡚ࡁࡓࡢ࡟ᢲࡉࢀࡿᙧ࡛ࠊⴭసᶒἲࡣࡦ

ࡿࠋࡇࡢ⤖ᯝࠊᙜ↛࡞ࡀࡽ࡛ࡁ࠶ࡀࡗࡓไᐃἲࡣ௨๓ࡢࡶࡢ࡟ẚ࡭ࡼࡾ࡝ࡃ᫬௦㐜ࢀ࡟࡞ࡿࡼ࠺࡟ᡂ㛗ࡋ࡚ࡁࡓࠋ⌧ᅾࡢἲࡣ㐣ཤ࡟ẚ࡭ࠊࡼࡾᴟ

㛗ࡃࠊࡼࡾᰂ㌾ᛶࢆḞࡁࠊḞ㝗ࡢከ࠸ࡶࡢ࡬࡜㏥໬ࡋࡓࡶࡢ࡜࡞ࡗࡓࡢ

➃࡟ኻᩋࡋ࡚࠸ࡿྍ⬟ᛶࡀ࠶ࡾࠊ᮲ᩥࡢᩥゝࡣఱಸ࡟ࡶ㛗ࡃࠊࡎࡗ࡜⣽࠿ࡃࠊ᫇࡟ẚ࡭⌮ゎࡍࡿࡢࡀ㞴ࡋࡃ࡞ࡗ࡚࠸ࡿ࠿ࡶࡋࢀ࡞࠸ࠋ࡜ࡣ࠸࠼
ࡇࡢ✀ࡢགྷ⅏ࡣⴭసᶒࡢṔྐࢆ⧞ࡾ㏉ࡋᝎࡲࡏ࡚ࡁࡓࡶࡢ࡛࠶ࡿࠋୡ⣖ࡸୡ⣖࡟ࡇ࠺ࡋࡓၥ㢟࡟┤㠃ࡋࡓ㝿࡟ࡣࠊⴭసᶒᙉ໬ὴࡢἲ᭪ࡣἲ
ᚊࢆᙉ໬ࡍࡿ࡭ࡃ࠸ࡃࡘ࠿ࡢᡓ␎ࢆ᥎ࡋ㐍ࡵ࡚ࡁࡓࠋ୍ࡘࡣไᐃἲ࡟࠶


౵ᐖࡢ୺ᙇ࡟ࡼࡗ࡚ಖㆤࢆồࡵ࡚࠸ࡿࡢ࠿ 䛄publication࠘࡟ヱᙜࡍࡿࡓࡵ࡟ࡣࠊ㡺ᕸ distribution ࡣᴟࡵ࡚኱つᶍࡢࡶࡢ࡛࠶ࡿࡇ࡜ࡀᚲせ࡜ࡉࢀࡿ ࠊࡑࢀ࡜ࡶཎ࿌
ࡀⴭసᶒࡢไᐃἲ࡟ᇶ࡙࠸࡚ㄳồࡋ࡚࠸ࡿࡢ࠿ ࡑࡢሙྜ publication ࡢせ௳ࡣᴟࡵࡿ㒔ྜࡢᝏ࠸ᩥゝࢆᅇ㑊ࡍࡿ࡜࠸࠺ࡶࡢ࡛ࠊࡑࡢࡓࡵ⿢ุᡤ࡟ᑐࡋࠊไᐃ

࡚㝈ᐃⓗ࡞ࡶࡢ࡛㊊ࡾࡿ ࡟ࡼࡗ࡚ࠊ␗࡞ࡿᇶ‽ࢆ㐺⏝ࡋ࡚࠸ࡿ㹿㺁 . Compare Cont’lἲࡢᩥゝࢆ࠶ࡿሙ㠃࡛ࡣ࠶ࡿព࿡ࢆᣦࡍࡶࡢ࡜ࡋࠊูࡢሙ㠃࡛ࡣ඲ࡃ㐪Cas. Co. v. Beardsley, 253 F.2d 702 (2d Cir. 1958) ⾲♧࡞ࡋ࡛ᑡேᩘ࡟㒊ࡢࢥࣆ࣮࠺ෆᐜࢆᣦࡍࡼ࠺ゎ㔘ࡍࡿࡼ࠺࡟່ࡵ࡚ࡁࡓࠋ➨஧࡟ࡣࠊࡑ࠺ࡋࡓἲ᭪

ࢆ㡺ᕸࡍࡿࡇ࡜ࡣ୍⯡ⓗ࡞ publication ࡟ྵࡲࢀࠊⴭసᶒࡀ๤ዣࡉࢀࡿ࡜ุ♧ , andWhite v. Kimmell, 193 F.2d 744 (9th Cir. 1952) ཷࡅྲྀࡗࡓ⪅࡟ᑐࡋࠊே࡟ᅇࡍࡼ࠺່



ࡵࡿῧ௜ࡢㄝ᫂᭩࡜ඹ࡟ࢥࣆ࣮㒊ࢆ㡺ᕸࡍࡿ⾜Ⅽࡣࠊⴭసᶒࢆ๤ዣࡋ࠺ࡿ୍⯡ⓗNo. 109-9, 119 Stat. 218 (codified as amended in scattered sections of 17 U.S.C. and 18

࡞ publication ࡟ヱᙜࡍࡿ࡜ุ♧ , with King v. Mister Maestro, Inc., 224 F. Supp. 101

U.S.C.); Satellite Home Viewing Extension and Reauthorization Act of 2004, Pub. L.

(S.D.N.Y. 1963) ࣉࣞࢫ࣭ࢸࣥࢺ࠿ࡽሗ㐨㝕࡬ࡢ」ᩘࡢࢥࣆ࣮ࡢ㡺ᕸࡣ㝈ᐃⓗ࡞

No. 108-447, 118 Stat. 3393 (codified as amended in scattered sections of 17 U.S.C. and 47

publication ࡟㐣ࡂࡎࠊⴭసᶒࢆ႙ኻࡋ࡞࠸࡜ุ♧ .௒᪥ࠊྠᵝࡢၥ㢟ࡣࢥࣥࣆ࣮ࣗ

U.S.C.).

ࢱࢆ፹௓࡜ࡍࡿ฼⏝࡟࠾࠸࡚ぢࡽࢀࡿࠋⴭసᶒ⪅ࡣ⿢ุᡤ࡟ᑐࡋࠊⴭస≀ࡀࢥࣥࣆ

See, e.g., 17 U.S.C. §§ 110(2), 114.

࣮ࣗࢱࡢࣛࣥࢲ࣒࣭࢔ࢡࢭࢫ࣭࣓ࣔࣜ RAM ࡟⾲♧ࡉࢀࢀࡤ┤ࡕ࡟ࠊ౵ᐖ」〇≀

See, e.g., LIBRARY OF CONG., REPORT OF THE LIBRARIAN OF CONGRESS FOR THE FISCALࡢ๰స┠ⓗ࡛ᅛᐃࡉࢀࡓࡇ࡜࡟࡞ࡿࡢࡔ࡜୺ᙇࡋ࡚ࡁࡓࡀࠊRAM ࡛⾲♧ࡉࢀࢀࡤ

YEAR ENDING JUNE 30, 1902, S. DOC. NO. 57-6, at 64 (2d Sess. 1902), available atⴭసᶒࡢ௜୚┠ⓗࡢᅛᐃࢆ‶ࡓࡍ࡜ࡣ୺ᙇࡋ࡚࠸࡞࠸ࠋAaron Perzanowski, Fixing

http://www.copyright.gov/reports/annual/archive/ar-1902.pdf; Zechariah Chafee, Jr., Re-

RAM Copies, 104 NW. U. L. REV. (forthcoming 2010).ྠᵝ࡟ࠊⴭసᶒ⪅ࡣࠊࢿࢵࢺ࣮࣡

flections on the Law of Copyright: I, 45 COLUM. L. REV. 503, 515–16 (1945).ࢡࢆ௓ࡋ୍࡚ࡘࡢࢥࣆ࣮ࢆ㏦ಙࡍࡿ⾜Ⅽࡀ౵ᐖࡢᑐ㇟࡜࡞ࡿ publication ࡜ࡳ࡞ࡉ

Act of May 31, 1790, ch. 15, 1 Stat. 124.

ࢀࡿ࡭ࡁ࡛࠶ࡿ࡜୺ᙇࡋ࡚ࡁࡓࡀࠊ୍ࡘࡢࢥࣆ࣮ࡢ㏦ಙࡀࠊⴭస≀ࡢ᭱ึࡢ pub-

Jessica Litman, Copyright Legislation and Technological Change, 68 OR. L. REV. 275

lication ࡟క࠺ᅜ఍ᅗ᭩㤋࡬ࡢᐤク⩏ົࡢ➃⥴࡟࡞ࡿ࡜࠸࠺ࡇ࡜࡟ࡘ࠸࡚ࡣྰᐃࡋ

(1989).

࡚ࡁࡓࠋSee generally 17 U.S.C. § 407.

࠾ࡑࡽࡃ᭱ࡶࡼࡃ▱ࡽࢀࡓ౛ࡣࠊᖺⴭసᶒἲࡢ᮲ཬࡧ᮲࡟࠾ࡅࡿ

See LITMAN, supra note 2, at 47–50. For a current analogue, see, for example, Principles

ࠕpublicationࠖࡢㄒࡢព࿡࡛࠶ࢁ࠺ࠋSee Am. Visuals Corp. v. Holland, 239 F.2d 740, 744

for User Generated Content Services, UGCPRINCIPLES, http://www.ugcprinciples.com/(2d Cir. 1956) 㺀⿢ุᡤࡣࠊཎ࿌ࡀබ⾲ࢆ⾜ࡗ࡚࠸࡞࠸ࡓࡵ࡟ࢥ࣭࣮ࣔࣥࣟ࡟ᇶ࡙ࡃ

(last visited Sept. 16, 2010). ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡛࠶ࡿࠋ

᪂ࡋ࠸ⴭసᶒࡢᩚഛࢆ㛤ጞࡍࡿ࡟ࡣᅔ㞴ࡀక࠺ࠋⴭసᶒࡢ෌⦅ࡣࠊࡓ

ᙜึࡢ᭷฼࡞ഴྥࡀḟ➨࡟㢼ྥࡁࢆኚ࠼࡚࠸ࡃࡢࢆほᐹࡋ࡚࠸ࡓ ࠶ࡿ࡜࠼࣋ࢫࢺ࡞≧ἣୗ࡛࠶ࡗ࡚ࡶ᫬㛫࡜㈝⏝ࡀ࠿࠿ࡿࡶࡢ࡛࠶ࡿࠋⴭసᶒ

࠸ࡣࡑࢀ࡟㛵୚ࡋ࡚࠸ࡓ ⴭసᶒࡢ࢖ࣥࢧ࢖ࢲ࣮ࡣࠊไᐃἲࡢᩚഛࢆ᪂ࡓ

࡟ࡼࡗ࡚ᙳ㡪ࢆཷࡅࡿ฼ᐖ㛵ಀࡢᩘࡣ⭾኱࡛࠶ࡾࠊࡑ࠺ࡋࡓ฼ᐖ㛵ಀࡀ࡟ጞࡵࡿ࡭ࡁࡔ࡜㦁ࡂ❧࡚ࡿࡼ࠺࡟࡞ࡗࡓࠋⴭసᶒἲࡀ┤㠃ࡍࡿၥ㢟࡟⌧ᅾࡢไᗘ࡟ᑐࡋ࡚ᢪࡃ୙‶࡜࠸࠺ࡢࡶከ✀ከᵝ࡛࠶ࡿࠋไᐃἲࡢᩚഛ

ᑐࡋᮃࡲࡋ࠸ゎỴἲࢆ⦅ࡳฟࡍ࡭ࡃࠊᵝࠎ࡞ࢢ࣮ࣝࣉࡀಶูⓗ࡟࣑࣮ࢸࡣࠊ๓ᅇ㆟఍ࡀᣮᡓࡋࡓ㝿࡟ࡣᖺ௨ୖࢆせࡋ࡚࠾ࡾࠊ௒ᗘࡣࡶࡗ࡜᪩

࢕ࣥࢢࢆ⾜ࡗࡓࠋ௻ᴗࡣᚓពඛࡢ㆟ဨ࡟ᑐࡋࠊไᐃἲࢆᨵṇࡍ࡭ࡁࡔ࡜ࡃ῭ࡲࡏࡽࢀࡿ࡜⪃࠼ࡽࢀࡿ᰿ᣐ࡞࡝ࡣᏑᅾࡋ࡞࠸ࠋࡉࡽ࡟ࠊ௒᪥ࡀ࣋

ࡍࡿ࢔ࢻࣂ࣮ࣝࣥࢆᥖࡆࡿࡼ࠺࡟㢗ࢇࡔࠋᵝࠎ࡞ྲྀᘬᅋయࡣࠊ⮬ศࡀᕼࢫࢺࡢ≧ἣ࡟࠶ࡿ࡜ࡶ࠸࠼࡞࠸ࠋⴭసᶒࡢἲ᭪ࡽࡣࠊ࠿ࡘ࡚ࡣཎ࿌ഃ࡟௜

ᮃࡍࡿ㡯┠ࡀࠊ᪤࡟⌧⾜ἲࡢୗ࡛ࡶ☜❧ࡉࢀ࡚࠸ࡿࡢࡔ࡜୺ᙇ࡛ࡁࡿࡼ࠺

ࡃᘚㆤኈ࡜ࡋ࡚௰ࡢⰋ࠸௰㛫ࡔࡗࡓࡅࢀ࡝ࡶࠊᖺ㛫௨ୖࢆ⤒࡚⃭ࡋࡃ࡞❧ሙࢆ☜ಖࡋࡼ࠺࡜ດࡵࡓࠋ

ከᴟ໬ࡋࠊⴭసᶒࢆྲྀࡾᕳࡃㄽதࡣᚎࠎ࡟႖ࡋ࠸ࡶࡢ࡟࡞ࡗ࡚ࡁ࡚࠸ࡿࠋ



ࡇ࠺ࡋࡓⅬࡀࠊᙉ࠸୙ಙឤ࡟ໟࡲࢀࡓ㞺ᅖẼࢆ㔊ᡂࡋ࡚ࡁࡓࡢ࡛࠶ࡗ࡚ࠊ

௰Ⰻࡃྜព࡟⮳ࡿࡢࡣᅔ㞴࡟࡞ࡗ࡚࠸ࡿࠋ

See LITMAN, supra note 2, at 48–63, 122–45.ⴭసᶒࡀᣑ኱ࡋ⥆ࡅ࡚ࡁࡓ࡜࠸࠺ࡇ࡜

ࡣඹ㏻⌮ゎ࡜࡞ࡗ࡚࠸ࡿࠋ⡿ᅜⴭసᶒࡢไᐃἲࡣࡉࡽ࡟ࡦ࡝ࡃࠊࡑࡢ㛗ᩥ໬ࡢᗘྜ
࠸ࡣ་⒪㈝ࡸᤵᴗᩱ࡜࠸ࡗࡓࡶࡢࡼࡾࡶ㏿ࡃಸቑࡋࡓ࡯࡝࡛࠶ࡿࠋ


See, e.g., Pamela Samuelson et al., The Copyright Principles Project: Directions for

Reform, 25 BERKELEY TECH. L.J. (forthcoming 2010), available at http://btlj.org/data/฼ᐖ㛵ಀ⪅ࡽࡀࠊᙼࡽ࡟࡜ࡗ࡚≧ἣࡀᝏ໬ࡍࡿ࠿ࡶࡋࢀ࡞࠸࡜ᚰ㓄ࡍࡿࡢ࡟ࡣࡶࡗ࡜ࡶ࡞⌮⏤ࡀ࠶ࡿࠋⴭసᶒ❧ἲࡢከࡃࡣ඾ᆺⓗ࡟ࠊᑟධ࠿
ࡽ᪋⾜࡟⮳ࡿࡲ࡛࡟ࠊከࡃࡢ཯᚟࡜㛗࠸ᖺ᭶ࢆせࡍࡿࡶࡢ࡛࠶ࡾࠊከࡃ

articles/25_3/cpp.pdf ྡࡢⴭసᶒᑓ㛛ᐙࢆᣍࡁࠊ
ࠕ⌧ᅾࡢⴭసᶒἲࡀ࡝࠺ᨵၿࡋ࠺ࡿ

ࡢⴭసᶒࡢἲ᭪ࡣᑡ࡞ࡃ࡜ࡶ࠶ࡿ⛬ᗘࠊⴭసᶒ❧ἲࡢṔྐࡢᑓ㛛ᐙ࡛ࡶࡢ࠿ࠊࡑࡋ࡚ἲࡀ⌧ᅾᢪ࠼ࡿၥ㢟ࢆ࡝࠺㍍ῶࡋ࠺ࡿ࠿ࢆ᥈ồࠖࡋࡓ  ᖺ㛫ࡢࣉࣟࢪ࢙

࠶ࡿ࡜࠸࠼ࡿࠋࡇࢀࡲ࡛ࡢ❧ἲࢆᏛࢇࡔ⪅࡞ࡽࡤࠊⴭసᶒࡢ୺せ࡞ᨵṇࢡࢺࡢ⤖ㄽࢆሗ࿌ࡍࡿࡶࡢ࡛࠶ࡿ ; A Special Conversation with Marybeth Peters, AUDIOࡢ㐣⛬࡟࠾࠸࡚ࡣࠊⴭసᶒ࡟ᙳ㡪ࢆཷࡅࡿ᪂ࡓ࡞ࣉࣞ࢖࣮ࣖࡀⓏሙࡋࠊ

ARCHIVE (Sept. 17, 2007), http://www.archive.org/details/FMCsummit07.petersconversation⮬ศࡓࡕࡢࢽ࣮ࢬ࡟ྜࢃࡏ࡚ἲࢆᨵṇࡍ࡭ࡁࡔ࡜୺ᙇࡍࡿࡢࡀ࠸ࡘࡶࡢ

(17 U.S.C. § 115 ࡢࣜࣇ࢛࣮࣒ࢆᕠࡿ㡢ᴦࠊࣞࢥ࣮ࢹ࢕ࣥࢢᴗ⏺ࡢ฼ᐖ㛵ಀ⪅㛫࡛ࡢ஺΅ࡀ୙ᡂຌ࡟⤊ࢃࡗࡓࡇ࡜࡟㛵ࡍࡿグ㏙ .


See, e.g., Ted Johnson, Pols OK Bill on Royalties, VARIETY, May 14, 2009, 2009 WLNRࣃࢱ࣮ࣥࡔ࡜࠸࠺ࡇ࡜ࢆࡼࡃ▱ࡗ࡚࠸ࡿࡔࢁ࠺ࠋᖺⴭసᶒἲࡢไᐃ
᫬࡟᭱㧗₻࡟㐩ࡋࡓᨵṇࡢࣉࣟࢭࢫࢆ౛࡟࡜ࡗ࡚ࡶࠊࣞࢥ࣮ࢻࣉࣞ࢖ࣖ

ࣛࢪ࢜ᨺ㏦࡟ᑐࡋබࡢ฼⏝ࡢࣟ࢖ࣖࣝࢸ࢕ࢆ㡢ᴦⴭసᶒ⪅࡟ᨭᡶ࠺ࡼ࠺

࣮〇స⪅࡜ࣞࢥ࣮ࢻ〇స⪅ࡀࠊไᐃἲ࡟࠾ࡅࡿ⮬ศࡓࡕࡢᢅ࠸ࡀ‶㊊࠸

ồࡵࡿἲ᱌࡟㛵ࡍࡿࣟࣅ࢖ࣥࢢάືࢆグ㏙ ; Wendy Davis, Entertainment Industry

9209693

Pushes for Law Requiring Colleges To Filter Networks, MEDIAPOST (March 24, 2008),(LLS), 2010 WL 2532404 (S.D.N.Y. June 23, 2010) 17 U.S.C. § 512 ࡟࠾ࡅࡿࠊ࢖ࣥࢱ

http://publications.mediapost.com/index.cfm?fuseaction=Articles.san&s=79058&Nid=4072

࣮ࢿࢵࢺ࣭ࢧ࣮ࣅࢫ࣭ࣉࣟࣂ࢖ࢲࡢࢭ࣮ࣇ࣭ࣁ࣮ࣂ࣮ࡢ⠊ᅖࢆ㝈ᐃⓗ࡞ࡶࡢ࡟ゎ㔘

5&p=918739 Ꮫ⏕ࡢ P2P ࣇ࢓࢖ࣝࢩ࢙࢔ࣜࣥࢢࢆ㐽᩿ࡍࡿࡼ࠺኱Ꮫ࡟ồࡵࡿἲ᱌ࡋࡼ࠺࡜ヨࡳ࡚࠸ࡿ ; Brief for Motion Picture Ass’n of Am. as Amici Curiae at 14–20,

࡟㛵ࡍࡿࣟࣅ࢖ࣥࢢάືࢆグ㏙ .

Capitol Records, Inc. v. Thomas, 579 F. Supp. 2d 1210 (D. Minn. 2008) (No. 06-1497) 㡺See, e.g., Capitol Records, Inc. v. Bertelsmann, 377 F. Supp. 2d 796 (N.D. Cal. 2005)

ᕸ┠ⓗ࡛ࣇ࢓࢖ࣝࢆධᡭྍ⬟࡞≧ែ࡟⨨ࡃࡇ࡜ࡀ  ࡟㐪཯ࡍࡿ࡜୺ᙇ ; seeⴭసᶒ౵ᐖࡢ஧ḟⓗ㈐௵ secondary liability ࡢ⠊ᅖࢆᣑᙇࡋࡼ࠺࡜ࡋ࡚࠸ࡿ ;generally LITMAN, supra note 2, at 24.Brief for Americans for Tax Reform as Amici Curiae Supporting Appellees at 15–17, Car-toon Network LP, LLLP v. CSC Holdings, Inc., 536 F.3d 121 (2d Cir. 2008) (Nos.

REPUBLISHED (AND WITH CONTRIBUTIONS FROM FRIENDS), at WEIN-1, WEIN-1 (Iris C. Geik

See Lloyd L. Weinreb, Copyright Unbound, in AN UNHURRIED VIEW OF COPYRIGHT,

07-1480-cv (L), 07-1511-cv (CON)) ࢥࣥࣆ࣮ࣗࢱࡢ RAM ෆ࡛ࡢ୍᫬ⓗ࡞」〇ࡣet al. eds., 2005).§   ࢆ౵ᐖࡍࡿ࡜ㄽࡎࡿ ; Brief for ASCAP et al. as Amici Curiae SupportingPlaintiffs at 17–19, Viacom Int’l v. YouTube, Inc., Nos. 07 Civ. 2103 (LLS), 07 Civ. 3582

COPYRIGHT SOC’Y U.S.A. 1 (2006).

See Jessica Litman, War and Peace: The 34th Annual Donald C. Brace Lecture, 53 J.

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡃࡶࡢ࡟࡞ࡿࡲ࡛ࠊᨵṇࡢヨࡳ඲యࢆ࡯࡜ࢇ࡝㡻᣸ࡉࡏࡼ࠺࡜ࡋ࡚࠸ࡓࠋ

ࡲࡔᡂຌࡋ࡚࠸࡞࠸ࡀࠊᙼࡽࡢ኱ከᩘࡣṓ௨ୖ࡛࠶ࡗ࡚ࠊከࡃࡢ⪅ࡣᖺ௦࠿ࡽᖺ௦࡟࠿ࡅ࡚ࠊⴭసᶒἲࢆ⌧௦໬ࡋࡼ࠺࡜ከᵝ࡞ヨࡳᢞ⚊࡟⾜ࡃࠋఱᖺ࠿ࡢ࠺ࡕ࡟ࠊⴭసᶒࣜࣇ࢛࣮࣒ࡢヨࡳࡀ㧗ᗘ࡟බඹ໬

ࡀ⾜ࢃࢀࡓࡀኻᩋࡋࡓ⫼ᬒ࡟ࡣࠊASCAPࡸࣛࢪ࢜ᨺ㏦ᒁ࡜࠸ࡗࡓ᪂ࡓ࡞

ࡍࡿࡇ࡜࡛ࠊ୍⯡ࡢ᭷ᶒ⪅ࡢ฼┈ࡀつ⠊ⓗ࡞ᙺ๭௨ୖࡢࡶࡢࢆᯝࡓࡋ࠺

ࣉࣞ࢖࣮ࣖࡀ࠶ࡽࡺࡿⅬ୍࡛ษྠពࡋࡼ࠺࡜ࡋ࡞࠿ࡗࡓ࡜࠸࠺஦᝟ࡀᏑ

ࡿࡼ࠺࡟࡞ࡿྍ⬟ᛶࡀ࠶ࡿࠋ᭷ᶒ⪅ࡀⴭసᶒ࡟㛵ᚰࢆᐤࡏ࡚࠸ࡿ࡜࠸࠺ᅾࡍࡿ ࠋᖺἲ࡟⧅ࡀࡿᨵṇࣉࣟࢭࢫ࡟࠾࠸࡚ࡶࠊࢸࣞࣅᨺ㏦ᒁࡸࢣ

ࡇ࡜ࢆ㆟఍ഃࡀㄆ㆑ࡍࡿࡼ࠺࡞≧ἣ࡟࡞ࢀࡤࠊ⌧ᅾࡢ฼ᐖ㛵ಀ⪅ࡓࡕࡀ࣮ࣈࣝࢸࣞࣅ஦ᴗ⪅ࡀḟࠎ࡟Ⓩሙࡋࠊ≉ูࡢᢅ࠸ࢆせồࡋࡓࠋࡑࡢ⤖ᯝ┠ᣦࡋ࡚࠸ࡿࡶࡢ࡜ࡣ඲ࡃ㐪ࡗࡓࡶࡢ࡬࡜ἲࢆື࠿ࡍࡇ࡜ࡀ࡛ࡁࡿࡔࢁ

ࡑࢀࡀᚓࡽࢀࡿࡲ࡛ࠊⴭసᶒࡢᨵṇసᴗࡣ೵Ṇࡋࡓࡢ࡛࠶ࡿࠋࢹࢪࢱࣝ

࠺ࠋ࣑ࣞࢽ࢔࣒ⴭసᶒἲไᐃ࡟⮳ࡿࡲ࡛ࡢ  ᖺ㛫࡟࠾࠸࡚ࡶࠊ㟁ヰ఍♫࡜࢖⚾ࡢ⌮ゎࡀṇࡋࡅࢀࡤࠊⴭసᶒᨵṇࡢ᪂ࡓ࡞ࢧ࢖ࢡࣝࡀጞࡲࡾࡘࡘ࠶

ࣥࢱ࣮ࢿࢵࢺ࣭ࢧ࣮ࣅࢫ࣭ࣉࣟࣂ࢖ࢲࡽࡣࠊISP ࡢ㈐௵࡟㛵ࡍࡿࢭ࣮ࣇࣁ

ࡿࡀࠊࡑࢀࡣࡸࡗ࡜ጞࡲࡾฟࡋࡓ࡟㐣ࡂ࡞࠸ࠋᡃࠎࡣ⌧ᅾᨵṇࡢヨࡳࡢ࣮ࣂ࣮᮲㡯ࡀἲ᱌࡟⤌ࡳධࢀࡽࢀࡿࡲ࡛ࠊ࢚ࣥࢱ࣮ࢸ࢖࣓ࣥࣥࢺᴗ⏺ࡸࢫࢸ࣮ࢪࡢᴟࡵ࡚ึᮇࡢࠊ๓ྐẁ㝵࡟࠸ࡿࡢ࡛࠶ࡿࠋᡃࠎࡣࡲࡔࣟࢵࢡ

ࢯࣇࢺ࢙࢘࢔ᴗ⏺ࡀồࡵࡓ᮲㡯ࡢไᐃࢆጉᐖ࡛ࡁࡓ ࠋ
᭱㏆࡟࡞ࡗ࡚ฟ⌧ࡋࡓࠊ᪂ࡋ࠸ⴭసᶒࡢ฼ᐖ㛵ಀேࡀᢪࡃᮇᚅࡣࠊ௒

࢖ࣥࡉࢀ࡚ࡣ࠸࡞࠸ࠋᡃࠎࡣࡲࡔḟࡢᨵṇࡢ࣮࣋ࢫࢆᙧసࡿᅵྎࡸᇶ♏
࡜࡞ࡿ๓ᥦࢆ㑅ᢥࡍࡿࡇ࡜ࡀ࡛ࡁࡿࡣࡎ࡛࠶ࡿࠋ
⚾ࡢࡇࢀࡲ࡛ࡢ◊✲࡛ࡣⴭసᶒ❧ἲࡢẼࡀ⁛ධࡿࡼ࠺࡞Ṕྐࢆᴫほࡋࠊ᪥࡛ࡣ≉ ࡟࠾ ࡑࢁࡋ࠸ ࡶࡢ ࡟࡞ࡗ࡚ ࠸ࡿ ྍ⬟ᛶࡀ࠶ࡿࠋ࡜࠸࠺ࡢࡶ
YouTube ࡸ P2P ࡢࣇ࢓࢖ࣝࢩ࢙࢔ࣜࣥࢢ࣭ࢿࢵࢺ࣮࣡ࢡࢆ฼⏝ࡍࡿఱ൨ⴭసᶒࣟࣅ࢖ࢫࢺࡓࡕࡀ஺΅ࢆᘬࡁఙࡤࡍࡢ࡟ἐ㢌ࡋࠊ⤖ᯝ࡜ࡋ࡚ࠊ᪤࡟

ேࡶࡢ୍⯡ேࡀࠊⴭసᶒ࡟ᑐࡋ┤᥋ⓗ࠿ࡘಶேⓗ࡞฼ᐖ㛵ಀࢆ᭷ࡋ࡚࠸

☜❧ࡋࡓⴭసᶒ⏘ᴗࢆ㇏࠿࡟ࡍࡿⴭసᶒἲࡀ࡛ࡁ࠶ࡀࡗࡓ࡜࠸࠺Ⅼࠊࡑࡋࡿ࠿ࡽ࡛࠶ࡿࠋࡇ࠺ࡋࡓ୍⯡ேࢆ᭷ព࡞ᨻ἞ᶒຊࡢ୰࡟⤌ࡳ㎸ࡴࡇ࡜ࡣ



ࠕேࠎࡣ YouTube ୍࡛᪥࡟൨௳ࡢື⏬ࢆど⫈ࡋࠊẖ᪥ఱ༑୓ࡶࡢື⏬ࢆ࢔ࢵࣉࣟ



See LITMAN, supra note 2, at 39–40 and sources there cited.

࣮ࢻࡋ࡚࠸ࡿࠋᐇ㝿ࠊẖศࠊYouTube ࡟ࡣ᫬㛫ศࡢື⏬ࡀ࢔ࢵࣉ࣮ࣟࢻࡉࢀ࡚࠸



See id. at 42–45.

ࡿࠖ࡜࠸࠺ࠋYouTube Fact Sheet, YOUTUBE, http://www.youtube.com/t/fact_sheet (lastSee Litman, supra note 9, at 326–32 and sources there cited.

visited Sept. 17, 2010).࢛࣮࣭࢘ࣝࢫࢺ࣮ࣜࢺ࣭ࢪ࣮ࣕࢼࣝࡣᖺ  ᭶࡟ࠕYouTube

Digital Millennium Copyright Act, Pub. L. No. 105-304, 112 Stat. 2860, 2887 (1998)

ࡣ኱つᶍ࡞࢔ࢡࢭࢫඛ࡬࡜ᡂ㛗ࡋࡓࠋ ᭶࡟ࡣࠊ ࠿᭶ࡔࡅ࡛  ൨  ༓  ⓒ୓ேࡢ(codified at 17 U.S.C. §§ 101, 108, 109, 112, 114, 512, 1301).

฼⏝⪅ࡀゼࢀ࡚࠸ࡿࠖ࡜ሗ㐨ࡋࡓࠋJessica E. Vascellaro, YouTube Pumps More Ads intoLineup, WALL ST. J., Aug. 20, 2009, at B1.

