/ 1968
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FROM THE PHILOSOPHY OF THE FIRST FIVE YEAR PLAN TO POPULAR CULTURE

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Illustrated press in the SFRY 1945 to 1980 marks the political rule of Josip Broz Tito and the Communist Party and represents a conglomerate of visual and narrative contents, with a significant role in establishing and popularizing socialism and the development of popular culture. Visualized news, trends and propaganda represented the experimental field of regime’s occasional indulgence, indicated the shifting of behavioral boundaries and changing of the everyday life philosophy. The same thematic contents of magazines allowed differentiation of several dominant phenomena, which provided the emphasizing of the best visual testimonies of political, social and cultural reality of the socialist period, and the changes the society was undergoing. Photographs from the cover pages were indicators of regime’s agitation and propaganda in the first years after the World War II, which already in the early fifties began to indicate social change, the relative liberality of the Yugoslav regime, in the same time being a response to the audience pressures. The starting hypothesis is that the illustrated press, as a mass medium, was a carrier of information and entertainment, as well as it was an integral part of mass culture, in which the dogmatic influences of the East and the West intertwined throughout the 1945-1980 entire period. Since the end of the fifties, a modernized illustrated press supported the new trends and improvement in everyday life, whereby it participated in the westernization of society. The aim of this exposition is to present the possible cultural and socio-political interpretation of the illustrated press as a mass medium in the service of daily political needs, but also as a carrier of visual representations of changes in the perception of everyday life and popular culture.

/ 1968
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PRESENTATION OF ARTISTS IN ILLUSTRATED PRESS IN THE AGITPROP CULTURAL POLICY

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After the Second World War and in the period of reconstruction, requests for artists and their art, as well as views of the Communist Party on the issue, were very present in the Yugoslav press. Art, as a property of the people had to be adapted to the demands of time and should reflect, explain and document reality, in the form accessible and easily comprehensible to the ordinary man. Only in this way art was considered to be a fairly and influencable actor in the raise of socio-political and ideological consciousness. Press as a mass medium, which includes narrative and visual content, was an ideal carrier of ideological messages. Artists and cultural workers and their art were presented in the press in accordance with the cultural policy of the period of reconstruction and tasks the First Five-Year Plan set to the artists. Tours of Russian artists followed the publication of photo-reportage in the press, and cover pages often presented paintings of the Soviet artists representing the themes from the October Revolution. In the early postwar years, showing of the local actors was conditioned by their film and educational role according to the current cultural policy. The conflict with the Cominform declined the Soviet cultural influence, which then dominated. Motives for presentation of the artist as deserving individuals were their successes abroad and matching of their artistic choices in a climate of socialist realism. The panoramic photo of the Louvre on the cover page of Duga magazine in 1950th symbolically marks the beginning of cultural and artistic cooperation with the countries of the Western Europe and the U.S., announcing a new cultural policy. 

/ 1968
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THE MUSEUM AS FORUM AND ACTOR

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/ 1968
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CULTURAL EXPLOSION THE AMERICAN WAY

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/ 1968
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THE CULTURAL SYSTEM IN PARSONS’ THEORY

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/ 1968
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CHANGES IN RECREATIONAL ACTIVITIES WITHIN FAMILY

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/ 1968
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NEW MEDIA IMAGE AND PERFORMING ARTS: FORMS OF INTERACTION

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The work deals with forms of interaction between performing and screen image, and the role of new media in the post-drama theatre. In the context of electronic representation and reproduction of performing arts, mostly reducable to translation into the screen image, I analysed the screen phenomenon, its genealogy and position related to spectator’s and performer’s body. Taking performance studies as theoretical starting point, and remaing within the framework of the post-drama and screen theory discourse, I discuss possible models of interaction between the new media image and performance in the sphere of theatre, performance and video instalation. A special attention is devoted to the analysis of relation of screen image and performer’s body, where the present body becomes the final destination, and fascination with the living body entails desire for something beyond appearance. In that contexts I deal with the issue of ethic foundations of the media/screen culture universe in its relation to performing arts, pointing to processes through which the use of media technologies in performing arts results in simultaneity and introduction of uncertainty into the reality status of the performed.

/ 1968
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NOAM CHOMSKY: GRAMMAR AND REASON

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/ 1968
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UNIVERSITY FACES CLOSING

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/ 1968
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CULTURE AS A SEGMENT OF THE PROGRAM OF TV BELGRADE – PUBLIC MEDIA SERVICE OF SERBIA

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Since 2006, when Radio Television of Serbia has started the process of transformation into a public media service of Serbia, the Belgrade Television has set program requirements specific to high public service standards. This paper analyzes its cultural program as an indicator of how successful this process of transformation into a public media service has been, since this program is relevant to the dissemination of knowledge and realization of the educational function of the media as well as for the preservation of cultural heritage and cultural identity of our nation. For more than half a century Radio Television of Serbia has nurtured this kind of program schemes and has set valuable standards in the author’s approach as well as production. The aim of this paper is to determine the place and role of contents dedicated to culture on Belgrade Television. The premise is that cultural topics have not been devoted enough space on Belgrade Television. It seems that the concept of “Cultural and educational program” does not offer the ideal solution and that culture itself, being one of numerous contents is on the margins.