디지털 콘텐츠 산업의 활성화 방안 : Focused on the Online Digital Contents Industry Promotion Act

임재석,한병완 부천대학 2002 論文集 Vol.23 No.-

인터넷망 대역폭의 증가와 초고속가입자의 급증으로 오디오, 동영상 등 멀티미디어 정보이용 환경이 개선되고, MPEG 등 IT기술의 발전으로 디지털 콘텐츠(Digital Contents)의 범위가 급속도로 넓어지고 있다. 즉, IMT-2000, 위성방송 등 새로운 디지털매체가 등장하고, 방송, 신문, 음반 등 기존의 모든 매체가 인터넷으로 융합됨에 따라 디지털 콘텐츠의 경쟁력이 국가발전을 좌우하는 핵심요소로 등장하고 있다. 본 연구에서는 정보통신산업의 중심으로 자리잡고 있는 디지털 콘텐츠 산업의 개념, 특징, 범주 및 시장 전망, 디지털 콘텐츠 산업의 추진체제를 살펴본 후 동 산업의 활성화 방안을 제시하고자 한다. Information technology accounts for more than one-third of the nation's economic growth and is the most rapidly expanding component of the U.S. economy. According to the U.S. Department of Commerce, by 2006, almost half of the U.S. workforce will be employed by industries that are either major producers or intensive users of information technology products(digital contents) and services. The digital contents which has creativeness has been protected by the Copyright Act in Korea. However, the contents which was not creative could not have been protected so far on the ground that it lacks creativeness, one of the prerequisite for copyright protection, even though the industry invested much time and effort in digitalizing the contents. Until recently, they had no remedies against illegal reproduction of their contents through the network. Considered these situations, the Ministry of Information and Communication initiated to enact a law to protect digital contents provides and to promote digital contents industries. The newly enacted law, which is to enter into force on the 15th of July 2002, protects digital contents provides on the basis of unfair competition rules rather than giving them rights of Intellectual Property Rights holders. The protection is for five years from the date of marking after its production. Online Digital Contents Industry Promotion Act is an essential further proposal to address the fastest-growing segment of our national economy in this information age.

유럽공통매매법(CESL)을 통해서 본 디지털콘텐츠거래의 규율방향에 관한 연구

박희호 한국외국어대학교 법학연구소 2015 외법논집 Vol.39 No.4

The consumption of digital content has become integral part of our today’s daily life. We watch TV programs and movies online, purchase e-books, download music and apps from the Internet. However, consumers feel considerable uncertainty about their rights and legal protection when doing something online. It results from above all unique characteristics of the digital content itself, and its transaction. Digital contents are mostly experience goods that are difficult to observe in advance. But consumers have no chance to explain the purpose of the purchase of the digital contents. To acquire and operate digital contents we sometimes need certain knowledge of internet and computer and certain circumstances which consumer sometimes does not have. Consumers that have already paid for the digital contents may not know how to acquire the contents or to access to the web-site in lack of internet understandings. Or they could know that they might hear music files also on cell-phone which only operate on computer. I think that digital content contracts between traders could be sufficiently ruled by the existing legislations. But consumers of digital contents needs for urgent legislative help. And it would help also development of the digital content economy. The Draft of Common European Sales Law, though the proposal has been drawn last year, was the first steps of ius commune in sphere of digital contents transactions. It tried not only sales of goods but also digital content contracts. Furthermore it tried both B2B and B2C. But it tried to cover too wide to rule the digital contents contracts sufficiently. Consumer protection rules that reflect the characteristics of digital content and its transaction must be legislated apart from other things. Accessibility, functionality, compatibility of digital content and information obligation of traders should be considered with care in the legislation. 유럽공통매매법안이 철회된 상황에서 결과론적인 이야기가 될지 모르나 사실 유럽공통매매법의 규정을 보면 여러 가지 점에서 좀 무모해 보이는 측면이 있었다. 이러한 무모함은 무엇보다도 여러 가지 법적 현상을 하나의 법규범으로 통합하여 규율하려는 시도에서 나타난다. 먼저는 매매법에서 전혀 다른 유형의 오히려 대차계약에 가까운 디지털콘텐츠거래를 규율하려는 시도였고, 디지털콘텐츠만을 놓고 보더라도 지식의 편차가 큰 사업자와 소비자간의 경우를 구별없이 동시에 규율하려는 것이었다. 그러다보니디지털콘텐츠거래가 갖고 있는 여러 가지 예상하지 못한 문제가 발견되었고 그 보완이 요구된 것이다. 하지만 그러한 시도는 언젠가는 있어야 하는 것이고 유럽공통매매법은 그러한 시도만으로도 긍정적인 평가를 받아 마땅하다. 비록 이 발표문이 정제되지 못하고 두서가 없더라도 무엇인가 새로운 것을 찾아내려고 하였다는 점에서 마찬가지로 긍정적인 평가를 기대하는 이유이다. 이 논문으로 디지털콘텐츠거래에대한 많은 논의들과 생각들을 나누고 논의하는 계기가 되기를 희망한다.

