Текстови објављени у часопису Култура на страном језику Архиве - Page 168 of 276

This paper aims to present the results of a comparative analysis of two entrepreneurial projects’ organizational cultures – The European Center for Culture and Debate, Grad, and The Youth Center Crna kuća – both of which established by non-governmental organizations. Having based our research on the projects’- organizations’ optimal action models, we have further attempted to draw guidelines for the management of entrepreneurial cultural and artistic or activist non-governmental organizations. The present analysis deals with six aspects of organizational cultures: their organizational structures, communication models, program policies, values, and motivational methods.

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

26. July 2018./in Philosophy of Media /by Kcs21blAA

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.

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PRESENTATION OF ARTISTS IN ILLUSTRATED PRESS IN THE AGITPROP CULTURAL POLICY

26. July 2018./in Visual Art as a Mass Communication Medium /by Kcs21blAA

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.