/ 1968
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OFFICIAL EDUCATIONAL STANDARDS IN THE FIELD OF VISUAL CULTURE AT THE END OF COMPULSORY EDUCATION – HOW TO OVERCOME DEFECTS

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Considering general principles of fostering creativity in children and youngsters together with empirically proven knowledge of numerous experts and the tendency of modern teaching methods in the field of creativity, it becomes clear that the range of knowledge, skills and attitudes in art education provided by the Educational standards for the end of compulsory education in Serbia is incomplete and unsystematic. The current conception of Standards in the field of visual arts is completely pointless due to the omission of the aspect of creativity. The consequences of the issues established in the Current conception of standards in the field of visual arts are harmful not only for the development of children’s creativity, but also for the development of the entire personality. In this way the basic human, above all children’s right and need for creative expression and action is formally disabled. Also, performing of the key objectives in art education, especially teaching art is disabled. The key objectives are just formally represented in some issues within Standards without possibility of their systematical realization within the current educational practice.

/ 1968
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ART PEDAGOGY – INTEGRAL PART OF THE CONTEMPORARY CURRICULUM

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In contemporary society children grow up surrounded by visual sensations. That is why pupils react positively as soon as they have the opportunity to learn through, or with help of visual arts. Since art is an essential part of human experience, pupils should be more involved with it and spend more time studying it during their compulsory education, in order to understand that man can communicate not only verbally but also though music, dance, drama and visual arts. The paper presents contemporary theorists and their perception of the benefits that visual arts have on education of children and youngsters and the effects that art education has on harmonious development of personality. Towards the end of the 20th century, many developed countries changed their understanding of the roles and functions of education in the field of visual arts in compulsory education and began developing new strategies regarding compulsory education in general, with special emphasis on art education.

/ 1968
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CULTURE AS PASTIME

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Dominant models of knowledge, human being and culture have been discussed from the humanistic aspect of their effects on education. Simplified psychological models now in use in education, treat knowledge as linear enhancement of memory, children development as acquisition of adult role, and human being as a homo faber, emotionless, cognitive creature. That way, importance of developmental and interactive nature of culture and art are not recognized. Practical consequences are affecting education outcomes, and are especially significant in the fields of art and creative education. Art is minimally included in the curricula and if at all, it is mainly represented by art history with passive learning as basic process. Instead of that, active, explorative interaction is needed in order to establish not only child – art relation, but also child – culture and child – science relations. At the same time, transformation of a teachers’ role, shift from knowledge presenter toward interactive partner is needed. These are preconditions not only for the improvement of education, but for the general change in understanding culture and its significance in child development and the development of the society in general.

/ 1968
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EDUCATION AND ART VALUES

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This paper discusses the value orientation of education through historical analogy between the reduction of education to techne into sophistic movement in ancient Greece, and the demands of the current educational reform. This raises the question of whether art today may be the carrier of values that lead orientation of education. Relation of art and education are considered in three forms: as art in education, education for art, and artistic education.

/ 1968
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FILM AND TEMPORALITY IN VISUAL ARTS

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Introduction of temporality – limited duration, movement, change – fundamentally changes the way a work of art functions: permanence, constancy, ‘eternity’ are no longer its implicit features; a work of art is not necessarily an object, but also a certain activity, process, experience. A work of art takes over the logic of fluids: its material component, such as shape, size, format, has become variable, while the method of functioning has become fluid. This change cannot be observed independently of the technical reproduction, primarily of film, which for the first time introduces movement in the once static, unchanging image. Temporality spreads through film and moving images in other areas of visual research as well, the effect of which is appearance of a number of new artistic practices: early in the 20th century, within avant-garde, through neo-avant-garde phenomena to the contemporary art in which such a way of functioning becomes dominant.

/ 1968
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BREAKING FREE WITH HOLLYWOOD BLOCKBUSTERS

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The author explores freedom and love in Baz Luhrmann’s movie “Moulin Rouge”! The author makes parallels between the way in which freedom and love, as basic human capacities, are addressed within the aesthetic framework of the movie, and the role that these capacities play in the Christian (especially Orthodox Christian) anthropology and ontology.

/ 1968
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TWO OR THREE THINGS ON GODARD

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The paper studies the connection between social theory i.e. critical sociology and philosophy and the committed films of the French director and famous representative of the Nouvelle Vague – Jean Luc Godard. With a short review of his movies Two or Three Things I Know About Her, The Week End and La Chinoise – all three were made in 1967 – attention was drawn to the possibility of a “joint act“ of sociology, social philosophy and film art.

/ 1968
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DECLINING OF POLITICAL CULTURE IN HOLLYWOOD

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The aim of this paper is to show a trend in which, by the 1990s, American media became more and more depoliticized. In that light, historical trend of media depolitization finds its expression in contemporary Hollywood filmmaking, as well as in other areas of cultural life. The paper states that the vast majority of studio executives, altogether with directors, want little to do with projects that might be called political. Declining of political culture has become one of the most important features of contemporary Hollywood cinema. Even films that engage in politics usually do that in unhistorical and incorrect manner, vastly using irony. The major problem is the fact that when Hollywood deals with social problems such as class struggle, racism and poverty, it perpetuates the myth that hurdles in life can be overcome by means of either luck or hard work. Hollywood cinema fails to deal responsibly with today’s important social and political questions. On the other hand, we are facing the situation where most of the new films neglect political issues. Postmodern cinema represented in the works of Tarantino, Rodriguez, Coen Brothers, Stone, or many other film makers, take as their essential point the references from other films, using their images and recycling them. The images in those films function as the interchangable signs, with meanings of their own, a closed world of media-based references. The Baudrillard and Jameson theory of simulation is used to explain the process where signs lose any relationship with reality in contemporay media. Politics, if it exists in the cinema at all, becames more than ever a part of the entertainment culture, a sign with no meaning. The postmodern turn in culture enables us to encounter the spirit of antipolitics in the most developed form so far. While New Hollywood directors largely celebrated the liberal democratic legacy during the 1960s and the 1970s, postmodern pictures show tendency toward declining of political culture.

/ 1968
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THEORY THAT EXCEEDS FILM: THE STOJANOVIĆ-TURKOVIĆ DEBATE

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The film theory of Dušan Stojanović went through the process of moving away from “the living structure of films” towards a more abstract structure of what we would today call, borrowing the term from David Bordwell – a “Grand Theory”. In addition to the idea that film is necessarily linked to the “illusionistic nature of the film scene”, two of Stojanović’s concepts are particularly important: (1) that the film system is modeled on a double articulation of language, and (2) that the viewer reaches the “top floor” of a particular movie, its connotations and meanings, by exceeding mere denotation of frames. Some issues related to the problems of these concepts are addressed in the correspondence of Dušan Stojanović and Hrvoje Turković, the key figures of film studies in Belgrade and Zagreb, published in 1976, in the journal Filmske sveske. This paper aims to examine some of the theoretical issues raised during the discussions, in both the synchronic context (the rise of Yugoslav semiotics in the mid-1970s) and the modern theoretical environment. The whole discussion is seen through the modern lenses of cognitivist film criticism and the notion of Post-Theory, and reframed as a valuable early contribution of Yugoslav film theory to the problems later raised in these critical approaches.