See LITMAN, supra note 2, at 127–45 and sources there cited.ࡇࡢྠࡌ  ᖺ㛫ࡢ㛫࡟ࠊస᭤ᐙࠊ㡢ᴦฟ∧♫ࠊᫎ⏬ࢫࢱࢪ࢜ࡣⴭసᶒಖㆤᮇ㛫ࢆᖺ ࡶࡋࡃࡣṚᚋᖺ ࠿ࡽᖺ ࡶࡋࡃࡣṚᚋᖺ ࡟ᘏ㛗ࡍࡿࡼ࠺ồࡵࡓࠋࣂ࣮ࡸࣞࢫࢺࣛࣥࡢ࣮࢜ࢼ࣮

ࡣࠊᖺ  ᭶࡟ࠊḢᕞ㆟఍࡟୍㆟ᖍࢆ⋓ᚓࡍࡿࡢ࡟༑ศ࡞⚊ࢆ㞟ࡵࡓࠋSee Matsࡣබࡢ฼⏝ᶒࡢࣛ࢖ࢭࣥࢫᩱࡢ㈇ᢸ࡟ᛣࡾࠊୖグࡢᥦ᱌⪅ࡽࡀಖㆤᮇ㛫ᘏ㛗ἲ᱌࡟

Lewan, Ahoy! Pirate Party Gets Berth in European Parliament, CNET (June 8, 2009),

ᖺ࡟▱ⓗ㈈⏘ࣜࣇ࢛࣮࣒ࢆ୺⩏࡟ᥖࡆ࡚タ❧ࡉࢀࡓࢫ࢙࣮࢘ࢹࣥࡢᾏ㈫ඪ

ࣂ࣮࡜ࣞࢫࢺࣛࣥ࡟㛵ࡍࡿච㝖つᐃࢆධࢀ࡞࠸㝈ࡾࠊಖㆤᮇ㛫ᘏ㛗࡟཯ᑐࡍࡿ࡜ࡋ

http://news.cnet.com/8301-13578_3-10259048-38.html.࢝ࢼࢲ࡛ࡣࠊ࢜ࢱ࣡኱Ꮫᩍᤵࡢ

ࡓࠋ

Michael Geist ࡀ Facebook ࡜ಶேࣈࣟࢢࢆ⏝࠸࡚ࠊ࢝ࢼࢲࡢⴭసᶒࣜࣇ࢛࣮࣒ࢆᥦ᱌



See, e.g., Daniel Gervais, The Tangled Web of UGC: Making Copyright Sense of Us-ࡍࡿ཯ᑐໃຊࢆ⤌⧊ࡍࡿࡢ࡟ᡂຌࡋࡓࠋSee MICHAEL GEIST BLOG, http://www.

er-Generated Content, 11 VAND. J. ENT. & TECH. L. 841, 845–46 (2009) 㺀ఱ༑୓࡜࠸࠺

michaelgeist.ca/; Government Retreats on Copyright Reform, Dec. 13, 2007, CBC NEWS,࢖ࣥࢱ࣮ࢿࢵࢺ࣭࣮ࣘࢨ࣮ࡀ㡢ᴦࠊື⏬ࠊࢸ࢟ࢫࢺࡢࢥࣥࢸࣥࢶࢆࢲ࣮࢘ࣥࣟࢻࡋࠊ

http://www.cbc.ca/technology/story/2007/12/13/tech-copyright-delay.html.

ᨵኚࡋࠊ࣑࢟ࢩࣥࢢࡋࠊ࢔ࢵࣉ࣮ࣟࢻࡋࠊಶேࡢ࢙࢘ࣈ࣮࣌ࢪࡸࢯ࣮ࢩ࣭ࣕࣝࢧ࢖

ࢺୖ࡛ࠊ࠶ࡿ࠸ࡣ௚⪅ࡀࡑࢀࡒࢀࡢࢥࣥࣆ࣮ࣗࢱୖ࡛ࢥࣥࢸࣥࢶ࡟࢔ࢡࢭࢫ࡛ࡁࡿ

Politics of Intellectual Property, 117 YALE L.J. 804 (2008); Pamela Samuelson, Preliminaryࡼ࠺࡟ࡍࡿ P2P ᢏ⾡ࢆ⏝࠸࡚฼⏝ྍ⬟࡞≧ែ࡟ࡋ࡚࠸ࡿ㹿㺁 . YouTube ࡟ࡼࡿ࡜ࠊ

Thoughts on Copyright Reform, 3 UTAH L. REV. 551 (2007).

See generally Amy Kapczynski, The Access to Knowledge Mobilization and the New ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡚ࡑࢀࡣࢡ࢚ࣜ࢖ࢱ࣮࡜୍⯡኱⾗ࡢ≛≅ࡢࡶ࡜࡟ᡂࡾ❧ࡗ࡚࠸ࡿⅬࢆ᫂ࡿࡇ࡜ࢆ┠ᣦࡋ࡚タィࡉࢀ࡚࠸ࡿࠋไᗘࡀ࠺ࡲࡃᶵ⬟ࡋ࡚࠸ࢀࡤࠊࢡࣜ

ࡽ࠿࡟ࡋ࡚ࡁࡓࠋḟࡢᨵṇ࡛ࡶྠࡌࡼ࠺࡞ὶࢀ࡛ྠࡌࡼ࠺࡞⤖ᯝ࡟࡞ࡾ࢚࢖ࢱ࣮࡟ࡼࡿ᪂ࡋ࠸ⴭస≀ࡢ๰సࢆಁ㐍ࡋࠊ፹௓ᴗ⪅࡟ࡼࡿᗈ⠊ᅖ࡬ࡢ࠿ࡡ࡞࠸࡜ண᝿ࡍࡿࡔࡅࡢ⌮⏤ࡶᏑᅾࡍࡿࠋࡋ࠿ࡋࠊࡑ࠺࡞ࡽ࡞࠸࡜ࡋ

ᬑཬࢆ⿵ຓࡋࠊㄞ⪅ࡸど⫈⪅ࡢ฼⏝ࢆಁࡍࡔࢁ࠺ࠋࡋ࠿ࡋไᗘࡀࢡ࢚ࣜ

ࡓࡽ㸽⚾ࡓࡕࡢⴭసᶒไᗘࢆ⪃࠼┤ࡍᶵ఍ࡀ࠶ࡿ࡜ࡋࡓࡽ࡝࠺ࡔࢁ࠺㸽࢖ࢱ࣮࡟ᑐࡍࡿཧධ㞀ቨࢆᵓ࠼ࠊ፹௓ᴗ⪅࡟ᑐࡍࡿ㞀ᐖࢆ⏕ࡳࠊㄞ⪅ࡸど⚾ࡓࡕࡣࡑࡢ௦ࢃࡾ࡟࡝ࢇ࡞ⴭసᶒἲࢆసࢀࡿࡔࢁ࠺㸽⫈⪅࡟ᑐࡋ↹ࢃࡋ࠸᮲௳ࡸࣁ࣮ࢻࣝࢆㄢࡋ࡚࠸ࡿࡢ࡞ࡽࡤࠊࡑࡢไᗘࡣᑡ

ᮏ✏ࡢ➨Ϩ㒊࡛ࡣࠊ⌧ᅾࡢⴭసᶒἲࡀࢡ࢚ࣜ࢖ࢱ࣮ࠊ፹௓ᴗ⪅ࠊㄞ⪅ࠊ࡞ࡃ࡜ࡶࡑࡢ࠸ࡃࡘ࠿ࡢ┠ⓗࢆ㐩ᡂࡋᦆࡡ࡚࠸ࡿ࡜࠸࠺ࡇ࡜࡟࡞ࡿࠋࡑࡋど⫈⪅࡟ᑐࡋ࡚ࡶࡓࡽࡋ࡚࠸ࡿၥ㢟ࢆᥥࡃࠋ➨ϩ㒊࡛ࡣ኱࠸࡟ὀ┠ࢆ㞟࡚⌧ᅾࡢ⡿ᅜⴭసᶒࡢไᐃἲࡣࡇࢀࡽ  Ⅼ඲࡚࡟࠾࠸࡚Ḟ㝗ࢆ᭷ࡋ࡚࠸

ࡵ࡚࠸ࡿⴭసᶒࣜࣇ࢛࣮࣒ࡢᥦ᱌ࢆᴫほࡋࠊࡑࢀࡽࡀ➨Ϩ㒊࡛♧ࡋࡓၥࡿࠋ㢟࡟ᑐฎࡋᦆࡡ࡚࠸ࡿ࡜࠸࠺ࡇ࡜ࢆ᫂ࡽ࠿࡟ࡍࡿࠋࡑࡋ࡚ࠊ➨Ϫ㒊࡛ࡣⴭసᶒไᗘࡢຠ⋡ᛶ࡜ṇ⤫ᛶࢆ㧗ࡵࡿࡇ࡜ࢆ┠ⓗ࡜ࡋࡓⴭసᶒࣜࣇ࢛࣮࣒

㸿㸬ࢡ࢚ࣜ࢖ࢱ࣮ࡢⴭసᶒ

࡟࠾ࡅࡿࠊ௦᭰ⓗ࡞ࢦ࣮ࣝࢆᥦ♧ࡍࡿࠋᛮ࠺࡟ࠊ㈼᫂࡞ⴭసᶒࣜࣇ࢛࣮࣒ ⴭసᶒἲࡣᑡ࡞ࡃ࡜ࡶ⌮ㄽୖࡣ᪂ࡋ࠸๰సάືࢆಁ㐍ࡍ࡭ࡃࠊࢡ࢚ࣜ

ࢆ⾜࠺ୖ࡛ࡣἲᚊࢆ⡆⣲໬ࡍ࡭ࡁ࡛࠶ࡿࠋࡍ࡞ࢃࡕࠊⴭసᶒไᗘࢆࢡ࢚ࣜ

࢖ࢱ࣮࡟ᑐࡋ⚗Ṇᶒ࡜࠸࠺ᙧ࡛࢖ࣥࢭࣥࢸ࢕ࣦࢆ௜୚ࡋ࡚࠸ࡿࠋࡇ࠺ࡋ

࢖ࢱ࣮ࡸㄞ⪅ࡸど⫈⪅࡟࡜ࡗ࡚ᙺ❧ࡘࡶࡢ࡟ࡍ࡭ࡁࡔ࡜࠸࠺ࡇ࡜࡛࠶ࡿࠋ

ࡓ࢖ࣥࢭࣥࢸ࢕ࣦࡣ᪂ࡋ࠸ⴭస≀ࡢ๰సࢆಁ㐍ࡋࠊࡉࡽ࡟ࡑࢀࢆබ⾗࡟ࡲࡓࠊ፹௓ᴗ⪅࠿ࡽ㐣๫࡞ຊࡸࢥࣥࢺ࣮ࣟࣝࢆྲྀࡾୖࡆࡿ࡭ࡁ࡛࠶ࡿࠋἲ

฼⏝࡛ࡁࡿᙧ࡟ࡋࠊ๰స≀ࢆᬑཬࡉࡏࡿࡇ࡜࡛ࢡ࢚ࣜ࢖ࢱ࣮ࡀ཰┈ࢆᚓࡢṇ⤫ᛶࢆ㧗ࡵࡿୖ࡛ࡣࡇ࠺ࡋࡓኚ᭦ࡀᚲせ୙ྍḞ࡛࠶ࡿ࡜⪃࠼ࡽࢀࡿࠋ



ࡇࡢࡼ࠺࡞ほⅬ࠿ࡽࡍࡿ࡜ࠊ⌧ᅾᥦ᱌ࡉࢀ࡚࠸ࡿⴭసᶒࣜࣇ࢛࣮࣒᱌ࡣ

⏝ㄒἲ࡟㛵ࡍࡿὀព࡟ࡘ࠸࡚ࠋᮏ✏࡛ࡣࠊ≉ᐃࡢไᐃἲୖࡢ࢝ࢸࢦ࣮ࣜ࡟ゝཬࡍ

࡝ࢀࡶ㈼᫂࡞ᨵṇ࡜ࡣ࠸࠼࡞࠸ࡔࢁ࠺ࠋ➨ϫ㒊࡛ࡣࠊࢡ࢚ࣜ࢖ࢱ࣮࡜ࣘ

ࡿሙྜࢆ㝖ࡁࠊ
ࠕⴭస⪅ authorࠖࡼࡾࡶࠕࢡ࢚ࣜ࢖ࢱ࣮ creatorࠖࠊࠕศ㓄㸭㡺ᕸ distribute࣮ࠖࢨ࣮࡟࡜ࡗ࡚ࡢⴭసᶒไᗘࡢ౯್ࢆ㧗ࡵࡿࡔࢁ࠺ኚ᭦࡟㛵ࡍࡿ࠸ࡃࡘ

ࡼࡾࡶࠕᬑཬ㸭ὶ㏻ disseminateࠖࠊࠕ౑⏝ useࠖࡼࡾࡶࠕ฼⏝ enjoyࠖࡢㄒࢆ⏝࠸࡚࠸࠿ࡢໟᣓⓗ࡞ᥦ᱌ࢆ኱ࡲ࠿࡟♧ࡍࠋࡑࡋ࡚᭱ᚋ࡟➨Ϭ㒊࡛ࡣࠊ➹⪅ࡀ♧ࡋࡓⴭసᶒࣜࣇ࢛࣮࣒ࡀ⌧ᐇⓗ࡞ྍ⬟ᛶࢆ᭷ࡋ࡚࠸ࡿ࠿ྰ࠿࡟ࡘ࠸᳨࡚ウࡍࡿࠋࡇ࠺ࡋࡓኚ᭦ࢆ㏆࠸࠺ࡕ࡟᮲ᩥ໬ࡍࡿࡢ࡟༑ศ࡞ࠊⴭసᶒࡢ㆟ㄽࡢ๓ᥦࢆኚ࠼ࡿ᪉ἲࡣࠊ⌧ᅾࡢ࡜ࡇࢁࡲࡔᵓ᝿࡛ࡁ࡚࠸࡞࠸ࠋࡋ࠿ࡋ

ࡿࠋࡇࢀࡣ୺࡜ࡋ࡚ࠊ㐣ཤᩘᖺࡢ㛫࡟ᙧᡂࡉࢀࡓࠕⴭస⪅ࠖࡸࠕศ㓄ࠖࠊࠕ౑⏝ࠖ࡜࠸ࡗࡓㄒࡀ୚࠼ࡿྵពࢆ㑊ࡅࡿࡓࡵ࡛࠶ࡿࠋࠕࢡ࢚ࣜ࢖ࢱ࣮ࠖ࡜࠸࠺ㄒࢆ⏝࠸ࡿࡇ࡜࡛ࠊ➹⪅ࡣⴭస≀ࢆ๰సࡋࡓಶேࢆᣦࡋࠊⴭస≀ࡢ㈨㔠ࢆ⼥㏻ࡋࡓ⪅ࡸ౑⏝⪅ࢆ㝖ࡃࡇ࡜ࢆពᅗࡋ࡚࠾ࡾࠊࡑࢀࡽಶேࡀ⌧ᅾ࠶ࡿ࠸ࡣ㐣ཤࡢⴭసᶒἲୖ࡛ࠕⴭస
⪅ࠖ࡜࿧ࡤࢀ࡚࠸ࡓ࠿ྰ࠿ࡣࡇࡇ࡛ࡣ↓㛵ಀ࡛࠶ࡿࠋࠕᬑཬ㸭ὶ㏻ࠖ࡜࠸࠺ㄒࢆ⏝࡞ࡀࡽⴭసᶒࡢၥ㢟࡟ᑐࡋ࡚ࠊᆺ࡟ࡣࡲࡽ࡞࠸ゎỴᡭẁࢆ᝿ീࡋ࡚ࡳࡿ

࠸ࡿࡇ࡜࡛ࠊ➹⪅ࡣⴭస≀ࢆேࠎ࡟฼⏝ྍ⬟࡟ࡍࡿ࠶ࡽࡺࡿᡭẁࢆໟྵࡍࡿࡇ࡜ࢆ

ࡢࢆམࢃ࡞࠸ࡼ࠺࡞ࠊⴭసᶒἲ࡟㛵ࡍࡿᗈ࠸㆟ㄽࢆႏ㉳࡛ࡁࢀࡤࠊ࠸ࡃ

ពᅗࡋ࡚࠾ࡾࠊᙜヱ⾜Ⅽࡀⴭసᶒἲୖࡢ᤼௚ᶒࡢᑐ㇟࡜࡞ࡗ࡚࠸ࡿ࠿ྰ࠿ࡣࡇࡇ࡛

ࡘ࠿ࡢኚ᭦ࡀᛮࡗ࡚࠸ࡿ࡯࡝୙ྍ⬟࡞ࡶࡢ࡛ࡣ࡞࠸࡜ࢃ࠿ࡿࡔࢁ࠺ࠋ
Ϩ㸬⌧ᅾࡢⴭసᶒไᗘࡢḞⅬ㻌ࡣ↓㛵ಀ࡛࠶ࡿࠋࠕ฼⏝ࠖ࡜࠸࠺ㄒࢆ⏝࠸ࡿࡇ࡜࡛ࠊ➹⪅ࡣㄞࡴࠊ⫈ࡃࠊほࡿࠊ₇ࡌࡿࠊᏛࡪࠊࡑࡢ௚ᵝࠎ࡞✀㢮ࡢၟᴗⓗά⏝࡟㐩ࡋ࡞࠸฼⏝ࢆᣦࡍࡇ࡜ࢆពᅗࡋ࡚
࠾ࡾࠊ⌧⾜ἲୖࠊᙜヱ⾜Ⅽࡀࣛ࢖ࢭࣥࢫࢆせࡍࡿ࡜ࡉࢀ࡚࠸ࡿ࠿ྰ࠿ࡣࡇࡇ࡛ࡣ↓㛵ಀ࡛࠶ࡿࠋSee also infra note 54.ⴭసᶒἲไᗘࡣⴭస≀ࡢ๰సࠊᬑཬࠊ฼⏝ࢆ⫱ࡴ࢚ࢥࣟࢪ࣮ࢆసฟࡍ

See L. Ray Patterson & Stanley F. Birch, Jr., A Unified Theory of Copyright, 46 HOUS. L.

REV. 215, 383 (2009) ⴭసᶒࡣࠕ๰సࠊఏ㐩ࠊ▱㆑ࡢ౑⏝࡟㛵ࢃࡿேࠎࡢ฼┈ࠖ࡟㈨ࡍࡿ࡭ࡁ࡛࠶ࡿ . Patterson and Birch ࡣࠊᚑ᮶ࡢⴭసᶒ⌮ㄽࡣⴭస⪅࡜࣮ࣘࢨ࣮㛫

ࡢ஧⪅ࡢ㛵ಀࢆ᝿ᐃࡋ࡚࠸ࡓࡀࠊࡑ࠺࡛ࡣ࡞ࡃⴭస⪅ࠊⓎ⾜⪅ࠊ࣮ࣘࢨ࣮ࡢ୕⪅࠿ࡽ࡞ࡿ㛵ಀࢆᇶ♏࡜ࡍ࡭ࡁ࡛࠶ࡿ࡜୺ᙇࡋ࡚࠸ࡿࠋId.

See, e.g., LITMAN, supra note 2.

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡿࡇ࡜ࢆྍ⬟࡟ࡍࡿࡶࡢࡔ࡜࠸ࢃࢀ࡚࠸ࡿࠋⴭసᶒἲࢆࡇࡢࡼ࠺࡟ㄝ᫂

࡞ࡾࡓ࠸࡜ษᮃࡍࡿேࢆ↔ࡽࡏࡿࠊ࠶ࡿ✀ࡢ〔⨾࡬࡜ኚ໬ࡋ࡚࠾ࡾࠊࡑ࠺

ࡍࡿࡇ࡜ࡣࠊᑡ࡞ࡃ࡜ࡶከࡃࡢ๰సศ㔝࡛ࡣࠊ༢࡞ࡿᕼᮃࡢ⾲࡛᫂ࡋ࠿࡞

ࡋࡓேࠎࡣᘵᏊධࡾඛࡸࣃࢺࣟࣥࠊⴭస≀ࢆ๰సࡍࡿධ㛛ࣞ࣋ࣝࡢ௙஦

ࡃࠊ⌧ᐇ࡜ࡣྜ⮴ࡋ࡚࠸࡞࠸ࠋ

ࢆᡭ࡟ධࢀࡓ࠸࡜ᮃࡳ࡞ࡀࡽࠊࣜ࢔ࣜࢸ࢕␒⤌࡛ࡢ෭㐝࡟ᛌࡃ⪏࠼࡚࠸ࡿࠋ ࢡ࢚ࣜ࢖ࢱ࣮ࡣேࠎ࡟ぢࡓࡾ⫈࠸ࡓࡾࡋ࡚ࡶࡽ࠺సရࢆ᭩ࡁࠊᥥࡁࠊ₇ࡉࡽ࡟ࠊࡓ࡜࠼ࢡ࢚ࣜ࢖ࢱ࣮ࡀ᭩⡠ࡢฟ∧ࡸ࢔ࣝࣂ࣒ࡢ࣮ࣜࣜࢫࠊグ஦ࡢࡌࠊᫎ⏬ࢆไసࡍࡿ࡜࠸ࡗࡓᶵ఍ࢆᚓࡿୖ࡛ࠊࡑࡢពḧࢆኻࢃࡏࡿ㞀ᐖ࡟

Ⓨ⾲ࠊࢩࢼࣜ࢜ࡢዎ⣙࡜࠸ࡗࡓࡶࡢ࡟₈ࡂ╔ࡅ࡚ࡶࠊࡑࡇ࠿ࡽഹ࠿ࡋ࠿཰

┤㠃ࡋ࡚࠸ࡿ ࠋ࣮ࣘࢨ࣮ࡢ࡜ࡇࢁࡲ࡛฿㐩ࡍࡿࢳࣕࣥࢫ࡜࠸࠺ࡶࡢࡣࠊ

┈ࢆᚓࡿࡇ࡜ࡀ࡛ࡁ࡞࠸ࡢࡀ㏻ᖖ࡛࠶ࡿࠋ࡯࡜ࢇ࡝ࡢ๰సศ㔝࡟࠾࠸࡚࣑࣮ࣗࢪࢩࣕࣥࡸᫎ⏬〇స⪅ࠊತඃࠊ⏬ᐙࠊ᙮้ᐙࠊ෗┿ᐙ➼࡟ࡣࠊⴭస≀࡟ᑐࡋⴭస⪅ࡣ▷ᮇ㛫ࡋ࠿ࢥࣥࢺ࣮ࣟࣝࢆཬࡰࡏࡎࠊࡑࡇ࠿ࡽ



✌ࡄࡇ࡜ࡢ࡛ࡁࡿ㢠ࡣ኱ࡁࡃ࡞࠸ࡢ࡛࠶ࡿࠋⴭసᶒࢆ⟶⌮ࡋࡑࡇ࠿ࡽ✌

See, e.g., PAUL GOLDSTEIN, COPYRIGHT’S HIGHWAY: FROM GUTENBERG TO THE CELES-TIAL JUKEBOX 7 (1994); Jane C. Ginsburg, Copyright and Control over New Technologiesࡄ࡜࠸࠺ࡢࡣᙼࡽࡢ௦ࢃࡾ࡟ⴭసᶒ⪅ࡀ⾜ࡗ࡚࠾ࡾࠊᙼࡽࡣ፹௓ᴗ⪅࡜ࡋ࡚ࠊⴭస⪅࡜࣮ࣘࢨ࣮ࡢ㛫ࢆ፹௓ࡋ࡚࠸ࡿࠋ

of Dissemination, 101 COLUM. L. REV. 1613, 1613 (2001). Diane Zimmerman ࡀ᭱㏆ᛮ࠸㉳ࡇࡉࡏ࡚ࡃࢀࡓࡼ࠺࡟ࠊⴭసᶒࡢ࢖ࣥࢭࣥࢸ࢕ࣦㄽ࡟ࡼࡿᇶ♏௜ࡅࡢྜ⌮ᛶࡣᮍࡔ⌮ㄽୖࡢࡶࡢ࡟㐣ࡂ࡞࠸ࠋSee Diane Leenheer Zimmerman, Copyrights as Incentives:
Did We Just Imagine That?, 12 THEORETICAL INQUIRIES L. (forthcoming 2011), available
at http://ssrn.com/abstract=1515964.

ⴭసᶒࡢࣟ࢖ࣖࣝࢸ࢕࡛ᐩࢆ⠏ࡃࢡ࢚ࣜ࢖ࢱ࣮ࡣࡈࡃഹ࠿࡛࠶ࡿࠋ࠸
ࡃࡽ࠿ࡢ⪅ࡣⴭస≀ࡢ๰స࡛⏕ィࢆ❧࡚ࡿࡇ࡜ࡀ࡛ࡁࡿࡔࢁ࠺ࡀࠊ࡯࡜
ࢇ࡝ࡢ⪅ࡣ཰ධࢆ⿵࠺ࡓࡵ࡟⏕ά㈝ࡔࡅࡢࡓࡵࡢูࡢ௙஦ࢆᚲせ࡜ࡋ࡚࠸ࡿࠋᏛၥࡢୡ⏺࡟ࡣᩍቭ࡟❧ࡕ࡞ࡀࡽࠊリேࡸᑠㄝᐙࠊ⏬ᐙࠊస᭤ᐙࠊ



See WILLIAM PATRY, MORAL PANICS AND THE COPYRIGHT WARS 117–19 (2009).



See, e.g., TODD LONDON ET AL., OUTRAGEOUS FORTUNE: THE LIFE AND TIMES OF THE

Musical: Get in the Picture (ABC 2008); Legally Blond the Musical: The Search for ElleNEW AMERICAN PLAY 2 (2009) Theatre Development Fund ࡢ◊✲࡟ࡼࡿ࡜ࠊ
ࠕ๫тȗȭ

Woods (MTV television series 2008).ȀǯǷȧȳƷǷǹȆȠ ࡣᚎࠎ࡟ಶேࡢ࢔࣮ࢸ࢕ࢫࢺࢆ␯እࡍࡿࡼ࠺࡟࡞ࡾࠊ⯙ྎ⏝ࡢ᪂ࡋ࠸సရࢆ㛤ᣅࡍࡿࡇ࡜࡟ࡶᾘᴟⓗ࡟࡞ࡗ࡚ࡁ࡚࠸ࡿࠖ࡜࠸࠺ ; Michael Cieply,

TIMES, July 20, 2009, at C1 ↓ྡࡢどぬⱁ⾡ᐙࢆⓎ᥀ࡍࡿࡓࡵఱⓒேࡶࡢ⏬ᐙࢆ࣮࢜

See Randy Kennedy, When Art Meets TV, Realism Might Not Make It to Reality, N.Y.

Films Finding a Tougher Market in Toronto, N.Y. TIMES, Sept. 14, 2009, at C1 ᖺࡢ

ࢹ࢕ࢩࣙࣥࡍࡿ᪂ࡋ࠸ࣜ࢔ࣜࢸ࢕␒⤌ .

ࢺࣟࣥࢺᫎ⏬⚍࡛ୖᫎࡉࢀࡓ࢖ࣥࢹ࢕࣌ࣥࢹࣥࢺᫎ⏬ࡢ኱ከᩘࡣࠊ⡿ᅜ࡛ࡢ㓄⤥఍

See Work of Art: The Next Great Artist (BRAVO television series 2010).

♫ࢆぢ௜ࡅࡿࡇ࡜ࡀ࡛ࡁ࡞࠿ࡗࡓ ; Jon Pareles, 1,700 Bands, Rocking as the CD In-See The Shot (VHI television series 2007) 㺀୓ࢻࣝࡢ㈹㔠࡜㞧ㄅ Marie Claire ⏝ࡢ

dustry Reels, N.Y. TIMES, Mar. 15, 2008, at A1 㺀࣑࣮ࣗࢪࢩࣕࣥᚿᮃ⪅ࡀ୙㊊࡟㝗ࡗࣇ࢓ࢵࢩࣙࣥ᧜ᙳࢆ⾜࠺ࢳࣕࣥࢫࠊࡑࡋ࡚᧜ᙳࡋࡓ෗┿ࡀ Victoria Secret ࡢ࢝ࢱࣟࡓࡇ࡜ࡣ୍ᗘࡶ࡞࠸ࠋࡓࡃࡉࢇࡢࣂࣥࢻࡀࣂࣥࢆ㐠㌿ࡋ࡚ᅜࢆᶓ᩿ࡋࡓࡾࠊᾏࢆ㉺ࢢࡢ⾲⣬࡟᥇⏝ࡉࢀࡿࡇ࡜ࠖࢆ࠿ࡅ࡚த࠺ࠊࢫࢳ࣮ࣝ෗┿ࡢ෗┿ᐙࡢࢥࣥࢸࢫࢺࢆ

࠼࡚ᅜ㝿㡢ᴦぢᮏᕷࡢ South By Southwest ࡛ࠊ↓ൾࡢࢩࣙ࢘ࢣ࣮ࢫ࡛ࡢ₇ዌࢆ⾜ࡗᢅࡗࡓࣜ࢔ࣜࢸ࢕␒⤌ .

ࡓࡾࡍࡿࠋࡑࡋ࡚᭱ࡶ᩿ᅛ࡜ࡋࡓࣂࣥࢻࡣࠊࣇ࢙ࢫࢸ࢕ࣂ࡛ࣝ୚࠼ࡽࢀࡓ୍ᯟࡔࡅ

࡛࡞ࡃࠊ࿘㎶࡛⾜ࢃࢀࡿ  ࠊ ⟠ᡤࡢࣃ࣮ࢸ࢕࣮࡛ࡶ₇ዌࡋ࡚ࠊὀ┠ࡉࢀࡓ࠸࡜ᮃ

68–98, 386–91, 398–404 (5th ed. 2003); Herman Finkelstein, The Copyright Law—A Re-

See, e.g., DONALD S. PASSMAN, ALL YOU NEED TO KNOW ABOUT THE MUSIC BUSINESSࢇ࡛࠸ࡿࡢ࡛࠶ࡿ㹿㺁 ; BEFORE THE MUSIC DIES (B-Side Entertainment 2006) 㡢ᴦ࣭ࣞ

appraisal, 104 U. PA. L. REV. 1025, 1051 (1956); BEFORE THE MUSIC DIES, supra note 31.ࢥ࣮ࢻ⏘ᴗ࡟㛵ࡍࡿࢻ࣓࢟ࣗࣥࢱ࣮ࣜᫎ⏬ .

See, e.g., American Idol (FOX television series 2002–2010); see also Pareles, supra noteSee BENJAMIN KAPLAN, AN UNHURRIED VIEW OF COPYRIGHT 75 (1967); PATRY, supranote 30, at 117; Graeme W. Austin, Keynote Address, 28 COLUM. J.L. & ARTS 397 (2004).

31.





࡛⏕ィࢆ❧࡚ࡿࡇ࡜ࡀ࡛ࡁ࡞࠸࡜ఏ࠼࡚࠸ࡿ ; U.S. BUREAU OF LABOR STATISTICS,

See, e.g., On the Lot (FOX television series 2007); Project Greenlight (HBOSee LONDON ET AL., supra note 31, at 50–80 ᡂຌࡋࡓ๻సᐙ࡛ࡍࡽࠊᡭࡀࡅࡓ₇๻

2001–2005).

