The Problem of Copyright Infringement in Secondary Short Videos

and the Way to Solve It

Yiyuan Zhang

College of Political Science and Law, University of Jinan, Jinan, Shandong, 250022, China

Keywords: Secondary Creation Short Video, Copyright Infringement, Interest Conflict, Solution Path.

Abstract: In the context of the rapid development of the short video industry, the secondary creation of short videos has

become an emerging cultural phenomenon and triggered a conflict of interest between short and long video

platforms. This paper discusses the issue of copyright infringement of secondary creation of short videos, and

analyses the types of infringement, legal dilemmas and causes of the problem, and then puts forward that

people should improve laws and regulations to introduce the rules of transformative use, establish a commu-

nication mechanism to smooth out the authorisation channels to play the role of the platforms and collective

organisations. It is expected to provide legal guidance for the secondary creation of short videos, create a good

creative environment, promote the innovative development of the short video industry in a healthy and orderly

manner, and inject new vitality into the digital copyright and online cultural and creative industries.

1 INTRODUCTION

1.1 Background to the Study

In recent years, the users and market size of China's

short video industry have continued to grow. As of

June 2023, China's short video users scale reached

1.026 billion people, hitting another record high, and

the user usage rate grew to 95.2%. The short video

industry is rapidly becoming a new growth point for

China's digital copyright and online cultural and

creative industries (China Internet Information

Centre, 2024). Among them, secondary creation short

videos are becoming a popular cultural phenomenon

by streamlining the content and compressing the

length of unauthorised long video works, selecting

the climax or "fascinating" clips in the original long

video to attract the audience's attention, and

accurately positioning and utilising the users' demand

for fragmented content to provide a more compact

presentation of the content and focus on the thematic

ideas. However, while providing viewers with new

perspectives and experiences, it inevitably faces the

risk and responsibility of copyright infringement of

the original work. The increasingly fierce exchanges

between long-form and short-form video platforms

have led to a loss of users and economic benefits for

long-form video platforms. A large number of

litigation cases have emerged, and the interests of

multiple parties have been damaged.

1.2 Purpose and Significance of the

Study

The purpose of this study is to comprehensively and

deeply explore the copyright infringement problem in

secondary short videos, and to analyse the legal

disputes and conflicts of rights behind this emerging

cultural phenomenon. It further reveals the

complexity and urgency of the problem by

elaborating the current situation of copyright

infringement in secondary short videos, including the

infringement characteristics of different types of short

videos, such as editing-type, narration-type and

parody-type, and at the same time, this paper is

committed to exploring effective strategies for this

purpose, including analysing the relevant provisions

of the copyright law and its application in judicial

practice, dissecting the legal difficulties of copyright

infringement in secondary short videos, and

proposing to improve the legal framework, optimise

the standards of judicial decisions, construct a

dialogue mechanism and expand the legal disputes

and conflicts of rights behind this emerging cultural

phenomenon. It also proposes specific measures to

improve the legal framework, optimize the judicial

decision standard, build a dialogue mechanism and

broaden the authorization channels. This study is

expected to provide clear legal guidelines for

126

Zhang, Y.

The Problem of Copyright Infringement in Secondary Short Videos and the Way to Solve It.

DOI: 10.5220/0013968900004912

Paper published under CC license (CC BY-NC-ND 4.0)

In Proceedings of the 1st International Conference on Innovative Education and Social Development (IESD 2025), pages 126-133

ISBN: 978-989-758-779-5

provide a convenient and legal creative environment

for creators, balance the conflict of interests between

short and long video platforms, promote fair

competition and cooperation between short and long

video platforms, and ultimately promote the

sustainable development of the short video industry.

2 DEFINITION OF SECONDARY

CREATION SHORT VIDEO

2.1 Secondary Creation

As a non-copyright term, there is still no general

consensus on the precise definition of "secondary

creation". Some interpret it as the act of re-inventing

the original work in the field of media; others

emphasise that a secondary creation is a second

derivative creation modelled on a previously

copyrighted work (Chen, 2024). However, most

scholars emphasise that secondary creation is rooted

in pre-existing works.

Therefore, secondary creation also refers to the act

of creating a work with a new expression or a new

form by adding, modifying, reorganising or

reinterpreting an existing work.

