BIZKULTURA Zakon o autorskom pravu

Guest Zakon o autorskom pravuHosted by Goran ŠikićMay 3, 2026

Zakon o autorskom pravu

About this episode

What you'll hear in this conversation

Even a well-crafted law can struggle to keep pace with technology. Romana Matanović Vučković, who leads the expert working group drafting Croatia's new copyright law, notes that the existing framework was 'relatively good.' Yet, the rapid shift to digital platforms created a fundamental 'disbalance,' allowing intermediaries to profit from creative works while artists saw their value diminish. This episode explores the complex challenge of re-anchoring artistic value in an era of free online content. Matanović Vučković details the European Union's economic rationale for stronger protections, citing how creative industries contribute over four percent to the EU's GDP and proved resilient even during the 2008 economic downturn. The conversation examines the proposed changes designed to hold online platforms accountable for the content they host, addressing the struggle to monetize work when 'millions of clicks' might yield negligible earnings. It offers a clear view of how legal frameworks are attempting to catch up with internet-era business models, and what that means for creators and platforms alike.

Insights from the conversation

What to take from this episode

The existing law was 'relatively good,' the guest notes, but internet platforms created a 'disbalance' by developing business models that bypassed its rules. Even sound regulation becomes ineffective when the market finds new ways to operate outside its scope.

The EU's decision to reform copyright came after studies showed creative industries contribute over four percent to GDP and were 'especially resistant' to the 2008 crisis. Protecting creative work isn't just about cultural value; it's about safeguarding a resilient economic sector.

Internet platforms were previously 'considered only intermediaries' for content, but the new directive makes them responsible for exploiting copyrighted works. The core of re-monetizing creative output online lies in shifting accountability from content creators to the platforms profiting from distribution.

A music track might earn 'two and a half lipa or one and a half kuna' from millions of YouTube clicks, a stark contrast to traditional concert or CD earnings. The guest observes that online business models have devalued creative work, proving that sheer volume of consumption does not equate to fair compensation without explicit legal frameworks.

Croatian cinematographers initially worried the new law would strip their artistic status, but the guest confirms this was a misunderstanding that will be corrected based on public feedback. Public debate is not just a formality; it is a critical mechanism for refining legislation and ensuring the law reflects the specific concerns of those it impacts.

The proposed law will allow authors to manage their rights 'collectively through a collective management organization' or 'individually,' addressing the rise of independent online success stories. Modern copyright must account for both structured collective systems and the decentralized, individual paths to monetization that the internet enables.

Performers retain 'exclusive rights,' 'moral rights,' and 'property rights' under the new law, with no presumed transfer to others. This explicit protection ensures that artists, whether operating traditionally or digitally, maintain full agency over their creative output and its commercial use.

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