Musicians, Singers and Related Workers, OCCUPATIONAL OUTLOOK HANDBOOK, 2010-11



EDITION, http://www.bls.gov/oco/pdf/ocos095.pdf 㺀඾ᆺⓗ࡟ࡣኪࡸ㐌ᮎ࡟ാࡁࠊ࣮࢜

See, e.g., Grease: You’re the One that I Want (NBC television series 2007); High School ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 

ᐇ₇ᐙ࡜ࡋ࡚άືࡍࡿேࡀከࡃ࠸ࡿࠋNY ࡸ LA ࡛㣗஦ࢆࡋࡓ㝿࡟࠶࡞ࡓ㛵ࡋ࡚ࡶࠊࢡ࢚ࣜ࢖ࢱ࣮ࡀࡲࡎⴭస⪅࡜࡞ࡾⴭసᶒࢆᣢࡘ࡜ࡉࢀࡿࡀࠊⴭ

࡟ᩱ⌮ࢆ㐠ࢇ࡛ࡁ࡚ࡃࢀࡓ࢙࢘࢖ࢱ࣮ࡣࠊḟࡢ࣮࢜ࢹ࢕ࢩࣙࣥࢆᚅࡕ࡞ࡀ

సᶒไᗘࡣࠊⴭస≀ࢆά⏝ࡉࡏࡿࡇ࡜࡜ᘬ᥮࠼࡟ศ㓄ᴗ⪅ distributor ࡟ࡽാ࠸࡚࠸ࡿࡇ࡜ࡀ࡯࡜ࢇ࡝࡞ࡢࡔࠋ

ⴭసᶒࢆጤクࡍࡿࡇ࡜ࢆዡບࡋ࡚࠸ࡿࠋⴭస⪅ࡀ୍᪦ⴭసᶒࢆㆡΏࡍࡿ

࡞ࡐⴭసᴗࡣࡇ࠺ࡶ๭࡟ྜࢃ࡞࠸ࡶࡢ࡞ࡢࡔࢁ࠺㸽ேࠎࡀ༑ศ࡞࠾㔠࡜ࠊἲᚊୖࡑࢀࢆྲྀࡾᡠࡍࡢࡣᐜ࡛᫆ࡣ࡞࠸ࠋไᐃἲ࡟ࡣᖺࠊᖺࠊ

ࢆᡶࡗ࡚ࡶⰋ࠸࡜࠸࠺࡯࡝ࡢ౯್ࢆⴭస≀࡟ぢฟࡋ࡚࠸࡞࠸࡜࠸࠺ࢃࡅ

ᖺࠊ࠶ࡿ࠸ࡣᖺ⤒㐣ᚋ࡟ࠊⴭస⪅ࡀ෌ᗘⴭసᶒࢆ୺ᙇ࡛ࡁࡿࡼ࠺࡟ࡍࡿ

࡛ࡣ࡞࠸ࠋⴭసᶒ⏘ᴗࡀ࢔࣓ࣜ࢝⤒῭࡟ᑐࡋ࡝ࢀ࡯࡝⤒῭ⓗ㈉⊩ࢆࡋ࡚࣓࢝ࢽࢬ࣒ࡀᏑᅾࡋ࡚࠸ࡿࡀࠊᐇ⾜ࡍࡿࡢࡀᴟࡵ࡚㞴ࡋ࠸ࡼ࠺࡟タィࡉ࠸ࡿ࠿࡟㛵ࡍࡿㄪᰝ࡟ࡼࡿ࡜ࠊⴭసᶒ⏘ᴗࡣᖺ㛫  ඙ࢻࣝ௨ୖࡢ཰┈ࢆ⏕ࢀ࡚࠸ࡿࠋྠ᫬࡟ࠊᐇ㝿ၥ㢟࡜ࡋ࡚ࠊ୍㒊ࡢⴭస≀ࡢࢡ࢚ࣜ࢖ࢱ࣮ࡣࠊ

ࡳฟࡋ࡚࠸ࡿ࡜࠸࠺ ࠋࡋ࠿ࡋ࡞ࡀࡽࡇࢀࡽࡢ࠾㔠ࡢ࠺ࡕ᭱⤊ⓗ࡟ࢡ࢚ࣜಶே࡜ࡋ࡚ไᗘࢆ฼⏝ࡍࡿࡇ࡜ࡀ࡛ࡁ࡞࠸ࠋ౛࠼ࡤไᐃἲୖࡢᙉไチㅙไ࢖ࢱ࣮ࡢᡭඖ࡟Ώࡿ㢠ࡣ࡯ࢇࡢഹ࠿࡛࠶ࡿࠋⴭసᶒࡢไᐃἲࡣ፹௓ᴗ⪅ᗘࡣࠊἲᐃチㅙᩱࡢศ㓄ㄳồ⪅ࡀࠊ௻ᴗࡶࡋࡃࡣ௻ᴗඹྠయ collective࡟࡜ࡗ࡚᭷฼࡜࡞ࡿࠊつᐃࡢࣂ࢖࢔ࢫࢆ⤌ࡳධࢀ࡚࠸ࡿࠋࡇࡢࣂ࢖࢔ࢫࡣ

entities ࡟ࡼࡗ࡚௦⾲ࡉࢀࡿ࡜࠸࠺ࡇ࡜ࢆ᝿ᐃࡋ࡚࠸ࡿࠋࡍ࡞ࢃࡕࠊࡇࢀ

ఱࡼࡾࡶࡲࡎࠊࢡ࢚ࣜ࢖ࢱ࣮ࢆ≛≅࡟ࡋ࡚࠸ࡿࠋ⡿ᅜⴭసᶒἲࡣⴭసᶒࢆ

ࡽࡢ⪅ࡀศ㓄ㄳồࢆ⾜࠺ࡢࡣⴭసᶒࡀศ㓄ᴗ⪅࠶ࡿ࠸ࡣ፹௓ᴗ⪅࡟ጤク᭱ึ࡟ⴭస⪅࡟୚࠼ࡿ࡜ࡋ࡚࠸ࡿࡶࡢࡢࠊࢡ࢚ࣜ࢖ࢱ࣮ࡣᚲࡎࡋࡶἲⓗࡉࢀ࡚࠸ࡿࡇ࡜ࡀ๓ᥦ࡜࡞ࡗ࡚࠸ࡿࡢ࡛࠶ࡿࠋ

ព࿡࡛ࡢⴭస⪅࡛࠶ࡿ࡜ࡣ㝈ࡽ࡞࠸ࠋᚑᴗ⪅ࡀ⫋ົࡢ⠊ᅖෆ࡛๰సࡋࡓ

ⴭస⪅ࡣฟ∧♫࡟ẚ࡭ᑡࡋࡋ࠿஺΅ຊࢆᣢࡗ࡚࠸࡞࠸࡜ࡢᣦ᦬ࡶ࠶ࡿ

ⴭస≀ࡢ඲࡚ࠊཬࡧ⊂❧ዎ⣙⪅ࡀ๰సࡋࡓⴭస≀ࡢከࡃࡣࠊἲⓗ࡟౑⏝⪅ࡀࠊࡑࢀࡣ⮬↛ࡢἲ⌮࡜ࡋ࡚ᮏ᮶ⓗ࡟࠸࠼ࡿࡇ࡜࡛ࡣ࡞࠸ࠋࡴࡋࢁࡑࢀ

ࡸࢥ࣑ࢵࢩࣙࢼ࣮ࡀⴭసࡋࡓࡶࡢ࡜ࡳ࡞ࡉࢀ࡚࠸ࡿࠋࡑࡢ௚ࡢⴭస≀࡟



୍ࡘ࡛࠶ࡾࠊࡉࡽ࡟୍ᐃࡢⴭస≀࡟ࡘࡁ౑⏝⪅ࢆⴭస⪅࡜ࡳ࡞ࡍᅜࡢ୰࡛ࡶࠊ⡿ᅜࢹ࢕ࢩࣙࣥࢆཷࡅࡿ᫬࡟ࡣ௙஦ࢆ୰᩿ࡋࠊ⤖ᒁࠊ୙᥇ᢥ࡜࡞ࡿࠊ࡜࠸ࡗࡓ㠀ᖖ໅ࡢࡢཎ๎ࡢཬࡪ⠊ᅖࡣᴟ➃࡟ᗈ࠸ࠋ

ࢫࢣࢪ࣮ࣗࣝࡀ୍⯡ⓗ࡛࠶ࡿࠋከࡃࡢ࣑࣮ࣗࢪࢩࣕࣥࡸḷᡭࡣ௚ࡢ࡜ࡇࢁ࡛✌࠸ࡔᡤᚓ࡟ࡼࡗ࡚཰ධࢆ⿵ࡗ࡚࠸ࡿ㹿㺁 ; U.S. BUREAU OF LABOR STATISTICS, Artists and᪂ࡋ࠸ⴭసᶒ⪅ࡣඖࠎࡢⴭస⪅ࡢᆅ఩࡟❧ࡕࠊ࡯࡜ࢇ࡝඲࡚ࡢⴭసᶒࢆ⾜౑ࡍࡿᶒἲࡣⴭసᶒࢆㆡΏࡋࡸࡍࡃࡋ࡚࠸ࡿࠋSee id. § 204.୍᪦ⴭసᶒࡀጤクࡉࢀࡿ࡜ࠊ

Related Workers, OCCUPATIONAL OUTLOOK HANDBOOK, 2010-11 EDITION, http://www.bls.

฼ࢆᣢࡘࡼ࠺࡟࡞ࡿࠋࡑࡢ୰࡟ࡣඖࡢࢡ࢚ࣜ࢖ࢱ࣮ࢆⴭసᶒ౵ᐖ࡛ッ࠼ࡿᶒ฼ࡶྵ

gov/oco/ocos092.htm 㺀ತඃࡣ㛗ᮇ㛫ࡢኻᴗࡸࠊᙺࢆᕠࡿ⇚Ⅿ࡞➇தࠊ࣮࢜ࢹ࢕ࢩࣙ

ࡲࢀࡿࠋSee, e.g., Fantasy, Inc. v. Fogerty, 510 U.S. 517 (1994).࡛ࣥࡢ㢖⦾࡞୙᥇ᢥ࡟⪏࠼࡚࠸ࡿ͐ᡤᚓࡀ୍ᐃࡋ࡞࠸ࡢ࡛ࠊከࡃࡢತඃࡸࣉࣟࢹࣗ

࣮ࢧ࣮ࠊࢹ࢕ࣞࢡࢱ࣮ࡣ௚ࡢศ㔝ࡢ௙஦࡟ᑵࡃࡇ࡜࡛཰ධࢆ⿵᏶ࡋ࡚࠸ࡿ㹿㺁 . Forᶒࡀ᭱ึ࡟ྲྀᚓࡉࢀ࡚࠿ࡽᖺ ; id. § 304(d)(2) § 304(c) ࡟ᐃࡵࡽࢀ࡚࠸ࡿ⤊஢ࡢ

See 17 U.S.C. § 203(a)(3) ᶒ฼௜୚࠿ࡽᖺࡶࡋࡃࡣᖺᚋ ; id. § 304(c)(3) ⴭసother examples, see Zimmerman, supra note 29, at 9–10.

ᶵ఍ࡀ⾜౑ࡉࢀ࡞࠿ࡗࡓሙྜ࡟㝈ࡾࠊⴭసᶒࡀ᭱ึ࡟ྲྀᚓࡉࢀ࡚࠿ࡽᖺᚋ .

See, e.g., THOMAS ROGERS & ANDREW SZAMOSSZEGI, FAIR USE IN THE U.S. ECONOMY:ECONOMIC CONTRIBUTION OF INDUSTRIES RELYING ON FAIR USE 8 (2010), http://www.

See generally Howard Abrams, Who’s Sorry Now? Termination Rights and the Deriva-

tive Work Exception, 62 U. DET. L. REV. 181 (1985); Allison M. Scott, Note, Oh Bother:

ccianet.org/CCIA/files/ccLibraryFiles/Filename/000000000354/fair-use-study-final.pdf

Milne, Steinbeck, and an Emerging Circuit Split over the Alienability of Copyright Termi-㺀ᖺ࡟ࠊࣇ࢙࢔࣭࣮ࣘࢫ⏘ᴗࡣ  ඙  ༓൨෇ࢻࣝࡢṓධࢆ⏕ࡳฟࡋࡓࠋࡇࢀࡣ

nation Rights, 14 J. INTELL. PROP. L. 357 (2007). See infra notes 163–73 and accompany-

ᖺࡢ  ඙  ༓൨ࢻࣝ࠿ࡽẚ࡭࡚㸣ࡢቑຍ࡛࠶ࡿ㹿㺁 ; STEPHEN E. SIWEK, COP-

ing text.

YRIGHT INDUSTRIES IN THE U.S. ECONOMY: THE

2003–2007 REPORT 3 (June 2009),

http://www.iipa. com/pdf/IIPASiwekReport2003-07.pdf 㺀ᖺࡲ࡛࡟͐ⴭసᶒ⏘ᴗࠕ඲యࠖࡀ⡿ᅜࡢ GDP ࡟௜ຍࡋࡓ౯್ࡣ඙༓ⓒ൨ࢻࣝ࡟ୖࡿ͐ࡇࢀࡣ⡿ᅜࡢ

See COPYRIGHT ROYALTY BD., LIBRARY OF CONG., http://www.loc.gov/crb/ (last visited

Sept. 17, 2010); SOUNDEXCHANGE, http://www.soundexchange.com (last visited Sept. 17,2010).

GDP ࡢ㸣ࢆ༨ࡵࡿ㹿㺁 .

Media, 20 BERKELEY TECH. L.J. 647 (2005).୍㒊ࡢ⏘ᴗࡢࢡ࢚ࣜ࢖ࢱ࣮ࡣປാ⤌ྜ࡬

See 17 U.S.C. §§ 101, 201 (2006).⡿ᅜࡣ⫋ົⴭసࡢཎ๎ࢆ᭷ࡍࡿᩘᑡ࡞࠸ᅜᐙࡢ

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  

See, e.g., Gabe Bloch, Note, Transformation in Publishing: Modeling the Effect of New▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡣ⡿ᅜⴭసᶒἲࡀศ㓄ᴗ⪅࡟᭷฼࡞᪉ྥ࡟ࠊ᫇ࡶ௒ࡶഴᩳࡋ⥆ࡅ࡚࠸ࡿ࡜

⪅ࡀⴭస≀࠿ࡽᚓࡽࢀࡿ཰┈ࡢ࠺ࡕ኱㒊ศࢆཷࡅྲྀࡿࡇ࡜ࢆᙜ࡚࡟ࡍࡿ

࠸࠺஦ᐇࢆ཯ᫎࡋ࡚࠸ࡿࠋ஺΅ຊࡢ୙ᆒ⾮ࡢᑡ࡞ࡃ࡜ࡶ୍㒊ࡣࠊⴭసᶒἲ

ࡇ࡜ࡀ࡛ࡁ࡚ึࡵ࡚ࠊ኱つᶍ࡞ὶ㏻ࣅࢪࢿࢫࡀᙼࡽࡢᢞ㈨࡟ぢྜࡗࡓሗ㓘ࡢാࡁ࡟ࡼࡗ࡚ேᕤⓗ࡟⏕ࡳฟࡉࢀࡓࡶࡢ࡛࠶ࡿࠋไᐃⴭసᶒἲࡣฟ∧ࢆᚓࡿࡇ࡜ࡀ࡛ࡁࡿࡔࢁ࠺ࠊ࡜᝿ᐃࡍࡿࡇ࡜࡟ྜ⌮ᛶࡀ࠶ࡿ࡜࠸࠼ࡓࠋ

♫ࠊࣞࢥ࣮ࢻ఍♫ࠊᫎ⏬ࢫࢱࢪ࢜ࡑࡢ௚ᵝࠎ࡞ศ㓄ᴗ⪅ࢆ᭷฼࡟ᢅࡗ࡚

ࡋ࠿ࡋ⌧ᅾ࡛ࡣᙜ↛࡞ࡀࡽࠊ࡯࡜ࢇ࡝࠾㔠ࢆ㈝ࡸࡉ࡞ࡃ࡚ࡶࠊୡ⏺୰ࡢࡁࡓࠋࡑࢀࡣฟ∧♫ࡸࣞࢥ࣮ࢻ఍♫ࠊᫎ⏬ࢫࢱࢪ࢜ࡸࡑࡢ௚ศ㓄ᴗ⪅ࡽ࡟ே࡟ⴭస≀ࢆὶ㏻ࡉࡏࡿᡭẁࡀ࠸ࡃࡽ࡛ࡶ࠶ࡿࠋࡇࢀࡣࠊಶே࡛࠶ࡗ࡚ࡶ

࡜ࡗ࡚᭷฼࡟ᶵ⬟ࡍࡿἲᚊࢆࠊᙼࡽᐤࡾࡢἲᚊᐙࡀసᡂࡍࡿࡢࢆ㆟఍ࡀ㐣ഹ࠿ࡢ㈝⏝࡛ⴭస≀ࡢࢥࣆ࣮ࢆ㏦ಙࡋྜ࠺ࡇ࡜ࡀ࡛ࡁࡿ࡜࠸࠺ࡇ࡜ࢆྵ

ཤ୍ୡ⣖࡟ࢃࡓࡗ࡚ዡບࡋ࡚ࡁࡓ࠿ࡽ࡛࠶ࡿࠋ᭷฼࡟ᶵ⬟ࡍࡿ࡜࠸࠺ࡢ

ពࡋ࡚࠸ࡿࠋⴭసᶒ⪅ࡀ↓チㅙࡢὶ㏻࡟ࣃࢽࢵࢡࢆ㉳ࡇࡍ࡟ࡘࢀࠊࡇ࠺ࡋ

ࡣࠊⴭసᶒ⪅࡟ຊࢆ୚࠼ࠊ᭱⤊ⓗ࡟ࡣศ㓄ᴗ⪅ࡀⴭసᶒࢆಖ᭷ࡋࡸࡍ࠸ࡼ

ࡓࡇ࡜ࡣከࡃࡢὀពࢆᘬࡃࡼ࠺࡟࡞ࡗࡓࠋࡇࢀࡀྵពࡍࡿࡶ࠺୍ࡘࡢⅬ࠺࡟ࡍࡿࢩࢫࢸ࣒ࡢࡇ࡜࡛࠶ࡿࠋ

ࡣࡶࡗ࡜⯆࿡῝࠸ࠋࡑࢀࡣࢹࢪࢱࣝὶ㏻ᡭẁࡀࡶࡓࡽࡋࡓ᪂ࡋ࠸⤒῭࡟ࡼ ἲࡀࢡ࢚ࣜ࢖ࢱ࣮ࢆ≛≅࡟ࡋ࡚ศ㓄ᴗ⪅ࢆ㉡ᒍࡍࡿࡇ࡜ࡣࠊୡ⣖࡟ࡗ࡚ࠊᡃࠎࡣࢡ࢚ࣜ࢖ࢱ࣮ࢆศ㓄ᴗ⪅࡜ࡢ㛵ಀ࡛୙฼࡟ᢅ࠺ࡼ࠺࡞ⴭసᶒ

ẚ࡭ୡ⣖ࡸୡ⣖ࡢ᪉ࡀࡲࡔᐇ㉁ⓗ࡞ព࿡ࢆ࡞ࡋ࡚࠸ࡓࠋ᭱㏆ࡲ࡛ࠊἲࢆᙧᡂࡍࡿᚲせࡀ࡞ࡃ࡞ࡗࡓ࡜࠸࠺ࡇ࡜࡛࠶ࡿࠋࡶࡕࢁࢇࠊࡑ࠺ࡋࡓ࠸

ⴭస≀ࡢ」〇≀ࢆ኱つᶍ࡟ὶ㏻ࡉࡏࡿ࡟ࡣ኱つᶍ࡞㈨㔠ᢞ㈨ࡀᚲせ࡛࠶

ࡗࡓࠋ⣬ࠊ༳ๅᶵࠊᨺ㏦⏝㟁Ἴሪࠊᫎ⏬⏝࣓࢝ࣛࡸࣅࢹ࣓࢜࢝ࣛࠊᗑ⯒ࠊࢺࣛࢵࢡࠊࡑࡢ௚ᵝࠎ࡞኱つᶍὶ㏻ࢿࢵࢺ࣮࣡ࢡ࡟せࡍࡿせ⣲ࡣ࡝ࢀࡶSee, e.g., KAPLAN, supra note 39, at 5–9, 75–78.

㠀ᖖ࡟㧗㢠࡛࠶ࡗࡓࠋࢹࢪࢱ࣭ࣝࢿࢵࢺ࣮࣡ࢡࡀ⏕ࡲࢀࡿ௨๓ࡣࠊศ㓄ᴗ

See, e.g., An Update: Piracy on University Networks: Hearing Before the Subcomm. on

Courts, the Internet, and Intellectual Prop. of the H. Comm. on the Judiciary, 110th Cong.



6–8 (2007) [hereinafter An Update: Piracy on University Networks], available atࡢຍධࡸᅋయ஺΅ࡢ⤖ᯝࠊ㏣ຍⓗ࡞ᙳ㡪ຊࢆ᭷ࡋ࡚࠸ࡿࡀࠊ㏻ᖖࡢሙྜࠊᑵᴗࡢ᮲

http://judiciary.house.gov/hearings/printers/110th/33812.pdf (testimony of Cary Sherman,௳࡜ࡋ࡚ⴭసᶒࢆㆡࡽ࡞ࡅࢀࡤ࡞ࡽ࡞࠸ࠋ

President, Recording Industry Association of America (“RIAA”)) 㺀ᾏ㈫⾜Ⅽࡀ᭱ࡶࡣࡧ



See, e.g., Olufunmilayo B. Arewa, Blues Lives: Promise and Perils of Musical Copyright,ࡇࡗ࡚࠸ࡿࠖ኱Ꮫࡀࠊࡑࡢ㜼Ṇ࡟ኻᩋࡋࡓࡇ࡜࡟ࡘ࠸࡚୙‶ࢆ㏙࡭࡚࠸ࡿ ; id. at 75–77

27 CARDOZO ARTS & ENT. L.J. 573 (2010).㏆᫬ࡢ⿢ุᡤࡢุỴࡣࠊⴭస≀ࡢ⾲⌧ࡢഹ

(letter from Dan Glickman, Chairman and Chief Executive Officer, Motion Picture Associ-ᑡ࡞౑⏝࡟㛵ࡋ࡚ࡶⴭసᶒ⪅ࡢチㅙࢆồࡵࡿࡼ࠺ⴭసᶒࡢไᐃἲࢆゎ㔘ࡋ࡚࠸ࡿࠋ

ation of America (“MPAA”)) ᫎ⏬⏘ᴗࡢᅜෆᦆኻࡢ㸣ࢆ኱Ꮫ⏕ࡢ㈐ࡵ࡟ᖐࡋ࡚࠸

౛࠼ࡤࠊBridgeport Music, Inc. v. Dimension Films, 383 F.3d 390 (6th Cir. 2004) ࡣࠊࡇࡢ

ࡿ ; Protecting Copyright and Innovation in a Post-Grokster World: Hearing Before the S.

ၥ㢟ࢆᝏ໬ࡉࡏ࡚ࡋࡲࡗࡓࠋ௬࡟ࢡ࢚ࣜ࢖ࢱ࣮ࡀⴭస≀ࢆබ࡟බ㛤ࡍࡿ㝿࡟ከᩘࡢComm. on the Judiciary, 109th Cong. 16–17 (2005), available at http://frwebgate.access.

࡜ࡇࢁ࠿ࡽ↓ᩘࡢࣛ࢖ࢭࣥࢫࢆồࡵ࡞ࡅࢀࡤ࡞ࡽ࡞࠸࡜࡞ࡿ࡜ࠊࢡ࢚ࣜ࢖ࢱ࣮ࡣ኱

gpo.gov/cgi-bin/getdoc.cgi?dbname=109_senate_hearings&docid=f:34113.pdf (testimony ofᡭࡢศ㓄ᴗ⪅ࡢࣛ࢖ࢭࣥࢫ࡟㢗ࡿᚲせࡀ⏕ࡌࡿࡔࢁ࠺ࠋSee Copyright Criminals: This

Marty Roe, Recording Artist, Arista Records) P2P ࣅࢪࢿࢫࡀస᭤ᐙࡸసモᐙࡀᗫᴗࡍ

Is a Sampling Sport (PBS television broadcast Jan. 19, 2010), available at http://www.

ࡿཎᅉ࡜࡞ࡗ࡚࠸ࡿ࡜㏙࡭࡚࠸ࡿ ; id. at 18 (testimony of Cary Sherman) P2P ࡣࠕ㡢

copyrightcriminals.com/.ࡇࡢ୙ᆒ⾮࡟㛵ࡍࡿ㏣ຍⓗ࡞せ⣲࡜ࡋ࡚ࠊⴭస≀ࡢ኱つᶍᴦࠊᫎ⏬ࠊࡑࡢ௚࢚ࣥࢱ࣮ࢸ࢖࣓ࣥࣥࢺ⏘ᴗ࡟ᚑ஦ࡍࡿఱ༓ேࡶࡢಶேࡀࠊ⮬ศࡓ࡞㡺ᕸࢆ⾜࠺࡜࡞ࡿ࡜ᚲせ࡜࡞ࡿࠊ኱つᶍ࡞㈨ᮏᢞ㈨ࡀᣲࡆࡽࢀࡿࠋSee infra textࡕࡢ௙஦ࡀᾘ⁛ࡋ࡚࠸ࡃࡢࢆ㟼ほࡏࡊࡿࢆᚓ࡞࠸ࠖཎᅉ࡟࡞ࡗ࡚࠸ࡿ࡜㏙࡭ࡿ ;accompanying note 49.INT’L INTELLECTUAL PROP. ALLIANCE, COPYRIGHT INDUSTRIES’ GLOBAL CHALLENGES

See generally LITMAN, supra note 2.ࡇࢀࡣ᭱㏆ࡢ⌧㇟࡜࠸࠺ࢃࡅ࡛ࡣ࡞࠸ࠋⱥ⡿ࡢ

FOR 2009, http://www.iipa.com/pdf/IIPA2009GlobalChallenges.pdf 㺀౵ᐖࢆ⾜࠺࢚࢘ࣈⴭసᶒἲࡣ༳ๅᴗ⪅࡜ฟ∧♫࡟ࡼࡗ࡚ࠊᙼࡽࡢࡓࡵ࡟సࡽࢀࡓἲ࡟➃ࢆⓎࡍࡿࡶࡢࢧ࢖ࢺ࠿ࡽ࣮ࣜࣜࢫ๓ࡢⴭస≀ࢆ࢔ࢵࣉࡍࡿࢺࢵࣉࢧ࢖ࢺࠊ↓᩿ࡢ >P2P@ ࣇ࢓࢖࡛ࣝ࠶ࡾࠊᖖ࡟ศ㓄ᴗ⪅୰ᚰ࡛࠶ࡗࡓࠋSee KAPLAN, supra note 39, at 1–37; LYMAN RAYࢩ࢙࢔ࣜࣥࢢ࡟⮳ࡿࡲ࡛ࠊ࢖ࣥࢱ࣮ࢿࢵࢺୖࡢᾏ㈫⾜Ⅽࡣᛴ⃭࡞ᡂ㛗ࢆ㐙ࡆ࡚ࡁࡓ

PATTERSON, COPYRIGHT IN HISTORICAL PERSPECTIVE 42–178 (1968); MARK ROSE, AU-ࡢ࡛࠶ࡗ࡚ࠊࡑࡢ㛫㐺ἲ࡞㟁Ꮚၟྲྀᘬࡢᶵ఍ࢆጉᐖࡋࠊ㡢ᴦࠊᫎ⏬ࠊࣅࢹ࢜ࢤ࣮࣒ࠊ

THORS AND OWNERS: THE INVENTION OF COPYRIGHT 10–66 (1993).ࣅࢪࢿࢫ࣭ࢯࣇࢺ࢙࢘࢔ࠊฟ∧⏘ᴗࡢᦆኻࡢቑຍࡢཎᅉ࡜࡞ࡗ࡚࠸ࡿ㹿㺁 .

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡜࠸࠺ࡢ࡛࠶ࢀࡤヰࡣู࡛࠶ࡿࡀࠋ

࠸ࡓࠋⴭసᶒἲࡢṔྐࡢ࡯࡜ࢇ࡝࡟࠾࠸࡚ࠊἲࡣ⊃࠸⠊ᅖ࡟ᑐࡋ࡚㐺⏝ࡉࢀ࡚ࡁࡓࡢ࡛࠶ࡾࠊⴭసᶒἲࡀ୰ᚰⓗ࡞㛵ᚰ஦࡛࠶ࡿ࡜࠸࠺ಶேࡸἲ

㹀㸬࣮ࣘࢨ࣮ࡢⴭసᶒ

ே࡟ᑐࡋ࡚ࡢࡳ┤᥋࡟ᙳ㡪ࢆ୚࠼࡚࠸ࡿࡶࡢ࡛࠶ࡗࡓࠋⴭసᶒ⪅࡟ࡣලࢡ࢚ࣜ࢖ࢱ࣮ࡀⴭసᶒἲࡢᮏ᮶ⓗ࡞ᑐ㇟࡛࠶ࡿ࡜ࡍࢀࡤࠊㄞ⪅ࡸど⫈యⓗ࡟ิᣲࡉࢀᐃ⩏ࡉࢀࡓ฼⏝⾜Ⅽ࡟ᑐࡍࡿࢥࣥࢺ࣮ࣟࣝᶒࢆ୚࠼ࠊࡑ

⪅ࡣࡑࡢ┠ⓗ࡛࠶ࡿ࡜࠸࠼ࡿࠋࢡ࢚ࣜ࢖ࢱ࣮࡟ࡼࡿⴭస≀ࡢ๰స࡜ศ㓄ࡢ௚ࡢ฼⏝⾜Ⅽ࡟ࡘ࠸࡚ࡣไ㝈ࡋ࡞࠸ࡇ࡜࡟ࡼࡗ࡚ࠊⴭసᶒἲࡣㄞ⪅ࡸᴗ⪅࡟ࡼࡿὶ㏻ࢆಁ㐍ࡍࡿ᭱ࡶ㔜せ࡞⌮⏤ࡣࠊேࠎࡀᮏࢆㄞࡳࠊ㡢ᴦࢆど⫈⪅࡟ⴭస≀ࢆ฼⏝ࡍࡿ⮬⏤ࢆ࠿࡞ࡾㄆࡵ࡚࠸ࡓࡢ࡛࠶ࡿࠋⴭసᶒἲ

⫈ࡁࠊⱁ⾡ရࢆぢ࡚ࠊᫎ⏬ࢆᴦࡋࡴࡇ࡜ࡀ࡛ࡁࡿࡼ࠺࡟ࡍࡿࡓࡵ࡛࠶ࡿࠋ

ࡣࡈࡃഹ࠿࡞ᩘࡢⴭస≀ࡔࡅࢆಖㆤࡋࠊ⊃࠸ᶒ฼ࢆ┦ᑐⓗ࡟▷ᮇ㛫ࡔࡅㄞ⪅ࡸど⫈⪅࡟ࡣసရࢆாཷࡋࠊࡑࡇ࠿ࡽᏛࡧࠊసရ࡜┦஫࡟స⏝ࡋྜ࠸ࠊ୚࠼࡚࠸ࡓࠋⴭసᶒࡢ⠊ᅖࡀ㝈ᐃⓗࡔࡗࡓࡇ࡜࡛ࠊㄞ⪅ࡸど⫈⪅ࡀⴭససရ࡟ࡘ࠸࡚࣮ࣘࢨ࣮ྠኈ࡛ࢥ࣑ࣗࢽࢣ࣮ࢩࣙࣥࢆ࡜ࡗ࡚ࡶࡽ࠸ࡓ࠸ࠋⴭ

ᶒἲࢆẼ࡟ࡏࡎࠊᛮ࠺ࡼ࠺࡟ⴭస≀ࢆ฼⏝ࡍࡿవᆅࡀከࡃṧࡉࢀ࡚࠸ࡓࡢ

సᶒࡣࡇࡢࡼ࠺࡞ᙧ࡛▱㆑ࡢⓎᒎ the Progress of Science ࢆಁ㐍ࡋ࡚࠸࡛࠶ࡿࠋไᐃἲ࡟ࡣ᫂♧ⓗ࡞࣮ࣘࢨ࣮ࡢᶒ฼ࡣ࠶ࡲࡾぢᙜࡓࡽ࡞࠸ࡀࠊࡑ

ࡿ ࠋࡇࢀࡣᑓ㛛ⓗ࡞ゝ࠸᪉ࢆࡍࢀࡤࠊἲᚊ࡟༑ศ࡞⮬⏤ࢆ⤌ࡳ㎸ࢇ࡛ࠊࢀࡣ᫂♧ࡍࡿᚲせࡀ࡞࠿ࡗࡓ࠿ࡽ࡛࠶ࡿࠋ㆟఍ࡸ⿢ุᡤࡣ᫂♧ⓗ࡞࣮ࣘࢨⴭసᶒࡀㄞࢇࡔࡾど⫈ࡋࡓࡾࡍࡿࡇ࡜ࡢጉࡆ࡟࡞ࡽ࡞࠸ࡼ࠺࡟ὀពࢆᡶ

࣮ࡢᶒ฼ࢆຍ࠼ࡼ࠺࡜㋃ࡳฟࡍࡇ࡜ࡀ࠶ࡗࡓࡀࠊࡑࢀࡣⴭసᶒ⪅ࡀ୍ぢ࠺ᚲせࡀ࠶ࡿ࡜࠸࠺ࡇ࡜࡛࠶ࡿࠋ

ࡋ࡚ྜ⌮ⓗ࡟ᛮࢃࢀࡿ័౛ࢆ㉸࠼ࡿッゴࢆᥦ㉳ࡋࠊ⮬ศࡓࡕࡢᶒ฼ࡢቃ⏺

 ㄞ⪅ࡸど⫈⪅ࡽࡣ᭱㏆ࡲ࡛ࡣἲࡢཷ┈⪅࡛࠶ࡗࡓࠋࡑࡇ࡛ࡣἲࡣࠊ࡯

⥺ࢆ㐣ᗘ࡟ᗈࡆࡼ࠺࡜ࡋࡓࡼ࠺࡞ሙྜ࡟㝈ࡽࢀ࡚࠸ࡓࠋไᗘࡢᇶᮏⓗ࡞࡜ࢇ࡝ࡢேࡀⴭసᶒࡢࡇ࡜ࢆẼ࡟ࡏࡎⴭస≀ࢆᴦࡋࡵࡿࡼ࠺タィࡉࢀ࡚ᵓ㐀ࡣࠊ᫂♧ⓗ࡞ᩥゝ࡟ࡼࡗ࡚࣮ࣘࢨ࣮ಶேࡢ฼┈ࡢ⠊ᅖࢆ☜❧ࡍࡿ࡜

࠸࠺ࡼࡾࡶࠊࡴࡋࢁⴭసᶒࡢཬࡪ⠊ᅖࢆ㝈ᐃࡍࡿࡇ࡜ࢆ㏻ࡌ࡚ࠊㄞ⪅ࡸど⫈⪅ࡢᶒ฼ࢆᑛ㔜ࡍࡿࡶࡢ࡛࠶ࡗࡓࠋ


See KAPLAN, supra note 39, at 75–76; L. Ray Patterson, Fair Use for Teaching andResearch: The Folly of Kinko’s and Texaco, in GROWING PAINS: ADAPTING COPYRIGHTFOR LIBRARIES, EDUCATION, AND SOCIETY 351, 356–63 (Laura N. Gasaway ed., 1997).



