![\"\"](\"https:\/\/inprojournal.org\/wp-content\/uploads\/2023\/03\/018-cover-734x1024.jpg\")
<\/figure>\n\n\n\n\u0422\u0435\u043e\u0440\u0456\u044f \u0456 \u043f\u0440\u0430\u043a\u0442\u0438\u043a\u0430 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456
\u2116 2 \/ 2025<\/p>\n\n\n\n
ISSN (Print) 2308-0361
ISSN (Online) 2519-2744<\/p>\n\n\n\n
DOI: https:\/\/doi.org\/10.33731\/22025.332762<\/a><\/p>\n\n\n\n Submitted 2025-05-05 <\/p>\n\n\n\n <\/p>\n<\/div>\n\n\n\n The Beijing Treaty on Audiovisual Performances: benefits and perspectives for Ukraine<\/strong><\/p>\n\n\n\n Nadiia Fedorova<\/strong> <\/p>\n\n\n\n Abstract Special attention is paid to the implementation of the Beijing Treaty into the national legislation of Ukraine, which is not yet a party to the treaty. It is shown that accession to the treaty will open new opportunities for Ukrainian performers in the field of international rights protection, increase their competitiveness and facilitate the attraction of additional royalties. The article argues that ratification of the treaty will meet both the strategic goals of state policy in the field of intellectual property and the needs of the cultural and creative sector, especially in the context of an armed conflict, when support for national culture is extremely important. In conclusion, the author notes that accession to the Beijing Treaty could be an important step towards harmonization of Ukrainian legislation with international standards and help protect the rights of performers in the digital economy.<\/p>\n\n\n\n Keywords: <\/strong>audiovisual performances, performers’ rights, related rights<\/p>\n\n\n\n References<\/strong><\/p>\n\n\n\n \u041c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u0430 \u043a\u043e\u043d\u0432\u0435\u043d\u0446\u0456\u044f \u043f\u0440\u043e \u043e\u0445\u043e\u0440\u043e\u043d\u0443 \u0456\u043d\u0442\u0435\u0440\u0435\u0441\u0456\u0432 \u0432\u0438\u043a\u043e\u043d\u0430\u0432\u0446\u0456\u0432, \u0432\u0438\u0440\u043e\u0431\u043d\u0438\u043a\u0456\u0432 \u0444\u043e\u043d\u043e\u0433\u0440\u0430\u043c \u0456 \u043e\u0440\u0433\u0430\u043d\u0456\u0437\u0430\u0446\u0456\u0439 \u043c\u043e\u0432\u043b\u0435\u043d\u043d\u044f \u0432\u0456\u0434 26 \u0436\u043e\u0432\u0442\u043d\u044f 1961 \u0440\u043e\u043a\u0443. \u0414\u043e\u0433\u043e\u0432\u0456\u0440 \u0412\u0441\u0435\u0441\u0432\u0456\u0442\u043d\u044c\u043e\u0457 \u043e\u0440\u0433\u0430\u043d\u0456\u0437\u0430\u0446\u0456\u0457 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456 \u043f\u0440\u043e \u0432\u0438\u043a\u043e\u043d\u0430\u043d\u043d\u044f \u0456 \u0444\u043e\u043d\u043e\u0433\u0440\u0430\u043c\u0438, \u043f\u0440\u0438\u0439\u043d\u044f\u0442\u0438\u0439 \u0414\u0438\u043f\u043b\u043e\u043c\u0430\u0442\u0438\u0447\u043d\u043e\u044e \u043a\u043e\u043d\u0444\u0435\u0440\u0435\u043d\u0446\u0456\u0454\u044e \u0432\u0456\u0434 20 \u0433\u0440\u0443\u0434\u043d\u044f 1996 \u0440\u043e\u043a\u0443. Beijing Treaty on Audiovisual Performances entered into force on 28 April 2020. \u0414\u0440\u043e\u0431\u2019\u044f\u0437\u043a\u043e \u0412. \u0421. \u0406\u0441\u0442\u043e\u0440\u0438\u0447\u043d\u0456 \u0442\u0430 \u0442\u0435\u043e\u0440\u0435\u0442\u0438\u0447\u043d\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u0456 \u0430\u0441\u043f\u0435\u043a\u0442\u0438 \u0441\u0442\u0430\u043d\u043e\u0432\u043b\u0435\u043d\u043d\u044f \u0456 \u0440\u043e\u0437\u0432\u0438\u0442\u043a\u0443 \u043c\u0456\u0436\u043d\u0430\u0440\u043e\u0434\u043d\u043e\u0457 \u0441\u0438\u0441\u0442\u0435\u043c\u0438 \u043e\u0445\u043e\u0440\u043e\u043d\u0438 \u0441\u0443\u043c\u0456\u0436\u043d\u0438\u0445 \u043f\u0440\u0430\u0432: \u043d\u0430\u0443\u043a\u043e\u0432\u043e-\u043f\u0440\u0430\u043a\u0442\u0438\u0447\u043d\u0438\u0439 \u043f\u043e\u0441\u0456\u0431\u043d\u0438\u043a. \u041a\u0438\u0457\u0432 : \u0406\u043d\u0442\u0435\u0440\u0441\u0435\u0440\u0432\u0456\u0441. 2021. 102 \u0441.<\/p>\n\n\n\n \u0421\u0438\u043c\u043e\u043d\u044f\u043d \u042e. \u042e. \u041f\u0435\u043a\u0456\u043d\u0441\u044c\u043a\u0438\u0439 \u0434\u043e\u0433\u043e\u0432\u0456\u0440 \u0437 \u0430\u0443\u0434\u0456\u043e\u0432\u0456\u0437\u0443\u0430\u043b\u044c\u043d\u0438\u0445 \u0432\u0438\u043a\u043e\u043d\u0430\u043d\u044c \u0442\u0430 \u0437\u0430\u0441\u0442\u043e\u0441\u0443\u0432\u0430\u043d\u043d\u044f \u0439\u043e\u0433\u043e \u043d\u043e\u0440\u043c \u0443 \u0437\u0430\u043a\u043e\u043d\u043e\u0434\u0430\u0432\u0441\u0442\u0432\u0456 \u0423\u043a\u0440\u0430\u0457\u043d\u0438: \u043c\u0430\u0442\u0435\u0440\u0456\u0430\u043b\u0438 \u041c\u0456\u0436\u043d\u0430\u0440. \u043d\u0430\u0443\u043a.-\u043f\u0440\u0430\u043a\u0442. \u043a\u043e\u043d\u0444. (\u043c. \u041e\u0434\u0435\u0441\u0430, 21 \u0442\u0440\u0430\u0432. 2021 \u0440.) \/ \u0437\u0430 \u0437\u0430\u0433. \u0440\u0435\u0434. \u0421. \u0412. \u041a\u0456\u0432\u0430\u043b\u043e\u0432\u0430. \u041e\u0434\u0435\u0441\u0430. 2021. \u0421. 501\u2212504.<\/p>\n\n\n\n \u0411\u0435\u0440\u043d\u0441\u044c\u043a\u0430 \u043a\u043e\u043d\u0432\u0435\u043d\u0446\u0456\u044f \u043f\u0440\u043e \u043e\u0445\u043e\u0440\u043e\u043d\u0443 \u043b\u0456\u0442\u0435\u0440\u0430\u0442\u0443\u0440\u043d\u0438\u0445 \u0456 \u0445\u0443\u0434\u043e\u0436\u043d\u0456\u0445 \u0442\u0432\u043e\u0440\u0456\u0432 (\u0443 \u0440\u0435\u0434\u0430\u043a\u0446\u0456\u0457 \u041f\u0430\u0440\u0438\u0437\u044c\u043a\u043e\u0433\u043e \u0410\u043a\u0442\u0430 1971 \u0440., \u0437\u0456 \u0437\u043c\u0456\u043d\u0430\u043c\u0438 \u0432\u0456\u0434 2 \u0436\u043e\u0432\u0442\u043d\u044f 1979 \u0440.). Lewinski S. The Beijing Treaty on Audiovisual Performances. Auteurs & Media. 2012. Vol 1. Issue 6. P. 539\u2212546.<\/p>\n\n\n\n WIPO Beijing Treaty on Audiovisual Performances is Concluded. Liu D. Beijing Treaty on Audiovisual Performances. International Journal of Law and Information Technology. 2013. Vol 1. Issue 3. P. 256\u2013265.<\/p>\n\n\n\n Fellmeth A. X. The Beijing Treaty on Audiovisual Performances. International Legal Materials. 2012. Vol 6. Issue 51(6). P. 1211\u22121222. Lange D. From Berne to Beijing: A Critical Perspective. Vanderbilt Journal of Entertainment and Technology Law. 2020. Vol 16. Issue 1. P. 1\u221210.