2.2 Secondary Creation of Short

Videos

There is no formal definition of the concept of

"secondary creation of short videos", and some

scholars refer to this kind of short video as "remixing

audiovisual works" and some scholars refer to this

kind of behaviour as "video transporting" (Xiong,

2021). The main manifestation of this behaviour is the

transfer, editing and splicing of the original video

material, or the use of editing, subtitling, soundtracks

and other techniques to re-arrange and create the

existing content to form a new video work.

Combined with the characteristics of the

secondary creation of short video itself, on the basis

of the definition of secondary creation, the secondary

creation of short video can be defined as the

formation of new video works based on the video

material of the existing works, through the relevant

technical means of creation.

3 TYPOLOGICAL ANALYSIS OF

THE DETERMINATION OF

OF SECONDARY CREATION

SHORT VIDEOS

3.1 Clip-Based Short Videos

An edited short video is a concise overview of the

content of a longer video. It selects and rearranges

footage and clips from longer videos based on a

holistic or specific perspective, sometimes with a

short introduction and explanation. The editing

techniques are divided into two categories: single

editing focuses on a single work and intercepts

around its content, characters, and plot;. In contrast,

hybrid editing combines several existing works and

creates them through editing and splicing. This type

of short video often directly appropriates and

reassembles the material of a longer video. This act is

likely to directly infringe on the original author's

reproduction and network distribution rights, and is

often more likely to be regarded as an infringement of

adaptation.

3.2 Narration-Based Short Videos

Compared to clip-based short videos, narration-based

short videos focus more on conveying the creator's

unique perspective on the content through narration

while referencing long video clips. The selected clips

serve the main purpose of the narration, and the long

video introductions are only a vessel, with the core

aim of achieving the deeper purpose of playfulness,

criticism or homage through strategies such as

commenting, celebrating or satirising. In this type of

video, the creator interprets the film or television

work in a personalised way, which provides a basis

for fair use judgements and may avoid infringement

of the right of adaptation. However, if the narration is

limited to a simple recapitulation of the long video

footage and the use of unoriginal voice-over

narration, it is difficult to meet the standard of

originality of the work, and cannot constitute fair use,

and is prone to infringement of the author's right of

adaptation.

3.3 Parody-Type Short Videos

Parody is an art form of deconstructing and recreating

long videos through humorous imitation, aiming to

The Problem of Copyright Infringement in Secondary Short Videos and the Way to Solve It

127

satirise, criticise or parody, quoting and adapting

existing well-known works. Rather than simply

copying the original work, parody differs from or

even opposes the original work in terms of narrative

style and values, and demonstrates unique themes,

structures, character relationships, values, narrative

techniques, and linguistic features, leaving room for

the application of fair use. Nonetheless, although

parody is a work of imitation, if it makes extensive

use of the original work's images, sound effects and

other materials, even if it has been rearranged or

interpreted, it may still be regarded as an adaptation

of the original work, thus infringing on the right of

adaptation.

4 LEGAL DILEMMA OF

DETERMINING COPYRIGHT

INFRINGEMENT IN

SECONDARY SHORT VIDEO

CREATION

4.1 Legal Basis for the Determination

of Copyright Infringement in

Secondary Short Videos

4.1.1 Relevant Provisions of the Copyright

Law

At present, Article 24 of China's Copyright Law

enumerates 13 cases of fair use. Most scholars believe

that China's copyright fair use legislation is closed

legislation (Li, 2020). After the revision of the

introduced into the General Provisions as a general

judgement standard, and "other circumstances

stipulated by laws and administrative regulations"

was added in the rules of fair use to set up a bottom

clause, which is regarded as a change to a semi-open

style. It is regarded as a change to a semi-open style.

However, this amendment "still has not changed the

closed nature of the rules for determining fair use"

(Wu, 2020).

According to Article 24 of the Copyright Law, for

the purpose of introducing or commenting on a

particular work or explaining a certain topic, one may

moderately cite the published works of others in the

work. However, if a short video creator, in their

creative practice, cites a work for a purpose that goes

beyond mere introduction, explanation or comment,

it is difficult to reasonably classify it as legal use

based on the textual interpretation of the law alone. It

can be seen that the current Copyright Law provides

for copyright restrictions on the 13 cases can hardly

summarise all the possibilities of infringement of

secondary creation of short videos, the strength of the

"bottom-up clause" is not enough to cover the bottom-

up, and there are still some limitations in terms of the

legislative significance and content of the legislation.

Although the current Copyright Law provides a

certain legal framework and guidelines for short

video creation, there are still some limitations in

exploring the spirit and intent of fair use legislation

(Dong, 2022).