REV. 1871 (2007).

E.g., United States v. Paramount Pictures, Inc., 334 U.S. 131, 158 (1948). See generallySee KAPLAN, supra note 39, at 25–36; Jessica Litman, Lawful Personal Use, 85 TEX. L.

Lloyd L. Weinreb, Copyright for Functional Expression, 111 HARV. L. REV. 1149 (1998).※ࡣ╔᝿⮬య࡟ၥ㢟ࡢ࠶ࡿッゴ࡟➃ࢆⓎࡍࡿࠋCompare, e.g., 17 U.S.C. § 109(a)ⴭసᶒ࡟㛵ࡍࡿேࠎࡢ฼┈ࢆㄽࡌࡿㄽᩥࡣࠊⴭస≀࡟ࡘ࠸࡚ㄞࡴࠊ⫈ࡃࠊぢࡿࠊ࣮ࣘࢨ࣮ࢆ᫂♧ⓗ࡟ච㝖ࡍࡿไᐃἲࡢ᮲㡯ࡣ≉␗ⓗ࡞ࡶࡢ࡛࠶ࡾࠊࡑࡢከࡃࡢ㉳ほࡿࠊ₇ࡌࡿࠊసືࡍࡿࠊࢥࣥࣃ࢖ࣝࡍࡿ࡜࠸ࡗࡓ⾜Ⅽࢆ⾜࠺ேࠎࢆࠊ࡝࠺࿧ࡪ࡭

(2006) 㐺ἲ࡟సࡽࢀࡓ」〇≀ࡢ෌∧ࢆㄆࡵࡿ , id. § 109(c) බࡢሙᡤ࡛ࡢࣅࢹ࢜ࢤ

ࡁ࡛࠶ࡿ࠿࡜࠸࠺ၥ㢟࡟ྲྀࡾ⤌ࢇ࡛࠸ࡿࠋࡼࡃ⏝࠸ࡽࢀࡿㄒ࡜ࡋ࡚ࡣࠕusersࠖࡀ࠶࣮࣒ࡢࣉࣞ࢖ࢆㄆࡵࡿ , id. § 110(5)(A) බࡢሙᡤ࡛ࡢࣛࢪ࢜࡜ࢸࣞࣅᨺ㏦ࡢ෌⏕ࢆࡾࠊࡇࢀ࡟ࡘ࠸࡚ࡣ see Julie Cohen, The Place of the User in Copyright Law, 74

ㄆࡵࡿ , and id. § 110(11) DVD ࡛㈍኎ࡉࢀࡓᫎ⏬࡟࠶ࡿᛶⓗࢩ࣮ࣥࡸᭀຊⓗ࡞ࢩ

FORDHAM L. REV. 347 (2005); Patterson & Birch, supra note 28,ࠕconsumersࠖ࡜࠸࠺࿧ࡧ࣮ࣥࢆど⫈୙ྍ⬟࡟ࡍࡿ᳨㜀ࣉࣟࢢ࣒ࣛࡢᐙᗞෆ౑⏝ࢆㄆࡵࡿ , with Twentieth᪉࡟ࡘ࠸࡚ࡣsee Niva Elkin-Koren, Making Room for Consumers Under the DMCA, 22

Century Music Corp. v. Aiken, 422 U.S. 151 (1975) ᑠࡉ࡞ࣞࢫࢺࣛࣥෆ࡛ࣛࢪ࢜ࢆὶ

BERKELEY TECH. L.J. 1119 (2007); Joseph Liu, Copyright Law’s Theory of the Consumer,ࡍࡇ࡜ࡀⴭసᶒ౵ᐖ࡟ᙜࡓࡿ࡜ࡍࡿ୺ᙇࢆ㏥ࡅࡓ , Bobbs-Merrill Co. v. Straus, 210

44 B.C. L. REV. 397 (2003). ࡑࡋ࡚ࠕfansࠖ࡜࠸࠺࿧ࡧ᪉࡟ࡘ࠸࡚ࡣࠊsee Fred Von

U.S. 339 (1908) ᭩⡠ࡢᗮ౯ࡢྂ᭩㈍኎ࡀⴭసᶒ౵ᐖ࡟ヱᙜࡍࡿ࡜ࡍࡿ୺ᙇࢆ㏥ࡅ

Lohmann, Is Suing Your Customers a Good Idea?, LAW.COM (Sept. 29, 2004), http://www.

ࡓ , Red Baron-Franklin Park Inc. v. Taito Corp., 883 F.2d 275 (4th Cir. 1989) ࣅࢹ࢜ࢤlaw.com/jsp/article.jsp?id=1095434496352. See also Justin Hughes, “Recoding” Intellec-࣮࣒ࢆබ࡛฼⏝ࡋࡓࡇ࡜࡟ࡘࡁࢤ࣮࣒ࢭࣥࢱ࣮ࡢ㈐௵ࢆ⫯ᐃ , and Cleanflicks oftual Property and Overlooked Audience Interests, 77 TEX. L. REV. 923 (1999)

Colo., LLC v. Soderbergh, 433 F. Supp. 2d 1236 (D. Colo. 2006) ஦ᴗ⪅࡟ᑐࡋࠊၟᴗⓗ(“non-owners”). ᮏ✏࡛ࡣࠊⴭస≀ࢆ฼⏝ࡍࡿಶேࢆᣦࡋ࡚ࠕ࣮ࣘࢨ࣮ userࠖ࡞࠸ࡋ࡟㈍኎ࡉࢀࡿ DVD ࠿ࡽᛶⓗ࡞࠸ࡋᭀຊⓗ࡞ࢥࣥࢸࣥࢶࢆ㝖እࡋ࡚⦅㞟ࡍࡿ⾜Ⅽࢆࠕㄞ⪅ࡸど⫈⪅ readers, listeners, and viewersࠖ࡜࠸࠺ㄒࢆ⏝࠸ࡿࠋ⚗Ṇࡋࡓ . ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ୡ⣖ࠊୡ⣖ࢆ㏻ࡋ࡚ࠊⴭసᶒἲࡀ࠸࠿࡟ㄞ᭩ࡸ㡢ᴦࡢ⫈ࡁ᪉ࠊ࠶ࡿ

ࡑࡢᮍ᮶ࡶ஫᥮ᛶࡢ࡞࠸ࣇ࢛࣮࣐ࢵࢺࢆḟ࠿ࡽḟ࡬࡜≬Ẽࡢࡼ࠺࡟Ⓩሙ

࠸ࡣࢸࣞࣅ␒⤌ࡢど⫈᪉ἲࢆไ⣙ࡍࡿࡶࡢ࡛࠶ࡿ࠿࡜࠸࠺ぢゎࡣࠊ㐣⃭࡞ࡉࡏࡿࣅࢪࢿࢫ࡟ྲྀࡾᅖࡲࢀ࡚࠸ࡿࠋࡑࡢ㛫ࠊⴭసᶒ⪅ࡢࢥࣥࢺ࣮ࣟࣝ

ᣑᙇ࡛࠶ࡿ࡜⪃࠼ࡽࢀ࡚ࡁࡓ ࠋࡋ࠿ࡋ࡞ࡀࡽᢏ⾡ࡢ࠾㝜࡛ಶேࡀ᪂ࡋ࠸

ࡀᣑ኱ࡋࡓࡇ࡜࡟ࡼࡾࠊㄞ⪅ࡸど⫈⪅ࡀⴭసᶒ⪅ࡢ⏝ពࡋࡓ࣓ࢽ࣮ࣗࢆ㉸ែᵝ࡛ⴭస≀ࢆ฼⏝࡛ࡁࡿࡼ࠺࡟࡞ࡿ࡟ࡘࢀࠊⴭసᶒ⪅ࡣⴭస≀࡟㛵ࡋ࠼࡚ⴭస≀ࢆ฼⏝ࡍࡿ⮬⏤ࡀᅽ㏕ࡉࢀ࡚ࡋࡲࡗ࡚࠸ࡿࠋⴭసᶒἲࡢ㔜せ࡞࡚㠀ᖖ࡟ᣑᙇࡋࡓࢥࣥࢺ࣮ࣟࣝࢆồࡵࡿࡼ࠺࡟࡞ࡗࡓࠋⴭసᶒ⪅ࡣ㆟఍┠ⓗࡀㄞࡳࠊ⫈ࡁࠊほࡿ࡜࠸࠺⾜Ⅽࡢಁ㐍࡛࠶ࡿ࡜ࡍࡿ࡞ࡽࡤࠊࡇ࠺ࡋࡓ

࡜⿢ุᡤ࡟ᑐࡋࠊⴭసᶒ࡜࠸࠺ࡢࡣ⮬ศࡓࡕࡢ㈈⏘ᶒ property ࡞ࡢࡔ

⾜Ⅽࢆ⾜࠸࡙ࡽࡃࡍࡿࡼ࠺࡞ἲᚊࡣᮏ᮶ࡢពᅗ࡟཯ࡍࡿࡶࡢ࡛࠶ࡿ࡜࠸

࠿ࡽ࡜࠸࠺⌮⏤࡟ᇶ࡙࠸࡚ࠊⴭసᶒ⪅࡟ᩱ㔠ࢆᨭᡶࢃࡎ࡟ⴭస≀ࡢ౯್࠼ࡿࠋ௬࡟ⴭసᶒไᗘࡀᐇ㉁ⓗ࡟ⴭస≀ࢆㄞࡳࠊ⫈ࡁࠊほࡿ࡜࠸࠺⾜Ⅽ࠶ࡿ฼⏝ࡀ⾜ࢃࢀࡿ࡭ࡁ࡛ࡣ࡞࠸࡜୺ᙇࡋ࡚ࡁࡓࠋࡇ࠺ࡋࡓ㆟ㄽࡣไᐃࢆ↓࡟ࡋ࡚ࡋࡲ࠺ࡼ࠺࡞ᙧ࡛タィࡉࢀ࡚ࡋࡲ࠺࡜ࠊⴭసᶒἲࡢ᰾࡜࡞ࡿ

ἲୖ࡜㠀ไᐃἲୖࡢⴭసᶒಖㆤࡢᣑ኱ࢆዡບࡋ࡚ࡁࡓࠋ↓チㅙࡢ࢔ࢡࢭ

ࢦ࣮ࣝࡢ୍㒊ࢆ㐩ᡂࡋᦆࡡ࡚ࡋࡲ࠺ࡔࢁ࠺ࠋ

ࢫࡸ฼⏝ࢆ㜵ࡄᢏ⾡ⓗಖㆤᡭẁࢆ㎽ᅇࡍࡿ⾜Ⅽࢆ⚗ࡌࡿἲᚊࢆ❧ἲࡍࡿㄞࡴࠊ⫈ࡃࠊほࡿ࡜࠸ࡗࡓ⾜Ⅽࢆᅔ㞴࡟ࡍࡿⴭసᶒἲ࡟ၥ㢟ࡀ࠶ࡿ⌮⏤ࡼ࠺㆟఍࡟ᑐࡋㄝᚓࡍࡿ࡜ ࠊⴭసᶒ⪅ࡣḟ࡟ࠊ஫᥮ᛶࡢ࡞࠸ࣇ࢛࣮࣐ࢵ
ࢺ࡛ⴭస≀ࡢ」〇≀ࢆὶ㏻ࡉࡏࡓୖ࡛ࠊ㉎ධ⪅ࡣࡇࢀࡽࡢᢏ⾡ⓗ࡞ࣟࢵࢡࡢゎ㝖ࡀ࡛ࡁࡿἲⓗ㈨᱁ࢆ᭷ࡋ࡚࠸࡞࠸ࡋࠊ᭷ࡍࡿ࡭ࡁ࡛ࡣ࡞࠸ࠊ࡜୺
ᙇࡋࡓࠋ௒᪥ࠊㄞ⪅ࡸど⫈⪅ࡣࠊ୙౽ࡉ࡜㧗㢠࡞ᩱ㔠࡟┤㠃ࡋ࡚࠾ࡾࠊ


copyright.gov/1201/2008/responses/mpaa-46.pdf; Software & Info. Indus. Ass’n, RM
2008-8, Reply Comments (Feb. 2, 2009), available at http://www.copyright.gov/1201/
2008/responses/software-information-industry-assoc-17.pdf.



CULTURE 267–81 (2007); Nate Anderson, DRM Still Sucks: Yahoo Music Going Dark,

See Jessica Litman, The Sony Paradox, 55 CASE W. RES. L. REV. 917, 932–42 (2005); L.

See, e.g., TARLETON GILLESPIE, WIRED SHUT: COPYRIGHT AND THE SHAPE OF DIGITAL

Ray Patterson, Copyright Overextended: A Preliminary Inquiry into a Need for a Federal

Taking Keys with It, ARS TECHNICA (July 24, 2008, 3:00 PM) http://arstechnica.com/news.

Statute of Unfair Competition, 17 U. DAYTON L. REV. 385 (1992).

ars/post/20080724-drm-still-sucks-yahoo-music-going-dark-taking-keys-with-it.html; Cory

Doctorow, How To Destroy the Book, Speech Before the National Reading Summit (Nov.

See, e.g., The Performance Rights Act and Parity Among Music Delivery Platforms:

Hearing Before the S. Comm. on the Judiciary, 111th Cong. 9–11 (2009) [hereinafter The

13, 2009), in THE VARSITY, Dec. 14, 2009, available at http://thevarsity.ca/articles/23855.

Performance Rights Act], available at http://frwebgate.access.gpo.gov/cgi-bin/getdoc.cgi?

⌧ᅾࡢ DRM ࡢ⟶⌮యไ࡟ࡣ௚࡟ࡶၥ㢟ࡀ࠶ࡿࠋDRM ࡢ୰࡟ࡣࠊ㉎ධࡋࡓࢥࣥࢸࣥ

dbname=111_senate_hearings&docid=f:54557.pdf (testimony of Marian Leighton-Levy,ࢶ࡟ᑐࡋ࡚ࠊᾘ㈝⪅ࡀྜ⌮ⓗ࡟ணFounder and Owner, Rounder Records); see also id. at 14 (testimony of Ralph Oman, Lec-

࠼ࡿࡶࡢࡀ࠶ࡿࠋ౛࠼ࡤᖺ  ᭶ࠊAmazon.com ࡣࢪ࣮ࣙࢪ࣭࣮࢙࢜࢘ࣝࡢࠗື

ࡋ࠺ࡿ⠊ᅖࢆ㉸࠼ࡓࢥࣥࢺ࣮ࣟࣝࢆฟ∧♫࡟୚

turer, George Washington University, and former Register of Copyrights) 㺀௨ୖࡢ᳨ウ࠿

≀㎰ሙ࠘࡜ࠗ࠘ࡢฟ∧♫࡜ࡢ㛫࡛ࡢⴭసᶒ࡟㛵ࡍࡿ⣮த࡟㛵ࡋ࡚ࠊ㉎ධ῭ࡳࡢࡽᖐ⤖ࡉࢀࡿࡇ࡜ࡣࠊ͐㈈⏘ᶒࡢၥ㢟࡛࠶ࡿ௨ୖࠊⴭస≀ࢆ๰సࡋᡤ᭷ࡍࡿ⪅ࡣࠊ㟁Ꮚ᭩⡠ࡢ」〇≀ࢆ㉎ධ⪅ࡢ Kindle 㟁Ꮚ᭩⡠࣮ࣜࢲ࣮࠿ࡽ⮬ືⓗ࡟ᾘཤࡍࡿ࡜࡜

ⴭస≀ࢆ฼⏝ࡋࡓே࠿ࡽ௦㔠ࢆᨭᡶࢃࢀࡿᶒ฼ࢆ᭷ࡍࡿ࡭ࡁ࡛࠶ࡿࠋࡑࢀࡀⴭసᶒ

ࡶ࡟ࠊ㢳ᐈࡢཱྀᗙࡢ఍ィฎ⌮ࢆࠕ㏉ရࠖᢅ࠸࡜ࡍࡿࡇ࡜࡛Ỵ╔ࢆ௜ࡅࡓࠋSee Davidಖㆤࡢᇶᮏⓗ࡞๓ᥦ࡛࠶ࡿ㹿㺁 .

Pogue, Pogue’s Posts: Some E-Books Are More Equal than Others, N.Y. TIMES (July 17,Jessica Litman, Billowing White Goo, 31 COLUM. J.L. & ARTS 587, 593–96 (2008).

2009, 12:57 PM), http://pogue.blogs.nytimes.com/2009/07/17/some-e-books-are-more-See Digital Millennium Copyright Act, Pub. L. No. 105-304, 112 Stat. 2860, 2887 (codi-

equal-than-others/. See generally Updated and Corrected: E-Books Buyer’s Guide to Pri-

fied as amended at 17 U.S.C. §§ 1201–1204); RealNetworks, Inc. v. DVD Copy Control

vacy, ELEC. FRONTIER FOUND. (Jan. 6, 2010), http://www.eff.org/deeplinks/2010/01/

Ass’n, 641 F. Supp. 2d 913 (N.D. Cal. 2009).

updated-and-corrected-e-book-buyers-guide-privacy ேẼࡢ㟁Ꮚ᭩⡠࣮ࣜࢲ࣮ࡢࣉࣛ࢖



See, e.g., DVD Copy Control Ass’n, RM 2008-8, Reply Comments (Feb. 2, 2009),

ࣂࢩ࣮㛵㐃࣏ࣜࢩ࣮ࢆࡲ࡜ࡵ࡚࠸ࡿ .

available at http://www.copyright.gov/1201/2008/responses/dvd-cca-inc-38.pdf; Motion

Picture Ass’n of Am., RM 2008-8, Comments (Feb. 2, 2009), available at http://www.

nological Protection Measures, 34 FLA. ST. U. L. REV. 1181, 1198–1205 (2007).

See GILLESPIE, supra note 62, at 273–79; John A. Rothchild, The Social Costs of Tech- ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

ࡣ௚࡟ࡶ࠶ࡿࠋࡇ࠺ࡋࡓไ㝈ࡢ୰ࡢ୍㒊࡟඲ࡃྜ⌮ᛶࢆḞࡃࡶࡢࡀ࠶ࡿ

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࢺୖ࡛ࡣࠊⴭసᶒἲࡀసࡽࢀࡿ๓࠿ࡽㄞ⪅ࡸど⫈⪅ࡀ⾲⌧ࡋ࡚ࡁࡓࡢ࡜ྠ

ࡓࡵ࡟ࠊ୍⯡ࡢ⡿ᅜⴭసᶒไᗘࡢṇ⤫ᛶ࡟ᑐࡍࡿㄆ㆑ࡀᐖࡉࢀ࡚ࡋࡲࡗ

ࡌࡃࡽ࠸ࡢࢡ࢚ࣜ࢖ࢸ࢕ࣈ࡞⾪ືࢆࢹࢪࢱࣝࡸ࢜ࣥࣛ࢖ࣥ࡟ල㇟໬ࡋࡓ

࡚࠸ࡿࡢ࡛࠶ࡿࠋⴭసᶒἲࡢṇ⤫ᛶࡣබ⾗ࡢどⅬ࠿ࡽぢࡿ࡜᫂ࡽ࠿࡟⭉ࡶࡢࡀࠊὥỈࡢࡈ࡜ࡃ⁄ࢀ࡚ࡁ࡚࠸ࡿࠋࡇ࠺ࡋࡓࢡ࢚ࣜ࢖ࢸ࢕ࣈ࡞άື

㣗ࡀ㐍ࢇ࡛࠸ࡿࠋࡇ࠺ࡋࡓᦆᐖࡣࡑࢀ⮬యࠊⴭసᶒไᗘࡢ೺඲ᛶࢆ⬣࠿ࡢ࡯࡜ࢇ࡝ࡣᦢྲྀⓗ࡛࡞ࡅࢀࡤၟᴗⓗ࡛ࡶ࡞࠸ࠋࡑࢀࡣⴭసᶒࡢᑐ㇟࡜

ࡍࡶࡢ࡛࠶ࡿࠋ

࡞ࡗ࡚࠸ࡿࡶࡢࡢᡂຌࢆᦆ࡞࠺ࡼࡾࡶࡴࡋࢁ㧗ࡵࡿࡶࡢ࡛࠶ࡿࡼ࠺࡟ᛮ

ࡋ࠿ࡋ࡞ࡀࡽࠊ⌧ᅾࡢⴭసᶒไᗘࡀㄞ⪅ࡸど⫈⪅࡟୚࠼ࡿᐖࡣࠊⴭసᶒ

ࢃࢀࡿࠋᐇ㝿ࠊࣇ࢓࣭ࣥࢥ࣑ࣗࢽࢸ࢕࡟↔Ⅼࢆᙜ࡚࡚ࡳࡿ࡜ࠊࡑࢀࡣ㟂せ⪅ࢆࡋ࡚฼⏝⾜Ⅽࢆ㏣㊧ࡋࠊ✺ࡁṆࡵࠊィ ࡋࠊ᥮㔠ࡋࠊไ㝈ࡍࡿ࡜࠸࠺

ࢆ࠿ࡁࡓ࡚ࡿഴྥࡀ࠶ࡿࡇ࡜ࡀࢃ࠿ࡿࠋࡑࡢࡓࡵⴭసᶒ⪅ࡢከࡃࡣࠊࡑ

↹ࢃࡋ࠸࣓࢝ࢽࢬ࣒ࢆᒎ㛤ࡉࡏࡿࡇ࡜࡟ࡼࡾࠊ༢࡟ⴭస≀ࡢ฼⏝ࢆጉࡆࡿ࠺ࡋࡓ฼⏝ࢆ࿶ࡵࡿࡢ࡟ᾘᴟⓗ࡛࠶ࡗࡓࠋࡋ࠿ࡋࡇ࠺ࡋࡓάືࡣࠊ㏻ᖖࠊ

࡟␃ࡲࡽ࡞࠸ࡶࡢ࡜࡞ࡗ࡚࠸ࡿࠋࡼࡾ᰿ᮏⓗ࡟࠸࠼ࡤࠊࡑ࠺ࡋࡓไᗘࡣࣘ

ࠕᐶᐜࡉࢀ࡚࠸ࡿ tolerated ࠖࡶࡢ࡛ࡣ࠶ࡿࡀࠊⴭసᶒไᗘࡣࡇࢀࢆ㐪ἲ࣮ࢨ࣮ࡀసရ࡟ࡶࡓࡽࡍࢡ࢚ࣜ࢖ࢸ࢕ࣅࢸ࢕ࢆ↓どࠊࡶࡋࡃࡣ㍍どࡋ࡚ࡢࡶࡢ࡜᥎ᐃࡍࡿࠋࡑ࠺ࡋࡓάືࢆ౛እࡸච㝖࡜࠸ࡗࡓᙧ࡛ಖㆤࡋࡓࡾࠊ

ࡋࡲࡗ࡚࠸ࡿࠋㄞࡴࠊ⫈ࡃࠊほࡿ࡜࠸࠺฼⏝⾜ⅭࡣỴࡋ࡚ࠊ༢࡟ཷືⓗ࡟㐺ἲ࡜㐪ἲࡢቃ⏺⥺ࢆὀព῝ࡃᘬ࠸ࡓࡾࡍࡿࡢ࡛ࡣ࡞ࡃࠊἲࡣ࠶ࡓ࠿ࡶ

྾཰ࡍࡿࡔࡅࡢࡶࡢ࡛ࡣ࡞࠸ࠋࡑࢀࡣᖖ࡟ࠊ᭷ព⩏࡞ࢡ࢚ࣜ࢖ࢸ࢕ࣅࢸ࢕

ࡑ࠺ࡋࡓάືࡀᏑᅾࡋ࡞࠸࠿ࡢࡼ࠺࡟᣺⯙ࡗ࡚࠸ࡿࡢ࡛࠶ࡿ ࡶࡕࢁࢇࠊ

࡜᝿ീຊࢆక࠺ࡶࡢ࡛࠶ࡿࠋࢹࢪࢱࣝᢏ⾡ࡀᗈ⠊ᅖ࡟ࢃࡓࡗ࡚ᗈࡲࡗࡓ

ࡑ࠺ࡋࡓάືࡀ᏶඲࡟ᾘ⁛ࡍࡿᚲせࡀ࠶ࡿሙྜ࡟ࠊⴭసᶒ⪅ࡀ࠿ࡓࡌࡅ࡞

ࡇ࡜࡟ࡼࡾࠊㄞ⪅ࡸど⫈⪅ࡣ௒ࡸࠊ⮬ศࡢࢡ࢚ࣜ࢖ࢸ࢕ࣈ࡞฼⏝⾜Ⅽࢆᅛࡃࡶ࠶࠼࡚཯ᑐࡍࡿẼ࡟࡞ࡗࡓ᫬ࡣูㄽ࡛࠶ࡿࡀ ࠋㄞ⪅ࡸど⫈⪅ࡀᚑ஦ᐃࡋࡓᙧᘧୖ࡟⾲⌧ࡋࠊୡ⏺୰࡜ඹ᭷࡛ࡁࡿࡼ࠺࡟࡞ࡗࡓࠋ࢖ࣥࢱ࣮ࢿࢵ

ࡍࡿࢡ࢚ࣜ࢖ࢸ࢕ࣈ࡞άືࢆࠕtolerated useࠖ࡜ࡋ࡚ࠊಁ㐍࠶ࡿ࠸ࡣチྍࡍ

ࡿࡢ࡛ࡣ࡞ࡃ↓どࡉࢀࡿࡶࡢ࡜ࡋ࡚ᢅ࠺ไᗘࡣࠊⴭస≀ࡢ฼⏝ࢆಁ㐍ࡍSee, e.g., PATRY, supra note 30, at 161–70 ⴭసᶒ⏘ᴗ࡟ࡼࡿ DMCA ࡢ㎽ᅇ⚗Ṇ᮲ࡿࡓࡵ࡟タィࡉࢀࡓࡶࡢ࡜ࡣ࠸࠼࡞࠸ࠋࡶࡋㄞ⪅ࡸど⫈⪅ࡀࡇ࠺ࡋࡓἲ

㡯ࡢ℃⏝ࢆᢈุࡋ࡚࠸ࡿ ; Jane C. Ginsburg, The Right To Claim Authorship in U.S.

ࢆ㈼᫂ࡔ࡜ࡶྜ⌮ⓗࡔ࡜ࡶᛮࢃ࡞࠸࡜ࡋ࡚ࡶࠊ୍యㄡࡀࡑࡢࡇ࡜ࢆ㠀㞴

Copyright and Trademarks Law, 41 HOUS. L. REV. 263, 264 (2004) 㺀ࡶࡋ࠶࡞ࡓࡀ୍⯡ࡢேࠎ࡟ࠗ⡿ᅜⴭసᶒἲࡣఱࢆಖㆤࡋ࡚࠸ࡿ࡛ࡋࡻ࠺࠿㸽࠘࡜ᑜࡡࡿ࡜ࠊከࡃࡢே
ࡣⴭసᶒἲࡀ㈎ḧ࡞ࣞࢥ࣮ࢻ఍♫ࢆ㐣๫࡟ಖㆤࡋ࡚࠸ࡿ࡜୙‶ࢆ₃ࡽࡋጞࡵࡿ࠿

࡛ࡁࡼ࠺࠿㸽⌧ᅾࡢⴭసᶒไᗘࢆ㠀ṇᙜ࡞ࡶࡢ࡛࠶ࡿ࡜ᤊ࠼ࡿぢ᪉ࡀᗈࡲࡗ࡚࠸ࡿ

ࡶࡋࢀ࡞࠸㹿㺁 ; John Tehranian, Infringement Nation: Copyright Reform and the Law/ࡇ࡜ࡣ㦫ࡃ࡭ࡁࡇ࡜࡛ࡣ࡞࠸ࡔࢁ࠺ࠋ࠿࡞ࡾࡢ㒊ศ࡟࠾࠸࡚ࠊࡑ࠺ࡋࡓ

Norm Gap, 2007 UTAH L. REV. 537, 548–49 ࡼࡾ㧗ᗘ࡟ⴭసᶒࡀ⾜౑ࡉࢀࡿࡇ࡜࡛ࠊ



ᡃࠎࡣࠕⴭసᶒἲࡀ⚗Ṇࡍࡿ⾜Ⅽ࡜ࠊᖹᆒⓗ࡞࢔࣓ࣜ࢝ேࡀබṇ࡞࠸ࡋṇᙜࡔ࡜⪃

See Sara K. Stadler, Performance Values, 83 NOTRE DAME L. REV. 697, 727–28 (2008).࠼ࡿࡶࡢ࡜ࡢ㛫ࡢ኱ࡁ࡞┦㐪ࠖ࡟❧ࡕྥ࠿ࢃࡊࡿࢆ࠼࡞ࡃ࡞ࡗ࡚࠸ࡿ࡜ㄽࡌ࡚࠸



See generally, e.g., Rebecca Tushnet, Payment in Credit: Copyright Law and Subcultural

ࡿ .

Creativity, LAW & CONTEMP. PROBS., Spring 2007, at 135.



Accord PATRY, supra note 30, at xx–xxiv; Paul Edward Gellar, Beyond the CopyrightSee Litman, supra note 66, at 175–80.

Crisis: Principles for Change, 55 J. COPYRIGHT SOC’Y U.S.A. 165, 175 (2008); Jane C.

See Tim Wu, Tolerated Use, 31 COLUM. J.L. & ARTS 617, 619 (2008) 㺀tolerated useࠖGinsburg, How Copyright Got a Bad Name for Itself, 26 COLUM. J.L. & ARTS 61, 63–67ࢆࠕ౵ᐖ࡟ヱᙜࡍࡿⴭస≀ࡢ฼⏝ࡢ࠺ࡕࠊⴭసᶒ⪅ࡣẼ௜࠸࡚࠸ࡿ࠿ࡶࡋࢀ࡞࠸ࡀࠊ

(2002); see also MARK HELPRIN, DIGITAL BARBARISM, at xiii (2009) 㺀▱ⓗ㈈⏘ᶒࡣࡶࡑࢀ࡟ࡘ࠸࡚ఱࡶ⾜ືࢆ㉳ࡇࡋ࡚࠸࡞࠸ࡶࡢࠖ࡜ᐃ⩏ࡍࡿ .

ࡣࡸࠊṇᙜ໬ࡋ࠺ࡿࡶࡢ࡛࠶ࡿ࡜࠿ࠊ௒ᚋࡶࡇࡢࡲࡲࡢᙧ࡛ᣢ⥆ࡋ࡚࠸ࡃࡔࢁ࠺࡜

࠸ࡗࡓ๓ᥦࢆாཷࡍࡿࡇ࡜ࡣ࡛ࡁ࡞࠸㹿㺁 .

Ȫȸȷȝȃǿȸᠴχ ࡢฟ∧ࢆ⚗Ṇࡋࡓ ; Cease and Desist Notices: Fan Fiction,See Warner Bros. Entm’t, Inc. v. RDR Books, 575 F. Supp. 2d 513 (S.D.N.Y. 2008) ȏ

See Jessica Litman, Creative Reading, LAW & CONTEMP. PROBS., Spring 2007, at 175,

CHILLING EFFECTS CLEARINGHOUSE, http://www.chillingeffects.org/fanfic/notice.cgi (last

175–80.

visited Sept. 17, 2010) ࣇ࢓࣭ࣥࢧ࢖ࢺ࡟཯ᑐࡍࡿ㆙࿌≧ࡢ࢔࣮࢝࢖ࣈ .

