Tantiemy dla współtwórców utworu audiowizualnego w kontekście usług platform streamingowych oraz dyrektywy w sprawie prawa autorskiego na jednolitym rynku cyfrowym

Author(s): Iga Bałos / Language(s): Polish Issue: 2/2023

The aim of the article is to present the nature of remuneration due to film co-authors and performers on the basis of Art. 70(2)(1) of the Act of February 4, 1994 on copyright and related rights (CRRA). The current wording of the provision does not take into account the realities of the contemporary audiovisual industry and changing habits of audience who give up cinema screenings in favor of VoD. The streaming services also replace usage of films stored on DVD or other carriers. According to Article 18 of Directive (EU) 2019/790 of the European Parliament and of the Council of 17 April 2019 on copyright and related rights in the digital single market, the Member Stated shall ensure that where authors and performers license or transfer their exclusive rights for the exploitation of their works or other subject matter, they are entitled to receive appropriate and proportionate remuneration. According to the author of this article, the said article, with respect to coauthors of an audiovisual work should be implemented by extending the scope of Art. 70(2)(1) of the CRRA by introducing an inalienable right to appropriate remuneration for making the work publicly available in such a manner that anyone could access it at a place and time individually selected by them.

Społeczno-kulturowe tło rozwoju miasta Kuwejt. Dom kupiecki rodziny Al-Badrów

Author(s): Alelsander Pikulski / Language(s): Polish Issue: 2/2023

The article is an attempt to look at the origins and development of Kuwait City before the oil boom as a socially created space. Its structure reflects social and economic dynamics as well as cultural and environmental sustainability, although it was the mercantile function that was the most important city-forming factor in Kuwait. The specific character and functionality of the city were determined by its location, climate, connections with the Persian Gulf and, at the same time, Bedouin traditions and culture, as exemplified by the house of the merchant family Al-Badr.

The Perception of Jalaluddin Muhammad Balkhi-Rumi, Muslim Poet and Mystic Living in the 13th Century, in Popular Culture Then and Now

Author(s): Marek Moroń / Language(s): English Issue: 2/2023

O niezbędności humanistyki w zinstrumentalizowanym świecie. Humanistyka jako projekt kształtowania wrażliwości

Author(s): Magdalena Szpunar / Language(s): Polish Issue: 48/2024

In the text, the humanities are understood as the only realistic counterbalance, but also resistance to the dominance of instrumental mind. Devaluation and marginalization of the humanities herald cultural regression and cultural autism of individuals. The humanities are treated as an important project for the formation of sensitivity, social integration, but also emancipation, the creation of a common universe that protects society from atomization. The humanities makes us realize that despite its focus on pragmatism and efficiency, the most important thing always is and has to be the human being. Although it can sometimes be inconclusive, although it leaves many things open, uncompleted, this is where its strength lies, breaking us out of certainties, breaking the hegemonic discourse of what is oppressive, speaking up for the human being.

Jak ryby w wodzie. Kultura terapii i jej krytycy

Author(s): Agnieszka Graff / Language(s): Polish Issue: 48/2024

If therapeutic discourse is the horizon of contemporary culture and the ideological underpinning of neoliberalism, then the present crisis requires transcending this horizon. The article examines the historical and political dimensions of the therapeutic dominant of contemporary culture. The first part presents the model of subjectivity implicit in therapy culture, the expansion of psychology as a narrative and cognitive paradigm, and two rival political orientations in critique of therapy culture. The second part looks at historical sources of the therapeutic mode and its subsequent transformations. The third part examines the entanglement of therapy culture in neoliberalism, its role in responsibilisation of the subject, pathologization of poverty, and privatisation of stress. The conclusions look at responses to such critique coming from therapists themselves.

СВАТБЕНИТЕ ПЕСНИ НА БЪЛГАРИТЕ ОТ ОБЛАСТТА ГОЛО БЪРДО, АЛБАНИЯ И ТЕХНИТЕ ДИАЛЕКТНИ ВАРИАНТИ

Author(s): Veselka Toncheva / Language(s): Bulgarian Issue: 16/2019

This paper compares textual and musical variants of wedding songs from Golloborda Region, Albania, which are known and popular in the territory of Bulgaria and Republic of Macedonia. Golloborda is a Bulgarian populated region that remained in the territory of Republic of Albania when it became an independent state (1912‒1913), but the defined state borders do not change its dialectical unity with Pirin, Vardar, and Aеgean Macedonia. Variants of "Gollobordian" songs exist in territories located to the east of Albania in the ritual female song repertoire, as an older stratum. The relation is at the typological level – certain types of songs are presented at key moments of the ritual and there is propinquity in textual and musical content.