4.1.2 Determination of Violations in Judicial

Practice

At present, the court maintains a more open and

inclusive stance on the infringement of secondary

short videos, i.e., it does not take the circumstances

stipulated in the Copyright Law as the only

judgement standard.

Rather, they draw on legal concepts such as the

"three-step test" and the "four-element doctrine" as

the relevant basis for trying specific cases. In general,

however, the courts have been "fragmented" in their

application of the determination methodology.

In addition, China's judicial policy also states that,

in special cases where it is necessary to promote

technological innovation and commercial

development, taking into account the nature and

purpose of the act of use, the nature of the work used,

the quantity and quality of the work, and the impact

of the use on the potential market or value of the

work, if the act of use neither conflicts with the

normal use of the work nor unreasonably impairs the

legitimate interests of the author, the act of use may

be deemed to be fair use. It can be recognised as fair

use. This is in fact the introduction of the "four

elements" of the US Copyright Law as considerations

for the last two elements of the "three-step test"

(Beijing Internet People's Court, 2023).

4.2 Difficulty in Collecting Evidence

In short video secondary creation copyright

infringement cases, evidence collection is a crucial

part, such as frame-by-frame analyses of video

screenshots and line comparisons of short and long

videos, and the collection of the number of views,

likes and comments on short videos. However, due to

the fast and wide dissemination of short videos, and

the ease of tampering and deletion, it makes the

collection of infringement evidence extremely

difficult. In addition, infringers often adopt various

IESD 2025 - International Conference on Innovative Education and Social Development

128

means to cover up their infringing behaviours, such

as using fake accounts and hiding IP addresses,

further increasing the difficulty of evidence

collection, which makes it a huge challenge for

defenders to pursue infringement.

4.3 High Number of Videos, Difficult to

Remediate

firstly, there are multiple secondary videos based on

one single long video or audiovisual work. It is

impossible to use all the relevant secondary creation

short videos. The dynamic nature of the short video,

short video update is extremely fast, which also

requires the original creation of the main body in the

collection of evidence to continue to follow up on the

relevant secondary creation of the short video.

Secondly, a secondary-created short video may be

posted on multiple social media platforms and video

websites, which have massive amounts of user data

and content. The film company needs to find and

locate the infringing video from each of the many

platforms, and each platform has different video

storage formats and access rules. For example, some

platforms may need to go through complicated

notarisation procedures to obtain valid video

evidence, while some platforms may quickly delete

the video after a complaint has been lodged, resulting

in the film company not being able to finish the

complete fixing of evidence in time.

The limited supervisory power of platforms, as

well as the hidden and complex nature of

infringement behaviour, make the remediation work

extremely difficult. In the face of the huge number of

infringing works, it is also difficult for the relevant

departments and platforms to comprehensively and

effectively combat infringing behaviours during the

remediation process.

5 THE ROOT OF COPYRIGHT

INFRINGEMENT PROBLEMS

OF SECONDARY SHORT

VIDEO CREATION

5.1 Economic Perspective Analysis

5.1.1 Disputes Over the Interests of Creators

of Short and Long Videos

Secondary-created short videos are often created

using elements such as clips, images or sound effects

from longer videos, and this behaviour may, to a

certain extent, harm the economic interests of the

creators of longer videos. On one hand, secondary

creation short videos may attract viewers by

intercepting the wonderful clips or core plot in the

long video, thus reducing the viewers' willingness to

watch the original work, which in turn affects the

market demand and revenue of the original work. On

the other hand, secondary short videos may produce

a substitution effect in the process of dissemination,

i.e. viewers can obtain the main content of the original

work by watching secondary short videos, thus

eliminating the need to watch the original work,

which will also harm the economic interests of the

creators of long videos.

The imbalance in revenue distribution is also an

important reason for disputes over the interests of

short and long-video creators. In the current digital

market, short video platforms often gain revenue

through advertising revenue and user rewards, which

often do not fully benefit long video creators. Long

video creators have invested a lot of time, energy and

money in the creation process, but the wide

dissemination of secondary short videos may prevent

these investments from being properly rewarded.

5.1.2 Market Distortions and Impaired

Incentives for Originality

Infringement not only causes financial losses to

individual creators, but also negatively affects the

overall market order. With the rapid development of

the short video market, infringement has become

increasingly rampant, leading to serious distortions in

the market. Some unscrupulous elements obtain

illegal benefits by stealing, tampering with or

impersonating other people's original works,

seriously undermining the fair competition

environment in the market.

