/ 1968
PR IN CULTURE – CULTURE IN PR
/in Themes /by Kcs21blAANational cultural institutions (especialy those in the public domain) still lack a systematic approach to PR planning. There are several reasons to this situation: Passive and closed organizational structures remaining from the comunistic period (particulary in public institutions of local communities); Financial instability causing uncertainty of current positions as well as absense of initiative for organizational reform and new employment plans; General judgement that stratified PR is not needed in the cultural field and could be simply integrated into marketing functions. PR is still treated as a synonim for marketing, promotion or media relations and it is usualy related to temporary projects and programs. For better positioning of cultural institutions in their communities a strategic aproach to PR is obligatory. It offers a way to improve their reputation and attract more potential sponsors and donors. On the other hand, private companies must recognize cultural projects as reliable for future sponsorships and donations. Investing in culture brings a particular kind of reputation in public and improves the position of the companies among major stakeholders and finally, it contributes to the long-term business success. Representatives of research institutions are also stakeholders that should get involved in creating a platform for further improvement of PR planing as well as investing in culture. By carrying out researches related to these important topics, they could put important data to use for cultural planners in cultural institutions as well as on higher levels.
/ 1968
EXPERTISE AND POTENTIAL OF WOMEN’S ACTIVISM
/in Women's Expertise Potential in Cultural Activities /by Kcs21blAAThe authors of the paper address women’s activism, which has opened many doors for women around the world – since the Victorian era, as well as the needs of women for better opportunities to gain proper education. Education has always been the stumbling rock for women whose goal is to gain equal status in society, and is one of the main factors that separated men and women. Without education to empower them, many women felt they should not have the right to influence policy or to make decisions about their own property. Education system in every society has a great responsibility to communicate the values of gender equality, especially among younger generations. State institutions are trying to carry out their actions to achieve gender equality, which are based on consensus on the need for its establishment. The road to relatively high employment rate for women was not easy and is under theinfluence of many demographic factors, with emphasis on the European regional differences. In order to maintain protection and equal social rights, the tolerance in relations between employers and employees, it is necessary to achieve high level of cultural and social compromise of collective interests.
/ 1968
NEW MEDIA AND CREATIVE INDUSTRIES – NEW OPPORTUNITIES FOR THE AUDIENCE
/in Creative Sector - Outlines of a New Model of Development /by Kcs21blAATraditional media landscape is going through the substantial transformation of the way viewers and listeners access and consume media content. The switch from analogue to digital broadcasting, the growth of broadband access to the internet, and the development of new platforms are all giving consumers a far greater choice over what, when and where they listen, watch or read. New markets are opening up not just for broadcasters, but for empowered consumers as well, for they are no longer forced to accept the limited range of media content, offered by a limited number of broadcasters at a particular time.
At the same time, these changes create new challenges for the creative industries, encouraging consumers and broadcasters to further spread creativity and knowledge. New challenges are being posed by technological developments that are entering the market. It could be said that the reproduction and dissemination of creative content has come to a new life thanks to recent technological developments. New technologies also made possible the establishment of personal media – deinstitutionalized, decentralized and completely tailored for one user’s needs, expectations and lifestyle. All these changes will irreversibly change media industry, production and distribution of media content, but also the way we think, study and try to reach audience of the new millennium.
/ 1968
PROPAGANDA CAMPAIGN OF THE VIENNESE COURT IN TURKISH WAR 1716-1718 ON MAPS AND ENGRAVINGS
/in Visual Art as a Mass Communication Medium /by Kcs21blAAAt the beginning of the 18th century the public sphere in Europe was a broader communication model different from the old representational public. It implied a more active audience participation. Tendencies such as “image building” of a ruler in public and “improving reputation” demanded well thought out propaganda campaign with clear goals, targeting specific audience and accomplished through specific media. The Habsburgs insisted on the universal dimension of combat between Christianity and Islam during Turkish wars. The Emperor Charles VI considered himself the protector of the Christian world and counted on general approval in that battle. To ensure support of European powers and states within the Empire for the new war against Turkey (1716-1718), the Viennese court employed all its propaganda capacities that included the use of printed visual media. Considerable production of maps, siege views, panoramas and engravings with battle scenes were part of the propaganda campaign. War events significant for the Emperor and the state politics were commemorated by various visual products meant to influence public through “media strategy”. The intention of the highest court officials was to “win” wider European public and public within the Empire for the Emperor’s crusade mission with prolific printed production and its distribution. Mass production of graphic sheets was relatively fast and cheap, its distribution was easy and that made it suitable for informing and propaganda. The media campaign targeted the public in the Empire, especially German principalities that had not provided Habsburgs’ military forces with arms. The campaign appealed to the German solidarity and dynastic patriotism. Propaganda that targeted wider European public was aimed to win universal approval and support. The Viennese court campaign was well received and became a practice of many European courts to commemorate their participation in “glorious victory of Christianity”, and independent publishers saw profit in their publishing.
