TARZAN AND JAMES BOND

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This text encaptures in detail the way all important ethical media moments in the MGM Tarzan series with Johnny Weissmuller and their subliminal deep religious context go along with all sensational neck breaking relationships of Ian Flaming’s secret Brit agit prop MI6 agent 007 had on the screen with numerous woman. By comparing 007 post modern Inteligence Service myth to imperialistic recidive myth of white man in charge of black Africa Tarzan – exotic and erotic hero role model of earlier 30’s crisis era – we see a completely changed and sexistic attitude to woman of 60’s and beyond. Almost in every film from the first two decades Bond kills, hits or almost joyfully rapes his girl friends and they seem to just adore it making it endlessly interesting sado-mazo subject for female studies media dealing with ethics. However, a deeper analysis shows us Bond just as a sad clown in Roger Moore’s film „Octopussy“, clumsy when he ought to be in aid of his real loved ones. Bond would obviously be much happier to be in Tarzans shoesless shoes as Lord of the jungle and servant to his own wife than as a mere servant to her Mayesty’s secret service.

BIBLIOGRAFPHY OF FILM PERIODICALS IN SERBIA

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PRACTICAL POSITIONING OF CULTURE IN THE LEGISLATIVE SYSTEM OF SERBIA

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Legislative system in the field of culture is an unusual aspect of viewing this immensely important domain of human life, and so far the position of culture in the context of its place in the legislation of a country and the influence of such a system on its development have not been considered as topics worth analyzing. There has indeed been very few papers dealing with this matter, both in national and international literature. Although the problem of cultural legislation and the relation of the terms “law” and “culture” in general is of theoretical nature, a very important issue arises in this context – the virtual position of culture in the Serbian administrative and legislative system. In addition, there are numerous important aspects to this issue which can basically come down to the analysis of the virtual relation between culture and state, as well as the relation of culture and law in the Serbian legislative system which can offer answers to most questions beside practical legal position of our culture. Besides, the position of culture in Serbian politics may also be interesting in this context, since the influence of politics in Serbia is so overwhelming that it represents a significant factor of the overall cultural development. Along with these aspects, the topic requires an analysis of certain researches related to the practical overview of the legal position of culture in Serbia. In view of the fact that virtual position of culture in the Serbian administrative and legislative system is directly related to the actual influence of the law on our cultural development, we find that the presentation of this problem may indicate other insufficiently utilized elements which maybe a basis for a quality progress. Namely, the restructuring of the system of administrative and legal positioning of Serbian culture may create adequate prerequisites for its further development, because this system is of enormous significance for its existence.

NON-INSTITUTIONAL AGENTS OF CULTURAL POLICY IN SERBIA, MONTENEGRO AND MACEDONIA

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This paper presents the results of a study which investigated cultural policy partakers active outside the system of public/state cultural institutions in Serbia, Montenegro and Macedonia (non-governmental organizations dealing with culture, independent cultural associations, artists associations, informal art groups, non-profit cultural clubs, etc). Total of 112 independent cultural scene partakers participated in the study – 71 in Serbia, 22 in Macedonia and 19 in Montenegro. The analysis relied on a combination of qualitative and quantitative methods: a survey intended primarily to gauge five groups of capacities of the organizations surveyed (human, technical, financial, managerial and social) and, on the other hand, semi-structured interviews which provided data on and evaluations of cooperation at various levels (with other stakeholders of the independent scene, with donors, decision makers, the business community, media); insight into the most important problems facing non-institutional partakers of cultural policy and ways of overcoming these problems; as well as independent cultural scene partakers’ opinions regarding future directions of the scene’s development in their country and in the region. Out of the multitude of information gathered in the course of the study, we will restrict ourselves here to a brief presentation of the results concerning: a) the characteristics of the partakers of the independent cultural scene; b) the conditions under which the scene operates; c) cooperation between independent cultural scene partakers and several groups of their important stakeholders; and d) the measurement of the capacities of organizations belonging to the independent cultural scene in Serbia, Montenegro and Macedonia. Finally, we will also draw attention to some of the areas in which the creators of cultural policy in the above-mentioned countries might choose to intervene should they wish to further the activities of the independent cultural scene in their community.

FILM MAGAZINES IN SERBIA

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GYPSY COMMUNITY: ITS CULTURE AND VALUES

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PUBLIC AID TO ARTISTIC CREATION

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CHILDREN AND MASS-CULTURE

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URBAN TELEVISION – MEDIATION OF REALITY WITH PROFESSIONALISM AND ETHICS OF JOURNALIST IN SUPPORTING ROLE

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Today’s readers, viewers and listeners in a single day get as much information their ancestors in the 17th century for the their entire life. But so much information does not mean that the recipient of information today with a large number of medium and high availability of information is well informed. The subject of this paper is to analyze the central daily broadcast informative programs of three regional televisions in Niš during the last week of February, 2011. The aim of this paper is to prove that the growing presence of new technologies irreversibly change our daily habits, and therefore the local media opportunities. Good coordination and strategy can create a welcoming and attractive environment to attract young people as the largest group of users of new technologies. Such investment will return in the future because it is necessary to entertain and educate a new audience hungry for contemporary media and interactive programs. According to the Bureau of Statistics survey of 2010 in Serbia, 1,1 million citizens had the Internet connection. In 2009, 285,000 people (12.9%) used some electronic services of public administration, and 51.1% would like to use them. The fact that 4.76 million people or 82.3% use a mobile phone refers to the general trend of using information and communication technologies. This further opens up additional possibilities for emancipation of urban television.