'디지털콘텐츠' 의미 형성과정과 실체적 이해

이종훈(Lee Jong-Hoon),변성광(Byun Sung-Kwang) 인문콘텐츠학회 2008 인문콘텐츠 Vol.0 No.13

지속적인 경제성장이 중요한 사회적 목표로 자리하고 있는 가운데 새로운 성장동력으로 콘텐츠산업이 부각되고 있고, 많은 관심과 집중에 힘입어 ‘디지털콘텐츠’는 다양한 분야에서 빠르게 외연을 확장하고 있다. 그러나 ‘디지털콘텐츠’라는 용어에 관한 매우 다양한 이해와 연구가 존재하지만, 이론과 실체사이에 상당한 간극이 존재한다. 따라서 실체를 중심으로 한 개념과 범주의 연구가 필요하다. ‘콘텐츠’라는 용어의 범용이 IT기술의 발달과 함께 시작되었다는 사실에서도 알 수 있듯이 대부분의 ‘콘텐츠’라는 용어에는 ‘디지털’의 개념이 내재되어 있다. 따라서 ‘콘텐츠’, ‘디지털콘텐츠’, 나아가 ‘문화콘텐츠’의 개념을 정립하기 위해 ‘디지털콘텐츠’의 개념과 범주를 면밀히 살피는 일이 무엇보다도 시급하다. 오늘날 보이고 있는 ‘디지털콘텐츠’라는 용어의 개념에 대한 이해는 대체로, 첫째, 기술과 산업의 관점에서 ‘디지털콘텐츠’를 단순히 기술과 산업의 종속물로 보는 이해, 둘째, 산업육성을 위해 국가가 주도적으로 법률과 정책으로 정립한 개념와 범주에 의존하는 이해, 그리고 셋째로 위기라고 인식되고 있는 인문학의 대안을 찾고자 하는 인문학계의 개념이해로 요약할 수 있다. 그중에서도 가장 빠르고 비중있게 일반화되고 있는 개념은 산업육성의 목표아래 정책적으로 규정하고 있는 개념과 범주이다. 그러나 그 내용을 세세하게 들여다보면 산업육성이라는 뚜렷한 한계로 인해 학문적으로 자리잡기 위해 필요한 여러 조건을 온전히 정립하지 못하고 있다. 따라서 보다 실체에 접근하여 천착하여 근본적인 용어의 개념을 연구할 필요가 있다. ‘디지털콘텐츠’의 의미를 실체적으로 이해하는 방법은, ‘디지털콘텐츠’가 만들어져 존재하게 되는 과정에서 ‘디지털’이 필연적 요소로 작용하는지를 살펴보아야 하며 필연적이라면 얼마나 개입하는 가도 파악하여야 한다. 그리고 기술, 산업적 차원을 넘어 ‘디지털’의 사회 및 문화, 경제적 속성이 ‘콘텐츠’에서도 드러나는가를 살펴보는 일도 ‘디지털콘텐츠’의 실체를 파악하고 의미와 개념을 정립하는데 필수적인 연구과제라고 할 수 있다. As the Contents Industry are rising, The verge of 'Digital Contents' is extending. But The research for the essential concept, definition and categories of 'Digital Contents' is few. The terms 'Contents' is used as more widely as IT industry is developing. From this condition, We can realize that the meaning of 'Contents' has included 'Digital' So, Catching the meaning of 'Digital Contents' is urgent. The shallow Comprehensions of 'Digital Contents' can be summarized as following Three cases. first, the comprehension is that the 'Contents' is the species of digital technology, second is the understanding depending on the defining by Government, and last is advocating it as the alternative of the department of humanities. For appreciation and to defining the word 'Contents', We must observe whether contents are exist on digital technology or not, and how many digital technology the processing of the producing contents includes and how many attributes of digital the contents have, the attributes bring out new world and generation.