In addition, infringement can undermine the

incentive to create original works. When creators find

that their works are frequently infringed and cannot

be effectively protected, they may lose their

enthusiasm and confidence in creating, and thus

reduce their input and output of new works. This

negative effect will seriously hinder the healthy

development of the short video industry and reduce

the innovation and competitiveness of the industry as

a whole.

The Problem of Copyright Infringement in Secondary Short Videos and the Way to Solve It

129

5.2 Social Perspective Analysis of the

of Secondary Short Videos

5.2.1 Public Perception Bias

First, the public often misunderstands the concept of

"secondary creation". In many cases, the public sees

secondary creation as a form of creative reprocessing

or cultural redistribution, without fully recognising

the copyright issues that may be involved in the

original work. This misunderstanding has led to the

creation of secondary short videos by creators who

are unaware of the nature of their actions and infringe

on the copyright of the original author.

Secondly, there is also a lack of public awareness

of the copyright law. Although the copyright law has

been implemented in China for many years, the public

has limited knowledge of its specific content, scope

of application and legal liability. This lack of

knowledge makes some members of the public unable

to accurately judge the legality of their own actions

when faced with the issue of copyright for secondary

short videos, and may even inadvertently infringe on

the copyright of others. In addition, some creative

subjects may also be influenced by misconceptions

circulating on the Internet, such as "the law is not

responsible for the masses", believing that there are a

large number of short-form secondary videos and that

their creative acts may be widely recognised and

supported, with the expectation of evading legal

responsibility.

5.2.2 Lack of Collective Organisational

Management and Authorisation

Channels

In the current secondary short video market, there is

a lack of effective collective organisational

management and authorisation channels for long

video creators to safeguard their legitimate rights and

interests. This has led to many creators feeling

isolated when facing infringement, which making it

difficult for them to effectively defend their rights and

interests.

For short video creators, they may feel the lack of

channels to judge whether the videos they create are

infringing to obtain authorisation or not and this also

inhibits their creativity and innovation.

On one hand, due to the lack of unified copyright

protection organisations and associations, creators

often lack sufficient legal support to defend their

rights. They often have to bear the high legal costs

and lengthy litigation process on their own, which

makes many creators choose to remain silent and

compromise in the face of infringement.

On the other hand, due to the lack of convenient

licensing channels, it is often difficult for creators to

authorise their works to legitimate users for

secondary creation or dissemination. This not only

restricts the revenue channels for creators, but also

inhibits the innovation and development of the

industry.

6 THE SOLUTION PATH TO THE

PROBLEM OF COPYRIGHT

INFRINGEMENT OF SHORT

VIDEOS OF SECONDARY

CREATION

6.1 Improvement of Laws and

Regulations

China's newly amended Copyright Law still provides

for specific special circumstances for the application

of fair use through enumeration. The latest

amendment of the Copyright Law in 2020 did not

change the 12 specific circumstances stipulated in

Article 22 of the old Copyright Law, except for the

addition of Article 13, which provides for the

following circumstances. It is limited to "use under

the following circumstances", which in essence

constitutes a restriction on the interpretation of the 12

specific circumstances rather than an open

authorisation provision, and the use of the original

work in short videos is not explicitly included in the

list of specific contents. The court cannot "explains"

the new limitations or exceptions based on the article

in specific cases (Guo, 2022).

In contrast, the U.S. copyright law adopts a

flexible fair use model, which provides a broad and

flexible space for the U.S. courts to interpret.

Transformative use refers to the use of another

person's work by the user to form a new work with a

new purpose, function, meaning or aesthetic sense

different from the original work. The theory of

transformative use is the result of the shift from

abstract legal nature theory to concrete legal effect

theory. The term transformative use was first coined

by Pierre Leval in his article "On the Fair Use

Standard" (Pierre Leval, 1990). In the Campbell case,

the judge used this concept, but did not give a clear

standard on transformative use. Since then, the United

States has enriched the transformative theory through

a series of jurisprudence in terms of both content

IESD 2025 - International Conference on Innovative Education and Social Development

130

transformation and purpose transformation.

It is necessary to introduce the transformative use

rule in China. On one hand, the introduction of the

transformative use rule can eliminate or alleviate the

uncertainty of the elemental analysis method,

avoiding the dilemma of difficult choices due to the

conflict between different elements in the

comprehensive determination. On the other hand, the

cumulative nature of knowledge determines that

knowledge innovation needs to be built on the basis

of the existing knowledge of the predecessors.

