PEDRO ALMODOVAR’S POP PHASE

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THE CLASSICAL HOLLYWOOD CINEMA AND ITS MODIFICATIONS AFTER 1960

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It is widely considered that the Classical Hollywood Cinema as an array of production practices, narrative and stylistic features was formed as early as by 1917, and that it remained relatively stable until the 1960s. What happened after this? The opinions of various film historians and theoreticians are not unanimous. Some talk about ´postclassical´ cinema, while the others claim that the fragmentation of everyday life has found its way to cinema as well, and that the Classical film has desintegrated under the dominance of the spectacle. In this paper we will give account of the basic characteristics of the Classical Hollywood film and explain how it functions while providing several examples, mainly based on the research of David Bordwell. We will see what was crucial for the popularity of this form not only in the US but also throughout the world. Also, we will discuss developments concerning the Classical Hollywood film during the last few decades and present different theoretical approaches, which appeared in this period and attempt to offer our comment of these.

DIGITAL TOOLS AND THE PURPOSE OF EDUCATION

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The approach to contemporary digital media technologies has two general orientations – “techno-optimistic” and “techno-pessimistic”. The author takes a middle position and tries to bring together the arguments of the humanistic philosophy of education and media theory. New media influence our perception of reality and ability to articulate that perception, and thereby shape the reality itself. The educational system includes new media through the “media education” and its application as educational technology. The main postulates of this article are: (1) digital media technologies are not the purpose, but a tool in the educational process, (2) those tools influence changing of the educational process characteristics and (3) the specific purpose of humanistic education process is not lost despite those changes.

IDENTITY IN A VIRTUAL WORLD

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Personal identity is a concept that can be determined through the consciousness of the experience continuity in the dimension of time. Personal identity is not substantial, but formal relation that articulates its contents in different ways, which are socially conditioned (gender, professional, national etc. identity). Similarly, collective identity is established as consciousness of the shared experiences and traditions. The basic thesis of this article is that the personal and collective identity in a virtual world set up in the same way as in “real” world, as well as that the identity in a virtual world is less stable than the identity in “real” world.

THE SERBIAN LITERARY BLOGSPHERE

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У тексту је дат преглед српских књижевних “блогова”, с обзиром на њихове потенцијале у домену преношења информација, формирања комуникационих канала, могућности дигиталног издаваштва и доприноса новим праксама читања и писања. Указује се на разлике између “класичне” форме дневника и “блога” као “мрежног дневника”. Те разлике огледају се у другачијем току рецепције “класичног” и “мрежног” дневника, као и у хипертекстуалном карактеру “блога”. У остваривању потенцијала “блога”, као нове књижевне и комуникацијске форме, запажа се стална амбиваленција – између индивидуалног и приватног, слободног и анархичног, комуникативног и површног. Већина постојећих српских књижевних “блогова” не би задовољила иоле строжије књижевно–естетске захтеве. Још увек су отворена бројна питања која се тичу доприноса књижевних “блогова” књижевном животу, а поједина од тих питања (нпр. о ауторским и издавачким правима) прекорачују домен књижевности и задиру у области права и филозофије. Још увек нерешено питање представља стварни допринос “блогосфере” новим књижевним искуствима и могућностима нелинеарног писања и читања.

LUCIEN GOLDMANN

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LITERARY, AUDITORY AND VISUAL COMMUNICATION

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MATERIAL CONDITIONS OF FREE-LANCE ARTISTS

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NEW NEEDS AND NEW ASPECTS OF CULTURE

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