디지털 시대, 소셜미디어 환경에서 디지털 콘텐츠 마케팅의 전략 제안

김다영 유럽문화예술학회 2017 유럽문화예술학논집 Vol.8 No.2

21세기 다양한 매체, 콘텐츠가 예술과 융합되고, 예술과 일상생활의 경계가 허물어진 현 시대에서범람하는 콘텐츠는 대중들이 잘 해석하고 선별할 수 있는 ‘창의적 감성’과 ‘상상력’이 중요한 키워드로 대두된다. 즉, 우리는 기존의 지식에 상상력이 융합된 ‘개념의 시대(Conceptual Age)’를 살아가고있다.1) 정보의 시대를 넘어선 고도의 ‘개념’이 중요해진 현 시대에서 소셜미디어 콘텐츠란 무엇인가? 인공지능에 의해 인간의 두뇌가 대체되어 가고 자동화와 연결성이 극대화되는 4차 산업혁명이라고 일컫는 디지털 시대에서 마케팅의 방식 또한 달라지고 있다. 이러한 디지털 혁명 시대에 소셜미디어는 이미 일상생활에 필수불가결한 것이 되었다. 소셜미디어(Social Media)는 개방, 참여, 공유의 가치로 요약되는 웹(web)상의 소셜 네트워크의 기반 위에서 개인의 생각이나 의견, 경험, 정보등을 서로 공유하고 타인과의 관계를 생성 또는 확장시킬 수 있는 개방화된 온라인 플랫폼이다. 소셜미디어는 디지털 시대의 유동성에 기인해 급속도로 확산되었는데 그것은 소셜미디어가 가지고 있는 사용자들의 자발적 참여에 의한 콘텐츠(contents) 생성과 자체적인 창발 시스템에 희한 파급에 그 이유가 있다고 본다. 사용자들의 참여에 의한 콘텐츠에는 상호작용적(interactive) 특성이 내재하는데, 그것은 모든 예술작품에서 일어나는 것과 같다. 아서 단토의 예술의 종말 이전의 거대 내러티브 시대의 모더니즘적예술을 경험할 때 상호작용성은 관람자의 정신적 영역에서 일어나는 반응에 국한되었다면, 디지털소셜 환경에서의 상호작용적 특성은 향유자(관람자)의 예술작품에 대한 새로운 방식의 접근과 적극적인 기여를 가능하게 한다. 따라서 소셜미디어 환경에서 범람하는 마케팅 콘텐츠 또한 상상력과 창의적인 아이디어로 그것을 만들어내는 기본 원리에 따라 예술, 특히 미디어 작품에 내재하는 특성인 상호작용성과 관객의 참여라는 작품의 구성 원리가 작동한다는 점에서 그 구분이 모호하다고 본다. 이러한 점에서 앞으로의 디지털 세상에서 상상력이 기반으로 한 마케팅 콘텐츠의 전략 또한 예술작품이 그러하듯 인간만이 느낄 수 있는 감성영역에 기반하는 사람의 마음을 움직일 수 있는 전략이필요할 것이다. 또한 4차 산업혁명시대 소셜미디어 환경의 마케팅 플랫폼이 성공하기 위해서는 디지털 변화를 적극적으로 읽어내고, 그것들을 사용자에게 유리한 방향으로 흡수하는 것이 중요하다. 시대의 변화에 따라 개방적이고 누구나 참여 가능한 플랫폼으로 변화되어야 한다고 본다. 소셜미디어 환경에서 커뮤니티 플랫폼을 만들고, 그들이 브랜드나 콘텐츠 관련 이야기들을 나눌 수 있는장치들을 만드는 것이 좋다. 디지털 세상의 사용자들의 심리 특성은 콘텐츠 사용자에게 특정행위를지나치게 강요할 경우, 사람들은 기업이 원하는 행동에 정확히 반대되는 행동을 보인다. 억지로 무언가를 강요하면 그 반대로 행동하고 싶어 하는 것이 바로 청개구리 심리다. 현 시대 대중에게 사랑받고 있는 기업들은 독특한 진정성을 담은 가치를 보여주고 있다. 즉, 디지털 시대에는 진정성만이 고객들의 영혼을 감동시키고 그들의 마음을 움직여 제품이나 콘텐츠를 사게 할 수 있다. 그렇다면 사람들의 마음을 움직이도록 진정성을 얻는 방식은 무엇인가? 첫째, 소비자들이 진정성을 느낄 수 있는 요소들을 기 ... Humans communicate, study, shop, spend leisure time, and spend much of their lives in the digital world on digital webs such as smartphones, tablet PCs, and PCs. As a new world created by the digital environment, cyberspace is increasingly becoming the driving force of our daily lives. In the cultural arts, the boundaries of the arts are lowered as the artists communicate directly with the spectators through the social media platform. As a result, the audience who received only the artwork became able to share the process of work, the story, the intention to be created, the emotion of the artist, and share the process of reinterpreting with the audience. The social media based environment outside the geographical and time limits has had a great influence on the daily life including the ways of human relations, the way of thinking, and the way