Excessive restriction on the use of other people's

works is not in line with the needs of social and

economic development. When judging the legitimacy

of the secondary creation of short videos, the use of

transformative use rules can avoid the phenomenon

of generalisation of infringement, and encourage

users to make reasonable use of existing works. For

example, in the case of Shanghai Fine Arts Film

Factory and Jiangsu Radio and Television Group

"the work did not add new information or new

aesthetic value or new understanding to the original

work of art" and that the use of the work of art was

for the purpose of increasing the effect of the

programme, which substantially gained certain

commercial interests, and therefore did not constitute

an appropriate citation of the work of others.

In the scenario of short video creation, in order to

avoid abuse of discretion, it is necessary to clarify the

conditions that constitute transformative use. Firstly,

the creation of short videos based on long videos

requires new perspectives, ideas and aesthetics, and

short videos should be substantially different from

long videos in terms of content, purpose, nature and

function. Second, the use should have the effect of

promoting knowledge dissemination and encouraging

innovation. Breaking down the long video into

several parts and adding sporadic narration before or

in the middle of each part are not substantially

different from the long video, and can hardly be

called innovation, which is not fair use and constitutes

infringement. This kind of simple repetitive behaviour

does not have the effect of prospering culture, but on

the contrary wastes social resources (Dong, 2022).

6.2 Establishment of Communication

Mechanisms and Smooth

Authorisation Channels

6.2.1 Fulfilling the Role of the Platform and

Constructing Its Responsibilities

In the long run, the establishment of a new copyright

authorisation mechanism for short videos is the

ultimate solution to short video copyright

infringement, and the establishment of such a

mechanism requires the joint participation of right

holders and short video platforms. The right holders

(including the long video platforms that purchase a

large amount of video resources from the right

holders) hold a large amount of resources, which is an

important source of material for the secondary

creation of short videos. And the frequency of short

video infringement does make the copyright owner

suffer significant losses. Short video users are too

dispersed and have limited negotiating power, even if

they have the will to obtain authorisation, it is

difficult to achieve direct dialogue with the right

owner. Short video platforms have the ability and

obligation to manage and control the users, and gain

a lot of revenue from short video dissemination.

Therefore, short video platforms should become a

link between the right holders and users of works,

effectively integrate music, pictures, videos and other

resources, and build a copyright authorisation and

distribution system of authorisation, use and

payment, so as to effectively reduce the occurrence of

infringement. Taking secondary creation of short

videos as an example, the first is to explore the

revenue-sharing mechanism and specific

programmes for long and short videos, and to achieve

positive incentives for both through empirical

analysis and dynamic adjustment; The second is to

adopt a "one-to-many" open copyright authorisation

model, so that the original right holder can transfer

part of the property right in exchange for

dissemination benefits, so that the secondary short

video authors can break the creative dilemma through

the knowledge-sharing agreement, thus fixing the

drawbacks of the traditional author-centrism of the

works in the current stage, lowering the costs of the

short video dissemination and the copyright

transaction, and creating a friendly creative

environment adapted to the new creation and

dissemination mode (Beijing Internet Court Panel,

2023).

6.2.2 Establishment of "Knowledge-Sharing"

Mechanisms to Leverage Collective

Organisations

In the interactive context of short video creation and

model can hardly adapt to the development of the new

industry. With the transmutation of the connotation of

creation, the diversification and expansion of

The Problem of Copyright Infringement in Secondary Short Videos and the Way to Solve It

131

communication channels, and the significant increase

in the importance of the speed of communication and

traffic, the one-by-one authorisation model has

hindered the benefits of communication and

secondary innovation. It reduces dissemination to

mere sharing and makes it difficult to stimulate the

vigour of recreation, so it is imperative to change.

The knowledge-sharing model is the key. Under

this model, copyright holders can decide on their own

to transfer all or part of their copyright through

licensing agreements issued by organisations,

retaining only specific rights, such as the right to

attribution, so that short-video creators can legally

obtain free secondary creative materials, thus

realising the synergy between the dissemination of

the work, the secondary creativity and the public

interest.