/ 1968
BLOG AS A NEW MEDIA IN THE PR FUNCTION IN CASE OF BITEF THEATRE BLOG
/in Themes /by Kcs21blAAIn the contemporary world most people depend on information communicated via the Internet through websites, emails or blogs, so the traditional relationship between an individual and the media has changed substantially. Whether an organization will progress rapidly, is related not only to its ability to establish a traditional public relations, but also to the question whether this can be accomplished in an online environment. The blog of the Belgrade International Theatre Festival (www.bitef-blog.rs) is the only active blog of institutions and organizations of culture and art in Serbia used to PR purposes, and can therefore serve as a positive example and a model.
/ 1968
DIGITAL CULTURE AS A MATRIX OF MODERN MARKETING: BEYOND THE ILLUSION
/in Studies /by Kcs21blAAThe paper interprets the impact of the digital culture on society as a whole, with special focus on consumer society and a number of modern marketing strategies. The introduction presents some predictions regarding the development of new technologies in the forthcoming decades, and points to certain past inventions that directly or indirectly influenced the emergence and development of modern technologies and media. From the explanation of communication paradigm the authors proceed to the explanation of the changes in the information distribution and knowledge constitution.They also define the concept of digital culture and its development which, for its part, is parallel to the development of new technologies and media. Their explanation of consumerism as an almost omnipresent concept in everyday life underlines the important impact this trend has for the cultural habitat, for the democratization and assessibility of cultural contents it brings about go hand in hand with their inevitable pluralization and trivilization. In the concluding part of the paper the authors discuss a relatively new technology of QR codes, its emergnce and scope, its advantages and disadvantages. Its free use is highlighted as the most favourable for the further development of new marketing strategies. A description of some projects in this context facilitate the authors to provide for a more detailed explanation of the QR codes links with modern marketing.
/ 1968
LIBRARIES, MUSEUMS, ARCHIVES, PRESS CLIPPING SERVICES: PRESERVATION OF CULTURAL HERITAGE OR INFORMATION SERVICES
/in E-Libraries /by Kcs21blAAThe paper deals with the examples of various opportunities of cultural and information institutions in our community. Emphasis is placed on archives and their cooperation with libraries and museums, as well as the impact of modern information and communication technologies to the realization of that cooperation and modernization of the archives in response to the information requirements of the modern patron in the digital environment. Attempt was made to make a parallel between the traditional and the modern understanding of differences and similarities between archives, libraries and museums. Mass media are considered as a supporting agent of the preservation of cultural heritage that is the main activity of libraries, archives and museums.
/ 1968
MUSEUM OF AFRICAN ART IN BELGRADE AND ITS ANTI/ COLONIAL DISCOURSE
/in Narratology /by Kcs21blAAThe Museum of African Art, Veda and Zdravko Pečar Collection (MAA), was always a specific space of representation, where two main discourses, largely in opposition, intertwined. The first one corresponded with the museum as authority: a Western institution that collects researches and represents cultural heritage. Although this model was openly criticized as colonial (particularly focused onto African collections in Western institutions as product of “colonial plunder”), to embrace it meant to establish the continuity of the MAA within Western representations. The second one that corresponded with the anti-colonial and non-aligned rhetoric of the time tended to shape this museum as an African cultural center, where dynamic exchange with colleagues from African countries would take place: artists in residence, curators, and theoreticians. In this sense, the MAA was supposed to create a unique approach to different topics from African arts and cultures, establishing a close collaboration with experts from Africa, who would take part in the realization and creation of its programmes. Historic circumstances have changed the position the Museum of African Art in Belgrade once held. Bearing in mind that every museum’s image relies upon a sum of different representations that had shaped museums as institutions, and had been shaped by them, it can be concluded that past elements of museum discourse inevitably make part of its current setup. This paper therefore suggests that the anti-colonial narrative in the MAA should be understood and researched as cultural memory in the present. Through contemporary curatorial and artistic interventions in/on the Museum space, of which some excellent examples could be found in the work of curator Dejan Sretenović and artists Zoran Naskovski and Barthélémy Toguo (in the period 2004-2006), an authentic and self-reflective approach both to museum content and its current purpose can be achieved.
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