/ 1968
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POSSIBILITIES FOR THE DEVELOPMENT OF VISUAL ECONOMY AS A SCIENTIFIC DISCIPLINE

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In an effort to determine certain basic principles of Visual Economy,

it is natural and quite logical to first consider it in the context of

traditional media. This implies that we will have a smaller number of

media available, which enables us to better understand and define the

problems they deal with. In its further structuring and defining, a wide

range of the media and new visual aspects and possibilities that are

available to us in the modern age can be very helpful. Anthropologist

Deborah Pool defines the Visual Economy as a political, economic and

social matrix in which photos operate, and defines their production,

circulation, consumption and possession. Before any attempt to

determine visual economy framework, it is necessary to consider the

crucial and revolutionary role of the Internet today. The economy and

all the other phenomena that accompany it are inevitably included in

this vast network of computers. Also, visual perception is unimaginable

outside the context of the Internet. Even if we tried to do this we

would weave into that network, or at least we would feel something

was missing and that the whole was not completely rounded up. In

its primary sense, the Internet Economy refers to the basic economic

qualities of the Internet, and how the Internet service providers share

costs and provide services. However, many of the issues that appear in

the Internet Economy look similar to those in the traditional industrial

economy. The Internet Economy covers more and more areas of

the economy, and at the same time, every industry is not under the

influence of the Internet in the same scope. This secondary significance,

which is more important to us, refers to visual content on the Internet

(photos, pictures, films, etc.) and their consumption and affect on

the consumers from different cultures. Visual Economy is in some

way connected with Visual Culture, and there are many touch points

with Visual Anthropology. This is especially expressed in the field of

cinematography, which is a rich field for research, from both visual and

economic aspect.

/ 1968
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PRINCIPLES OF FORMING PUBLISHING SERIES

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A publishing series is formed as a outcome of various activities and

regulations dealing with literary, editorial and publishing decisions

and contents, as well as cultural processes related to readers’ practices,

readers’ competences and audience development strategies. We

approach the understanding of publishing series considering four main

principles: (1) historical, (2) editorial, (3) paratextual and (4) readeroriented. In this paper, we have analyzed these four main principles

following the example of Croatian publishing series – Biblioteka HIT

(HIT Library of modern literature) edited by Zlatko Crnković – as one

of seven publishing series in Croatia between 1968 and 1991. Biblioteka

HIT had dominated the publishing scene in Croatia and Yugoslavia

during the 1970s and 1980s, both in commercial and cultural sense.

/ 1968
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EVENT MANAGEMENТ IN THEATRE ARTS

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Cultural events are very important for a community and its cultural

and economic development. Theatre performances as cultural events

are studied as a distinctive social phenomenon. In this article we will

observe theatre art and its development from religious rituals and poetic

plays to Broadway. Organization of an event such as theatre performance

is a very complicated process which requires the organizers to have

specific set of skills and knowledge. In addition to coming up with the

idea for the theme of a cultural event, it is necessary to consider a range

of convenient places and always have in mind the budgetary and other

limitations. Event management has become a special field of research

in a large number of educational institutions.

/ 1968
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GRAFFITI – THE ART OF RESISTANCE

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There is no consensus when it comes to graffiti. The fact that we

balance between considering them art and considering their invasion

of our public space vandalism, tells mainly about our fear of inability

to control the messages they send. But whether consisting of an artist’s

name or a high quality drawing, graffiti messages carry a common

meaning. Following the trail of Monsieur Chat, a graffiti cat smiling

from Paris rooftops at the protestants during the social upheaval of

2001, the French director Chris Marker reflected on these post 9/11

events, reminding us that, just like in 1968, poetry gets born in the

streets. Graffiti initially emerged out of necessity, as a language of those

deprived of other, more conventional means of expression. They serve

a social function by expressing the society’s shared values, instead of

individual beliefs of their creators. By invading our public space they

alter our perception of reality, provoke critical thinking and awake our

social conscience. Regarding graffiti as a mean of communication, this

paper reflects on this phenomenon by analysing different segments of

communication process.

/ 1968
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ART AND MONEY: THEATRES IN BELGRADE OVER THE PERIOD 1945–1980

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During the examined period, the state exercised ideological control

over all segments of public life including artistic creation. This control

was particularly pronounced in the years following the Second World

War, even though it was present throughout the entire period. In

theatres, it was expressed through various forms, of which the most

significant were political censorship on the one hand, and on the other,

their dependence on state financing. Since a lot has already been

written on the significance of the ideological factor, we will instead

focus on the influence of the financial circumstances on the formation

of theatre repertoires in Belgrade, between 1945 and 1980. Roughly

speaking, two major phases were identified. The first one, the period

of centralization, was the period of strong state control of the theatre

repertoires in Belgrade, also accompanied with firm financial support.