of collaboration. Social media redefines the relationship between social media environment, art, consumers, and creators in the process of proposing new art forms. Social media and arts clearly point out different things, but one works in conceptual social media content. The distinction between original and duplication in painting disappears with the repetition of the same thing in the image of the media environment. In the digital image stage, the original and duplication can be constantly superimposed, reinterpreted and re-created through the process of transformation. With the advent of the digital world, everyone can produce images, and anyone can easily create and market content on a daily basis. There is a need for a strategy that frees content users and attracts a lot of interest and participation from users who enjoy the content. If you give users more freedom in a digital environment, they will be more loyal. By passing the option to the user, users can get a favorable feeling. The more interest and affinity you get, the more positive the positive word-of-mouth effect you get. When control and choice are passed to content users, users are more likely to be satisfied with the results they choose, and authenticity is naturally achieved through interaction with users rather than being forced. In a digital environment, a strategy with authenticity is more important. If the development of artificial intelligence coexists with humans and machines, and the era when the human realm becomes a machine replacement becomes important, securing a unique realm that only humans can do will become important. The real emotional and emotional realm that only human beings can see is that artificial intelligence can’t penetrate. Therefore, I think that it is important to move the mind of users who consume the human mind and contents, and the authenticity to gain empathy naturally. Self-organizing and emergence, which is the complexity principle of the characteristics of the digital environment, is more prominent in the SNS platform. In the social media age contents, it is necessary to make devices that utilize the principles of self-organization and emergence principle in the social marketing platform in that the distinction between producers and consumers of contents is blurred and created together. It is time for a smart marketing strategy that will lead to genuine support of content users who utilize nudge, authenticity and UGC (User Generated Contents) by understanding and analyzing characteristics of content users in the digital age.

