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Regulacija intelektualnog vlasništva postala je sve češće i teže pitanje početkom 20. stoljeća. Dok je zakonska regulacija autorskog prava bila velik korak za novinarstvo, filozofiju i umjetnost općenito, posebice književnost, velika je razlika između ideja i sporova koji su obilježavali razdoblje prvih konkretnih zakonskih regulacija nasuprot onih koje je donio tehnološki razvoj te općeniti napredak društva. Bujanje ekonomije, posebno nastanak i strelovit razvoj zabavne industrije u drugoj polovici 20. st. i tehnološka otkrića koja su neodvojiva od nje, dodali su pitanje profita kao neodvojivog od rasprave o intelektualnom vlasništvu. Autorski radovi (barem oni vezani uz zabavnu industriju u kontekstu pop kulture) sa sobom su nosili mogućnost zarade čiji razmjeri do tada nisu bili zamislivi, a su uz sebe vezali sve više aktera koji su ulagali u takvu mogućnost. Ta nova industrija naglasila je potrebu za zaštitom autora od izdavača, diskografa i ostalih posrednika. S druge strane, pojavljivanje interneta i digitalne tehnologije je ubrzalo i osnažilo prethodnu tendenciju rasta, a njihovo otkriće i primjena postali su usko vezani uz samu ideju liberalne demokracije kao političkog sustava. Iako su pitanja slobode govora i razmjene informacija itekako bili prisutni u društvu, novi kontekst je tu raspravu nerijetko stavljao u prvi plan, a njene sudionike u drugačije odnose moći. U suvremenom kontekstu neki akteri primjenu zakonske regulative intelektualnog vlasništva doživljavaju je kao ograničavanje sloboda, a taj sentiment nerijetko dijele i sami autori. U ovom radu pokušat će se dati teorijska pozadina „etiketiranja” autorskog prava kao cenzure te sociološki analizirati percepcija regulativa od strane autora i korisnika sadržaja. The regulation of intellectual property has become a frequent and difficult question since the beginning of the 20th Century. While the legal regulation of copyright was a big step for the development of press, philosophy, and art in general, especially literature, there is a big difference between the ideas and disputes that marked the period of the first legal reforms and those that transpired with the ongoing social and technological development. The flourishing economy, especially the emergence and swift growth of the entertainment industry in the second half of the 20th Century and the technological innovations that are inseparable from it made the question of profit an essential part of the discussion of intellectual property. Creative content (at least the content within the entertainment industry) carried a possibility of profit that was unimaginable until that point, and that profit came with a network of actors ready to invest in such a possibility. This new industry highlighted the need for the author’s protection against publishers and other mediators. On the other hand, the emergence of the internet and digital technology further accelerated and strengthened previous tendencies of growth, while their discovery and implementation became closely related to the idea of liberal democracy as a political system. And while discussions about freedom of expression and the free exchange of information were very much present in society, the new environment frequently drove these discussions to the forefront of the public sphere and rearranged its participants into new relations of power. In the contemporary environment the implementation of legal regulations of intellectual property was experienced by some actors as a restriction of freedom and the same sentiment was often shared by the authors themselves. In this paper, we will try to give a theoretical overview of this phenomenon of “labeling” copyright as censorship and analyze the perception of authors and content users towards the legal regulations. |
