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Piraterie ou contrefaçon des oeuvres musicales: facteurs explicatifs, modes opératoires et impact sur les artistes-musiciens à  Yaoundé

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par Joel Christian NKENG à NKENG
Université de Yaoundé 1 - Master 2 en Sociologie 2010
  

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ABSTRACT

The present work focuses on piracy or counterfeiting of musical works. It has modest ambition to expose a synthetic and panoramic vision of this phenomenon in the city of Yaoundé. Our main issue is the factors underlying its vitality in the cameroonian political metropolis. To examine this question, we have made assumptions, that the survey on the ground conducted in Yaoundé has allowed us to reap the testimony and data from a sample of forty persons, composed by pirates or counterfeiters, artists-musicians, producers and distributors, consumers, authorities and other resource persons. From a qualitative methodology, our study is based on a corpus of information from a series of direct observations, documentaries observations, participant observations and some 40 participating interviews non-direct and sometimes semi-structured beside pirates and resource persons. The work is structure in two main parts. The first provides a comprehensive approach to the copyright, through a condensed vision on the concepts of copyright, neighboring rights, intellectual property and attempts to present the situation of piracy at Yaoundé, to describe the procedures through its concrete forms, typologies of pirates, the location of the phenomenon, the origins of pirate's works and the everyday practice of this activity. The second part restores this phenomenon in its production context, it is to say in the social, economic and political environment in which it is rooted and which both elucidates and explains it. Emphasizing a dynamist and critical approach, as well as a strategic approach, the overall findings which emerges of our study is that piracy of musical works can be explained by population growth, economic crisis, the development of Information and communication technologies. However, beyond these explanations which remain inadequate, one of the main causes of the vitality of this phenomenon is the anomy in which Cameroonian society seems to thrive. Prostitution, homosexuality, the false and use of false, as well as corruption, observed in our society today, are part of this anomy and express clearly the malaise or the moral values crisis. The resurgence of piracy of musical works is mainly a reflection of the mentalities of a society in moral drift.

KEY WORDS: Counterfeiting, Piracy, counterfeiting works, pirates works, counterfeited works, pirated works, Counterfeiter, Copyright, neighboring Rights.

SOMMAIRE

INTRODUCTION 1

PREMIERE PARTIE : APPROCHE GLOBALE ET MODES OPERATOIRES DE LA PIRATERIE AU CAMEROUN 43

Chapitre I : Approche globale de la piraterie des oeuvres musicales 44

Chapitre II : Les modes opératoires de la piraterie 52

DEUXIEME PARTIE : FACTEURS EXPLICATIFS ET IMPACT DE LA PIRATERIE DES OEUVRES MUSICALES AU CAMEROUN 71

Chapitre I : Démographie galopante, crise économique, développement des TIC et crise des valeurs morales au coeur du phénomène 72

Chapitre II : Portée antinomique du phénomène 115

Chapitre III : De la répression de la piraterie ou de la contrefaçon 127

CONCLUSION 139

Bibliographie 145

Table des matières 153

Annexes 159

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