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ぢ᪉ࡣࠊ☜❧ࡉࢀࡓⴭసᶒࣉࣞ࢖࣮ࣖ࡜ࡋ࡚ࠊ⮬ศࡓࡕࡇࡑࡀ᪂つཧධ⪅ࢆཷࡅ࡚࠸ࡓึᮇࡢ≧ែࡼࡾࡶࠊࡼࡾ῝้࡛࠶ࡿ࠿ࡶࡋࢀ࡞࠸ࠋ࡞ࡐ࡞ࡽ

࡟㛵ࡍࡿ࣮ࣝࣝࢆタᐃࡍࡿᶒ฼ࢆᣢࡘ࡭ࡁࡔࠊ࡜ࡢⴭసᶒ⪅ࡢ୺ᙇ࡟➃ࢆⴭసᶒἲࡢṇ⤫ᛶࢆ␲࠺୍⯡ᕷẸࡀࠊࡶࡣࡸไᗘࢆᨭᣢࡋ࡞࠸࡜࠸࠺ᙧ࡛

Ⓨࡋ࡚࠸ࡿࠋⴭసᶒࡢṔྐࢆ㏻ࡋ࡚ࠊ◓࡟Ᏺࡽࢀࡓࣉࣞ࢖࣮ࣖࡣ⮬ศࡓᛂ⟅ࡍࡿ࠿ࡶࡋࢀ࡞࠸࠿ࡽࡔࠋ୍⯡ᕷẸࡣ⤖ᒁࡢ࡜ࡇࢁࠊⴭసᶒἲࢆไ

ࡕ࡟ࡼࡿ⮬ศࡓࡕࡢࡓࡵࡢⴭసᶒࡢ࣮࡛ࣝࣝࠊ᪂つཧධ⪅ࢆᣊ᮰ࡋࡼ࠺࡜

ᐃࡍࡿࡇ࡜࡛ⴭసᶒࢆⴭసᶒ⪅࡟୚࠼ࡿ࡜࠸࠺ࡇ࡜࡜ࠊ㆟఍ࡀ❧ἲࡋࡓ┠ᣦࡋ⥆ࡅ࡚ࡁࡓࠋ᪂つཧධ⪅ࡣࡑ࠺ࡋࡓືࡁࡢṇᙜᛶࢆத࠸ࠊ⮬ศࡓࡕἲࢆ㑂Ᏺࡍࡿࡇ࡜ࢆ㏻ࡌ࡚ࠊⴭసᶒไᗘ࡟ᢞ㈨ࢆ⾜ࡗ࡚࠸ࡿࠋࡶࡋேࠎ

ࡢࢽ࣮ࢬ࡟ྜࡗࡓ᪂ࡋ࠸࣮ࣝࣝࢆ❧ἲࡍࡿࡼ࠺㆟఍࡟ാࡁ࠿ࡅࠊᴫࡋ࡚ᡂ

ࡀⴭసᶒἲ࡟ࡘ࠸࡚ࠊᢞ㈨ࡢ๭࡟ぢ㏉ࡾࡀᑡ࡞࠸࡜ឤࡌࡿࡼ࠺࡟࡞ࡗࡓ

ຌࡋ࡚ࡁࡓࠋୡ⣖ึ㢌ࠊ㡢ᴦฟ∧♫ࡣࣆ࢔ࣀ࣮࣭࣓࣮࣮ࣟࣝ࢝ࢆࠊᴦ

ࡽࠊᢞࡆ኎ࡾࡍࡿ࡜࠸࠺ᙧ࡛཯ᛂࢆ㉳ࡇࡍ࠿ࡶࡋࢀ࡞࠸̿㑅ᣲ࡛㑅ࡤࢀ

㆕ฟ∧♫⏝࡟సࡗ࡚࠸ࡓ࣮ࣝࣝ࡟ᚑࢃࡏࡼ࠺࡜ヨࡳࡓࠋ๻సᐙ࡜ᑠㄝᐙ

ࡓ௦⾲⪅࡟ᑐࡋ᪂ࡓ࡟ไ㝈つᐃࡸ౛እࢆ❧ἲࡍࡿࡼ࠺ồࡵࡓࡾࠊ࠶ࡿ࠸

ࡣᫎ⏬〇స⪅࡟ᑐࡋࠊ₇๻ไస⪅⏝࡟సࡗ࡚࠸ࡓࡶࡢ࡜ྠࡌ࣮ࣝࣝ࡟ᚑ

ࡣ༢⣧࡟ࠊࡶࡣࡸṇᙜᛶࡀឤࡌࡽࢀ࡞࠸ἲࢆ㑂Ᏺࡋ࡞ࡃ࡞ࡗࡓࡾࠋࡓ࡜

ࢃࡏࡼ࠺࡜ࡋࡓࠋᖺ௦࡟ࡣࠊస᭤ᐙࡀࣛࢪ࢜௻ᴗࡢ⤌⧊࡟ᑐࡋࠊ࠶ࡓ

࠼ッ࠼ࡽࢀ࡚ఱ༑୓ࢻࣝࡶㄳồࡉࢀࡿࣜࢫࢡࡀ࠶ࡿࡇ࡜ࡀᗈࡃ▱ࡽࢀ࡚࠿ࡶࣛ࢖ࣈ₇ዌࡢࢫࢸ࣮ࢪ࡟ୖࡀࡗ࡚࠸ࡿࡢ࡜ྠࡌࡼ࠺࡟ࣛ࢖ࢭࣥࢫࢆ

࠸࡚ࡶࠊఱⓒ୓ேࡶࡢᕷẸࡀ P2P ࣇ࢓࢖ࣝࢩ࢙࢔ࣜࣥࢢࢯࣇࢺࢆ⏝࠸࡚㡢ཷࡅࡿࡼ࠺ồࡵࡓࠋᖺ௦࡟ࡣࠊస᭤ᐙ࡜㡢ᴦฟ∧♫ࡀྠᵝࡢせồࢆࠊᴦࢆ↓チㅙ࡛ඹ᭷ࡋ࡚ࡁࡓࠋᙼࡽࡢከࡃࠊ࠾ࡑࡽࡃ࡯࡜ࢇ࡝ࡣࠊఱࡶᝏ࠸

ࢺ࣮࣮࢟ᫎ⏬ࢆୖᫎࡍࡿᫎ⏬㤋࡟ᑐࡋ࡚ồࡵࡓࠋᖺ௦࡟ࡣࠊⴭసᶒ⪅ࡇ࡜ࢆࡋ࡚࠸࡞࠸࡜ಙࡌ࡚࠸ࡿࢃࡅ࡛ࡣ࡞࠸ࠋேࠎࡀἲࡢṇ⤫ᛶ࡟ࡘ࠸࡚

࡜ࢸࣞࣅᨺ㏦ᒁࡀࠊࢣ࣮ࣈࣝࢸࣞࣅࡢ⤒Ⴀ⪅ࡣࢸࣞࣅᨺ㏦࡜ྠࡌ᮲௳࡛ࠊ

෭ࡸࡸ࠿࡞ែᗘࢆ࡜ࡗ࡚࠸ࡿࡼ࠺࡞≧ἣୗ࡛ⴭసᶒἲࢆᇳ⾜ࡋ࡚࠸ࡃࡢ

ᨺ㏦ࡍࡿಙྕ඲࡚࡟ࡘ࠸࡚ࣛ࢖ࢭࣥࢫࢆཷࡅࡿᚲせࡀ࠶ࡿ࡭ࡁࡔ࡜୺ᙇ

ࡣ㞴ࡋ࠸సᴗ࡛࠶ࡿࠋ༢࡟ⴭసᶒࡢྲྀ⥾ࡾࡀᛧ࠸࠿ࡽ࡜࠸࠺⌮⏤ࡔࡅ࡛ࡋࡓࠋࡑࡋ࡚ᖺ௦࡟ࡣྠࡌ୺ᙇࢆ⾨ᫍࢸࣞࣅᒁ࡟せồࡋࡓࠋᖺ௦ⴭసᶒἲࢆ㑂Ᏺࡍࡿேࡣࠊ࠸ࡎࢀⴭసᶒࡢྲྀ⥾ࡾ࠿ࡽ㏨ࢀࡿ࠿ࠊ᩿ᛕࡉࡏ

࡟ࡣࠊⴭసᶒ⪅ࡀ࢖ࣥࢱ࣮ࢿࢵࢺ࣭ࢧ࣮ࣅࢫ࣭ࣉࣟࣂ࢖ࢲ࡟ᑐࡋࠊฟ∧♫ࡿ᪉ἲࢆぢ௜ࡅࡿࡔࢁ࠺ࠋࡋࡓࡀࡗ࡚ࠊⴭసᶒไᗘࡀ㛗ᮇ࡟ࢃࡓࡗ࡚೺඲

ࡸࣞࢥ࣮ࢻ఍♫ࡀ᭩⡠ࡸࣞࢥ࣮ࢻࢆไసࡍࡿ㝿࡟ồࡵࡽࢀࡿࣛ࢖ࢭࣥࢫ

࡛࠶ࡾ⥆ࡅࡿࡓࡵ࡟ࡣࠊேࠎࡀࠊ⮬ศࡽࡀⴭసᶒ࡟ᢞࡌࡓᢞ㈨ࡀࡁࡕࢇ࡜

࡜ྠࡌᙧ࡛ࠊࢥࣥࣆ࣮ࣗࢱ࡟࠾ࡅࡿⴭస≀ࡢ」〇඲࡚࡟ࡘ࠸࡚チㅙࡀồࡵ౑ࢃࢀ࡚࠸ࡿ࡜ಙࡌࡿࡇ࡜ࡀ࡛ࡁࡿࡼ࠺࡟ࡍࡿᚲせࡀ࠶ࡿࠋ

ࡽࢀࡿ࡭ࡁ࡛࠶ࡿ࡜୺ᙇࡋࡓࠋࡇࢀࡽ࠸ࡎࢀࡢࢣ࣮ࢫ࡟࠾࠸࡚ࡶࠊ᪂ࡓ࡞

࣓ࢹ࢕࢔࠿ࡽ฼┈ࢆ⋓ᚓࡍࡿࡇ࡜࡟ᡂຌࡋࡓࣅࢪࢿࢫࡣࠊ᪂ࡓ࡞ᢏ⾡࡟㹁㸬፹௓ᴗ⪅ࡢⴭసᶒ

ࡣ࣓ࢹ࢕࢔࡟༶ࡋࡓ᪂ࡓ࡞࣮ࣝࣝࡀᚲせ࡛࠶ࡿ࡜୺ᙇࡋ⥆ࡅ࡚ࡁࡓ ࠋ௒ ⴭసᶒไᗘࡣఏ⤫ⓗ࡟஧✀㢮ࡢ፹௓ᴗ⪅࡟౫Ꮡࡋ࡚ࡁࡓࡀࠊࡑࢀࡽ፹௓

᪥࡛ࡶࠊฟ∧♫ࡸࣞࢥ࣮ࢻ఍♫ࠊᫎ⏬ࢫࢱࢪ࢜ࡣࠊ஫࠸ࡢ㛵ಀࢆつᚊࡍࡿᴗ⪅ࡀⴭసᶒࡢࢦ࣮ࣝࢆ᥎ࡋ㐍ࡵࡼ࠺࡜ࡍࡿࣔࢳ࣮࣋ࢩࣙࣥࡣ୺࡟⤒῭ࡓࡵ࡟ࡑࢀࡽࡢ⪅ྠኈ࡛ྜពࡋࡓἲᚊࡀࠊㄞ⪅ࡸど⫈⪅࡜࠸ࡗࡓ୍⯡ࡢࣘⓗ࡞ࡶࡢ࡛࠶ࡿࠋศ㓄ᴗ⪅࡜ࡣ୍⯡ⓗ࡟ⴭస≀ࡢ」〇≀ࢆ〇సࡋ㡺ᕸࡋࠊ࣮ࢨ࣮࡟ࡶ㐺⏝ࡉࢀࡿ࡭ࡁ࣮࡛ࣝࣝ࠶ࡿ࡜୺ᙇࡋ⥆ࡅ࡚࠸ࡿࠋࡇ࠺ࡋࡓ

௚ࡢ฼⏝ࢆチㅙࡍࡿࡶࡢࢆᣦࡍࠋᡃࠎࡀཷࡅ⥅࠸࡛ࡁࡓ㐣ཤࡢ㑇≀࡜࡛࣮ࣝࣝࡀබṇ࡛࠶ࡿ࡜࠿ྜ⌮ⓗ࡛࠶ࡿ࡜࠸࠺ࡇ࡜࡟ࠊேࠎࡀྠពࡋ࡞ࡅࢀ

ࡶ࠸࠺࡭ࡁไᗘࡢୗ࡛ࡣࠊศ㓄ᴗ⪅ࡀⴭసᶒࢆಖ᭷ࡋ࡚࠸ࡓࠋᙼࡽࡀ」ࡤ࡞ࡽ࡞࠸⌮⏤ࡀ࡝ࡇ࡟࠶ࡿ࡜࠸࠺ࡢࡔࢁ࠺㸽〇ࠊ⩻᱌ࠊබ࡬ࡢ㡺ᕸࠊබࡢ฼⏝ࠊᒎ♧࡜࠸ࡗࡓ฼⏝ࢆࣛ࢖ࢭࣥࢫࡋ࡚ࡁ

ᐇ㝿ࠊࡇ࠺ࡋࡓ≉ᐃࡢṇ⤫ᛶࡢ༴ᶵࡣࠊ࢔࢘ࢺࢧ࢖ࢲ࣮ࡢ㞟ᅋ࠿ࡽᨷᧁ

ࡓࡢ࡛࠶ࡿࠋࡶ࠺୍ࡘࡢ፹௓ᴗ⪅ࢆࡇࡇ࡛ࡣ࣓࣮࣮࢝ maker ࡜ᐃ⩏ࡍ





See LITMAN, supra note 2, at 39–41, 47–48, 58–62, 122–45.



See id. at 39–47, 58–60, 127–36.

44 HOUS. L. REV. 1073, 1076–79 (2008). Reidenberg ࡣࡇࡢぢ㆑ࢆᒎ㛤ࡋ࡚ࠊⴭసᶒ࡟



See id. at 114–17.

᭹ࡉ࡞࠸ࡇ࡜ࡣἲࡢᨭ㓄࡟ᑐࡍࡿṇ㠃࠿ࡽࡢᣮᡓ࡛࠶ࡿ࡜ㄽࡌ࡚࠸ࡿࠋId.

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  

See Joel R. Reidenberg, The Rule of Intellectual Property Law in the Internet Economy,▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡿࡀࠊࡇࢀࡣ⮬ศ࡛ࡣࣛ࢖ࢭࣥࢫࢆཷࡅࡓ฼⏝ࢆࡍࡿࢃࡅ࡛ࡣ࡞࠸ࡀࠊⴭ

↛ࠊศ㓄ᴗ⪅ࡣ▱㆑ࡢⓎᒎࢆಁ㐍ࡍࡿࡓࡵࡔࡅ࡟ⴭసᶒᕷሙ࡟ཧධࡍࡿ

స≀ࢆ฼⏝ࡍࡿࡓࡵࡢ⿦⨨ࡸࢧ࣮ࣅࢫࢆ㛤Ⓨࡋ኎ࡾฟࡍ⪅ࢆᣦࡍࠋศ㓄ࢃࡅ࡛ࡣ࡞ࡃࠊᙼࡽࡀⴭసᶒไᗘ࡟ཧຍࡍࡿࡢࡣ୺࡟⮬ᕫ฼┈㏣ồࡢࡓࡵᴗ⪅࡜࣓࣮࣮࢝ࡢ㛵ಀࡣⴭసᶒࡢṔྐࡢከࡃࡢሙ㠃࡛ᖖ࡟ㄽத࡜࡞ࡗ࡚

࡛࠶ࡿࠋࡁࡓࡶࡢ࡛࠶ࡿࠋ ศ㓄ᴗ⪅ࡣ⌧ᅾࡢⴭసᶒไᗘ࡟࠾ࡅࡿ⮬ศࡓࡕࡢᆅ఩࡟ከࡃࡢ୙‶ࢆᢪ࠸࡚࠸ࡿࠋศ㓄ᴗ⪅ࡣ⌧ᅾࡢไᐃἲࡢタィ࡟୍␒㈐௵ࢆ㈇ࡗ࡚࠸ࡓ࡟
ࡶ࠿࠿ࢃࡽࡎࠊࢹࢪࢱ࣭ࣝࢿࢵࢺ࣮࣡ࢡ⎔ቃࡀࡶࡓࡽࡋࡓᵓ㐀࡟ࡼࡗ࡚⏕ᲫᲨЎᣐಅᎍ
ఏ⤫ⓗ࡞ἲ࡜⤒῭ᏛࡢどⅬ࡟ࡼࡿ࡜ࠊศ㓄ᴗ⪅ࡣᚲせ୙ྍḞ࡛࠶ࡿ࡜ࡌࡓၥ㢟ࡢከࡃࢆண

ࡋゎỴࡍࡿࡇ࡜࡟ኻᩋࡋࡓࡇ࡜࡟Ẽ௜࠸࡚࠸ࡿࡢ࠸࠺ ࠋⴭస≀ࡢᕷሙࢆసࡿࡇ࡜࡛ࠊศ㓄ᴗ⪅ࡣࢡ࢚ࣜ࢖ࢱ࣮࡟ᑐࡋ᪂ࡋ

࡛࠶ࡿࠋศ㓄ᴗ⪅ࡀ┤㠃ࡍࡿᅔ㞴̿ࡇࢀࡣ᭱ࡶ㛵ᚰࢆ㞟ࡵࡿ㒊ศ࡛࠶ࡿ࠸సရࢆ๰సࡍࡿ࢖ࣥࢭࣥࢸ࢕ࣦ࡜࡞ࡿ㈨㔠ࢆᥦ౪ࡍࡿ࡜ඹ࡟ࠊㄞ⪅ࡸࡀ̿ࡣࠊࢹࢪࢱࣝ㡺ᕸࡀࡶࡓࡽࡋࡓㄢ㢟࡟㉳ᅉࡍࡿࡶࡢ࡛࠶ࡿࠋ↓チㅙ࡛ど⫈⪅ࡀ฼⏝࡛ࡁࡿࡼ࠺ࠊᙼࡽࡢᡭඖ࡟ⴭస≀ࡢ」〇≀ࡸᐇ₇ࢆᒆࡅࡿࠋ

ࢹࢪࢱࣝ㡺ᕸࡍࡿࡇ࡜ࡢᐜ᫆ᛶࡣࠊከࡃࡢศ㓄ᴗ⪅ࡢࣅࢪࢿࢫࣔࢹࣝࡢ

ⴭసᶒࢆࢡ࢚ࣜ࢖ࢱ࣮࠿ࡽ㈙࠸ྲྀࡿ⪅࡜ࡋ࡚ࡣࠊ፹௓ᴗ⪅ࡣⴭస≀ࡢ࣮ࣘᇶ┙࡟࡜ࡗ࡚⬣ጾ࡛࠶ࡿࠋ

ࢨ࣮ࡢ❧ሙ࡟㌟ࢆ⨨࠸࡚࠸ࡿ࡜୺ᙇࡍࡿ ࠋ௚᪉ࠊ」〇≀ࡸᐇ₇ࢆಶேࡢ ูࡢࠊࡋ࠿ࡋྠᵝ࡟㔜኱࡞ၥ㢟࡜ࡋ࡚ࠊⴭస≀ࡢࣛ࢖ࢭࣥࢫ࡟௜㝶ࡋ࡚ㄞ⪅ࡸど⫈⪅࡟኎ࡿ࡜࠸࠺฼ᐖ㛵ಀ⪅࡜ࡋ࡚ࡣࠊศ㓄ᴗ⪅ࡣࢡ࢚ࣜ࢖ࢱ࣮

⤡ࡳྜࡗࡓࡶࡘࢀ࡟㉳ᅉࡍࡿࡶࡢࡀ࠶ࡿࠋ኱つᶍ࡛☜❧ࡋࡓࣉࣞ࢖࣮ࣖࡢ❧ሙ࡟㌟ࢆ⨨࠸࡚࠸ࡿ࡜୺ᙇࡋࠊ⮬ᕫࡢࡓࡵ࡟ࣞࣥࢺࢆཷࡅྲྀࡿ ࠋᙜࡀఏ⤫ⓗ࡞ࣅࢪࢿࢫࣔࢹࣝࢆ⥔ᣢࡋࡼ࠺࡜ࡍࡿࡇ࡜࡟ἲࡣᐶᐜ࡛࠶ࡿࠋ





See, e.g., 1 PAUL GOLDSTEIN, COPYRIGHT: PRINCIPLES, LAW AND PRACTICE 4–20

U.S. CONST. art. I, § 8, cl. 8 㺀㐃㑥㆟఍ࡣḟࡢ஦㡯࡟ࡘ࠸࡚ᶒ㝈ࢆ᭷ࡍࡿ͐▱㆑ཬ

(1989); Jane C. Ginsburg, Creation and Commercial Value: Copyright Protection of Worksࡧ᭷⏝࡞ᢏⱁࡢⓎᒎࡢಁ㐍͐㺁 .

of Information, 90 COLUM. L. REV. 1865, 1907–16 (1990); see also Am. Geophysical Un-

ion v. Texaco Inc., 802 F. Supp. 1, 16 (S.D.N.Y. 1992) ࡓ࡜࠼ⴭస⪅ࡀᑐ౯ࢆᚓࡽࢀ࡞

velopment of an Access Right in U.S. Copyright Law, 50 J. COPYRIGHT SOC’Y U.S.A. 113

See, e.g., Jane Ginsburg, Essay: From Having Copies to Experiencing Works: The De-ࡃ࡚ࡶࠊ⛉Ꮫㄽᩥࡢ㡺ᕸࢆ⾜࠺ࠕฟ∧ࡢ㈨㔠ㄪ㐩࡟࡜ࡗ࡚ࠊⴭసᶒࡢಖㆤࡣᚲせ୙(2003).

ྍḞ࡛࠶ࡿࠖ࡜ㄝࡃ , aff’d, 60 F.3d 913 (2d Cir. 1994).

dent and Chief Executive Officer, Concord Music Group); id. at 75–78 (testimony of Rob

See, e.g., Paul Goldstein, Derivative Rights and Derivative Works in Copyright, 30 J.

See Music Licensing Reform, supra note 78, at 41–48 (testimony of Glen Barros, Presi-

COPYRIGHT SOC’Y U.S.A. 209 (1983); Wendy J. Gordon, Fair Use as Market Failure: A

Glaser).

Structural and Economic Analysis of the Betamax Case and its Predecessors, 82 COLUM. L.

REV. 1600, 1602 (1982).⪅࡟๭ࡾᙜ࡚ࠊᙉຊ࡞౽┈ࢆ᪤Ꮡࡢ஦ᴗ⪅࡟⤌ࡳධࢀࡿⴭసᶒἲࢆ❧ἲࡍࡿࡼ࠺ㄝ

ᚓࡍࡿࡢ࡟ᡂຌࡋ࡚ࡁࡓࠋࡇ࠺ࡋࡓ࢔ࢻࣂࣥࢸ࣮ࢪࡣ஧ࡘࡢᇶᮏⓗ࡞≉Ⰽ࡜࡞ࡗ࡚

See, e.g., Music Licensing Reform: Hearing Before the Subcomm. on Intellectual Prop.

ⴭసᶒ⟶⌮ࣅࢪࢿࢫࡢࣟࣅ࢖ࢫࢺࡽࡣ㆟఍࡟ᑐࡋࠊⴭసᶒࡢ౽┈ࡢከࡃࢆ፹௓ᴗ

of the S. Comm. on the Judiciary, 109th Cong. 75–88 (2005) [hereinafter Music Licensingᙧ࡟࡞ࡗࡓࠋ୍ࡘࡣࠊ᪂ࡓ࡞ᶒ฼ࡸࣛ࢖ࢭࣥࢫࠊ౛እ࡟㛵ࡍࡿ࣮ࣝࣝࢆ㆟఍ࡀ❧ἲ

Reform], available at http://frwebgate.access.gpo.gov/cgi-bin/getdoc.cgi?dbname=109_ࡍࡿ㝿࡟ࡣࠊไᐃἲࡢ᮲㡯ࢆ᪤Ꮡࡢ஦ᴗ⪅ࡀ⌧࡟㐙⾜ࡋ࡚࠸ࡿ័⾜࡟ྜ⮴ࡍࡿࡶࡢsenate_hearings&docid=f:22919.pdf (testimony of Rob Glaser, Chairman and Chief Execu-࡜ࡍࡿ཯㠃ࠊእ㒊ࡢ⪅࡟࡜ࡗ࡚᭷⏝࡞ࡶࡢ࡜࡞ࡽ࡞࠸ࡼ࠺࡞㝈ᐃⓗ࡞ᩥゝ࡛ᐃ⩏ࡍ

tive Officer, RealNetworks, Inc., for Digital Media Association); id. at 63–74 (testimony ofࡿࠊ࡜࠸࠺Ⅼ࡛࠶ࡿࠋ§ 117(c) ࡀᐃࡵࡿ౛እࡣࠊࢥࣥࣆ࣮ࣗࢱࡢಖᏲ࣭ಟ⌮ࢧ࣮ࣅIsmael Cuebas, Director of Merchandising Operations, TransWorld Entertainment Corp.,ࢫࡀಖᏲ࣭ಟ⌮┠ⓗࡢࡳ࡛ࢥࣥࣆ࣮ࣗࢱࢆసືࡉࡏࡿࡇ࡜ࢆチᐜࡍࡿࡶࡢ࡛࠶ࡿࡀࠊ

for National Association of Recording Merchandisers).

ࡇࢀࡣ௚ࡢ┠ⓗ࡛ࢥࣥࣆ࣮ࣗࢱࢆసືࡉࡏࡼ࠺࡜ࡍࡿ⪅ࡀྠ᮲ᩥࢆ฼⏝࡛ࡁ࡞࠸ࡼ࠺࡟ࡍࡿࡢ࡟㊊ࡿࡼ࠺㝈ᐃⓗ࡟㉳ⲡࡉࢀࡓࡶࡢ࡛࠶ࡿࠋSee 17 U.S.C. § 117(c)See, e.g., id. at 145–48 (testimony of Irwin Z. Robinson, Chairman and Chief Exececu-

tive Officer, Famous Music Publishing, for National Music Publishers Association).

(2006).➨஧࡟ࠊ㆟఍ࡣ୍⯡࡟ⴭసᶒࡢ࠺ࡲ࿡ࢆࠊࡑࢀࢆồࡵࡿ᪤Ꮡ஦ᴗ⪅࡟୚࠼ ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ศ㓄ᴗ⪅ࡀࠊ☜❧ࡉࢀࡓ኱つᶍ࡞ⴭసᶒࣉࣞ࢖࣮࡛ࣖ࠶ࡗ࡚ࠊ㐣ཤࡢᡂຌࡣࠊⰋ࠸࢔࢖ࢹ࢕࢔ࡢࡼ࠺࡟ࡶᛮ࠼ࡓࡀࠊⴭస≀ࡢࣛ࢖ࢭࣥࢫࢆ㠀ᖖ࡟࡟ࡋࡀࡳ௜ࡇ࠺࡜ࡍࡿ㝈ࡾࡣࠊ⌧ᅾࡢ⡿ᅜⴭసᶒἲࡣࡑࡢ཭࡛࠶ࡾ⥆ࡅ」㞧࡞ࡶࡢ࡟ࡋࠊ₯ᅾⓗ࡞ࣛ࢖ࢭࣥࢩ࣮ࢆከඖⓗ࡛ࠊ᫬࡜ࡋ࡚஫࠸࡟▩┪ࡿࠋᵝࠎ࡞✀㢮ࡢⴭస≀࡟ᑐࡍࡿࢥࣥࢺ࣮ࣟࣝࡸࠊつᶍࡢ⤒῭ࢆࣛ࢖ࢭࡍࡿせồ࡟᫹ࡋ࡚ࡁࡓࠋᑠつᶍ࡞ࣅࢪࢿࢫࡀ᪂ࡋ࠸ᕷሙ࡛ⴭస≀ࢆ฼⏝ࣥࢫྲྀᘬ࡟⤖ࡧ௜ࡅࡿࠊ኱つᶍ࡞࣓ࢹ࢕࢔ࡢ㈍㊰࡟ᑐࡍࡿࢥࣥࢺ࣮ࣟࣝࡀ

ࡍࡿᶵ఍࡟ᑐࡋྜ⌮ⓗ࡞ࣟ࢖ࣖࣝࢸ࢕ࢆᡶ࠾࠺࡜⪃࠼ࡓ࡜ࡋ࡚ࡶࠊ࡞࠿

࡛ࡁࡿ࠾㝜࡛ࠊఏ⤫ⓗ࡞฼⏝࡟ᑐࡋ࡚ࠊ☜❧ࡋࡓࣉࣞ࢖࣮ࣖࡀࣛ࢖ࢭࣥࢫ

࡞࠿ࡑࢀࢆ࠺ࡲࡃᐇ⾜࡛ࡁ࡞࠸࡜࠸࠺ᅔ㞴࡟┤㠃ࡍࡿྍ⬟ᛶࡀ࠶ࡿࡢ࡛

ࡍࡿࡇ࡜ࡣࡉ࡯࡝ᅔ㞴ࢆకࢃ࡞࠸ࠋࢡ࢚ࣜ࢖ࢱ࣮ࡸศ㓄ᴗ⪅ࡣ᪂ࡋ࠸࣓ࢹ

࠶ࡿࠋ࠸ࡃࡽᘚㆤኈ࡟ᡭఏࡗ࡚ࡶࡽࡗ࡚࠸࡚ࡶࠊல⣽࡞ዎ⣙ୖࡢ࣑ࢫ࡟

࢕࢔࡛ⴭస≀ࢆά⏝ࡋࡼ࠺࡜ࡋ࡚ࡶࠊࡑࡢ฼⏝࡟ࡘ࠸࡚ࣛ࢖ࢭࣥࢫࢆ⾜࠺ࡼࡾࠊ௻ᴗࡣࡓࡕࡲࡕッ࠼ࡽࢀ࡚◚⏘࡟㏣࠸㎸ࡲࢀ࡚ࡋࡲ࠺ࡢࡔࠋ

ᶒ㝈ࢆ᭷ࡍࡿᶒ฼⪅ࢆぢ௜ࡅฟࡋࠊࣛ࢖ࢭࣥࢫ᮲௳ࢆ஺΅ࡍࡿୖ࡛ࡢၥ ⴭసᶒ࡟࠾ࡅࡿศ㓄ᴗ⪅ࡢᆅ఩ࡀከᑡ౵㣗ࡉࢀࡿࡇ࡜ࡣࠊ࠾ࡑࡽࡃ⮬↛㢟࡟┤㠃ࡋ࡚Ẽຊࢆࡃࡌ࠿ࢀ࡚ࡋࡲࡗ࡚࠸ࡿࠋ☜❧ࡋࡓ⏘ᴗᅋయ࡛ࡍࡽࠊ

࡛࠶ࡾᮃࡲࡋ࠸ࡶࡢ࡛࠶ࡿࡔࢁ࠺ࠋ㧗౯࡞㡺ᕸ᪉ἲࡀᏳ౯࡞௦᭰ᡭẁ࡟ྲྀ⌧ᅾࡢἲᚊ࡟ᇶ࡙ࡃࣛ࢖ࢭࣥࢫ᮲㡯ࡀ᪂ࡋ࠸฼⏝࡟㛵ࡋ࡚༢࡟ᶵ⬟ࡋ࡚ࡗ࡚௦ࢃࡿ࡟ࡘࢀ࡚ࠊศ㓄ᴗ⪅࡟ⴭసᶒࡢ୍␒኱ࡁ࡞ศࡅ๓ࢆ୚࠼ࡿṇ࠸࡞࠸࡜୙‶ࢆ㏙࡭࡚࠸ࡿ ࠋⴭసᶒࢆศ๭ࡍࡿ࡜࠸ࡗࡓ࢖ࣀ࣮࣋ࢩࣙࣥ

ᙜ໬ࡣⷧࢀ࡚࠸ࡃࠋไᐃἲࡢタィࡀࠊ୙ᚲせ࡞୙☜ᐇᛶࡸᾉ㈝ࠊ㞀ᐖࢆ



ࡿ࡜࠸࠺Ⅼ࡛࠶ࡿࠋࡑࢀࡺ࠼ࠊᖺ࡟㆟఍ࡀⴭసᶒࡢಖㆤᮇ㛫ࢆᖺᘏ㛗ࡋࡓ㝿ࠊࡉࢀ࡚࠸ࡿࠋ17 U.S.C. § 201(d)(2).ἲࡣⴭసᶒ⪅ࡸ୍㒊ࡢⴭసᶒࢆಖ᭷ࡍࡿ⪅࡟ᑐ㆟఍ࡣᘏ㛗ࡉࢀࡓᮇ㛫ࡢ౽┈ࢆࠊⴭస⪅࡛ࡣ࡞ࡃ⌧ᅾⴭసᶒࢆ᭷ࡍࡿ⪅࡟ᤵࡅࡿࡓ

ࡋᶒ฼ࡢⓏ㘓ࢆồࡵ࡚࠾ࡽࡎࠊⴭసᶒࡢ୍㒊ࡢ⛣㌿ࡢⓏ㘓ࡣ࡯࡜ࢇ࡝࡞ࡉࢀ࡚࠸࡞

ࡵ࡟ࠊ๓ࡶࡗ࡚ⴭసᶒࢆྲྀࡾᡠࡑ࠺࡜ࡋ࡚࠸࡞࠿ࡗࡓⴭస⪅ࡢ୍㒊࡟ࠊ㝈ᐃⓗ࠿ࡘ࠸ࠋࡇࢀ࡟ࡼࡾࠊࣛ࢖ࢭࣥࢫ஺΅ࢆ⾜࠾࠺࡜ࡍࡿ⪅ࡀࣛ࢖ࢭࣥࢧ࣮࡜ࡋ࡚ࡢᶒ㝈ࢆ⾜౑ࡀᅔ㞴࡞⤊஢ᶒࢆ୚࠼ࡿ࡟ṆࡵࡓࠋSee Sonny Bono Copyright Term Extension Act᭷ࡍࡿ⪅࡛࠶ࡿ࡜ࡢドࢆぢᐃࡵࡿࡢࡀᅔ㞴࡟࡞ࡗ࡚ࡋࡲࡗ࡚࠸ࡿࠋ

of 1998, Pub. L. No. 105-298, 112 Stat. 2827 (codified as amended in scattered sections of

17 U.S.C.).⤊஢ᶒ᮲㡯ࡣࠊᖺࡢⴭసᶒᘏ㛗࡟㛵ࡍࡿ⤊஢ᶒ᮲㡯࡜ྠᵝ࡟ࠊ⤊஢ࡀồࡵ࡚ࡁࡓࡶࡢ࡛࠶ࡾࠊ͐௚ࡢࢢ࣮ࣝࣉ࠿ࡽࡶᗈ࠸ᨭᣢࢆᚓ࡚ࡁࡓࡶࡢ࡛࠶ࡿ

See H.R. REP. NO. 94-1476, at 123 (1976) 㺀>ྍศᛶࡣ@㛗ᖺⴭస⪅ࡸᙼࡽࡢ௦⾲⪅ᶒࢆ⾜౑ࡉࢀࡓᶒ฼ࢆࠊ᭱ึࡢㆡཷே௨እࡢ⪅࡟ㆡΏࡍࡿሙྜ࡟ࡣ෌ㆡΏࡀࡼࡾᅔ͐㺁 .㞴࡞ࡶࡢ࡜ࡋ࡚࠸ࡿࠋSee 17 U.S.C. § 304(c)(6)(C)–(D).

