/ 1968

NEW MEDIA: IDENTITY AND GLOBAL CULTURAL ENTITY

The proccess of spreading knowledge and ideas through new media platforms is erasing the ethnic, cultural, religious, political and any other borders. While the globalists underline benefits from uniting diversity, anti-globalists see the cultural diversity as being slowly extinguished. The global trade or non-commercial brands that are present in the new media override the space as we know it, using a new language of the postmodern era. The integrative and interactive communication proccess is taking place on the new media platforms, accesible equally to individuals and to numerous homogenous symphatizer communities. These new media are considered alternative as long as they have critical approach and the freedom to create new ideas, which is an advantage of financialy independent sites. The possibilities of media communication platforms are overtaking all the other forms of gathering people and making them participate in group actions. Comparing live and electronic communication, we see the trap in the fact that the electronic data are there to stay forever. The idealized self-presentations tend to move the individuals away from their own selves. It’s just as easy to get an emotional support from virtual friends as loosing it. Internet users can either choose to stay anonimous or give it up. Either way they are expanding their personal and cultural identity. The cultural globalization is, together with the technological grounds of the new media, the main condition for all other globalization dimesions. There is an ongoing proccess of creating one global cultural entity covering our distinctiveness and making the borders more permeable than ever.

/ 1968

NARRATION AS A GLOBAL TREND OF JOURNALISTIC DOCUMENTARY FORMS

The paper critically reviews the role of journalistic documentary forms in contemporary journalism, mainly of global print media, with the intention of achieving top interpretation by using in-depth research and documentary mediation. The focus of the research is on the analysis of narrative in documentary reportage, not only as representative of new documentaristics, but also as a leader of global trends in storytelling, which already rules the media industry. A case study of National Geographic on a representative sample allows an insight into composition and mechanisms of intentionality in the analyzed documentary reportages, from which we can derive explanations for their ways of influence on the mind and emotions of the recipient, with ubiquitous psychagogical features. An immeasurable impact which those features have on the multimillion audiences/readers is also considered here.

/ 1968

THE MEDIA CONGLOMERISATION AS PART OF GLOBAL CHANGES IN CORPORATIVE MANAGEMENT AND ORGANIZATION

The circumstance of having the media ardently serving various sorts of globalization processes is neither new nor unknown. However, it is less obvious how the system of the media growingly mimics global corporative ways of organizing and leading business, which includes multinational and planetar widespread of not only media influences but capital influences as well. People who work for the media, just as those who work in other social fields, are also facing challenges of a new age.

/ 1968

MASS MEDIA AS LOSERS TO GLOBALIZATION

The globalization hurricane is still roaring over the world bringing a series of changes in the areas of economy, politics and culture and especially in the field of media. The initial enthusiasm of this ubiquitous process which has generated inter-connection and inter-dependence of states and societies that are accepted by most countries, particularly in the East and the poor South, has slowly been changing with more cautious interpretations and warnings. These warnings indicate that even those factors that were used for its promotion and imposing – the mass media – will soon find themselves losers to globalization. The author of this paper analysis effects of globalization changes in the media both in the world and in Serbia, especially through activities of multinational media conglomerates, and points to the fact that the continuation of changes in information-communication technologies will lead to a downfall of print media, listening and watching of electronic media, that a segmentation of audience will occur and that the media audience will become more alienated despite the development of increasingly popular social networks.

/ 1968

DIGITAL POLIS – OASIS OF DEMOCRACY OR CYBER UTOPIA

Revolutionary changes in the area of communication lead mass media to the crossroads of democracy and the tyranny of propaganda, while capitalist corporatism reduces the number of successful news producers discretely creating invisible information monopolies. At the global level, masses are being ideologically bewitched by fine spinning of filtered and meticulously created messages with pre-designed effects, which causes disappearance of objectivity, equality and social solidarity from the dominant discourse. The battle of ratings and circulation comes to the forefront; in the eyes of media management journalists are considered an expense, while participation of citizens as subjects of political life is minimized. Direct, blatant, arrogant pressure of government media owners and advertisers, results in putting the consumer at the center of interest, so the fun, individualism and narcissism dominate the mass media flows, “tabloidizing” the public arena. Private profit and public interest have never been in love and only with the critical re-examination of the developments can we point to the possible directions for expansion of journalism. The paper states that the role of audience changes in the age of digital media, because after a period of traditional passiveness and consumerism, the audience has been given a chance to assume an active and creative position. The time of multimedia services has brought a number of communication applications, allowing cultural and political diversity and the birth of a global digital policy, networked and open to everyone. This is a great opportunity for the survival of democracy, where journalism itself changes, reverting to its original mission of serving the common man.

