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《中国好声音》的引进、制作与传播,包含了法律与艺术创作、法律与媒体、法律与大众文化的复杂关系。《中国好声音》中涌现出来的电视节目模板版权化、制播分离、资本投入、翻唱等现象和矛盾,反映着音乐产业新链条的形成以及在新的音乐产业链条下音乐作品的控制权的变化,同时见证着著作权法和合同法可能沦为资本攫取私利的工具的危险。种种问题汇流在一起,提醒我们若不警惕,不受节制的资本在契约的掩护下将严重损害艺术创作的自由,“从身份到契约”的过程将极可能成为新的不平等的身份关系的书写。
The introduction, production and dissemination of “China’s Sound” embodies the complex relationship between law and art creation, law and media, law and mass culture. The phenomena and contradictions of the TV program templates in the “Good China Voice”, such as copyrightization, separation of production and broadcasting, capital investment and overhaul, reflect the formation of the new chain of the music industry and the control over the musical works under the new music industry chain Changes, while witnessing the danger that copyright and contract law could become capitalistic tools for private gain. The various problems converge to remind us that, if we are not careful, the uncontrolled capital under the cover of the contract will seriously undermine the freedom of artistic creation and the process of “from identity to contract” will most likely become the new unequal identity Relationship writing.