论重混创作行为的法律规制

University of Georgia Press. p123.（1991）.

① See Grand Upright Music, Ltd. v. Warner Bros. Records, Inc., 780 F. Supp. 182, 183 (S.D.N.Y.

1991).

②周艳敏、宋慧献:《滑稽模仿与版权保护》,《出版发行研究》2006年第6期。

③ See Edward Lee, Developing Copyright Practices for User-Generated Content, J. Internet L., July

2009, at 14.

④ 季卫东：《网络化社会的戏仿与公平竞争——关于著作权制度设计的比较分析》，《中国法学》2006年

第3期。

⑤ See Emily Harper, Music Mashups: Testing the Limits of Copyright Law as Remix Culture Takes

Society by Storm, 39 Hofstra L. Rev. 405, Winter, 2010.

⑥ See Aaron Power, Comment, 15 Megabytes of Fame: A Fair Use Defense for Mash-Ups as DJ Culture

Reaches Its Postmodern Limit, 35 Sw. U. L. Rev. 585 (2007).

① See Emily Harper, Music Mashups: Testing the Limits of Copyright Law as Remix Culture Takes

Society by Storm, 39 Hofstra L. Rev. 405, Winter, 2010.

②苏姗·K·塞尔著；《私权、公法:知识产权的全球化》，董刚、周超译，中国人民大学出版社2008年版，

第59页。

③ Ricketson, The Berne Convention for the Protection of Literary and Artistic Works: 1886-1986,

p. 482。

① Campbell v. Acuff-Rose Music, Inc., 510 U.S. 579 (1994).

② Walker, Rob (July 20, 2008). "Mash-up Model". The New York Times Magazine, July 20, 2008, p.15.

Retrieved July 30, 2008.

③ See Emily Harper, Music Mashups: Testing the Limits of Copyright Law as Remix Culture Takes

Society by Storm, 39 Hofstra L. Rev. 405, Winter, 2010.

④ Robert M. Vrana，The Remix Artist's Catch-22: A Proposal for Compulsory Licensing for

Transformative, Sampling-Based Music，68 Wash & Lee L. Rev. 811.