最近幾年，智慧財產權“Intellectual Property”之英文簡稱“IP”， 成為中國大陸影視圈的熱門詞彙，但不同於“IP”意指著作權、專利 權、商標權等智慧財產權之傳統意義，此處的“IP”實質上指那些能 夠被改編成電影或電視劇的作品素材。其中，網路小說因具有知名 度高、粉絲基礎好，變現能力強等優勢，成為最受歡迎的“IP”。但 是在網路小說影視化授權過程中，著作權人與被授權人的衝突不斷 發生，各種法律糾紛紛至沓來。實務上，授權標的不明確容易導致 網路小說與改編劇本產生「先有蛋還是先有雞」的爭議。而相較於 著作財產權而言，於作品授權時容易被契約雙方所忽略的著作人格 權，卻往往是引發後續的糾紛之所在。實務案例中最常見的就是作 者對「署名權」和「保護作品完整權」受侵害為主張。在網路小說 影視化授權契約中，較為重要的著作財產權主要包括「改編權」、 「攝製權」、「複製權」、「發行權」和「信息網路傳播權」，其 中「改編權」最為重要，對未經授權的網路小說進行影視化改編， 則會引發改編權糾紛，甚至侵害作者其他著作權。此外，囤積“IP” 的風潮和中國大陸特殊的影視劇備案制度，使得授權的網路小說被 超期利用的現象屢見不鮮。本文旨在通過對相關案例的探討，來瞭 解具體紛爭之所在，並分別從法律層面與契約層面進行討論，以期 發現現行法律或實務之不足，進而思考可解決之道。

In recent years, the abbreviation “IP” of intellectual property has become a popular terminology spread over the film and television industry in Mainland China. However, the meaning of “IP” in this case is different from the traditional meaning of “IP”, which essentially refers to various types of literature works that can be adapted into movies or TV dramas. Notably, web fictions are the most popular “IP” due to their high popularity among fans, strong cash generation power and other advantages. However, in the process of authorization of web fictions, various kinds of legal disputes can occur between copyright owners and authorized persons. In practice, the ambiguity ensued in the authorization processes is likely to produce the dispute of “the chicken first or the egg first”. Compared to property rights, moral rights are often neglected, which will lead to follow-up disputes. The most common case in practice is the “right of authorship” and “the right to protect the integrity of the work” of authors that are claimed to be infringed. In the authorization of contracts for web fiction filming, some of the more important property rights mainly include “adaptation right”, “filming right”, “reproduction right”, “distribution right” and “the right of communication through information network”. Among these property rights, “adaptation right” is the most important one in that any unauthorized adaptation of web fictions will lead to disputes over adaptation rights and may even infringe the author’s other copyrights. In addition, the accumulation wave of storing “IP” together with the specific film and television record system regulated in mainland China has become a common phenomenon, making the authorized web fictions be overused. The purpose of this paper is to discuss relevant cases and understand specific disputes. Furthermore, we discuss the above issues from both legal and contract aspects and examine existing legal or practical deficiencies with the expectation of searching for potential solutions.