THE CONTEXT OF MEDIA SPECTACLE UNDER THE CIRCUMSTANCES OF SOCIAL CRISIS

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From the perspective of a predominantly hegemonic discourse, the paper addresses the issue of what happens to the meaning of media contents when the ideological aspect of message coding is unclear. The paper analyses the processes caused by the media context in contact with active audience under the circumstances of social crisis, on the example of the media spectacle of the state ideological apparatus of the Socialist Federal Republic of Yugoslavia in 1987 – the Youth Day.

E-BOOK

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Unlike many texts written in the past two decades about the end of the printed book, this paper deals with the end of e-books. The latest reports of big losses in electronic publishing show that printed books have taken precedence again, which seems to hold ground. However, ups and downs in e-publishing have been happening before: the initial optimism from the beginning of the 90s has been replaced by serious doubts, followed by launching of the Kindl reader that gave e-books precedence over printed versions. In contrast to this rather unstable situation on the market, the appearance of e-books has caused more controversy and future predictions than any other new medium before them. Many have predicted the end to the printed books and thus the end to an entire civilization, others have announced digital culture as a whole new way of life. Only some of them hesitated to call the changes revolutionary and most agreed that e-books have many advantages over the printed ones. Will anyone dare to predict anything now?

THEOLOGICAL-PHILOSOPHICAL PERCEPTIONS OF THE KEY PARTS OF THE MOVIE THE PERVERT’S GUIDE TO IDEOLOGY

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In this work we tend to give a theological reflection on the key parts of the movie The Pervert’s Guide to Ideology. Through his views on Christianity by Passions of Christ, Žižek favours a radical break out with the Old Testament’s anxious perception of God, which is dismissed by post metaphysical religion – a Christianity that concentrates on agape. On the other side, Kolakovski elevates the principle of loyalty in suffering and tends to emphasize that faith is in fact irrational. According to Kolakovski, God accomplishes his triumph showing himself different that he is. Žižek points that religious fanaticism begins as religious suspension of the ethical. Rowen Williams, on the other side, thinks that without God we easily adopt pervert freedom, which presents the essence of the diabolical. According to Žižek, modern capitalism has a sort of religious structure, which is powered by absolute demand: capital must circulate, multiply and progress. Graham Ward concentrates on the vision of a postmodern city that represents a place in which all desires are concentrated and may be realized. In fact, such a cosmopolitan city is no more a place in which to find heavenly direction, but a city without the church.

DELEUZE AND GUATTARI’S RHIZOME CONCEPT IN ARCHITECTURE, ART AND DESIGN

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The author deals with the rhizome concept in art, design and architecture pointing to the fact that these disciplines are a combination of esthetic, psychological and political differences which are constantly exposed to complex interactions. The rhyzome concept fits into the Postmodern where all dots connect, where there is no more growth and everything relates to anything. The division into reality (of the world), the representation (books) and the subjectivity (author) no longer exists. The idea of the rhizoma connects with the Rem Koolhaas’s narrative on the modern city of Junkspace, which is compared to a postmodern airport space, refering to its architectural and spatial features.

MАYA CIVILIZATION IN ARCHITECTURE

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The aim of this text is to explore the ancient Mayan civilization, preserved examples of drawings, graphics, photography and architecture dating between the eighteenth and the nineteenth century. Methodological instruments were developed to follow a vertical chronology extending from the beginnings of research and artistic presentation of the ancient Maya civilization in the work of European artists. A cross reference is made of the researched objects of study and art attachments are systemized to allow tracking of historical circumstances that have initiated certain expeditions, the conditions and the expertise of those who participated in them, as well as the contributions they made to the understanding of the Mayan architecture. Also, the context of European culture has been taken into account as well as the view of architecture as a civilization and artistic achievement of the ancient Maya. Visual presentation of the ancient Maya civilization began with the earliest research expeditions. Although initially amateur, they still managed to build a certain degree of visual culture, which was the foundation of subsequent research. Taking into account the artistic context of architecture, but also the fact that the European scientific circles in the eighteenth and nineteenth centuries, in the field of social and humanistic disciplines, have a distinctive Euro-centric character, it seems justified to emphasize the importance and the scope of the contact between the two ancient civilizations, the European on the one hand, and the Meridian civilizations of the New World, on the other hand.