/ 1968

MEDIA – ARTILLERY OF GLOBALIZATION

Globalization of the world economy and imposing of the global society have created a gap between the rich and the poor that is unprecedented in history. This disproportion makes “late capitalism” very unstable and becomes a cause of possible major social changes. Western Global media are standing in the first line of defense of the so created new world order. The media industry is part of a robust propaganda machinery that creates excuses for the current state of affairs, but takes part in preparing wars and leading military operations against those who endanger the status quo.

/ 1968

EDITOR’S NOTE

/ 1968

THE CULTURAL POLICY OF GENDER EQUALITY

Our time, no matter how modern and liberal it seems, still raises the question: Does cultural policy of gender equality in the 21st century really exists or gender discrimination still prevails, both in some cultures and in business? Women advance slowly in the business world, they are paid less than their male counterparts and they need more time and effort to reach the desired positions. In business, especially a global one, women in high positions are very rare. The prejudice is that women are not “cast” for leadership, that they are too emotional, and that they lack the power… Is this really the case? Why don’t more women reach top management positions? The aim of this paper is to answer such questions, to indicate the position of women in global businesses, the opportunities, challenges and obstacles that women face in business, their ability to balance work and family and finally, to give directions how to use cultural policy in removing barriers for advancement of women. 

/ 1968

GLOBALIST ASPECTS OF NEW MEDIA EXPАNSION: FROM SILENT TO SPOKEN (MOBILE) PAINTING

Today, globalization cannot be observed as a separate phenomenon which, by the way, causes various consequences in many segments of social development. It is a general phenomenon that also has its positive effects, although they remain invisible and often insignificant to the common man. The primary vehicle of its spread are the media. Nowadays, the screen has become an instrument of the ubiquitous media, but also a window we use to observe and interpret contemporary art. Since this instrument is available to almost anybody in this or that form, it is the most massive tool of art analysis and exchange. This, however, carries a certain danger since its accessibility to population at large questions the authenticity as well as evaluation of any piece of art. A traditional painting is being progressively replaced by film. The way it observes the world and connects various experiences offers the modern viewers widest cultural information in one place. Such developments are greatly affected by the link between the film and other media that is growing ever stronger. Globalization, but also new media technologies, influence the film narrative which then influences the issue of forming and development of modern man’s personal identity. The computer, unlike television, still manages to be faithful to the strictly aristic forms of expression. This is achieved thanks to video works as one of the latest forms of artistic expression. Still, question is raised if these video works can reflect artistic principles and ideas as successfully as the film.

/ 1968

CYBER-PERFORMANCE AS A NEW MEDIA ART: PRAXIS AND ONTHOLOGY

This text analyses the relation between the world of reality and the world of illusion in the frame of global dominance of cyber culture through transformation of one of the forms of performing arts praxis into a new media art praxis. Classical theatre has gone a long way from breaking traditional forms through introductions of new technologies into live performances to a total transformation on the Internet. This opened up the problem of the theatrical performance happening here and now and the performance using only the human body i.e. the live image (separating this praxis from all other art forms). After the key intervention has been made with essential determination of the theatre by transferring the theatre as a means of communication into a cyber space, this theory has found itself in a slippery field of interpretation and critical approach to its new ontology. This text just opens some of the questions without offering explicit convictions, and it does not give a rounded opinion on the topic since the modern art problematics, whose specific sphere enables introduction of polemics about the new media, develops like an IT network without a possibility for a reliable foundation or casting full light onto its functioning.