See Music Licensing Reform, supra note 78; Editorial, Orphan Works, D-LIB MAGAZINE,

2d 438 (S.D.N.Y. 2007); Mark A. Lemley, Dealing with Overlapping Copyrights on theJune 2006, available at http://www.dlib.org/dlib/june06/06editorial.html; Anonymous,Internet, 22 U. DAYTON L. REV. 547, 565–74 (1997); Jessica Litman, Sharing & Stealing,See, e.g., United States v. Am. Soc’y of Composers, Authors & Publishers, 485 F. Supp.

Showstopper, QUESTIONCOPYRIGHT.ORG (Jan. 5, 2010, 23:49), http://questioncopyright.

27 HASTINGS COMM. & ENT. L.J. 1, 18–23 (2005); Lydia Pallas Loren, Untangling the Web

org/showstopper.

of Music Copyrights, 53 CASE W. RES. L. REV. 673, 689–702 (2003); Stadler, supra note, 67,See, e.g., Section 115 of the Copyright Act: In Need of an Update?: Hearing Before theat 732.

Subcomm. on Courts, the Internet and Intellectual Prop. of the H. Comm. on the Judiciary,108th Cong. (2004) [hereinafter Section 115 of the Copyright Act]; Internet Streaming of2003); Twentieth Century Fox Film Corp. v. iCraveTV, 53 U.S.P.Q.2d (BNA) 1831 (W.D.

See, e.g., Country Rd. Music, Inc. v. MP3.com, Inc., 279 F. Supp. 2d 325 (S.D.N.Y.

Radio Broadcasts: Balancing the Interests of Sound Recording Copyright Owners with

Pa. 2000); Non-waiver of Rights, SOUNDEXCHANGE (Nov. 5, 2009), http://soundexchange.

Those of Broadcasters: Hearing Before the Subcomm. on Courts, the Internet and Intellec-com/?s=non+waiver+of+rights.

tual Prop. of the H. Comm. on the Judiciary, 108th Cong. 22–37 (2004) (testimony of Dan



Halyburton, Senior Vice President/General Manager of Group Operations, Susquehannayright.net Music Publ’g LLC v. MP3.com, 256 F. Supp. 2d 214 (S.D.N.Y. 2003); John

See Paramount Pictures Corp. v. RePlayTV, 298 F. Supp. 2d 921 (C.D. Cal. 2004); Cop-

Radio Corp., on behalf of the National Association of Broadcasters) [hereinafter Internet

Borland, iCraveTV.com’s Exec Discusses His Start-up’s Short Life, CNET (Feb. 29, 2000),

Streaming of Radio Broadcasts].

http://news.cnet.com/2100-1033-237450.html.



17 U.S.C. § 201(d)(2) ࡟ࡼࡿ࡜ࠊⴭసᶒࡢᨭศᶒࡣ඲ู࡚ࠎ࡟⛣㌿ࠊಖ᭷࡛ࡁࡿ࡜

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ࡇࡢぢ㆑࡟ࡘ࠸࡚ࡣ Michael Carroll ࡟ᜠࢆཷࡅ࡚࠸ࡿࠋSee Michael W. Carroll,▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 㡺ᕸ࡟ࡶࡓࡽࡍࡢ࡛࠶ࢀࡤࠊࡑࢀࡣ༢⣧࡟↓㥏࡜࠸࠺௚࡞࠸ࠋ

ࢀࡓ㡢ᴦฟ∧♫ࡣࠊ㆟఍ࢆㄝᚓࡋࠊᖺⴭసᶒἲࢆࠕ㡢ᴦⴭస≀ࢆᶵᲔⓗ࡟」〇ࡍࡿࡢ࡟⏝࠸ࡽࢀࡿ⿦⨨ࡢ㒊ศ㺁࡟ᑐࡍࡿࢥࣥࢺ࣮ࣟࣝࡶໟᣓ

ᲬᲨȡȸǫȸ

ࡍࡿࡶࡢ࡬࡜ᣑ኱ࡉࡏࡓࠋ ፹௓ᴗ⪅ࡢ஧ࡘ┠ࡢ㢮ᆺ࡛࠶ࡿ࣓࣮࣮࢝ࡢ฼┈࡟ࡘ࠸࡚ࡣࡲࡔ⤂௓ࡋ

ࣛࢪ࢜ᨺ㏦ࡀ୍⯡ⓗ࡟࡞ࡿ࡜ࠊⴭసᶒ⪅ࡣࠊᨺ㏦ᒁࡀⴭస≀ࢆ↓᩿࡛ᨺ࡚࠸࡞࠿ࡗࡓࡀࠊࡇࢀࡣṔྐⓗ࡟ࠊⴭసᶒἲ࡟㔜኱࡞ၥ㢟ࢆᘬࡁ㉳ࡇࡋ࡚

㏦ࡍࡿ⾜Ⅽࡸࠊࡑࢀࡽࡢ஦ᴗ⪅ࡀ↓チㅙ࡛ࣛࢪ࢜ࢆ౑⏝ࡍࡿ⾜Ⅽࢆ⚗Ṇࡍࡁࡓࠋ࣓࣮࣮࢝࡜ࡣࠊⴭస≀ࢆாཷࡍࡿࡓࡵࡢ⿦⨨ࡸ㐨ලࠊࢧ࣮ࣅࢫࢆస

ࡿࡼ࠺ồࡵࡓࠋࡑ࠺ࡋࡓッゴ࡟ࡼࡗ࡚ࠊ୍㐃ࡢᑐ❧ࡋࡓุỴ⩌ࡀ⏕ࡲࢀࠊࡿேࡸࣅࢪࢿࢫࢆᣦࡍࠋࡇࡢ࢝ࢸࢦ࣮ࣜ࡟ࡣࢺࣛࣥ࣌ࢵࢺࡸࣆ࢔ࣀࠊࣂ࢖

ΰ஘ࢆᘬࡁ㉳ࡇࡍࡇ࡜࡜࡞ࡗࡓࠋ⿢ุᡤࡣࣛࢪ࢜ᨺ㏦ࡸၟᴗ࣮࣋ࢫࡢࣛ

࢜ࣜࣥࠊࣛࢪ࢜ࠊࢸࣞࣅࠊࢸ࣮ࣉࣞࢥ࣮ࢲ࣮ࠊࢥࣥࣆ࣮ࣗࢱࠊDVD ࣉࣞࢪ࢜ࡢ౑⏝ࢆ㡢ᴦࡢࣛ࢖ࣈ₇ዌ࡜ࡳ࡞ࡋࡓሙྜ࡟ࡣࠊ㡢ᴦฟ∧♫຾ッࡢุ࢖࣮ࣖࠊ㟁Ꮚ᭩⡠࣮ࣜࢲ࣮ࠊiPod ࡀྵࡲࢀࡿࠋࢺࣛࣥ࣌ࢵࢺࢆ〇㐀ࡍࡿ⪅Ỵࢆฟࡋࡓࡀࠊ཯ᑐ࡟ࠊࡑ࠺ࡋࡓࣛࢪ࢜ᨺ㏦➼ࢆࣜࢫࢼ࣮ࢆຓࡅࡿ⿦⨨ࡣࠊ௚ேࡀస᭤ࡋࡓ㡢ᴦ࠿ࡽ࠾㔠ࢆ✌ࡂࠊࡑࢀࡶ᫬࡜ࡋ࡚ከ㢠ࡢ࠾㔠ࢆ✌ࡸࢧ࣮ࣅࢫ࡜ࡋ࡚఩⨨௜ࡅࡓሙྜ࡟ࡣࠊ㠀౵ᐖ࡜ࡢุ᩿ࢆୗࡋࡓࡢ࡛࠶

ࡄࡇ࡜ࡀ࠶ࡿࠋᐇ㝿ࠊࡇ࠺ࡋࡓ⪅ࡓࡕࡢࣅࢪࢿࢫࣔࢹࣝࡣ௚ேࡢ㡢ᴦࡢၟࡿࠋᴗⓗ࡞ά⏝࡟᏶඲࡟౫Ꮡࡋ࡚࠸ࡿࠋ୍⯡ⓗ࡟࠸ࡗ࡚ࠊᴦჾᕷሙࡣࠊㄞ⪅ࡸ⿦⨨࣓࣮࣮࢝ࡣⴭస≀࡟ᐤ⏕ࡋ࡚฼┈ࢆᡭ࡟ࡋ࡚࠸ࡿࡢࡔ࠿ࡽἲⓗ㈐ど⫈⪅ࠊ₇ዌ⪅ࡀ௚ேࡢసࡗࡓⴭస≀ࢆ฼⏝ࡋࡓ࠸࡜࠸࠺㢪࠸ࢆ฼⏝ࡋ࡚

௵ࢆ㈇࠺࡭ࡁࡔ࡜࠸࠺⪃࠼᪉ࡣࠊୡ⣖୰㡭ࠊࢪ࣮ࣗࢡ࣎ࢵࢡࢫࡀᬑཬࡋ

ၟᴗⓗ࡞฼┈ࢆᚓࡿࡶࡢ࡛࠶ࡿࠋ

ࡓࡇ࡜࡟ᘬࡗᙇࡽࢀࡿᙧ࡛ࠊໃ࠸ࢆᚓࡿࡼ࠺࡟࡞ࡗࡓࠋᖺⴭసᶒἲ ࡇࢀࡲ࡛ࡢṔྐ࡛ࠊⴭసᶒἲࡣ⿦⨨࣓࣮࣮࢝ࢆ↓どࡋ⥆ࡅ࡚ࡁࡓࠋ⤖ࡢୗ࡛ࡣࠊチㅙࢆᚓࡎ࡟ࢪ࣮ࣗࢡ࣎ࢵࢡࢫࢆ⏝࠸࡚㡢ᴦࢆබ࡛฼⏝ࡍࡿ⾜ᒁࠊࢺࣛࣥ࣌ࢵࢺࡸࣛࢪ࢜ࠊࢹࢪࢱࣝࣅࢹ࢜ࣞࢥ࣮ࢲ࣮ࢆ〇㐀ࡋ࡚㈍኎ࡍ

Ⅽࡀࠊⴭసᶒ౵ᐖࡢ㈐௵ࢆචࢀ࡚࠸ࡓࠋⴭసᶒ⪅ࡣࡇ࠺ࡋࡓච㈐ࡀࠕࢪ

ࡿ⾜Ⅽࡣࠊⴭస≀ࡢ」〇ࡸ⩻᱌ࠊබࡢ฼⏝ࠊබ࡬ࡢ㡺ᕸ࡟ᚲࡎࡋࡶ㛵ಀࡋ

࡞࠸࡜ᢅࢃࢀ࡚ࡁࡓࠋࡋ࠿ࡋ⿦⨨ࢆ〇㐀࣭㈍኎ࡍࡿၟ኎࡜࠸࠺ࡶࡢࡣࠊⴭ

స≀ࡢࢡ࢚ࣜ࢖ࢱ࣮࡟ࡼࡗ࡚సฟࡉࢀࡓ㟂せ࡟ࡼࡗ࡚࠾㔠ࢆඈࡅ࡚࠸ࡿ

U.S.C. §§ 101–1205 (2006)).

࡜࠸࠼ࡿࡢ࠿ࡶࡋࢀ࡞࠸ࠋࡑࡋ࡚ࠊࡑ࠺ࡋࡓ࠾㔠ࡣⴭసᶒ⪅ࡢ㛵ᚰࢆᘬ࠸ࡓࠋ㛵ᚰࢆᘬࡃ࡜ࡇࢁ࡟ッゴ࠶ࡾࠋⴭసᶒἲࡢṔྐࡣࠊⴭసᶒ⪅ࡀⴭస≀ࢆ฼⏝ࡍࡿ⿦⨨ࡢ〇㐀⪅࡜ࢧ࣮ࣅࢫࡢ㈍኎⪅࡟ᑐࡋ࡚ࢥࣥࢺ࣮ࣟࣝࢆཬ



See Act of Mar. 4, 1909, ch. 320, § 1(e), 35 Stat. 1075, 1075–76 (current version at 17
See Buck v. Debaum, 40 F.2d 734 (S.D. Cal. 1929); Jerome H. Remick & Co. v. Gen.

Elec. Co., 16 F.2d 829 (S.D.N.Y. 1926); Jerome H. Remick & Co. v. Am. Auto. Accessories
Co., 298 F. 628 (S.D. Ohio 1924), rev’d, 5 F.2d 411 (6th Cir. 1925); M. Witmark & Sons v.
Bamberger Co., 291 F. 776 (D.N.J. 1923).⿕࿌࡜࡞ࡗࡓึᮇࡢࣛࢪ࢜ᨺ㏦ᒁࡣࡋࡤࡋ

ࡰࡑ࠺࡜ࡍࡿヨࡳࡢ⧞ࡾ㏉ࡋࢆ཯ᫎࡋ࡚࠸ࡿࠋࡇ࠺ࡋࡓヨࡳࡣᡂຌࡋࡓ

ࡤࣛࢪ࢜ཷಙᶵࢭࢵࢺࡢ〇㐀࡞࠸ࡋ㈍኎ᴗ⪅࡛࠶ࡾࠊࣛࢪ࢜ࡢ㈍኎ࢆಁ㐍ࡍࡿࡓࡵࡶࡢࡶ࠶ࢀࡤኻᩋࡋࡓࡶࡢࡶ࠶ࡿࠋ

࡟ᨺ㏦ᒁࢆႠᴗࡋ࡚࠸ࡓࠋSee, e.g., Am. Auto. Accessories Co., 298 F. at 629.

ୡ⣖ᮎ࡟࠿ࡅ࡚ࠊ㡢ᴦฟ∧♫ࡣ⮬ືࣆ࢔ࣀ₇ዌ⿦⨨࡜ࣆ࢔ࣀ࣮ࣟࣝ
ࡢ〇㐀⪅࡟ᑐࡋⴭసᶒ౵ᐖッゴࢆᥦ㉳ࡋࡓࡀᩋッࡋࡓࠋ⿢ุᡤ࡟ᣄ⤯ࡉ



Buck v. Jewell-La Salle Realty Co., 283 U.S. 191 (1931); Gen. Elec. Co., 16 F.2d 829.

Debaum, 40 F.2d 734; Buck v. Duncan, 32 F.2d 366 (W.D. Mo. 1929), rev’d sub nom.

Jewell-La Salle Realty Co., 283 U.S. 191; see also Twentieth Century Music Corp. v. Aiken,
422 U.S. 151 (1975); Teleprompter Corp. v. Columbia Broad. Sys., Inc., 415 U.S. 394

Whose Music Is It Anyway?: How We Came To View Musical Expression as a Form of(1974); Fortnightly Corp. v. United Artists Television, Inc., 392 U.S. 390 (1968).

Property, 72 U. CIN. L. REV. 1405, 1494–95 (2003).chines: Hearing on H.R. 5921 Before Subcomm. No. 3 of the H. Comm. on the Judiciary,See White-Smith Music Publ’g Co. v. Apollo Co., 209 U.S. 1 (1908); Kennedy v.

McTammany, 33 F. 584 (D. Mass. 1888); see also Stern v. Rosey, 17 App. D.C. 562 (1901)
⵳㡢ᶵ⏝⻽⟶ࡢ〇㐀࣭㈍኎ࡣⴭసᶒ౵ᐖ࡟ヱᙜࡋ࡞࠸࡜ุ♧ .

See generally Authorizing Royalties for Musical Compositions on Coin-Operated Ma-

86th Cong. (1959) [hereinafter Authorizing Royalties].
See Act of Mar. 4, § 1(e). See generally Jessica Litman, War Stories, 20 CARDOZO ARTS ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࣮ࣗࢡ࣎ࢵࢡࢫ࡟ࡼࡿ㡢ᴦࡢྜἲⓗᾏ㈫⾜Ⅽࠖࢆຓ㛗ࡋ࡚࠸ࡿ࡜୺ᙇࡋࠊほࡿࡓࡵ࡟␒⤌ࢆ」〇ࡍࡿ⾜Ⅽࢆ㐪ἲ࡜Ỵࡵࡓᙧ㊧ࠊࡶࡋࡃࡣࡑ࠺ࡋࡓ」㆟఍࡟ᑐࡋ࡚ᢤࡅ✰ࢆሰࡄࡼ࠺せồࡋࡓࠋไᐃἲୖࡢࢪ࣮ࣗࢡ࣎ࢵࢡࢫ࡟

〇ࢆྍ⬟࡜ࡍࡿᶵჾࡢ㈍኎ࢆ᩿ᅛ࡜ࡋ࡚⚗Ṇࡍࡿ❧ἲࢆ⾜ࡗࡓᙧ㊧ࢆࠊⴭ㛵ࡍࡿච㈐ࢆᗫṆࡋࡼ࠺࡜ࡋࡓᖺἲ᱌ࡣไᐃ࡟ࡲ࡛⮳ࡽ࡞࠿ࡗࡓࡀࠊ

సᶒἲ࡟᥈ࡋồࡵࡿࡇ࡜ࡣ↓㥏࡞సᴗ࡛ࡋ࠿࡞࠸㹿ࡑࡢ㉳ⲡ⪅ࡣ௨ୗࡢࡼ࠺࡟㏙࡭࡚࠸ࡿࠋࠕࡇࡢἲᚊࡢ⫼ᚋ࡟࠶ࡿᇶᮏⓗ⌮ㄽ࡜ࡣࠊ㡢ᴦⓗࡶࡋࡃࡣᩥᏛⓗ㈈⏘ࡢ฼⏝࠿ࡽ฼┈ࢆᚓࡿ⪅ࡣఱேࡶࠊබ

ࡑࢀ࡛ࡶᖺ࡟ࠊⴭసᶒ⪅ࡣྠᵝࡢ⌮ㄽࢆ⏝࠸࡚ࢹࢪࢱ࣭࣮ࣝ࢜ࢹ࢕

ṇ࡞ศᢸࢆᨭᡶ࠺࡭ࡁ࡛࠶ࡿ࡜࠸࠺ࡶࡢ࡛࠶ࡿ㺁ࠋⴭసᶒᒁࡢᨭᣢ࡟ࡶ

࣭࢜ࢸ࣮ࣉ࣭ࣞࢥ࣮ࢲ࣮ࡢ㈍኎ࢆ⚗Ṇࡍࡿࡼ࠺ッゴࢆᥦ㉳ࡋࡓࠋッゴ࠿࠿࠿ࢃࡽࡎࠊࡇࡢࢪ࣮ࣗࢡ࣎ࢵࢡࢫἲ᱌ࡸࡑࡢ௚ࡢྠᵝࡢἲ᱌ࡣࠊᨻ἞ⓗࡽᡭࢆᘬࡃࡼ࠺ཎ࿌ࢆㄝᚓࡍࡿࡓࡵࠊ㟁໬〇ရ〇㐀ᴗ⪅ࡣࠊࢹࢪࢱ࣭ࣝ࢜



࡞཯Ⓨ࡟ᡴࡕ຾ࡘࡇ࡜ࡀ࡛ࡁ࡞࠿ࡗࡓ ࠋ࣮ࢹ࢕࢜㘓㡢⿦⨨࡜࣓ࢹ࢕࢔ࢆ〇㐀࣭㈍኎ࡍࡿ⪅࡟ᑐࡋࠊࢥࣆ࣮࣭ࣉࣟࢸ

ᖺ࡟ࡣࠊᫎ⏬ࢫࢱࢪ࢜ࡀࡇࢀ࡜ྠࡌᇶᮏⓗ⌮ㄽ࡟ᇶ࡙ࡁࠊBetamaxࢡࢩࣙࣥᢏ⾡ࡢᐇ᪋࡜ࠊ኎ୖࡢῶ㏥ศ࡟ࡘ࠸࡚ⴭసᶒ⪅࡟⿵ൾࡍࡿࣟ࢖ࣖ

ᐙᗞ⏝ࣅࢹ࢜ࣞࢥ࣮ࢲ࣮ࢆ㈍኎ࡍࡿࡇ࡜࡟ᑐࡋ࡚ࠊSony ࢆ┦ᡭྲྀࡾッゴࣝࢸ࢕ࢆᨭᡶ࠺ࡇ࡜ࢆ⩏ົ௜ࡅࡿἲᚊ࡟㈶ᡂࡍࡿࡇ࡜࡟ྜពࡋࡓࠋ

ࢆᥦ㉳ࡋࡓࠋᫎ⏬ࢫࢱࢪ࢜ഃࡣ Sony ࡢ Betamax ᶵჾ࡟ࡼࡗ࡚ࠊࢫࢱࢪ

ᖺࡢᐙᗞෆ㘓㡢ἲ The 1992 Audio Home Recording Act ࡣࡇ࠺ࡋࡓጇ༠ࡢ

࢜ࡀไసࡋࡓ TV ␒⤌ࢆࠊಶேࡢᾘ㈝⪅ࡀࢫࢱࢪ࢜ࡢྠពࢆᚓࡿࡇ࡜࡞ࡋ

ල⌧≀࡞ࡢ࡛࠶ࡿࠋ

࡟」〇ࡍࡿࡇ࡜ࡀྍ⬟࡟࡞ࡗࡓ࡜୺ᙇࡋࡓࠋᙼࡽ࡟ࡼࡿ࡜ࠊ↓チㅙࡢ」〇 ࡑࡢᚋࠊᩘᖺ㛫࡟ࢃࡓࡗ࡚ࠊ࣓࣮࣮࢝ࢆつไࡍࡿไᐃἲࡸࠊ࣓࣮࣮࢝࡟

ࡣ඲࡚ᙼࡽࡢⴭసᶒࢆ౵ᐖࡍࡿࡶࡢࡔ࡜࠸࠺ࠋࡑࡋ࡚ࠊࡇ࠺ࡋࡓ」〇ࢆ⾜㛫᥋౵ᐖ⪅࡜ࡋ࡚ࡢ㈐௵ࢆ㈇ࢃࡏࡿッゴࡀ୍⯡ⓗ࡞ࡶࡢ࡜࡞ࡗࡓࠋᖺ

࠺ࡓࡵࡢᶵჾࢆ〇㐀ࡋ㈍኎ࡋ࡚࠸ࡿࡢࡔ࠿ࡽࠊSony ࡀ㈐௵ࢆ㈇࠺࡭ࡁ࡛

࡟ࡣ࢔࣓ࣜ࢝ࣞࢥ࣮ࢻ༠఍ RIAA ࡀ᭱ึࡢ࣏࣮ࢱࣈࣝ MP3 ࣉࣞ࢖࣮ࣖ

࠶ࡿ࡜࠸࠺ࡢ࡛࠶ࡿࠋྜ⾗ᅜ᭱㧗⿢ุᡤࡣ௨ୗࡢࡼ࠺࡟㏙࡭࡚ࡇࡢ⌮ㄽࢆ⚗Ṇࡍࡿⴭసᶒ౵ᐖッゴࢆᥦ㉳ࡋࡓࡀࠊᩋッ࡟⤊ࢃࡗ࡚࠸ࡿࠋᖺ

ࢆ㏥ࡅࡓࠋ

ࡢࢹࢪࢱ࣭࣑ࣝࣞࢽ࢔࣒ⴭసᶒἲ The 1998 Digital Millennium CopyrightAct ࡟ࡣࠊ⿦⨨࣓࣮࣮࢝࡟ᑐࡋࢥࣆ࣮࣭ࣉࣟࢸࢡࢩࣙࣥᢏ⾡ࢆᐇ᪋ࡍࡿࡼ

ࢸࣞࣅࢆẖ᪥ぢࡿఱⓒ୓ேࡶࡢேࠎ࠿ࡽ㑅ฟࡉࢀࡓ㆟ဨࡀࠊᐙ࡛ᚋ࠿ࡽ

࠺ồࡵࡿ㝈ᐃⓗ࡞つᐃ࡜ࠊࢥࣆ࣮࣭ࣉࣟࢸࢡࢩࣙࣥᢏ⾡ࢆ✺◚ࡋ࡚౵ᐖ⾜
& ENT. L.J. 337, 350–54 (2002).Authorizing Royalties, supra note 97, at 3.

Ⅽࢆᐜ᫆࡟ࡍࡿྍ⬟ᛶࡢ࠶ࡿ⿦⨨ࡢ〇㐀ࠊ㈍኎ࠊ㐪ἲ኎㈙ࠊᥦ౪ࢆ⚗Ṇࡍࡿᗈ⠊࡞つᐃࡀ⤌ࡳ㎸ࡲࢀ࡚࠸ࡿࠋ࢖ࣥࢱ࣮ࢿࢵࢺ࣭ࢧ࣮ࣅࢫ࣭ࣉࣟࣂ




Id. at 6 (remarks of Rep. Emanuel Celler).

Sony Corp. of Am. v. Universal City Studios, Inc., 464 U.S. 417, 456 (1984).

See HOUSE COMM. ON THE JUDICIARY, 87TH CONG., COPYRIGHT LAW REVISION PART 6:

Cahn v. Sony Corp., No. 90-CIV-4537 (S.D.N.Y. filed Jul. 9, 1990).

SUPPLEMENTARY REPORT OF THE REGISTER OF COPYRIGHTS ON THE GENERAL REVISION OFSee H.R. REP. NO. 102-873, pt. 1 (1992).

THE U.S. COPYRIGHT LAW: 1965 REVISION BILL 59–61 (1965).ࢪ࣮ࣗࢡ࣎ࢵࢡࢫࡢච㝖

Audio Home Recording Act of 1992, Pub. L. No. 102-563, 106 Stat. 4237 (1992) (codi-ࡣᖺࡲ࡛ἲ࡟ṧࡗ࡚࠸ࡓࡀࠊࡑࢀ௨㝆ࡣᖺ㛫  ࢻࣝ࡜࠸࠺ྡ┠ࡔࡅࡢᙉไチㅙ

fied as amended at 17 U.S.C. §§ 1001–1010 (2006)). ࡇࡢἲࡢ᮲ᩥࡢ࠺ࡕࡢ୍ࡘࡀࠊ㡢࡟ྲྀࡗ࡚௦ࢃࡿࡇ࡜࡜࡞ࡗࡓࠋࡑࡋ࡚ᖺ࡟࣋ࣝࢾ᮲⣙ࢆᢈ෸ࡋࡓ㝿࡟ࠊ㆟఍ࡣᴦⴭస≀ࡢ㠀ၟᴗⓗ」〇ࢆ⾜ࡗࡓᾘ㈝⪅࡟ᑐࡍࡿⴭసᶒ౵ᐖッゴࢆ⚗Ṇࡋ࡚࠸ࡿࠋᙉไチㅙ࡟௦ࢃࡗ࡚௵ពࡢໟᣓチㅙ࡜ࡋࡓࠋSee 17 U.S.C. § 116 (2006).ࡋ࠿ࡋᙜヱ᮲ᩥࡀཬࡪ⠊ᅖࡣ㆟ㄽࡢవᆅࡀṧࡗ࡚࠸ࡿࠋ





See generally JAMES LARDNER, FAST FORWARD: A MACHINE AND THE COMMOTION IT

CAUSED (2002).

See Universal City Studios, Inc. v. Sony Corp. of Am., 480 F. Supp. 429, 432 (C.D. Cal.

1979), rev’d, 659 F.2d 963 (9th Cir. 1981), rev’d, 464 U.S. 417 (1984).

See Recording Indus. Ass’n of Am., Inc. v. Diamond Multimedia Sys., Inc., 29 F. Supp.

2d 624 (C.D. Cal. 1998), aff’d, 180 F.3d 1072 (9th Cir. 1999). The court refused to enter the
injunction. 180 F.3d at 1081.