Digital 환경에서의 Digital Contents Design 교육방향에 관한 연구

한붕기 한국디지털디자인학회 2004 디지털디자인학연구 Vol.4 No.1

Digital 기술 발달은 다양한 입력기능과 출력 기능을 현실화 할 뿐 아니라 멀티미디어와 네트워크의 발전을 가속화시키고 있다. 이러한 특성으로 교육현장에서 Digital 매체의 활용도와 응용범위를 더욱 높이는 데 기여하고 있다. 오늘날 각 국 대학의 디지털 멀티미디어 예술 문화 관련 강좌는 사진, 영화, 비디오, 방송, 커뮤니케이션, 저널리즘, 미디어, 광고, 기호학, 그래픽디자인(Visual Art)등 외에도 실제로 다양한 장르에 걸쳐서 분산되어져 있다. 이것은 디지털 멀티미디어 분야의 다양함이 전제되고 있기 때문에 가능한 것이다. 하지만 이러한 경향은 예술교육의 분산된 형태라기 보다도 오히려 광대한 통합의 과정이라고 말하는 편이 맞을 것이다. Digital Contents에 대한 이해와 활용의 필요성이 강조되고 있지만, 아직은 이에 대한 전문가가 부재하고 구체적인 교육 프로그램도 없는 실정이다. 따라서, 여러 대학들에서 경쟁적으로 영상 관련 교육 프로그램을 마련하고 있지만 일반 학원과 크게 다를 바 없는 수준이라 하겠다. 테크놀러지의 형식에 의해 영상의 형식이 결정되는 체계에만 매달리는 국내의 교육환경이나 연구방식은 대대적인 수정을 요하고 있다. 중요한 것은 예전부터 지적해 왔듯이 영상의 전 영역을 다룰만한 원리와 본질에 대한 인식이 필요하다는 것이다. 이러한 문제제기는 디지털 콘텐츠가 새삼스럽게 강조되고 있는 시대적 흐름과 맞물려 있다고 할 수 있다. 본 연구는 Digital Contents의 영향을 받는 디자인 분야의 변화를 시각디자인 교육의 내용차원에서 연구하고자 하며 이를 토대로 미래산업에서 Contents 디자이너로 활동하게 될 Contents 디자인의 전문가를 위한 시각디자인 교육 내용에 대한 제안을 하고자한다. Digital Content에 관련한 첨단기술, 사회의 변화는 미래사회를 위한 교육현장에서 교육방법 뿐 아니라 교육의 내용까지도 변화할 것을 요구하고 있으며, 새로운 패러다임을 필요로 하는 Digital Contents 속에서 미래산업에 따른 디자인 교육의 방향을 제시되어야만 한다. 미래산업을 위한 Contents디자인 분야의 시각디자인 전문가 교육은 Digital 환경이 주축을 이루는 미래 산업을 이해하고 받아들일 수 있는 디지털 마인드를 포함한 차원에서 이루어져야 하는 것이 중요하다. 이를 위해서는 그래픽 프로그램을 비롯한 컴퓨터 환경과 Digital 매체에 대한 경험이 필수적이다. 또한 Digital 매체에 대한 교육은 매체사용기능 훈련만을 위한 측면보다는, 학습내용을 새롭고 흥미롭게 제시하는 것 이외에도 종전의 미디어 시스템들이 가지지 못했던 학생들이 직접 참여하여 시각매체, 청각매체의 경험으로 이루어지는 것이 시간적인 효율성과 전문분야의 응용력을 높인다는 점에서 중요하다 하겠다. Contents는 공간과 신간을 초월하며 무한대의 세계 시장 질서를 재편하는 새로운 경제 구조를 형성하는데 있어서 실로 놀라운 변화를 가져올 것으로 예측된다. 변화의 소용돌이 속에서 Contents 기술의 발전은 향후의 주요 관심사가 될 것이며, 이를 대비한 전략적 교육에 심도 깊게 반영되어 이루어져야 할 것이다. Developed Digital Technology has not only actualized various input functions and output functions practical but has also been accelerating development of multimedia and networks. Such features have contributed to expanding the extent of utilization and scope of application of the digital media in classrooms. Today, lectures related to digital media arts and culture in colleges of all countries cover a wide range of diversified genres in addition to photographs, films, videos, broadcasting, communication, journalism, media, advertising, semiotics, graphic design (visual art), etc. This has been made possible on the basis of diversified areas of multimedia. Such tendency, however, may be correctly termed the process of extensive unification rather than the dispersed forms of art education. necessity for understanding and application of digital contents have been emphasized but there are no specialists in the field and specific educational programs on the field are not yet available. In such situation, quite a few colleges have been trying to organize their programs related to image, but the programs are more or less at the similar level to that of private academies. The domestic educational environments and research methods in which the forms of images are determined by those of relevant technologies need to be drastically rectified. What counts now in such situation is that such recognition of the principles and substance as may handle th whole domains of image is required. Raising such issue may be said to be linked to current tendency stressing the importance of digital contents. In this study I would like to study the changes in design areas under the influence of digital contents in terms of contents of graphic design, based on which I would like to make some propositions regarding the contents of graphic design education for the contents design specialists who will act as contents designers in future industries. State of the art technologies related to digital contents requires the change in the contents of education as well as teaching methods in classrooms and the direction of design education suitable for future industries should be proposed within the digital contents requiring new paradigms. That the ducation for graphic design specialists in the field of contents design for future industries should be carried out in the level of the digital mind to understand and accept the future industries the main axes of which are formed by digital environments is important. To this end, the experiences on the computer environments including graphic programs, and digital medium are essential. With respect to education on digital medium, education based on students' direct participation, experiences in visual medium, hearing medium and motion medium, which was not available in the previous media system, on top of making the contents of learning new and amusing rather than just emphasizing the training in functions to use the media may be very important in respect of enhancing the efficiency in terms of time and the ability to apply the special field. Contents are expected to bring about amazing changes in forming new economic structures which will reorganize unlimited world market systems, transcending the space and time. The development of contents technology will be a major issue of interest of the new millenium in a whirlpool of changes, which should be carefully incorporated into the strategic educations against this.