The knowledge-sharing model has a unique

operating structure. It adopts an open-ended licensing

system, whereby a single authorisation is granted to a

large number of parties, who can obtain the property

rights of the copyright free of charge and at their own

risk, and enjoy more freedom of choice than in a

formal contract. In terms of rights allocation, personal

rights are retained to show the identity of the original

author, and some property rights are transferred to

help the work be widely disseminated, covering the

scope of authorisation for reproduction, performance,

projection and information network dissemination,

and the same sharing method is also required for

secondary creation and adaptation. With the help of

big data and blockchain technology, the construction

of a knowledge-sharing system for film and television

works can be expected. This model does not negate

the existing authorisation system, but rather integrates

it into the copyright framework as a supplement to the

limitation of rights. It effectively solves the dilemma

of one-by-one authorisation in the field of short

videos, corrects the shortcomings of traditional

Internet dissemination and transaction. The

authorised party can promote the wide dissemination

of the work, while the other party is free from

infringement concerns and enjoys a good creative

environment, easing the conflict of interests between

the original copyright owner and the secondary

creators. China should actively introduce and

promote the knowledge-sharing model, fully release

the value of short and long videos, and promote the

innovative and orderly development of the copyright

ecology in the field of short videos on the premise of

complying with the provisions of the copyright law

and respecting the attributes of intellectual property

rights.

7 CONCLUSION

In the wave of continuous evolution of the short video

industry, the secondary creation of short videos has

become a force to be reckoned with. It not only opens

up new paths for cultural dissemination and

innovation, but also brings many challenges to the

field of copyright. This study comprehensively

analyses the problem of copyright infringement of

secondary short videos, identifies the types of

infringement, legal dilemmas and root causes of the

problem, and highlights the complexity of the

problem and the urgency of solving it. Through in-

depth analysis, it is known to be crucial to improve

laws and regulations to introduce transformative use

rules to improve the legality of creative acts, avoid the

arbitrariness of infringement determination, and

provide clear legal boundaries for creative activities.

At the same time, it is of great significance to

establish a communication mechanism and smooth

authorisation channels. Short video platforms should

act as a bridge to build a reasonable authorisation and

distribution system, promote revenue sharing, reduce

transaction costs, and promote a virtuous cycle of

creation and dissemination. It is expected that this

study can provide a useful reference for stakeholders

in the short video industry, help creators release their

creativity within the legal framework, guide

platforms to actively fulfil their responsibilities, and

promote the continuous improvement of legislation

and justice. With the joint efforts of all parties,

secondary short videos are expected to flourish on the

basis of respecting copyright, contributing to cultural

prosperity and industrial progress, and allowing the

short video industry to sail towards a more brilliant

future on the track of the rule of law.

REFERENCES

Chen, X. C. & Qin, S. Y. 2024. Overall Comparison and

Split Use: Copyright Disputes and Coordination of

Short Video Secondary Creation--Taking the Recent

Five Years of Related Copyright Infringement Lawsuits

as Research Samples. Media Watch, (04):91-99.

Dong, B. 2022. Application and Improvement of Fair Use

Rules for Secondary Creation of Short Videos. Politics

and Law, (05).

Guo, Y. 2022. Research on fair use determination of sec-

ondary creation short video[D]. Guangxi University.

Huang, A. 2021. The Infringement Recognition and Gov-

ernance Points of Second-Cut Short Video. Young Re-

porter, (18): 91-92.

IESD 2025 - International Conference on Innovative Education and Social Development

132

Li, Y. 2020. The System Construction and Judicial Interac-

tion of Copyright Fair Use System. Law Review,

38(04): 88-97.

Generated by Artificial Intelligence. Chinese and for-

eign law, 32(03): 653-673.

Xiong, Q. 2024. Economic Analysis Paradigm for the De-

termination of Copyright Fair Use of "Secondary Crea-

tion". Contemporary Law, 38(01):108-120.

nomenon of "Video Carrying". Intellectual Property

Rights, (07):39-49.

Zhang, L. X. 2023. The Dilemma and Path of Solving Cop-

yright Disputes of Secondary Creation Short Vid-

eos[A]. Collection of Shanghai Law Studies, Volume

17, 2022 - Anthology of the Yangtze River Delta Rule

of Law Forum[C]. East China University of Politics and

Law, School of Intellectual Property; Shanghai Law

Society, 122-129.

Zhang, Q., Li, K, et al. 2023. Research on judicial protec-

tion of short video copyright. Intellectual Property,

(03):3-29.

The Problem of Copyright Infringement in Secondary Short Videos and the Way to Solve It

133