/ 1968
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NON-INSTITUTIONAL AGENTS OF CULTURAL POLICY IN SERBIA, MONTENEGRO AND MACEDONIA

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This paper presents the results of a study which investigated cultural policy partakers active outside the system of public/state cultural institutions in Serbia, Montenegro and Macedonia (non-governmental organizations dealing with culture, independent cultural associations, artists associations, informal art groups, non-profit cultural clubs, etc). Total of 112 independent cultural scene partakers participated in the study – 71 in Serbia, 22 in Macedonia and 19 in Montenegro. The analysis relied on a combination of qualitative and quantitative methods: a survey intended primarily to gauge five groups of capacities of the organizations surveyed (human, technical, financial, managerial and social) and, on the other hand, semi-structured interviews which provided data on and evaluations of cooperation at various levels (with other stakeholders of the independent scene, with donors, decision makers, the business community, media); insight into the most important problems facing non-institutional partakers of cultural policy and ways of overcoming these problems; as well as independent cultural scene partakers’ opinions regarding future directions of the scene’s development in their country and in the region. Out of the multitude of information gathered in the course of the study, we will restrict ourselves here to a brief presentation of the results concerning: a) the characteristics of the partakers of the independent cultural scene; b) the conditions under which the scene operates; c) cooperation between independent cultural scene partakers and several groups of their important stakeholders; and d) the measurement of the capacities of organizations belonging to the independent cultural scene in Serbia, Montenegro and Macedonia. Finally, we will also draw attention to some of the areas in which the creators of cultural policy in the above-mentioned countries might choose to intervene should they wish to further the activities of the independent cultural scene in their community.

/ 1968
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THE NEW ARAB CULTURE IN AN OLD GUISE?

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/ 1968
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TOWARDS UNDERSTANDING OF ARABISM

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/ 1968
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EUROPEAN MEDIA POLICY, WHERE IS IT GOING?

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Europe is a part of the world characterized by the decennial effort of its countries to form a unique kind of policy in all fields and therefore in media as well. The common policy rose from a desire for construction of a unique media space and a need for information exchange over the state borders. Even though this intention was not immediately realized, some other principles and values in the respect of realizing human rights, free flow of information, media pluralism, support of objective and independent media, cooperation and exchange of content were present at all times in the international framework and bound together the common point of view on these questions. Nowdays it can be concluded that the European media policy is very firmly established in spite of difficulties and differences. That is precisely why it is interesting to see which way is it going nowdays and what are its goals. Is there any danger from technological-commercial interests to overshadow needs for objective and qualitative informing and other contents, or does Europe have its own mechanisms to, without giving up on innovations, canalize their influence for the well-being of people and preservation of civilization’s values.

/ 1968
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EDUCATION FOR MEDIA IN THE NEW TECHNOLOGICAL AGE – CHANGE OF DISCOURSE

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The media are no longer a “mirror of society” but constructors of social reality and manufacturers of consciousness. The new technological age gives a strong stimulus to this transformation which further marginalizes the point and cognitive value of the message. These technologies emphasize the technological aspects, sensations of the new, spectacles of the form and the design, which are becoming a purpose in itself. Adding to all this the already observed concentration of information and the difficulty in content selection, the training for media usage and their maintenance on the socially acceptable and constructive level becomes a highly important topic. At the same time, the concepts of “the media education” and “education for the media” oscillate in their implications, alternately going back and forth in their meaning. This paper is trying to determine the evolution of the idea about correlation between the media performance and the educational process, in which at least two approaches are possible: the ability to increase the level of knowledge with the help of the media and the need for gaining skills in order to handle the digitalized media so they can be used to full potential.

/ 1968
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FILM MAGAZINES IN SERBIA

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/ 1968
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MEDIA TRENDS AND CREATING CONSCIOUSNESS

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Media articles and radio and television programmes influence our everyday lives and the way we perceive ourselves and others. However, media are mere mediators. They are a reflection of the broad social consciousness, relations in society, civilization and cultural achievements of every nation and the particular time phase. Senders and receivers of messages are strongly intertwined, which is determined by the social environment. The theoretical communication aspect of media is a very sensitive issue, bounded by numerous social, political and cultural affinities, as a result of which perception of media reporting and the notion of credibility remain a field suitable for research in line with different social circumstances, as well as with the development of new technologies which are changing the established notion of the role of media and media professionalism. Major changes have occurred in the last decade with regard to mainstream media too, which in the race for market share have rejected the so-called in-depth reporting and dominantly fostered fact-based forms. Research carried out through media content analysis which is presented in the paper corroborates these indications and trends.

/ 1968
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JEAN FOURASTIÉ: LES CONDITIONS DE L’ESPRIT SCIENTIFIQUE

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/ 1968
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FREE-LANCE ARTISTS

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