Digital Millennium Copyright Act, Pub. L. No. 105-304, 112 Stat. 2680 (1998) (codi- ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࢖ࢲࡣ౵ᐖࢆ㜵Ṇࡍࡿᢏ⾡ࢆ⤌ࡳ㎸ࡴ࡭ࡃࠊࡑࡢᵓ㐀ࢆタィࡋ┤ࡍ⩏ົࢆྍ⬟࡟ࡍࡿ᪂ࡓ࡞⿦⨨ࡸࢧ࣮ࣅࢫ࠿ࡽ฼┈ࢆཷࡅࡿࡇ࡜ࡢ㞼⾜ࡁࡀἲⓗ㈇࠺࡭ࡁ࡛࠶ࡿ࡜୺ᙇࡍࡿᶒ฼⪅ࡶ࠸ࡿ ࠋࡇ࠺ࡋࡓⴭసᶒࡢ⠊ᅖࡢᣑ኱࡟᛹ࡋࡃ࡞ࡿ࡜ࠊసရࢆாཷࡍࡿ࣮ࣘࢨ࣮ࢆቑࡸࡋࡓࡾࠊ฼⏝ࡢ౯್ࢆ࡟ࡼࡗ࡚ࠊⴭసᶒ⪅ࡣࠊᙜヱ௻ᴗࡀࠊᐇ㝿࡟ⴭస≀ࢆ」〇ࠊබ࡬㡺ᕸࠊ࠶㧗ࡵࡓࡾࡋ࡚ⴭసᶒࡢ᰾࡜࡞ࡿࢦ࣮ࣝࢆ᥎ࡋ㐍ࡵ࡚ࡃࢀࡿྍ⬟ᛶࡢ࠶ࡿࡿ࠸ࡣබ࡛฼⏝ࡍࡿ࡜࠸࠺ⴭసᶒ⪅࡟ㄆࡵࡽࢀࡓไᐃἲୖࡢ≉ᶒࢆ౵ᐖࣅࢪࢿࢫ࡟ᑐࡍࡿᢞ㈨ࡀᢚṆࡉࢀ࡚ࡋࡲ࠺࠿ࡶࡋࢀ࡞࠸ࠋࡇ࠺ࡋࡓ᪂

ࡋ࡚࠸ࡿࡢ࠿ྰ࠿࡜࠸࠺ࡇ࡜࡜ࡣ↓㛵ಀ࡟ࠊⴭస≀࠿ࡽ཰┈ࢆ✌ࡄ⾜Ⅽࢆࡓ࡞ᶵ఍ࡣ⌧ᅾⴭస≀ࡢὶ㏻ᕷሙ࡟࠾࠸࡚ᨭ㓄ⓗ࡞ᆅ఩࡟࠶ࡿࣅࢪࢿࢫ

ⴭసᶒ౵ᐖࡢᑐ㇟࡟ࡍ࡭ࡁࡔ࡜୺ᙇࡍࡿࡼ࠺࡟࡞ࡗࡓࠋ

ࡢ࣐࣮ࢣࢵࢺࢩ࢙࢔ࢆ౵㣗ࡍࡿࡶࡢ࠿ࡶࡋࢀ࡞࠸ࡀࠊ⌧ᅾ࠶ࡿⴭస≀ࡢ ࡇࡢࡼ࠺࡞ᒁᆅⓗ࡟ὶ⾜ࡋ࡚࠸ࡿ⪃࠼᪉ࡣࠊᵝࠎ࡞ᥣࡵ஦ࢆᘬࡁ㉳ࡇࡋ

ὶ㏻࡜ࡑࡢ฼⏝ࢆቑ኱ࡉࡏࠊࡉࡽ࡟᪂ࡋ࠸ⴭస≀ࡢ๰సࡶಁ㐍ࡍࡿྍ⬟ᛶ࡚࠸ࡿࠋ➨୍࡟ࠊⴭస≀ࡢ↓チㅙ࡛ࡢ฼⏝ࢆᐜ᫆࡟ࡋࡓࡇ࡜ࢆ⌮⏤࡟ࠊ࣓ࡀ࠶ࡿࠋࡑࢀࡺ࠼ࠊ⌧ᅾⴭస≀ࡢᕷሙ࡛ᨭ㓄ⓗ࡞ᆅ఩࡟࠶ࡿ௻ᴗ࡟ࠊ᪂ࡓ

࣮࣮࢝࡟ᐤ୚౵ᐖ⪅࡜ࡋ࡚ࡢ㈐௵ࢆ㈇ࢃࡏࡼ࠺࡜ヨࡳࡿሙྜ࡟ࡣࠊⴭసᶒ

࡞⿦⨨ࡢ㛤Ⓨࢆ⚗Ṇࡍࡿᶒ฼ࢆㄆࡵࡿࡇ࡜࡟ࠊᨻ⟇ⓗ࡞ྜ⌮ᛶࢆぢฟࡍ⪅ࡣࠊ᪂ࡋ࠸⿦⨨ࡸᡭẁࢆ฼⏝ࡍࡿㄞ⪅ࡸど⫈⪅ࡀ┤᥋౵ᐖ⪅࡟ヱᙜࡍࡿࡇ࡜ࡣᅔ㞴࡛࠶ࡿࠋᑡ࡞ࡃ࡜ࡶࠊ⌧ᅾࡢᶒ฼ࡢ㓄ศࡢୗ࡛ࡣࠊ࣓࣮࣮࢝ࡢ

࡜୺ᙇࡍࡿࡇ࡜ࡀせồࡉࢀࡿࠋࡇࡇ࡛୺ᙇࡉࢀ࡚࠸ࡿ┤᥋౵ᐖ⪅ࡣἲᘐ࡟཰✭ࡀ㐣኱࡛࠶ࡾࠊࢡ࢚ࣜ࢖ࢱ࣮ࡸศ㓄ᴗ⪅࡬ࡢศ㓄ࡀ㐣ᑠ࡛࠶ࡿࡓࡵ࡟ࠊ

⌧ࢀࡿࡇ࡜ࡣ࡞ࡃࠊ⮬ศࡓࡕࡢ฼⏝⾜Ⅽࡀἲ࡟㐺ࡗࡓࡶࡢ࡛࠶ࡿ࡜୺ᙇ

༢⣧࡞ᐩࡢ⛣㌿ࡀไᗘࡢ೺඲ᛶࢆᨵၿࡍࡿࡇ࡜࡟⧅ࡀࡿ࡜࠸࠺ࡇ࡜ࡀㄝ

ࡍࡿࡇ࡜ࡀ࡛ࡁ࡞࠸ୖ࡟ࠊ⿕࿌࡜࡞ࡿ࣓࣮࣮࢝ࡣ࣮ࣘࢨ࣮ࡢ❧ሙ࡟❧ࡗ࡚ᚓⓗ࡟♧ࡉࢀࡿᚲせࡀ࠶ࢁ࠺ࠋ㖄➹ࡸࢡࣞࣚࣥࠊ⣬ࠊࡣࡉࡳࠊࡢࡾ➼ࡢ㈍୺ᙇࡍࡿ࢖ࣥࢭࣥࢸ࢕ࣦࢆ࡯࡜ࢇ࡝᭷ࡋ࡚࠸࡞࠸ࠋࡇ࠺ࡋࡓ≧ἣࡢ⤖ᯝࠊ኎ࠊ㉎ධࠊ౑⏝ࡣࠊ࡯ࡰ☜ᐇ࡟౵ᐖ⾜Ⅽ࡟⏝࠸ࡽࢀࡿぢ㎸ࡳࡀ࠶ࡗࡓ࡟ࡶ

ᶒ฼ࡀไṆࡉࢀࡿࡇ࡜࡞ࡃቑṪࢆ⥆ࡅ࡚࠾ࡾࠊࡑࡢ㛫ࠊ⿢ุᡤࡣᵝࠎ࡞ಶ࠿࠿ࢃࡽࡎࠊࡇࢀࡲ࡛ࡑࢀࢆࢥࣥࢺ࣮ࣟࣝࡍࡿᶒ฼ࡀⴭసᶒ⪅࡟ㄆࡵࡽࢀேⓗ฼⏝⾜Ⅽࢆⴭసᶒἲ࡟㐪཯ࡍࡿ࡜ุ᩿ࡍࡿࡇ࡜࡞ࡋ࡟ࡑࢀࢆ๓ᥦ࡜

ࡓࡇ࡜ࡣ࡞࠸ࠋྠᵝࡢཎ⌮ࡣࣉࣜࣥࢺᇶᯈࡸࢺࣛࣥࢪࢫࢱࠊ㟁Ꮚ࡟ࡶᙜ࡚

ࡋ࡚࠸ࡿ࠿ࠊࡼࡃࡑࡢᖐ⤖ࢆ⪃࠼ࡿࡇ࡜ࡢ࡞࠸ࡲࡲ࡟ࡑࡢࡼ࠺࡟ุ᩿ࡋ࡚

ࡣࡲࡿࡣࡎ࡛࠶ࡿࠋ

࠸ࡿ࠿ࡢ࡝ࡕࡽ࠿ࡔ࡜࠸࠺≧ែࡀ⥆࠸࡚࠸ࡿࠋ௚᪉࡛ࠊⴭస≀ࡢ฼⏝ࢆ
fied as amended at 17 U.S.C. §§ 1201–1332).
See Saul Hansell, Bits Debate: Should Internet Service Providers Block Copyrighted

㹂㸬ࡲ࡜ࡵ ⌧⾜ࡢไᐃⴭసᶒἲࡣ㛗ࡃࠊ」㞧࡛ࠊ⌮ゎࡍࡿࡢࡀ㞴ࡋ࠸ࠋࡑࢀࡣⴭ
స≀ࢆ๰సࡋࠊ࣮ࣘࢨ࣮࡟ᒆࡅࡼ࠺࡜ࡍࡿࢡ࢚ࣜ࢖ࢱ࣮ࡢẼຊࢆࡃࡌࡃ㞀Works, N.Y. TIMES (Jan. 15, 2008, 11:41 AM), http://bits.blogs.nytimes.com/2008/01/15/

ᐖࢆ୪࡭ࡿⴭసᶒไᗘࡢ┿ᐇࢆ౛ドࡍࡿࡶࡢ࡜࡞ࡗ࡚࠸ࡿࠋ኱㔞ࡢᨵṇ

bits-debateshould-internet-providers-block-copyrighted-works;

JefࡸⓎᒎⓗ࡞⿢ุᡤࡢุỴ࡟ࡼࡗ࡚ࠊㄞ⪅ࡸど⫈⪅ࡀⴭస≀ࢆ⮬⏤࡟฼⏝࡛

Pearlman, Robb Topolski, Michael Weinberg & Sherwin Siy, Forcing the Net Through aࡁࡿ⮬⏤ࡢ㡿ᇦࡀࡔࢇࡔࢇ࡜⦰ࡵࡽࢀ࡚ࡁࡓࠋศ㓄ᴗ⪅ࡣࠊᏳ౯࡛⡆༢࡞

Sieve: Why Copyright Filtering Is Not a Viable Solution for U.S. ISPs, PUBLIC KNOWLEDGE

ࢹࢪࢱࣝࢥࣆ࣮ࡀ⮬ศࡓࡕࡢࣅࢪࢿࢫࣔࢹࣝࢆ⼃ࡴࡔࢁ࠺࡜࠸࠺⬣ጾ࡟

(2009), http://www.publicknowledge.org/pdf/pk-filtering-whitepaper-200907.pdf.

┤㠃ࡋ࡚࠾ࡾࠊࡲࡓྠ᫬࡟ࠊࣛ࢖ࢭࣥࢫࡀ」㞧࡛㧗㢠࡟࡞ࡗ࡚ࡋࡲࡗࡓ࡜



Mehan

Jayasuriya,ⴭసᶒ⪅࡟ᩆ῭ࢆ඲ࡃ୚࠼࡞࠸࡜࠸࠺஦ែࢆ⿢ุᡤࡣ㑊ࡅࡿ࠿ࡶࡋࢀ࡞࠸࡜༴

᝹ࡍࡿ⿕࿌ࡣࠊッゴࡢᙜ஦⪅࡛ࡣ࡞࠸⿕␲┤᥋౵ᐖ⪅࡟⨥ࢆ࡞ࡍࡾ௜ࡅࡿ᪉ࡀࠊ౵

ឤࡌ࡚࠸ࡿࠋࡲࡓࠊⴭస≀ࢆ฼⏝ࡍࡿ᪂ࡋ࠸⿦⨨ࡸࢧ࣮ࣅࢫࡢ࣓࣮࣮࢝ࡣࠊ

ᐖࡀ⏕ࡌ࡚࠸࡞࠸࡜୺ᙇࡍࡿࡼࡾࡶⰋ࠸ᡓ␎࡛࠶ࡿ࡜⪃࠼ࡿྍ⬟ᛶࡀ࠶ࡿࠋSee, e.g.,

Cartoon Network LP, LLLP v. CSC Holdings, Inc., 536 F.3d 121, 130–33 (2d Cir. 2008);

ster, Inc., 239 F.3d 1004, 1014–19 (9th Cir. 2001); Intellectual Reserve, Inc. v. Utah Light-

Perfect 10, Inc. v. Amazon.com, Inc., 508 F.3d 1146, 1160–63 (9th Cir. 2007); UMG Re-

house Ministry, Inc., 75 F. Supp. 2d 1290, 1294 (D. Utah 1999).

cordings, Inc. v. Veoh Networks Inc., 665 F. Supp. 2d 1099 (C.D. Cal. 2009).





(2008).

E.g., MGM v. Grokster, Ltd., 545 U.S. 913, 925–27 (2005); A&M Records, Inc. v. Nap-

See Fred von Lohmann, Fair Use as Innovation Policy, 23 BERKELEY TECH. L.J. 829

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ◚⁛ࢆࡁࡓࡍࡼ࠺࡞ッゴࡢ⬣ጾ࡟᫹ࡉࢀ࡚࠸ࡿࠋ⤖ᯝ࡜ࡋ࡚ࠊ᪥ᖖ⏕ά

ࡾ㏉ࡍᶵ఍࡜ぢ࡚࠸ࡿࡼ࠺࡛࠶ࡿࠋࡶࡗ࡜Ᏻ౯࡛ຠ⋡ⓗ࡞ࠊⴭస≀ࡢࡼࡾ࡛⌧ᅾࡢⴭసᶒࡢ࣮ࣝࣝ࡟ᚑ࠺ࡼ࠺ồࡵࡽࢀࡿேࠎࡢከࡃࡣࠊ࣮ࣝࣝࡀ

Ⰻ࠸㡺ᕸࢩࢫࢸ࣒ࢆᵓ⠏ࡍࡿࡇ࡜ࡣࠊࢡ࢚ࣜ࢖ࢱ࣮࡟ᶒ฼ࢆ௜୚ࡋࡓୖ࡛

୙බṇ࡞࠸ࡋ୙ྜ⌮ࡔ࡜⪃࠼ࡿࡼ࠺࡟࡞ࡗࡓࡾࠊồࡵࡽࢀ࡚࠸ࡿࡇ࡜ࢆᐇ

๤ዣࡍࡿ࡜࠸࠺ᙧ࡛፹௓ᴗ⪅ࢆ㈙཰ࡋ࡞ࡃ࡜ࡶ㐩ᡂ࡛ࡁࡿ࠿ࡶࡋࢀ࡞࠸

㝿࡟ࡣ⾜ࢃ࡞࠸ࡼ࠺࡟ࡋࡼ࠺࡜⪃࠼ࡓࡾࡍࡿࡼ࠺࡟࡞ࡗࡓࠋⴭసᶒࡢṇ⤫࡜࠸࠺⪃࠼ࡣࠊ඲ࡃ࡜࠸ࡗ࡚Ⰻ࠸࡯࡝┿ᦸ࡞ὀ┠ࢆ㞟ࡵ࡚࠸࡞࠸ࠋࢹࢪࢱ

ᛶࡢ౵㣗ࡣࡑࢀ⮬యࠊⴭసᶒไᗘࡢ೺඲ᛶ࡟࡜ࡗ࡚ၥ㢟ࢆᏎࢇ࡛࠸ࡿࡢ

࣭ࣝࢿࢵࢺ࣮࣡ࢡᢏ⾡࡟ᑐᛂࡋࡓⴭసᶒἲࣜࣇ࢛࣮࣒࡟㛵ࡍࡿ⏘ᴗ⏺࠿ࡽ࡛࠶ࡿࠋࡢᥦ᱌ࡢከࡃࡣࠊ඲ࡃ㏫ࡢ࢔ࣉ࣮ࣟࢳࢆ࡜ࡗ࡚࠸ࡿࠋᙼࡽࡣ፹௓ᴗ⪅ࡢᶒ฼ࢆᣑ኱ࡋࠊ፹௓ᴗ⪅ࡢᨭ㓄ࢆᙉ໬ࡍࡿࡇ࡜࡛ࠊᏳ౯࡛኱㔞࡟⾜ࢃࢀࡿϩ㸬ⴭసᶒࣜࣇ࢛࣮࣒ࡢᐇ㝿㻌㐪ἲࢥࣆ࣮ࡢ⬣ጾ࡟ࡼࡗ࡚ῶᑡࡋ࡚࠸ࡿ࡜ᛮࢃࢀࡿⴭసᶒ⪅ࡢ࢖ࣥࢭࣥ

ࢸ࢕ࣦࢆᇙࡵྜࢃࡏࡿࡇ࡜ࢆ┠ᣦࡋ࡚࠸ࡿࡢ࡛࠶ࡿࠋ ࡇࡇࡲ࡛㏙࡭࡚ࡁࡓၥ㢟ࡣࠊᑗ᮶ࡢⴭసᶒࣜࣇ࢛࣮࣒࡟ྥࡅ࡚⌧ᅾᵝࠎ ⌧ᅾᅇぴࡉࢀ࡚࠸ࡿᥦ᱌ࡢ኱༙ࡣࠊࡑࡢ㦵Ꮚࢆࠊ☜❧ࡋࡓศ㓄ᴗ⪅ࡢᙅ࡞❧ሙ࠿ࡽ୺ᙇࡉࢀ࡚࠸ࡿヨࡳ࡟࠾࠸࡚ࠊ࠶ࡲࡾ↔Ⅼࢆᙜ࡚ࡽࢀ࡚࠸࡞

ࡲࡗ࡚ࡋࡲࡗ࡚࠸ࡿᆅ఩ࢆᙉ໬ࡋࠊ࣓࣮࣮࢝ࡸ௚ࡢ፹௓ᴗ⪅ࠊㄞ⪅ࡸど࠸ ࠋࡑࡢ௦ࢃࡾ࡟ࠊ୺せ࡞ⴭసᶒࣉࣞ࢖࣮ࣖࢆ௦⾲ࡍࡿ⪅ࡣ⌧ᅾࠊไ⫈⪅࡟ᑐࡋ࡚ㄳồ࡛ࡁࡿᶒ฼ࢆᙉࡵࡿ࡜࠸࠺࡜ࡇࢁ࡟⨨ࡃࠋ౛࠼ࡤࠊⴭ

ᐃἲࡢࣜࣇ࢛࣮࣒ࢆࠊᙼࡽࡢ᭱ࡶⱥ㞝ⓗ࡞ ➹⪅࡟࠸ࢃࡏࢀࡤ᭱ࡶྜ⌮ᛶసᶒ⪅ࡢ୰࡟ࡣ」㞧࡛᫬௦㐜ࢀ࡜࡞ࡗ࡚࠸ࡿἲᐃチㅙ᮲㡯ࢆᗫṆࡋ࡚ࠊ⮬ࡢ࡞࠸ ຾฼ࢆ☜ᅛࡓࡿࡶࡢ࡟ࡍࡿ࡜ྠ᫬࡟ࠊணᮇࡏࡠᩋ໭ࢆࡦࡗࡃ

ศࡀࣛ࢖ࢭࣥࢫࢆ⾜࠺㝿࡟ࡣ⡆⣲໬ࡋࡓࣛ࢖ࢭࣥࢫࡢᩥゝ࡟⨨ࡁ᥮࠼ࡘ

ࡘࠊ௚᪉࡛௚ேࡀᙼࡽ࠿ࡽࣛ࢖ࢭࣥࢫࢆཷࡅࡿ㝿࡟ࡣᙼࡽࡢチㅙࢆᚲせ࡜ᐇ㝿ࠊⴭసᶒἲᏛ⪅ࡣࡼࡾከࡃࡢ౽┈ࢆⴭస⪅ࡸබ⾗࡟ࡶࡓࡽࡍⴭసᶒἲࡢぢࡍࡿࠊ࡜࠸࠺⪃࠼ࢆᨭᣢࡍࡿ⪅ࡀ࠸ࡿࠋࡲࡓࠊⴭస≀ࡢ฼⏝࡟ᑐࡍࡿⴭ

┤ࡋ࡟㛵ࡋ࡚ࠊ⪃࠼ᢤ࠿ࢀࡓᥦ᱌ࢆ࠸ࡃࡘࡶ࡞ࡋ࡚ࡁࡓࠋSee, e.g., WILLIAM W.

FISHER III, PROMISES TO KEEP: TECHNOLOGY, LAW, AND THE FUTURE OF ENTERTAINMENT࢖ࣝࡢࢲ࣮࢘ࣥࣟࢻࡣࡑࢀࢆୖ₇ࡋࡓࡇ࡜࡟ࡣ࡞ࡽ࡞࠸࡜ุ♧ .㏻ᖖࡣࠊ୧ᙜ஦⪅(2004); Ginsburg, supra note 64, at 286–88; Neil Weinstock Netanel, Impose a Noncom-ࡀࠊⱥ㞝ⓗ࡛ࡣ࠶ࡿࡀྜ⌮ᛶࢆḞࡃ຾฼ࡢ⫼ᬒ࡟࠶ࡿ୍⯡ཎ๎ࢆཷࡅධࢀࡘࡘࠊ௚

mercial Use Levy To Allow Free Peer-to-Peer File Sharing, 17 HARV. J.L. & TECH. 1

᪉࡛ᙜヱッゴ࡜ఝࡓ஦᱌࡟ᑐࡍࡿ㐺⏝ࡣᣄࡴ࡜࠸࠺ᙧࡢ❧ἲ࡟ྠពࡍࡿ࡜࠸࠺ᖐ

(2003); Jerome H. Reichman, Graeme B. Dinwoodie & Pamela Samuelson, A Reverse⤖࡟⤊ࢃࡿࡇ࡜ࡀከ࠸ࠋSee Litman, supra note 59, at 592–93.ࡋࡓࡀࡗ࡚ࠊMAI

Notice and Takedown Regime To Enable Public Interest Uses of Technically Protected

Systems Corp., 991 F.2d 511 ࡣࢥࣥࣆ࣮ࣗࢱಖᏲࢧ࣮ࣅࢫࡀࠊࢧ࣮ࣅࢫࢆ⾜࠺ୖ࡛ࢥCopyrighted Works, 22 BERKELEY TECH. L.J. 981 (2007); Pamela Samuelson, Preliminaryࣥࣆ࣮ࣗࢱࢆసືࡉࡏࡿ㝿࡟౵ᐖ࡟ヱᙜࡍࡿ」〇ࢆ⾜࠺ࡇ࡜࡟࡞ࡿ࡜ุ♧ࡋࡓࠋࡇ

Thoughts on Copyright Reform, 2007 UTAH L. REV. 551. ⟶ぢࡢ㝈ࡾࠊࡇࢀࡽࡢᥦ᱌ࡣ࠸

ࡢุỴࡣࠊ᮲ᩥࡢᩥゝࡢㄞࡳ᪉࡜ࡋ࡚࠸ࡉࡉ࠿㦫វ࡟್ࡍࡿࡶࡢ࡛࠶ࡾࠊ㆟ㄽࢆᣍࡎࢀࡶ❧ἲࡢ┿ᦸ࡞ὀ┠ࢆ㞟ࡵ࡚࠸࡞࠸ࡼ࠺࡟ᛮࢃࢀࡿࠋ

᮶ࡋࡓࠋSee, e.g., Pamela Samuelson, Legally Speaking: The NII Intellectual PropertyE.g., Hotaling v. Church of Jesus Christ of Latter-Day Saints, 118 F.3d 199 (4th Cir.

Report, COMMS. OF THE ACM, Dec. 1994, at 21. ࢹࢪࢱ࣭࣑ࣝࣞࢽ࢔࣒ⴭసᶒἲࡢ୍㒊1997) ㏻ᖖࡢᅗ᭩㤋࡛ࠊ」〇≀ࢆ฼⏝ᐈ࡟฼⏝ྍ⬟࡞≧ែ࡟ࡍࡿࡇ࡜ࡣ㡺ᕸᶒ౵ᐖ࡜ࡋ࡚ࠊ㆟఍ࡣࢥࣥࣆ࣮ࣗࢱಖᏲࢧ࣮ࣅࢫࡀࢧ࣮ࣅࢫࢆ⾜࠺㝿࡟ࢥࣥࣆ࣮ࣗࢱࢆస

࡟ヱᙜࡍࡿ࡜ุ♧ ; Am. Geophysical Union v. Texaco, Inc., 60 F.3d 913 (2d Cir. 1994)

ືࡉࡏࡿ⾜Ⅽ࡟㛵ࡍࡿ౛እࢆ᫂♧ⓗ࡟❧ἲࡋࡓࡀࠊ⏘ᴗ⏺࠿ࡽࡢᅽຊ࡟ᒅ᭹ࡋࠊࢥ

⛉Ꮫ◊✲┠ⓗ࡛ㄽᩥࢆࢥࣆ࣮ࡍࡿ⾜Ⅽࡣࣇ࢙࢔࣭࣮ࣘࢫ࡟ヱᙜࡋ࡞࠸࡜ุ♧ ;ࣥࣆ࣮ࣗࢱࡢసືࡀࢥࣥࣆ࣮ࣗࢱࡢ OS ࢯࣇࢺࡢⴭసᶒ౵ᐖ࡟ヱᙜࡋ࠺ࡿ࡜࠸࠺㦫

MAI Sys. Corp. v. Peak Computer, Inc., 991 F.2d 511 (9th Cir. 1993) ࢥࣥࣆ࣮ࣗࢱࡢస

វ࡟್ࡍࡿ୍⯡ㄽࢆᣄ⤯ࡋ࡞࠿ࡗࡓࠋSee 17 U.S.C. § 117 (2006).

ືࡣ OS ࢯࣇࢺࡢⴭసᶒࢆ᭷ࡍࡿேࡢ」〇ᶒࢆ౵ᐖࡍࡿ࡜ุ♧ ; United States v. Am.

Soc’y of Composers, Authors & Publishers, 485 F. Supp. 2d 438 (S.D.N.Y. 2007) ᴦ᭤ࣇ2008), http://www.australianit.news.com.au/story/0,24897,24202770-5013044,00.html.

࢓࢖ࣝࡢࢲ࣮࢘ࣥࣟࢻࡣࡑࢀࢆୖ₇ࡋࡓࡇ࡜࡟ࡣ࡞ࡽ࡞࠸࡜ุ♧ .





Radio Broadcasts, supra note 85.ࡇࡢጼໃ࡟ࡼࡾࠊ㡢ᴦⴭస≀ཬࡧ㘓㡢ⴭస≀ࡢࣛ࢖

E.g., Am. Soc’y of Composers, Authors & Publishers, 485 F. Supp. 2d at 441 ᴦ᭤ࣇ࢓ ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  

See, e.g., Karen Dearne, Secrecy Claims on Copyright Treaty, AUSTRALIAN IT (Aug. 19,
See generally Section 115 of the Copyright Act, supra note 85; Internet Streaming of▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 సᶒ⪅ࡢࢥࣥࢺ࣮ࣟࣝࢆᣑ኱ࡋ࡚ࠊ౯್ࡢ࠶ࡿ࠶ࡽࡺࡿ฼⏝ࢆࠊ᥮㔠ࡍࡿⴭస⪅ࡣ᪂ࡋ࠸సရࢆసࡿពḧࢆኻࡗ࡚ࡋࡲ࠺ࡋࠊฟ∧♫ࡸᫎ⏬఍♫ࠊࣞ࠿ࠊᑡ࡞ࡃ࡜ࡶ┘どࡍࡿࡇ࡜ࢆྍ⬟࡜ࡍ࡭ࡁ࡛࠶ࡿ࡜୺ᙇࡍࡿ⪅ࡶ࠸ࡿ ࠋࢥ࣮ࢻ఍♫ࡶⴭస≀ࡢὶ㏻࡟ᑐࡍࡿᢞ㈨ࢆࡍࡿពḧࢆኻࡗ࡚ࡋࡲ࠺ࠊ࡜

ࡇ࠺ࡋࡓ⪃࠼ࡣⴭసᶒ࡜ࡑࡢ⾜౑ࢆࠊ↓ᩘࡢಶேⓗ࡞฼⏝࡟ཬࡰࡍ࠿ࡶࡋ

ⴭసᶒ⪅ࡢ୍㒊ࡣ୺ᙇࡋ࡚࠸ࡿࠋࡔ࠿ࡽࡇࡑࠊⴭసᶒ⪅࡟ࠊⴭస≀ࡢ」ࢀ࡞࠸ࡀࠊࡑࢀࡽࡢ฼⏝࡟ࡣ㠀ၟᴗⓗ࡞฼⏝ࡸබ࡛ࡣ࡞࠸฼⏝ࡀྵࡲࢀ〇≀ࡢసᡂࠊ㡺ᕸࢆࢥࣥࢺ࣮ࣟࣝࡍࡿࡓࡵࡢᐇຠⓗ࡞ἲⓗ㐨ලࢆ୚࠼ࡿࡇ

ࡿࠋࡑࡋ࡚ࡑࢀࡽࡢ୺ᙇࡣࠕⴭసᶒ࡜ࡣⴭస≀ࡢ౯್࠶ࡿ฼⏝඲࡚࠿ࡽ฼࡜ࡀᚲせ୙ྍḞ࡛࠶ࡾࠊࡉࡽ࡟ ᙼࡽ࡟ࡼࢀࡤ ࠊᐇ㝿ᡃࠎࡀ㈠᫆ࣃ࣮ࢺࢼ

┈ࢆᚓࠊ⟶⌮ࡍࡿࡇ࡜ࢆྍ⬟࡟ࡍࡿ࡭ࡁࡶࡢ࡛࠶ࡿࠖ࡜࠸࠺⌮ᒅ࡟ᇶ࡙࠸

࣮࡜▱ⓗ㈈⏘᮲⣙ࢆ⥾⤖ࡋࡓࡇ࡜࡛ࠊࡲࡉ࡟ࡑࡢࡼ࠺࡟ࡍࡿ⩏ົࢆ㈇ࡗ࡚

࡚࠸ࡿࠋ

࠸ࡿࡢࡔ࡜࠸࠺ࠋࡲࡓᙼࡽࡣࠊࢹࢪࢱ࣭ࣝࢿࢵࢺ࣮࣡ࢡᢏ⾡ࡀࡶࡓࡽࡋ ࡇࡢࡼ࠺࡞ヨࡳࢆ⫼ᬒ࡛ᨭ࠼ࡿㄝ᫂࡟ࡼࢀࡤࠊࢹࢪࢱ࣭ࣝࢿࢵࢺ࣮࣡ࢡ

ࡓ᪂ࡋ࠸฼⏝ᙧែ࠿ࡽ฼┈ࢆᚓࡿᶒ฼ࢆⴭసᶒ⪅ࡀ᭷ࡋ࡚࠸ࡿ࡜ࡶ୺ᙇ

ᢏ⾡ࡣⴭసᶒไᗘ࡟᰿ᮏⓗ࡞⬣ጾࢆࡶࡓࡽࡋ࡚࠾ࡾࠊಶேࡀࢹࢪࢱࣝᙧᘧ

ࡋࠊⴭసᶒࡢไᐃἲࡣࡇ࠺ࡋࡓ᪂ࡋ࠸฼⏝࡟ᑐࡍࡿࢥࣥࢺ࣮ࣟࣝࡀⴭస

࡛ከᩘࡢ᏶⎍࡞ⴭస≀ࡢ」〇ࢆ⡆༢࠿ࡘᏳ౯࡛⾜࠸ࠊࡑࢀࢆୡ⏺୰࡟ὶ㏻

ᶒࡢᶒ฼⪅࡟ᖐᒓࡋࠊᖐᒓࡍࡿ࡭ࡁࡔ࡜࠸࠺ࡇ࡜ࢆ᫂ࡽ࠿࡟ࡍ࡭ࡁ࡛࠶ࡿ

ࡉࡏࡿࡇ࡜ࢆྍ⬟࡟ࡋ࡚࠸ࡿࠊ࡜࠸࠺ ࠋ↓᩿࡛⾜ࢃࢀࡿᏳ౯࡛⡆༢࡞࡜୺ᙇࡋ࡚࠸ࡿࠋ

」〇ࡣࠊⴭస≀ࡢ኱㔞㡺ᕸ࡟ᑐࡋ࡚ⴭసᶒ⪅ࡀࢥࣥࢺ࣮ࣟࣝࢆཬࡰࡏ࡞ࡃ

➹⪅ࡀ๓㏙ࡋࡓࠕⴭసᶒࡢఏ⤫ⓗ࡞ἲ࡜⤒῭ᏛⓗほⅬ㺁ࢆල⌧ࡍࡿࠊࡍࡿࡇ࡜࡟ࡼࡾࠊⴭసᶒࡢ࢖ࣥࢭࣥࢸ࢕ࣦࢆ㔜኱࡟㜼ᐖࡍࡿࡶࡢ࡜࠸ࢃࢀ

ࡇ࠺ࡋࡓㄝ᫂ࡢ๓ᥦࡣࠊ␲ࡗ࡚࠿࠿ࡿ࡭ࡁࡶࡢ࡛࠶ࢁ࠺ࠋࡇࡢ⪃࠼࡟ࡼࡿ࡚࠸ࡿࠋⴭసᶒ࡜࠸࠺ྡࡢሐ㜵࡟࠶ࡿࡇ࠺ࡋࡓ₃ࢀࢆಟ᚟ࡋ࡞࠸㝈ࡾࠊ࡜ࠊ፹௓ᴗ⪅ࡀᚲせ୙ྍḞ࡞ⴭసᶒ࢔ࢡࢱ࣮࡛࠶ࡗ࡚ࠊᙼࡽࡢ฼┈ࡣࢡࣜ

࢚࢖ࢱ࣮ࡸㄞ⪅ࡸど⫈⪅ࡢ฼┈࡜㐃ືࡋ࡚࠸ࡿ࡜࠸࠺ࠋ፹௓ᴗ⪅࡟ᙉ࠸ࢭࣥࢫ᮲㡯࡛࠶ࡿ § 114 ࡜ §115 ࡢពᅗࡀ୙᫂☜࡞ࡶࡢ࡜࡞ࡗࡓࠋ

ᶒ฼ࢆㄆࡵࡿࡇ࡜ࡀࢡ࢚ࣜ࢖ࢱ࣮ࡸ࣮ࣘࢨ࣮ࢆ฼ࡍࡿࡇ࡜࡟⧅ࡀࡿࡢ࠿

ྰ࠿࡟ࡘ࠸࡚ࡣᐇドⓗ࡞ၥ㢟࡛࠶ࡿ࡟ࡶ࠿࠿ࢃࡽࡎࠊᮍࡔᐇド◊✲ࡢᑐSee, e.g., Ensuring Artists Fair Compensation: Updating the Performance Right andPlatform Parity for the 21st Century: Hearing Before the Subcomm. on Courts, the Internet,
and Intellectual Prop. of the H. Comm. on the Judiciary, 108th Cong. 1–3 (2007) (state-

ment of Rep. Berman); id. at 31–33 (testimony of Judy Collins, recording artist); An Up-date: Piracy on University Networks, supra note 51, at 1–3 (statement of Rep. Berman); id.

