/ 1968
pdf

PROPAGANDA CAMPAIGN OF THE VIENNESE COURT IN TURKISH WAR 1716-1718 ON MAPS AND ENGRAVINGS

/in /by

At 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
pdf

BLOG AS A NEW MEDIA IN THE PR FUNCTION IN CASE OF BITEF THEATRE BLOG

/in /by

In 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
pdf

DIGITAL CULTURE AS A MATRIX OF MODERN MARKETING: BEYOND THE ILLUSION

/in /by

The 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
pdf

LIBRARIES, MUSEUMS, ARCHIVES, PRESS CLIPPING SERVICES: PRESERVATION OF CULTURAL HERITAGE OR INFORMATION SERVICES

/in /by

The 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
pdf

MUSEUM OF AFRICAN ART IN BELGRADE AND ITS ANTI/ COLONIAL DISCOURSE

/in /by

The 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.

/ 1968
pdf

TRANSCULTURAL EUROPE – CULTURAL POLICY IN CHANGING EUROPE

/in /by
/ 1968
pdf

STRATEGIC CULTURAL DEVELOPMENT PLANNING AT LOCAL LEVEL IN SERBIA

/in /by

The text is devoted to strategic planning as an instrument of cultural policy, and its implementation at the self-government level in Serbia, 2000-2010. The examples and ways local self-goverments use in making their own development plans under provisions of the Self-Government Act are presented. Such initiatives are the more important because the state itself has not resorted to the intrument of strategic planning in the observed period. It follows that the bottom-up principle shaped the definition of cultural policy in Serbia since 2000. Only at the end of the first decade of the 20st century, and ten years after Serbia entered the transition, with a new Law on Culture, the implementation of instruments of strategic planning at all levels is stimulated. As the strategic planning turns obligatory, a methodology of its elaboration in the sphere of culture is suggested.

/ 1968
pdf

SOCIAL SPECTACLE AND POSTDRAMATIC THEATRE: BLENDING

/in /by

This paper examines the influence of media context on the language and structure of contemporary postdramatic theatre. The field of my research is postdramatic theatre, as defined by Hans-Thies Lehmann, authors such as Gledališče Glej, Forced Entertatainment, Rene Pollesch, Constanca Macras, Nicolas Stemann, Robert Lepage, Andras Urban. These authors are very well aware of the changes in social and cultural context due to the mass media influence. Their, most radical, reaction to these changes is transformation of traditional theatre language which includes the break from linear narrative, using different modes of technology etc. That is the way to problematize general spectacularization of society, tendencies to become visible, public, popular. Authors such as Pollesch, Macras, Stemann and others use parody, theatralicity and autoreflexivity in order to deconstruct media context and its basic notion of spectacle. Using technology in their work is also the means to define problem of social and cultutral alienation induced by media domination. All these topics are explored in this paper in which I analyze the postdramatic theatre as a new theatre language, complex and ambivalent.

/ 1968
pdf

THEATRE IN THE MEDIA CONTEXT

/in /by

У овом раду бавим се истраживањем позиције, функције и структуре савременог позоришта у околностима доминације масовних медија, односно огромног утицаја медија на живот савременог човека. Полазишта за анализе су текстови савремених, постдрамских аутора који сматрају да позориште, да би ишло у корак с временом, мора да преиспита своју традиционалну функцију, као и структуру, те да је прилагоди новом, другачијем, медијском контексту. Овим радом истражујем социолошке и културолошке теорије о позицији и функцији технологије у савременом друштву, као и теорије о изво|ењу у контексту медијског друштва. Циљ је испитивање разлога рушења традиционалне драмске структуре у раду постдрамских аутора, односно њихове потребе за проналажењем новог позоришног језика.

/ 1968
pdf

LENIN AND EARLY SOVIET THEATRE

/in , /by