디지털콘텐츠 및 디지털 서비스 공급의 불이행과 구제 - EU디지털콘텐츠지침 제13조를 중심으로 -

성준호 한국외국어대학교 법학연구소 2024 외법논집 Vol.48 No.1

Digital content has become a commodity in its own right, independent of tangible storage media. Today, there are various ways to store and supply digital content, including transmission methods, in addition to conventional tangible media. These supply methods transcend traditional geographical limits and can be delivered anywhere at any time through networks. ‘EU content directive’ of this does not end with the direct impact on the EU and its Member States through transposition into national law, but provides the basis for the regulation of digital content trade around the world. The failure to supply and remedies for themselves in the supply of digital content and digital services is a significant issue in trade law. The ‘EU Digital Content Directive’ specifically aims to provide rules on the remedies for failure to supply of digital content. In other words, Article 5 of the Directive defines the meaning of the supply of digital content or digital services. And if the provider fails to supply digital content or digital services within the meaning of Article 5, the consumer can terminate the contract under certain conditions according to Article 13 of the EU Digital Content Directive. This failure to supply is different from a failure to perform in accordance with Article 14 of the Directive. Failure to supply under Article 13 covers situations where digital content is not supplied at all. In this context, the provisions of Article 14 on the failure to supply must be harmonized with Article 13(1)(2) and Article 5 of the Directive.

디지털 에듀테인먼트 콘텐츠 설계를 위한 기초 연구: 개념과 발전방향

송상호 ( Sang Ho Song ) 한국교육정보미디어학회 2008 교육정보미디어연구 Vol.14 No.2

The purpose of the study is to explore the concept of digital edutainment content and to suggest future directions. Edutainment seems to be regarded as an alternative educational program to accomplish educational goals while entertaining learners. Furthermore, recently, digital edutainment content, such as game-based digital content, is gaining attention as a research topic. The study is an initial effort to provide a solid foundation for the design of digital edutainment content that is effective, efficient, and appealing. Although, edutainment has been suggested as a solution that may solve motivational problems of learners, many designers have had difficulties in designing edutainment because of rare theoretical framework for design. The following is discussed and several perspectives are suggested: the concept of digital content, the concept of educational digital content, linkage between education and entertainment, educational meaning of edutainment, learner motivation in Pedagogy, the concept and type of digital edutainment content, and future directions of digital edutaiment content. Digital edutainment content can be a strong solution to educational problems. However, without a solid theoretical foundation, a good content can not be designed. This study reviews main issues regarding the foundation of digital edutainment content and suggests following studies.