<\/p>\n\n\n\n Contracting Parties. Signatories Beijing Treaty on Audiovisual Performances. Official website of the WIPO as of 10 May 2025. \u0421\u0442\u0440\u0430\u0442\u0435\u0433\u0456\u0447\u043d\u0438\u0439 \u043f\u043b\u0430\u043d \u0440\u043e\u0437\u0432\u0438\u0442\u043a\u0443 \u043d\u0430 2024\u22122028 \u0440\u0440.: \u0423\u043a\u0440\u0430\u0457\u043d\u0441\u044c\u043a\u0438\u0439 \u043d\u0430\u0446\u0456\u043e\u043d\u0430\u043b\u044c\u043d\u0438\u0439 \u043e\u0444\u0456\u0441 \u0456\u043d\u0442\u0435\u043b\u0435\u043a\u0442\u0443\u0430\u043b\u044c\u043d\u043e\u0457 \u0432\u043b\u0430\u0441\u043d\u043e\u0441\u0442\u0456 \u0442\u0430 \u0456\u043d\u043d\u043e\u0432\u0430\u0446\u0456\u0439 (\u0423\u041a\u0420\u041d\u041e\u0406\u0412\u0406).
Accepted 2025-05-22
Published 2025-06-16<\/p>\n\n\n\n![\"\"](\"https:\/\/inprojournal.org\/wp-content\/uploads\/2025\/11\/CC-2.png\")
<\/figure>\n\n\n\n
PhD (Law), Academic Secretary at the Intellectual Property Scientific Research Institute of the National Academy of Legal Sciences of Ukraine
Ukraine
https:\/\/orcid.org\/0000-0001-5490-1259<\/a><\/p>\n\n\n\n
<\/strong>The article analyzes the 2012 Beijing Treaty on Audiovisual Performances as one of the key international documents in the field of protection of the rights of performers of audiovisual works. The article examines the legal prerequisites for the conclusion of this treaty, its content, structure and main provisions, as well as the relevance and prospects of Ukraine’s accession to it. The author emphasizes that the Beijing Treaty significantly expands the system of international protection of related rights, for the first time providing performers of audiovisual works with a set of rights equivalent to the existing rights of phonogram performers. In particular, the treaty provides for the recognition and protection of performers’ moral rights (the right of authorship and the right to the integrity of the performance), establishes exclusive property rights (to reproduce, distribute, hire and provide access to performances), and contains provisions on the protection of technological measures of protection and information on rights management. The article discusses some of the terminological and legal difficulties that arose in the process of drafting the treaty, including different approaches to the concept of “audiovisual performance” in national legal systems.<\/p>\n\n\n\n
https:\/\/zakon.rada.gov.ua\/ laws\/show\/995_763#Text<\/a><\/p>\n\n\n\n
https:\/\/zakon.rada.gov.ua\/laws\/show\/995_769#Text<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/treaties\/en\/ip\/beijing\/index.html<\/a><\/p>\n\n\n\n
https:\/\/zakon.rada.gov.ua\/laws\/show\/995_051#Text<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/pressroom\/en\/articles\/2012\/article_0013.html <\/a><\/p>\n\n\n\n
https:\/\/doi.org\/10.5305\/intelegamate.51.6.1211<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/wipolex\/en\/treaties\/ShowResults?search_what=C&treaty_id=841<\/a><\/p>\n\n\n\n
https:\/\/www.wipo.int\/ treaties\/en\/ip\/beijing\/<\/a><\/p>\n\n\n\n
https:\/\/nipo.gov.ua\/ wpcontent\/uploads\/2024\/04\/Stratehichnyyi_plan_rozvytku_UKRNOIVI_2024-2028-web.pdf<\/a><\/p>\n\n\n\n