This paper aims to reflect the necessity of protecting the rights of audiovisual performers including supporting roles in an era of new platforms such as OTT platforms. Starting with that, I will briefly explore the history of protecting rights for audiovisual performers from the Treaty of Rome in 1961 to the Treaty of Beijing in 2012. Unlike the United States copyright law, Korean copyright law stipulates the rights of audiovisual performers. However, the exceptional clause on video works acts as an inhibitor of protecting the rights of audiovisual performers and the compensation rules are biased towards hearing performers. Though Korea Broadcasting Performers’ Rights Association has attempted to realize the rights of performers through collective agreements with broadcasting stations, there needs to be another solution as a new generation of online platforms such as OTT platforms emerges. Therefore, the direction of protecting the rights of audiovisual performers on new platforms is suggested by the following chapter.

요약
I. 서론
II. 시청각 실연의 보호에 관한 국제 규범
    1. 시청각 실연에 관한 국제 규범의 변화
    2. 미국의 시청각 실연자에 대한 권리 보호
    3. 시청각 실연의 보호에 관한 베이징 조약의주요 내용
    4. 우리나라의 베이징 조약 가입
III. 시청각 실연에 대한 저작권법
    1. 저작권법의 내용
IV. 사업자의 실연자에 대한 보상
    1. 청각 실연자의 보상청구권
    2. 시청각 실연자의 보상청구권
    3. 소결
V. 협회와 방송사 간의 계약
    1. 사용료 징수규정
    2. 방송권 활용의 실제
VI. OTT와의 분쟁의 시작
    1. 넷플릭스와 시청각 실연자의 보호
    2. 유튜브와 같은 영상 플랫폼과 실연자 보호
    3. 새로운 플랫폼을 통한 편법적인 재방송의문제
VII. 새로운 플랫폼에 맞는 구체적인 보호방안
VIII. 결론
ABSTRACT

• 장유진 | Eujin Jang