THE MOVING PICTURES OF TERROR: SOCIAL ASPECTS OF YUGOSLAV HORROR GENRE (1973-1990)

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Analysis of Yugoslav horror subgenres enables reading film contexts. This form of fantasy reveals the fears, anxieties, hopes and objectives of the society. Serving as a means of distorting the dominant values, it also figures as their criticism. Flirting with the subgenre of apocalypse, drama, slasher movie, ontological film and even comedy, horror films show the reverse side of social reality. In this sense, the Yugoslav horror indicates fear of disrupting social relations, porosity of values built during socialism, anxieties of economic meltdown, the relativity of concepts such as progress, freedom and a better future. While the narrative of some films can be read as a critique of the present, others anticipate future conflicts and point out political problems in the rise of ethnical and confessional conflicts.

THE STAKEHOLDER NETWORKING APPROACH AS A NECESSARY FACTOR OF CULTURAL TOURISM DEVELOPMENT IN SERBIA

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One of the biggest challenges in the development and management of tourist destinations that base their offer on cultural attractions, is the need to harmonize interests of numerous actors (stakeholders). Stakeholder analysis is a technique used to identify the institutions, groups and individuals that influence the management of cultural resources and attractions. It also considers the wider socio-economic and political context that influences implementation of strategic measures and activities, as defined by the Tourism Development Strategy of the Republic of Serbia. The goal of this research is to identify a system of tourism development in Serbia and principles for formation of tourist destinations. It also attempts to determine if practical application of stakeholder approach is present. Furthermore, this paper defines the levels in which some stakeholders operate, their roles and also limitations in their practices that influence the development of cultural tourism in Serbia. Common interests are identified that could become a basis for the harmonization of general attitudes and facilitation of the cooperation between stakeholders. The aim is also to create a system that would enable a practical application of stakeholder networking leading to sustainable development of tourist destinations.

CONFRONTATION OF THE SERBIAN AND THE RUSSIAN CULTURAL AND ARTISTIC OPERA PRAXIS IN THE NATIONAL THEATER IN BELGRADE BETWEEN THE TWO WORLD WARS

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Cultural life of Belgrade in the period between the two Worlds Wars was also defined by establishment and development of numerous artistic associations, organizations and societies. Around 40,000 Russian refugees stationed in the Kingdom of Serbs, Croats and Slovenes in the first decade after the First World War, seeking refuge after the October revolution and the civil war. They have influenced development of the cultural life in the newly formed Balkan state. Establishment of two independent departments – The Opera (1919) and The Ballet (1922) – within the Belgrade National Theater, lead to popularization of theatrical arts (drama, opera and ballet). Russian artists and stagehands employed in the National Theater significantly contributed in the fields of performance -interpretation, scenery and costume, as well on the artistic and directorial level. The problem of language barrier and poor pronunciation of the Serbian language of Russian singers became an element of discrimination and segregation in a rivalry between the Russian and the Serbian opera soloists. In that context, the first working decade showed noticeable slowing of development i.e. stagnation of the Belgrade’s Opera scene, and offered poor conditions for creating the national opera style.

ANALYSIS OF BUDGET EXPENSES FOR FINANCING OF CULTURE IN THE REPUBLIC OF SERBIA

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Establishment of a system for monitoring of the execution of budgetary expenses allocated to culture as a segment of executive rule is a basic form of support to its development in the Republic of Serbia. Inadequacy of the present accounting system is caused by procedures and legal restrictions which complicate and fail to stimulate development of the cultural sector. Focusing on the budget as a fundamental financial institute we will discuss to which degree the cultural needs can be satisfied.

THE ROLE OF ARTS AND HISTORY IN THE REPRESENTATION OF HOLOCAUST

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Following the famous Adorno’s sentence: ˮWriting poetry after Auschwitz is barbaricˮ, we can ask ourselves if representing holocaust in art is ethical, and if so, what is the proper way of doing it? The Holocaust discourse has motivated and moved many artists and critiques to consider and discuss open questions of holocaust representation. Who has the right to try and represent the holocaust? How should we represent the holocaust and how can we deal with the question of responsibility in a postwar world? Poetry, ritual, music, film, photography, art in general, help us to remember, remind those not yet born that they have to feel suffering they were lucky to avoid, not only as a tribute to the victims, but to stay human. In Auschwitz, culture, science, art and progress became monstrous pictures in the mirror of human existence. A question was raised and constantly repeated after Auschwitz: ˮIs Auschwitz the end – the peak of our culture or a tipping point that we still do not understand? Is it possible for art to express the truth about Auschwitz?ˮ If holocaust represents a historic turning point for the application of extreme violence of mass killing, then this turning point also presents completely new challenges to individual remembrance and collective memory.