디지털콘텐츠 이용계약의 법적 성질에 관한 소고

구병문 경희대학교 법학연구소 2008 경희법학 Vol.43 No.2

The rapid development of digital technology and internet has changed not only the way of thinking but also the way of life. Especially as the information society has proceeded to be transformed to a contents-oriented society from an infra-oriented society, the demand of many kinds of digital contents like movie contents, music contents etc. has rapidly increased and digital contents transactions in mass-market also has prevailed. What is more, the thing which was regarded as only the accumulation of data until now, is treated as precious goods on the mass-market after the digitalization of it. Digital contents can be reproduced equally in quality and unlimitedly in quantity. They also can be transferred simultaneously anywhere and everywhere through the internet. That causes them to be vulnerable to the copyright infringement rather than any other things on the market. In this situation, it really makes a sense that digital contents providers reject the system of 'sale' like the sale of books, records, etc. in digital contents transactions but adopt the system of 'contract' for licensing of digital contents to effectively protect the digital contents by themselves. But licensing the digital contents has brought about new serious troubles, being caused from the fundamental characteristics of digital contents license contracts. At the same time, it has also increased the necessity of protecting consumers in digital contents transactions. For example, there are the fundamental problems, which are caused from license contract itself, like what the meaning of digital contents license contract in a legal aspect is, how we can understand the relationship between digital contents and the media, storing them, what the legal status of digital contents transferee is and how the consumer can be protected in relation to the transferee's right etc. There are also unique problems, which are caused from the conflict between copyright act and license contract, like making copyright act invalid through a license agreement or imposing the restriction on users' right which copyright act gives them. And there are consumer protection problems like warranty or self-help provisions on click-on or shrink-wrap license, which digital contents providers offer unilaterally. But the law and regulation for protecting digital contents in Korea are oriented to tangible things, so it makes serious troubles to regulate digital contents as intangible things. In the near future, we need to amend the civil law or make a new law relating to digital contents transactions, because the present law and regulation for protecting digital contents in Korea are just oriented to tangible things and cannot protect the digital contents as intangible things effectively. For that, we must review the legal nature of digital contents license above all things. The rapid development of digital technology and internet has changed not only the way of thinking but also the way of life. Especially as the information society has proceeded to be transformed to a contents-oriented society from an infra-oriented society, the demand of many kinds of digital contents like movie contents, music contents etc. has rapidly increased and digital contents transactions in mass-market also has prevailed. What is more, the thing which was regarded as only the accumulation of data until now, is treated as precious goods on the mass-market after the digitalization of it. Digital contents can be reproduced equally in quality and unlimitedly in quantity. They also can be transferred simultaneously anywhere and everywhere through the internet. That causes them to be vulnerable to the copyright infringement rather than any other things on the market. In this situation, it really makes a sense that digital contents providers reject the system of 'sale' like the sale of books, records, etc. in digital contents transactions but adopt the system of 'contract' for licensing of digital contents to effectively protect the digital contents by themselves. But licensing the digital contents has brought about new serious troubles, being caused from the fundamental characteristics of digital contents license contracts. At the same time, it has also increased the necessity of protecting consumers in digital contents transactions. For example, there are the fundamental problems, which are caused from license contract itself, like what the meaning of digital contents license contract in a legal aspect is, how we can understand the relationship between digital contents and the media, storing them, what the legal status of digital contents transferee is and how the consumer can be protected in relation to the transferee's right etc. There are also unique problems, which are caused from the conflict between copyright act and license contract, like making copyright act invalid through a license agreement or imposing the restriction on users' right which copyright act gives them. And there are consumer protection problems like warranty or self-help provisions on click-on or shrink-wrap license, which digital contents providers offer unilaterally. But the law and regulation for protecting digital contents in Korea are oriented to tangible things, so it makes serious troubles to regulate digital contents as intangible things. In the near future, we need to amend the civil law or make a new law relating to digital contents transactions, because the present law and regulation for protecting digital contents in Korea are just oriented to tangible things and cannot protect the digital contents as intangible things effectively. For that, we must review the legal nature of digital contents license above all things.

