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

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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.

MASS MEDIA AS LOSERS TO GLOBALIZATION

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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.

DIGITAL POLIS – OASIS OF DEMOCRACY OR CYBER UTOPIA

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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.

MEDIA – ARTILLERY OF GLOBALIZATION

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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.

EDITOR’S NOTE

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THE CULTURAL POLICY OF GENDER EQUALITY

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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. 

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

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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.

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

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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.

CULTURAL NOMADISM AS A DEFENSE OF HETEROGENEITY

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One of the important issues addressed in post-colonial studies is the antagonism that exists between the cultures of colonizers and indigenous peoples, i.e. the antagonism that divides the “worlds” into the civilized and the savage, developed and backwards, sophisticated and primitive, rich and poor, and so on. Focusing on the post-colonial deconstruction of these binary oppositions imposed by Western culture, the text explores how such discourses have left the dominant structures untouchable, and have almost reified the otherness of “subordinates”. On the other hand, the text shows how cultural nomadism, which is not concerned with the origin but the destination and the becoming, potentially creates a new heterogeneous culture. Through nomadic strategies, stable and conventional cultural codes are modified and inserted into new contexts – assemblages, producing an alternative space and time, as well as a multiplicity of meanings within the closed circles. Furthermore, the essay explores how the post-colonial deconstruction can be applied to the visual arts of the last few decades. In parallel to the new world division, destabilisation of the center, globalization and, finally, fragmentation of identity, changes have occurred in the visual arts as well, in terms of some new artwork organization and production models. With the specific way of functioning, nomadic artists give a new paradigm for alternative culture that respects cultural diversity without hegemonies, superiors and subordinates.

INTERFUSION OF FASHION AND ART AT THE TURN OF THE CENTURIES

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With the pop culture which penetrated all aspects of human life in the sixties and the rapid development of new media and technology, social sciences, fine arts and related disciplines in the field of applied and performing arts have entered a period of exceeding boundaries and abandoning earlier paradigms of knowledge. Arts opportunities are expanded, leading to interaction and combination of codes and media, different cultures and modern design. Liberation of old forms and introduction of new practices in creating fragmented hybrids in which culture and art disciplines communicate globally produce a fusion of the heterogeneous and the homogeneous. Globalization, conceived as a process of social and cultural integration of different cultural values, has nowadays become the basic structural feature of the re-configuration of cultural patterns. Contemporary artists are searching for a different creative practice and they are more inclined to multi-disciplinary contents. Interfusion of artistic disciplines opens interactive options that encourage experimenting in all areas of cultural production, stimulated by development of new technologies featuring new ideas through the communication of motion pictures. In the field of fashion design these changes in approach inspire fashion designers to re-evaluate the role of clothing, which should contribute to finding alternative practices. The relationship between fashion and art begins to emerge as a field of theoretical debate in which the fashion scholars explore the intersection and the relationship between these disciplines while questioning the former division. By drawing parallels and taking inspiration and techniques from a variety of artistic disciplines, fashion designers examine new communication contexts and transcend traditional categorization of art disciplines, raising new questions about the work of art and about the function and use of clothing. The once clearly set boundaries of artistic disciplines have already been blurred and a new generation of artists is expressing itself through conceptual approach and by symbolic interpretations while moving away from industrial capitalism and entering trans-modern globalism.