The other period, the period of decentralization, allowed theatres to

create their repertoires more freely, but also meant that they had to

partly obtain financing from other sources. 

/ 1968
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TAYLORIZATION MOTIFS IN FRITZ LANG’S FILM METROPOLIS

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The Fritz Lang’s cult film Metropolis seen in the context of ideas

presented by Frederick Winslow Taylor, the father of scientific

management, reveals a powerful message that the modern cult of

efficiency, according to which things can be done “in one best way”,

dehumanizes labour and turns humans into machines thus preventing

their spiritual accomplishment. The paper examines the presence of

Taylor’s ideas in Germany during the 1920s, as well as their global

impact on the art and culture trends, underlying their dystopic potential.

Through intersemiotic references to other literary and cinematographic

works, primarily Yevgeny Zamyatin’s novel We and Aldous Huxley’s

Brave New World, this interdisciplinary study confirms conclusions

of certain authors about the crucial importance of Taylor’s ideas in

understanding the world we live in.

/ 1968
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ТECHNOLOGY PATHWAYS: NATIONAL INVESTMENTS IN THE GLOBAL TECHNOLOGY GROWTH CONTEXT

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Conventional theory of economy claims that technology and

technological development are key factors to economic growth, while

economic growth is central to capitalism and institutions created on this

ideology. In this paper, the importance of technological investments

will be re-examined for both national and global economic growth,

having in mind the notion that technological innovations depend on

the institutions of the free market system. The growth of the national

economy also depends on the employment rate. Therefore, the idea

that technological progress might devalue human labour regardless

of the level of education will also be discussed in this paper. Since

technological innovations bring changes within the actual socioeconomic system, they also bring anxiety.

/ 1968
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KINGS VLADISLAV AND RADOSLAV AS KTETORS – SIMILARITES AND DIFFRENCES

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The starting point of this paper is an assumption that creation of

works of material culture requires necessary material means, but that

existence of ktetorial financial means does not in itself guarantee actual

creation of artistic works, nor their significance. The paper compares

two ktetors – the two heirs of King Stefan the First-Crowned. Prince

Vladislav, the younger son of King Stefan – one of the most prominent

persons in the Kingdom, but still not the king, had significantly different

starting position in his ktetorship in comparison with the King’s older

son Radoslav, who was destined to inherit the throne. As a son of

the concurrent king Stefan the First-Crowned, Vladislav raised his

ktetorial endowment, the Monastery of Mileševa, around the year 1220,

after which it was frescoed with assistance of his uncle, archiepiscope

Sava. This cooperation resulted in creation of the following frescoes:

Ktetorial portrait, Procession of the Nemanjić Dynasty, The Feast of

the Ascension of Jesus Christ, Harrowing of Hell. It is possible that

St. Sava also assisted in some other issues related to foundation of the

Mileševa Monastery. Radoslav was already crowned when he raised the

narthex of the Studenica monastery, and frescoes within this narthex

were also created under St. Sava’s influence. In comparison, Vladislav

founded an entirely new monastery, which was a significant financial

burden for a prince, while Radoslav, as the king, limited his ktetorial

activity on upgrading the Studenica Monastery which was endowment

of his grandfather St. Simeon. It should be noted that the Studenica

Monastery was ranked as the most important monastery in the church

hierarchy of the Serbs. After St. Sava passed away, Vladislav, who was

crowned King in the meantime, transferred the relic of St. Sava to the

Mileševa Monastery, thus effectively raising the importance of Mileševa

to the 2nd most important Serbian monastery. The legal regulation

of Mileševa was based on the Law of St. Sava, while previous regal

regulation of the Studenica Monastery became the Law of St. Simeon.

/ 1968
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EDITOR’S NOTE

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/ 1968
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THE ONEIRIC DEFILING OF REALITY: THOMAS LIGOTTI’S SUPERNATURAL HORROR

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Practically from its inception, the Enlightenment ideal of rationality

was equally criticized and fostered in European intellectual tradition.

The belief in reason as an exclusive property of human mind capable

of reproducing an authentic image of reality quickly revealed itself

as highly disputable from the standpoint of philosophy and art, as

well as from the angle of particular scientific disciplines (above all,

psychology and anthropology). Within the sphere of contemporary

literature, one of the greatest adversaries of the Enlightenment idea

of the rationally apprehensible nature of reality is the horror fiction

writer Thomas Ligotti. For this author, “the world as it is” has little or

nothing to do with rational consciousness, and correlates more strongly

with our deepest irrational fears which reveal themselves in feverish

visions and nightmarish images. While establishing his personal and

artistic worldview on the inversion of the usual ideas about reality,

Ligotti creates a specific type of subversive prose: one that depraves

the world of any higher meaning and denies all possibilities of

consolation to humankind. In this paper I pose the question whether

such disillusionment may leave any possibility for an individual to

act independently, be it in a subversive or non-subversive sense of the

word.