Siege: Reflections of an In-House Counsel, 53 J. COPYRIGHT SOC’Y U.S.A. 387 (2006).

at 6–8 (testimony of Cary Sherman); Content Protection in the Digital Age: The BroadcastFlag, High-Definition Radio, and the Analog Hole: Hearing Before the Subcomm. on

Copyright Office and the Nat’l Telecomms. & Info. Admin. (2000), available at http://www.

Courts, the Internet, and Intellectual Prop. of the H. Comm. on the Judiciary, 109th Cong.

copyright.gov/reports/studies/dmca/testimony/transcript.pdf (testimony of Steven Metalitz,

6–8 (2005) [hereinafter Content Protection in the Digital Age] (testimony of Dan Glick-

representing American Film Marketing Association and six other trade groups); Brief ofman); id. at 11–13 (testimony of Mitch Bainwol, RIAA).

Americans for Tax Reform as Amicus Curiae in Support of Appellees Urging Affirmance atSee Litman, supra note 59, at 595–99.

15–20, Cartoon Network LP, LLLP v. CSC Holdings, Inc., 536 F.3d 121 (2d Cir. 2008)See Ginsburg, supra note 81; see also, e.g., Piracy Deterrence and Education Act of(Nos. 07-1480-cv(L), 07-1511-cv(CON)), 2007 WL 6101600.

2003: Hearing on H.R. 2517 Before the Subcomm. on Courts, the Internet and IntellectualSee, e.g., HELPRIN, supra note 65, at 81–86; Henry Horbaczewski, Copyright Under6ee, e.g., Joint Study on 17 U.S.C. Sections 109 and 117: Public Hearing Before the U.S.

See, e.g., Internet Streaming of Radio Broadcasts, supra note 85, at 37–39 (testimony ofProp. of the H. Comm. on the Judiciary, 108th Cong. 61–66 (2003) (testimony of Maren

Steven M. Marks, General Counsel, RIAA). See generally Julie E. Cohen, Lochner in Cy-

Christensen, Vice President, Intellectual Property Counsel, Universal Studios).

berspace: The New Economic Orthodoxy of “Rights Management,” 97 MICH. L. REV. 462

See, e.g., Stephen Manes, Full Disclosure: Copyright Law—Ignore at Your Own Peril,(1998) ㆟ㄽࢆᢈุ .

PCWORLD (July 30, 2003, 3:00 AM), http://www.pcworld.com/article/111657/full_disclosure_copyright_lawignore_at_your_own_peril.html.

supra text accompanying notes 76–80.

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  

See PATRY, supra note 30, at 62; Cohen, supra note 125; Zimmerman, supra note 29;▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ㇟࡜ࡉࢀࡓࡇ࡜ࡀ࡞࠸ࠋࡴࡋࢁ┤ឤ࡟ッ࠼ࡿࡶࡢ࡜ࡋ࡚୺ᙇࡉࢀ࡚࠸

ࡼ࠺࡞␲ၥࡀ⏕ࡲࢀࡿࡔࢁ࠺ࠋ୰㛫ࡢ࡜ࡇࢁ࡟ⴠ࡜ࡉࢀࡿ࠾㔠ࡣ୍య࡝ࢇ

ࡿࠋ፹௓ᴗ⪅ഃࡢࣟࣅ࢖ࢫࢺ࡟࡞ࡗ࡚ࡋࡲࡗࡓே࡟࡜ࡗ࡚ࡣᨻ἞ⓗ࡟㒔࡞ᙺ๭ࢆᯝࡍࡢࡔࢁ࠺࠿㸽࠾ࡑࡽࡃ⌧ᅾࡢⴭసᶒไᗘࡀⴭస≀ࡢ๰స࣭㡺ྜࡢⰋ࠸ࡶࡢ࡞ࡢࡔࢁ࠺ࠋࡇࡢᴫᛕࡣ፹௓ᴗ⪅ࡢᶒ฼ࡢ኱つᶍ࡞ᣑ኱ࢆ

ᕸ࡟ྥࡅࡓᢞ㈨ࡢࡓࡵ࡜ࡋ࡚፹௓ᴗ⪅࡟୚࠼ࡿ࢖ࣥࢭࣥࢸ࢕ࣦࡣࠊࢹࢪࢱ

㐣ཤᖺ࡟ࢃࡓࡗ࡚ṇᙜ໬ࡋ࡚ࡁࡓࠋࡑࡢ᫬௦࡟ࠊⴭసᶒࡢಖㆤ⠊ᅖࡣࣝࡢୡ⏺࡛ࡣࡓࡔ༢࡟㐣኱࡜࡞ࡗ࡚࠸ࡿྍ⬟ᛶࡀ࠶ࡿ ࠋᙉ኱࡞⊂༨ࡢ᱁ẁ࡟ᗈࡀࡗࡓ ࠋࡇ࠺ࡋࡓᣑ኱ࡢ኱㒊ศࡣࠊࢡ࢚ࣜ࢖ࢱ࣮ࡸ࣮ࣘࢨ࣮ࡼ
ࣞࣥࢺࡀ࠶ࡿࡓࡵ࡟ࠊศ㓄ᴗ⪅ࡣ⮬ࡎ࡜ᩛᑐࡍࡿⴭస≀ᕷሙࡸࠊᩛᑐࡍࡿ

ࡾࡶ፹௓ᴗ⪅ࢆ㇏࠿࡟ࡋࡓ ࠋࢡ࢚ࣜ࢖ࢱ࣮ࡸ࣮ࣘࢨ࣮ࡀ፹௓ᴗ⪅ࡢⴭ㡺ᕸ࣮ࣝࢺࢆつไࡍࡿࡇ࡜࡟⢭ຊࢆὀࡈ࠺࡜ࡍࡿ࠿ࡶࡋࢀ࡞࠸ࠋ፹௓ᴗ

సᶒࡢᣑ኱࠿ࡽࠊ㛫᥋ⓗ࡟฼┈ࢆாཷࡍࡿࡢࡔ࡜ࡍࡿ፹௓ᴗ⪅ࡢ᧦ㆤ⪅ࡢ⪅ࡢ࢖ࣥࢭࣥࢸ࢕ࣦࢆ኱ࡁࡃࡋ㐣ࡂࡿ࡜ࠊࡼࡾ฼┈ࢆ⏕ࡳฟࡏࡿⴭస≀୺ᙇࡀ௬࡟ṇࡋࡅࢀࡤࠊ፹௓ᴗ⪅ࡢⴭసᶒࢆࡉࡽ࡟ᣑ኱ࡍࢀࡤ⮬ືⓗ࡟ࢆࡉࡽ࡟኎ࡾ㎸ࡴᶵ఍ࢆᣑ኱ࡍ࡭ࡃࠊ࠶ࡲࡾ኎ࢀ࡞࠸ⴭస≀ࢆேࠎ࠿ࡽ㐲ᡃࠎ඲ဨࡀ㇏࠿࡟࡞ࡿࡣࡎ࡛࠶ࡿࠋࡋ࠿ࡋⴭసᶒไᗘࡢᐇ㝿ࡢጼࡀࠊ༢⣧ࡊࡅࡼ࠺࡜ࡍࡿ⾪ື࡟㥑ࡽࢀࡿࡔࢁ࠺ࠋࡇ࠺ࡋࡓไᗘࡣࢹࢪࢱࣝⴭసᶒ࡞ἲ࡜⤒῭Ꮫࣔࢹࣝ࡜ࡣఝ࡚ࡶఝࡘ࠿࡞࠸ࡶࡢ࡟࡞ࡗ࡚࠸ࡿ࡜ࡍࢀࡤࠊ

⟶⌮ᢏ⾡࡟ᑐࡍࡿ↓㥏࡞ᢞ㈨ࢆಁ㐍ࡍࡿ࠿ࡶࡋࢀ࡞࠸ࠋᐇ㝿ࠊ፹௓ᴗ⪅࡟ࡑ࠺ࡋࡓ᪉ྥ࡟ᣑ኱ࡍࡿࡇ࡜ࡣ⤒῭Ꮫ⪅ࡀ࠸࠺࡜ࡇࢁࡢࠕṚⲴ㔜ࠖࢆᣍ᮶㐣ᗘࡢ࢖ࣥࢭࣥࢸ࢕ࣦࢆ୚࠼࡚ࡋࡲ࠺࡜ࠊⴭసᶒࡢ᮲ᩥࢆࠊ➇ྜࡍࡿ࣓ࢹ

ࡍࡿ࡟⤊ࢃࡿ࡟Ṇࡲࡿࠋⴭసᶒไᗘࡢཷ┈⪅࡛࠶ࡿࡣࡎࡢࢡ࢚ࣜ࢖ࢱ

࢕࢔࡟ᑐࡍࡿཧධ㞀ቨ࡜ࡋ࡚ᶵ⬟ࡍࡿࡼ࠺࡞ᙧ࡟ᨵṇࡍࡿࡓࡵ࡟⾜ࢃࢀ࣮ࡸ࣮ࣘࢨ࣮࠿ࡽぢࡓሙྜࡢไᗘࡢḞⅬࡢཎᅉࡣࠊ๓㏙ࡋࡓࡼ࠺࡟ࠊ፹௓

ࡿࠊ㠀ᖖ࡟㈝⏝ࡢ࠿࠿ࡿࣟࣅ࢖ࣥࢢάືࢆಁ㐍ࡋ࡚ࡋࡲ࠺ࡇ࡜࡟࡞ࡾ࠿ࡡ

ᴗ⪅࡟ⴭస≀ࡢ㡺ᕸ࡜฼⏝࡟㛵ࡍࡿࢥࣥࢺ࣮ࣟࣝᶒࢆࢹࢪࢱ࣭ࣝࢿࢵࢺ࣡

࡞࠸ࠋࡇࢀࡣࠊ࠸ࢃࡺࡿⴭసᶒࣜࣇ࢛࣮࣒࡞ࡿࡶࡢ࡟㛵ࡍࡿ⌧ᅾࡢືྥࡢ

࣮ࢡࡢୡ⏺࡟࠾࠸࡚ྜ⌮ᛶࢆ᭷ࡍࡿ㔞ࢆ㉸࠼࡚୚࠼ࡿ࡜࠸࠺ࠊⴭసᶒࡢ౽

ᐇែࢆࡼࡃㄝ᫂ࡍࡿླྀ㏙࡜࠸࠼ࡿࡢ࡛ࡣ࡞࠿ࢁ࠺࠿ࠋࡇ࠺ࡋࡓవศ࡞࢖ࣥ

┈ࡢ㓄ศࡢㄗࡾ࡟㉳ᅉࡋ࡚࠸ࡿࡢ࡛࠶ࡿࠋ

ࢭࣥࢸ࢕ࣦࢆྲྀࡾ㝖ࡅࡤࠊⴭసᶒไᗘࡣࡶࡗ࡜೺඲࡞࢚ࢥࢩࢫࢸ࣒࡜ࡋ

௬࡟⌧ᅾࡢࠊࢡ࢚ࣜ࢖ࢱ࣮ࡀཷࡅྲྀࡿⴭసᶒࡢഹ࠿࡞ศࡅ๓ࡀ๰సάື

࡚ᶵ⬟ࡍࡿࡢ࡛ࡣ࡞࠸ࡔࢁ࠺࠿㸽ࢆ⥅⥆ࡉࡏࡿࡢ࡟༑ศ࡛ࠊㄞ⪅ࡸど⫈⪅࡟ࡼࡿࠊࢡ࢚ࣜ࢖ࢱ࣮ࡢ๰సࡋࡓ

ⴭసᶒࡢᨭศᶒࡢ⸭ࡀ᪤࡟ᮏ᮶࠶ࡿ࡭ࡁࡼࡾࡶᐦ࡟࡞ࡗ࡚࠸ࡿ࡜࠸࠺

ⴭస≀࡟㛵ࡍࡿ⌧ᅾࡢഹ࠿࡞฼⏝ࢆಁ㐍ࡍࡿࡢ࡟༑ศ࡛࠶ࡿ࡞ࡽࡤࠊḟࡢぢゎ࡟ᑐࡋ࡚ࡣࠊ࢖ࣥࢭࣥࢸ࢕ࣦ࡟ᇶ࡙࠸࡚ⴭసᶒࡢ⠊ᅖࡸ῝ࡉࠊᙉࡉࠊ




See PATRY, supra note 30, at 62; David McGowan, Copyright Nonconsequentialism, 69

MO. L. REV. 1, 2–7 (2004); Zimmerman, supra note 29.㛗ࡉࡢ⦰ᑠ࡟ᑐࡍࡿ཯ᑐពぢࡀၐ࠼ࡽࢀࡿࡇ࡜ࡀከ࠸ࠋⴭసᶒࢆ⦰ᑠࡍࡿ
࡜ࠊࢡ࢚ࣜ࢖ࢱ࣮ࡀ᪂ࡋ࠸ⴭస≀ࢆ๰సࡋ㡺ᕸࡉࡏࡿ࢖ࣥࢭࣥࢸ࢕ࣦࡀῶ
ࡾࠊㄞ⪅ࡸど⫈⪅ࡢⴭస≀ࡢ฼⏝ࡶῶࡗ࡚ࡋࡲ࠺ࠊ࡜࠸ࢃࢀ࡚ࡁࡓࠋⴭ

See, e.g., NEIL WEINSTOCK NETANEL, COPYRIGHT’S PARADOX 54–80 (2008).ࠕึᮇࡢ

సᶒࡢ࢖ࣥࢭࣥࢸ࢕ࣦㄽࡣࠊࡑࡢᨭᣢ⪅ࡀ⮬ㄆࡋ࡚࠸ࡿ௨ୖ࡟ࡑࡢ᰿ᣐ

⡿ᅜࡢⴭసᶒ⪅࡜ẚ㍑ࡍࡿ࡜ࠊ⌧ᅾࡢⴭసᶒ⪅ࡣࡼࡾከࡃࡢ✀㢮ࡢබ⾲ࡉࢀࡓⴭస

ࡀ␲ࢃࡋ࠸ࡶࡢ࡛࠶ࡿࠋDavid McGowan ࡢ♧၀ⓗ࡞ㄽᩥ࡟ࡼࢀࡤࠊ⤒῭≀ࢆໟᣓࡍࡿ཰ᐜ⬟ຊࡢ኱ࡁ࠸ᶒ฼ࡢ᮰ࢆாཷࡋ࡚࠾ࡾࠊࡑࡢಖㆤᮇ㛫ࡣࡣࡿ࠿࡟
㛗ࡃࠊ௚᪉࡛ࠊᚲせ࡜ࡉࢀࡿ᮲௳ࡣࡼࡾᑡ࡞࠸ࡶࡢ࡜ࡉࢀ࡚࠸ࡿࠋ
ࠖId. at 55.ࢹࢪࢱࣝ㡺ᕸࡀࠊᕤሙࡸᗑ㢌ࠊࢺࣛࢵࢡࢆ⏝࠸ࡿࣁ࣮ࢻࢥࣆ࣮ࡢศ㓄࡟ྲྀࡗ࡚ⓗ࡞ほⅬ࠿ࡽⴭసᶒἲࡢಶูࡢ࣮ࣝࣝࢆṇᙜ໬ࡋࡼ࠺࡜ࡍࡿヨࡳࡣࠊ౛እ
࡞ࡃࠊ᭱⤊ⓗ࡟ࡣ┤ឤࡸ᥎ ࡟౫Ꮡࡋ࡚࠸ࡿࠋⴭసᶒࡢ⤒῭ⓗほⅬ࠿ࡽ௦ࢃࡿ⊂❧ࡋࡓ௦᭰ᡭẁ࡜ࡋ࡚ࡢࡋୖࡀࡗࡓᖺ࠿ࡽᖺࡢ㛫࡟ࠊⴭసᶒ⪅ࡀⴭస

≀ࡢ₯ᅾⓗ࡞฼⏝࡟ᑐࡋཬࡰࡍἲⓗࢥࣥࢺ࣮ࣟࣝࡣ⾶㏥ࡍࡿࡇ࡜࡞ࡃࠊࡴࡋࢁࠊ୺

࡜ࡋ࡚ไᐃἲ࡟ࡼࡽ࡞࠸ᙧ࡛ࠊⴭసᶒࡢᶒ฼⠊ᅖࡀ኱つᶍ࡟ᣑ኱ࡋࡓࡇ࡜࡟ࡼࡾⓎ

and the Digital Millennium Copyright Act, 87 VA. L. REV. 813, 870–93 (2001).

㐩ࡋࡓࠋSee id. at 60–80; Litman, supra note 59, at 593–96.





ture: Humpty Dumpty in Copyrightland, 51 J. COPYRIGHT SOC’Y U.S.A. 677, 689 (2004).

See, e.g., Julie E. Cohen, Copyright and the Perfect Curve, 53 VAND. L. REV. 1799,

1801–04 (2000).

 ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  See Glynn S. Lunney, Jr., The Death of Copyright: Digital Technology, Private Copying,See, e.g., I. Fred Koenigsberg, The Fifth Annual Christopher A. Meyer Memorial LecMcGowan, supra note 127; accord Cohen, supra note 125.

▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   㐃⥆௻⏬

┿ࡢⴭసᶒࣜࣇ࢛࣮࣒ 㻸㼕㼠㼙㼍㼚 ࡢṇᙜ໬ࡣࠊࡑࢀࢆ⿬௜ࡅࡿᐇドࢆḞ࠸ࡓࡲࡲࠊಙ௮ࡉࢀࡿ≧ែ࡟ࡲ࡛㧗ⴭసᶒ⪅ࡢࢥࣥࢺ࣮ࣟࣝࢆ࡝࠺ࡸࡗ࡚ᣑ኱ࡍࡿ࠿ࢆ⪃࠼ࡿࡼࡾࠊ࡞ࡐ

ࡵࡽࢀࡓࡶࡢ࡛ࡋ࠿࡞࠸ࠋᖺࡢไᐃἲࡀ඲࡚ࡢⴭసᶒࡢಖㆤᮇ㛫ࢆᣑ኱ࡍ࡭ࡁ࡞ࡢ࠿࡜࠸࠺Ⅼࢆၥ࠺࡭ࡁ࡛࠶ࡿ࡜➹⪅ࡣᥦ᱌ࡍࡿࠋᥦ᱌

ᖺᘏ㛗ࡋࡓ⤖ᯝ ࠊฟ∧♫ࡣⴭస⪅࡟ᨭᡶ࠺๓㔠ࢆ್ୖࡆࡋࠊᫎ⏬ࢫࢱࢪࡉࢀ࡚࠸ࡿⴭసᶒ⪅ࡢ≉ᶒࡢᣑ኱ࡣࠊࢡ࢚ࣜ࢖ࢱ࣮ࡢᶵ఍ࢆᣑ኱ࡋࡓࡾࠊ

࢜ࡶ⬮ᮏᐙ࡬ࡢሗ㓘ࢆ್ୖࡆࡋࡓࠊ࡜࠸ࡗ࡚࠸࠼࡞࠸ࡇ࡜ࡣ࡞࠸࠿ࡶࡋࢀㄞ⪅ࡸど⫈⪅ࡢⴭస≀ࡢ฼⏝ࢆᨵၿࡋࡓࡾࡍࡿࡢࡔࢁ࠺࠿㸽ⴭసᶒไᗘ

࡞࠸ࠋᖺࡢ㘓㡢≀ࡢࢹࢪࢱࣝᐇ₇ᶒ࡟㛵ࡍࡿἲᚊ the 1995 Digitalࢆࡶࡗ࡜⡆⣲࡛ࠊຠ⋡ⓗ࡛ࠊࡼࡾ㏱᫂࡞ࡶࡢ࡟ࡍࡿࡢࡔࢁ࠺࠿㸽ⴭసᶒἲ࡟ᑐࡍࡿ཯ᛂ࡜ࡋ࡚ࠊ࣑࣮ࣗ

ࡣࠊ⾲ぢⓗ࡞ṇ⤫ᛶࢆቑᙉࡍࡿ᪉ྥ࡟タィࡉࢀ࡚࠸ࡿࡼ࠺࡟ᛮࢃࢀࡿࡔࢁ

ࢪࢩࣕࣥࡣ㡢ᴦࣞࢥ࣮ࢹ࢕ࣥࢢࡢ㉁ࢆ኱ᖜ࡟ྥୖࡉࡏࡓࠊ࡜࠸ࡗ࡚࠸࠼࡞

࠺࠿㸽ࡶࡋࡇࢀࡽࡢၥ࡟ᑐࡍࡿ⟅࠼ࡀྰ࡜࠸࠺ࡇ࡜࡛࠶ࢀࡤࠊᙜヱᥦ᱌ࡣ࠸ࡇ࡜ࡣ࡞࠸࠿ࡶࡋࢀ࡞࠸ࠋMcGowan ᩍᤵࡀ୺ᙇࡍࡿࡼ࠺࡟ࠕᡃࠎࡣఱ

⌧ᅾࡢΰ஘ࢆⰋࡃࡍࡿࡇ࡜ࡣ࡞ࡃࠊ࠿࠼ࡗ࡚ᝏ໬ࡉࡏࡿ࡟㐪࠸࡞࠸ࠋ

Performance Right in Sound Recordings Actࡶࢹ࣮ࢱࢆᣢࡗ࡚࠸࡞࠸ࡢࡔ࠿ࡽࠊィ⟬ࡍࡿࡇ࡜ࡶ࡛ࡁ࡞࠸ࡋࠊࡣࡗࡁ
ࡾ࡜࠸࠺ࡇ࡜ࡶ࡛ࡁ࡞࠸ࡢ࡛࠶ࡿ㺁 ࠋⴭసᶒไᗘࡀⴭస≀ࡢ๰సࠊὶ㏻ࠊ฼⏝ࡢಁ㐍ࢆ┠ⓗ࡜ࡋ࡚࠸ࡿ࡞ࡽࠊ
⌧ᅾࡢἲࡀ๰సࠊὶ㏻ࠊ฼⏝࡟ㄢࡋ࡚࠸ࡿ㈇Ⲵࢆῶࡽࡍࡓࡵ࡟ࣛ࢖ࣥࢆᘬ

ⴭసᶒᨵṇࡢ㈼᫂࡞࢔ࣉ࣮ࣟࢳࡣࡇࡢࣔࢹࣝࢆ⪃࠼┤ࡍࡇ࡜࠿ࡶࡋࢀ

ࡁ┤ࡍࡇ࡜࡟ࡣព⩏ࡀ࠶ࡿ࠿ࡶࡋࢀ࡞࠸ࠋ⌧ᅾࡢⴭసᶒࡢ⌧≧࡟῝ࡃᰁ࡞࠸ࠋࢡ࢚ࣜ࢖ࢱ࣮࡜࣮ࣘࢨ࣮ࡢ୧᪉ࡀࠊศ㓄ᴗ⪅୰ᚰࡢⴭసᶒἲ࡟ࡼ

ࡲࡗ࡚࠸ࡿே࡟࡜ࡗ࡚ࡣࠊࡇ࠺ࡋࡓ⪃࠼ࡀ༴㝤࡞ࡶࡢ࡟ឤࡌࡽࢀࡿࡔࢁ࠺ࠋ

ࡗ࡚⹢ࡆࡽࢀ࡚࠸ࡿࡢ࡛࠶ࢀࡤࠊࡑࡋ࡚ࢹࢪࢱࣝ㡺ᕸᢏ⾡࡟ࡼࡗ࡚ከ኱

࡞ࡐ࡞ࡽ๰సࠊὶ㏻ࠊ฼⏝࡟ᑐࡍࡿ㈇Ⲵࡣࠊⴭసᶒࡀࠕ▱㆑ࡢⓎᒎࠖࢆࡍ

࡞ᢞ㈨ࢆࡋ࡞ࡃ࡚ࡶ኱つᶍ࡞㡺ᕸࡀ࡛ࡁࡿࡼ࠺࡟࡞ࡗࡓࡢ࡛࠶ࡿ࡞ࡽࡤࠊ

ࡿୖ࡛ࡢ㔜せ࡞ᡭẁࡔ࠿ࡽ࡛࠶ࡿࠋࡇࡢ࢔ࣉ࣮ࣟࢳࢆ㐍ࡵࡿୖ࡛ࡣࠊሀ

࠾ࡑࡽࡃⴭసᶒไᗘࡢ౽┈ࢆ෌㓄ศࡍࡿ࡭ࡁ᫬ࡀ᮶ࡓ࡜࠸࠺ࡇ࡜࡞ࡢࡔ

ㄪ࡞฼⏝ robust use ࡀⴭసᶒἲࡢࢦ࣮ࣝ࡜┦཯ࡋ࡚࠸ࡓࡾࠊࢦ࣮ࣝࢆᦆ

ࢁ࠺ࠋศ㓄ᴗ⪅ࡢࢥࣥࢺ࣮ࣟࣝࢆᙉ໬ࡋ࡚ࡶࠊࢡ࢚ࣜ࢖ࢱ࣮ࡢ⏕άࢆᴦ࡟࡞࠺ࡶࡢࡔ࡜࠸࠺⪃࠼ࢆᤞ࡚ཤࡽ࡞ࡅࢀࡤ࡞ࡽ࡞࠸ࠋⴭసᶒࡢሀㄪ࡞฼

ࡋࡓࡾࠊࢡ࢚ࣜ࢖ࢱ࣮࡟ࡼࡾሗ࠸ࡿࡇ࡜࡟࡞ࡗࡓࡾࡍࡿࢃࡅ࡛ࡣ࡞࠸ࡼ

⏝ࡣࡑࢀ⮬యࠊⴭసᶒࡢ᰾࡜࡞ࡿࢦ࣮ࣝ࡞ࡢ࡛࠶ࡗ࡚ࠊࡇࢀࡲ࡛ศ㓄ᴗ⪅࠺࡟ᛮࢃࢀࡿࠋⴭసᶒࣟࣅ࢖ࢫࢺࡣ㏆ᖺࡢⴭసᶒࡢᣑ኱࡟ࡼࡗ࡚ㄞ⪅ࡸ࡟ࡇࢀ࡯࡝ࡢࢥࣥࢺ࣮ࣟࣝࢆㄆࡵ࡚ࡁࡓࡢࡣࠊ฼⏝ࢆಁ㐍ࡍࡿࡓࡵ࡞ࡢ࡛ど⫈⪅ࡢⴭస≀ࡢ฼⏝⾜Ⅽࡀ౽฼࡟ࠊ࠶ࡿ࠸ࡣ᭷┈࡟࡞ࡗࡓ࡜࠸࠺ࡇ࡜ࢆ

࠶ࡿࠋᐇ㝿ࠊ௬࡟ⴭస≀࡟ᑐࡍࡿศ㓄ᴗ⪅ࡢࢥࣥࢺ࣮ࣟࣝࡀࢡ࢚ࣜ࢖ࢱ࣮

♧ࡋ࡚࠸࡞࠸ࠋ࠾ࡑࡽࡃⴭసᶒࡢྂ඾ⓗ࡞࢖࣓࣮ࢪࡣࠊ㐣ᗘ࡟⌧ᐇᛶࢆኻ࡜࣮ࣘࢨ࣮ࡢ฼┈ࢆ㧗ࡵ࡚࠸ࡿࡇ࡜ࡀ᫂ࡽ࠿࡛࡞࠸ࡢ࡞ࡽࡤࠊไᗘࡀᐇ㝿ࢃࡉࢀ࡚ࡋࡲࡗࡓ⤖ᯝࠊࡶࡣࡸ᭷┈࡞ࡶࡢ࡜ࡣ࠸࠼࡞ࡃ࡞ࡗ࡚࠸ࡿࡢࡔࢁ

࡟࡝࠺ᶵ⬟ࡋ࡚࠸ࡿ࠿࡟㛵ࡍࡿᡃࠎࡢ⪃࠼᪉ࢆ⪃࠼┤ࡍᚲせࡀ࠶ࡿࡼ࠺

࠺ࠋࡑࢀࢆ౽฼࡟ࡍࡿࡓࡵ࡟ࠊ࡝ࡇ࠿㐲ࡃ࡟㏣࠸ࡸࡽࢀ࡚ࡋࡲࡗࡓࡢࡔࢁ

࡟ᛮࢃࢀࡿࠋ

࠺ࠋ

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



>ヂ⪅௜グ@Sonny Bono Copyright Term Extension Act of 1998, Pub. L. No. 105-298, § 102, 112

Stat. 2827, 2827–29 (17 U.S.C. §§ 302–304 (1994) ࢆᨵṇࡋࠊ࡯࡜ࢇ࡝ࡢⴭస≀ࡢⴭస ᮏ✏ࡢ⩻ヂࡣࠊ᫂἞኱Ꮫᩥ㒊⛉Ꮫ┬⚾❧኱Ꮫᡓ␎ⓗ◊✲ᇶ┙ᙧᡂᨭ᥼஦ᴗ㸦ᖹᡂᶒಖㆤᮇ㛫ࢆⴭస⪅ࡢṚᚋᖺ࡟ࡲ࡛ᘏ㛗ࡍࡿࡶࡢ࡛࠶ࡿ .

ᖺᗘ㹼ᖹᡂᖺᗘ㸧ࠕ᝟ሗ㈈ࡢከඖⓗ౯್࡜ࠊ๰స࣭฼⏝୺యࡢᙺ๭ࢆ⪃៖ࡋࡓ▱ⓗ㈈⏘ἲయ⣔ࡢ෌ᵓ⠏ࠖࡢᡂᯝࡢ୍㒊࡛࠶ࡿࠋ

Digital Performance Right in Sound Recordings Act of 1995, Pub. L. No. 104-39, 109

Stat. 336 (codified as amended at 17 U.S.C. §§ 114–115 (2006)).
McGowan, supra note 127, at 26.௬࡟ⴭసᶒࡢࣟࣅ࢖ࣥࢢ࣭ࣅࢪࢿࢫ࡟ᚑ஦ࡍࡿ



ேࡀࠊࡑ࠺ࡋࡓຠᯝࡀド᫂ྍ⬟ࡔ࡜ಙࡌ࡚࠸ࡿ࡜ࡍࡿ࡜ࠊᙜ↛ࠊࡑࡢࡼ࠺࡞ࢹ࣮ࢱ

ࢆ㞟ࡵࡿࡣࡎ࡛࠶ࡿࠋ࠾ࡑࡽࡃࠊᙼࡽࡣࡇࡢⅬ࡟㛵ࡋ࡚ࠊ㆟఍ࢆㄝᚓࡍࡿᚲせࡍࡽ(2006); Sara K. Stadler, Incentive and Expectation in Copyright, 58 HASTINGS L.J. 433

࡞࠸࡜ᛮࡗ࡚࠸ࡿࡢࡔࢁ࠺ࠋ

(2007). ▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO  

See Sara K. Stadler, Forging a Truly Utilitarian Copyright, 91 IOWA L. REV. 609, 664▱ⓗ㈈⏘ἲᨻ⟇Ꮫ◊✲ 9RO   