디지털콘텐츠 공급계약에 대한 철회권 - 독일 및 유럽법상의 논의를 중심으로 -

황원재 한국외국어대학교 법학연구소 2020 외법논집 Vol.44 No.1

Concerning digital content, the “right of withdrawal, etc.” from E-Commerce Act in Korea may be compared with the right to withdraw from the Consumer Rights Directive in EU or the right to terminate the contract from the Digital Content Directive in EU. This is because the E-Commerce Act in Korea includes the right to withdraw and terminate through the expression “right of withdrawal, etc.”. In particular, the latter right is adventageous to the consumer in the matter of the period of right and the cost burden. This legislative approach, however, is likely to confuse concept. On the other hand, the E-Commerce Act needs a uniform discipline for digital content. The application of different laws according to the type of digital contents can lead to differentiation of legal approach and impair legal stability in the end. In particular, there seems to be a need for uniform discipline regarding the requirement to exclude withdrawal rights in digital content supply contracts. Specifically, the right to withdraw should be excluded if the seal of digital content is damaged or if the user agrees to exclude the withdrawal right in order to use the digital content. Before this, however, notice should be made clear and not misleading about the exclusion of the right to withdraw. Also, if digital content is not provided through tangible media such as streaming, it should be considered that the withdrawal right can be exercised when the consumer is offered the possibility to try the digital content online. Only in this case can the consumer agree to fulfill the contract through trial use, and accept the exclusion of the right to withdraw. Besides, in the case of digital contents, consumers who have excercised the right to withdraw can continue to use the digital contents free of charge without deleting them. Therefore, in addition to consumer protection, contents provider protection needs to be considered. 디지털콘텐츠와 관련하여 우리 전자상거래법상의 “철회권등”은 유럽연합의 소비자권리지침상의 철회권이나 디지털콘텐츠지침상의 계약종료에 관한 권리와 비견될 수 있다. 우리 전자상거래법은 “철회권등”이라는 표현을 통해 일반적인 철회권과 해제권에 가까운 철회권을 인정하고 있기 때문이다. 특히, 후자의 철회권은 권리의 행사기간이나 비용부담의 측면에서 소비자에게 유리하도록 규정되어 있다. 그러나 이러한 입법방식은 개념상 또는 담보책임법과의 관계에서 혼란을 야기할 우려가 있어 보인다. 또한, 우리 전자상거래법에도 디지털콘텐츠에 대한 통일적인 규율이 필요해 보인다. 디지털콘텐츠의 종류에 따라 서로 다른 법규를 적용하는 것은 법적용의 분화를 가져와 법적 안정성을 해칠 우려가 있기 때문이다. 특히, 디지털콘텐츠 공급계약에서 철회권 배제요건과 관련하여 통일적인 규율이 필요해 보인다. 구체적으로 계약을 체결하고 철회권의 행사기간이 개시된 후에 디지털콘텐츠의 봉인을 훼손하거나 디지털콘텐츠를 이용하기 위하여 철회권 배제에 동의하면 철회권이 배제된다고 규정하면서, 이러한 소비자의 행동에 앞서 철회권의 배제 가능성에 대하여 명확하고 오해하지 않도록 안내할 필요성이 있다. 또한 디지털콘텐츠가 스트리밍과 같이 유형의 매체를 통해 공급되지 않는 경우, 소비자가 해당 디지털콘텐츠를 온라인으로 시험해 볼 가능성이 제공된 때부터 철회권 행사기간이 개시된다고 보아야 한다. 이 경우에만 소비자는 시험사용을 통해 계약의 이행에 동의할 수 있고, 이를 통해 철회권을 배제 시킬 수 있기 때문이다. 그 외에도 디지털콘텐츠의 경우, 사업자는 소비자가 철회권을 행사한 후에 디지털콘텐츠를 삭제하지 않고 무상으로 계속하여 이용할 위험에 상시 노출되어 있으므로, 이러한 한도에서 소비자의 보호 외에도 사업자의 보호가 고려될 필요가 있다.

디지털콘텐츠무역에 대한 통상법적 논의의 성과와 한계

권현호(KWON Hyun Ho) 국제법평론회 2011 국제법평론 Vol.0 No.34

This article is mainly based on unsolved problems concerning trade in digital products in the WTO and some FTAs. This article consisted of 3 separate chapters. Setting apart from Introduction, chapter Ⅰ and Conclusion, chapter Ⅴ, main body showed the following reasoning: Chapter Ⅱ mostly dealt with thc background issues between digital contents and trade liberalization. That is, this chapter firstly introduced the definition of "contents" and "digital contents," and more some issues raised by the character of the digital contents in terms of international trade law. As the result of this study, this chapter may show an important conflict between the U.S. and the EU based on a difference of viewpoint on "contents" itself. That is, the U.S. considers digital contents as an object of trade liberalization. However, the position of the EU is vice versa. And then secondly, chapter Ⅲ reviewed the outcomes and limitations of discussions on digital products in the WTO. The result of a variety of discussion in the WTO concerning digital products and/or electronic commerce is not clear. Nothing was agreed because of the differences on the way of trade liberalization in digital products between U.S. and EU. And the worse, the debate on trade in digital products in the WTO was interrupted and nobody knows when it will open again. After considering all these chapters, chapter Ⅳ gave several outcomes and features in some FTAs on trade in digital contents, especially KORUS FTA and Korea-EU FTA. This chapter wants to show the difference to get a way of trade liberalization on digital contents. That is, unlike the discussion in the WTO, the FTAs may try to regulate definitely a trade in digital contents in some ways. The former provides definite obligations concerning non-discrimination principles in trade in digital contents, but the latter FTA defines trade in digital contents as "cultural issues." The result of this different view on "contents" leads the problems in trade in digital contents to be unsolved again. However, as a "Model Law", the U.S. type of FTAs may show a possibility of regulating trade in digital contents in terms of trade liberalization, and the remaining is to narrow the gap with each Party.