НАПУСКАНЕТО, ПЪТУВАНЕТО, СТИГАНЕТО…

Author(s): Maria Kassimova-Moase / Language(s): Bulgarian Issue: 19/2021

ДА ПРЕВЪРНЕШ ЧУЖДОТО В СВОЕ

Author(s): Marinela Lipcheva-Vais / Language(s): Bulgarian Issue: 19/2021

ИЗЛОЖБАТА „ПОСОКА СЕВЕР“ ИЛИ КАК ДА ЗАПОЧНЕМ ВСИЧКО ОТНАЧАЛО

Author(s): Nia Tabakova / Language(s): Bulgarian Issue: 19/2021

Ботев във филмовите интерпретации на Никола Корабов и Максим Генчев

Author(s): Anna Alexieva / Language(s): Bulgarian Issue: 2/2024

The paper is focused on two movies, dedicated to the life and deeds of the Bulgarian poet and revolutionary Hristo Botev. Chronologically, the first one – “Freedom or Death” (1968), was directed by Nikola Korabov – a film director, considered as a part of so-called classical era of the Bulgarian cinematography. The second one, entitled simply “Botev” (2022), was directed by Maxim Guenchev – a contemporary movie director, known with his history-based works. In different time contexts, both movies were met with considerable criticism by the audience and cinema professionals. The paper pays particular attention to the reasons why these films provoked so many pronounced negative reactions. The first movie was not accepted positively because of the political circumstances took place in 1968. Prague Spring affected the whole socialist block. Thus, the movie by Nikola Korabov was seen as deviating from the politically correct line of the Bulgarian socialism, so its screening was stopped by the ideological censorship. The interpretation of the main character and the way the history events were shown was regarded as diverting from the socialist canon. Consequently, the movie was prohibited for public display. “Botev” movie’s reception was not particularly warm as well. The audience was influenced by the director’s pro-Russian point towards the Russian aggression in Ukraine. The same attitude was shared by the main movie character from the screen. It should be taken into account that nowadays the national-populism is in constant raise, and the dictionary of the social dialogue, dedicated to the problems of the national identity, is radicalized respectively. Concerning the artistic language of the first movie, it is defined as a style mixture with no coherent intention, as involving unnecessary Biblical reminiscences, overexaggerated aestheticization with no plot motivation. Summarizingly, the movie was seen as a display of mannerism, unfitting the idea of the national hero’s concept in its socialist version. The movie “Botev” by Maxim Guenchev leaves an impression for amateur, informal event, targeted for close friends and the families of the cast. In conclusion, the image of Hristo Botev was not properly screened either in the socialist period or in the 21 century and more than 30 years after its collapse.

СИТНО КОЛО КАО ЖИВИ ЕЛЕМЕНТ НЕМАТЕРИЈАЛНОГ КУЛТУРНОГ НАСЛЕЂА НА ПОДРУЧЈУ РАШКЕ ОБЛАСТИ

Author(s): Marta Janković / Language(s): Serbian Issue: 52/2023

In the wider area of Raška, the small round, which represents a living element of intangible cultural heritage, is still performed today. The mentioned dance belongs to the kinetic-formal type of round in three, the most widespread and persistent pattern in the dance tradition of Serbia. The small round is practiced in formal and informal contexts, i.e. at various private and public celebrations (weddings, vows, baptisms, prelo, poselo, baptism dances, etc.). The musical accompaniment of the small round can be made by a clarinet and a drum, as well as pipes. The main goal of the work is to look at the specifics of the performance of this round, to determine its basic characteristics as elements of intangible cultural heritage, as well as the scientific interpretation of this form of appearance. In addition, one of the goals of the work is to present the performance style of the Raška region, i.e., to indicate the way of dance thinking on the example of the small round. For the purposes of this work, field and historiographical research was carried out in search of data on the small round. On that occasion, the literature and work of researchers of various profiles, ethnographers, as well as amateur researchers who carried out research in this area were consulted. The results show that the name sitno kolo (small round), as a dance that belongs to the kinetic-formal type of round in three, does not exist in the literature, but based on interviews with representative practitioners, it can be concluded that it is performed in the entire area of Raška, in Podgolia, Podkopaonic and villages at the foot of Rogozna mountain. The expert explanation of the kinesic and musical text describes in detail the factors that ensure the recognizable kinetic impulse of the small round. In addition, the factors and indicators that can influence the fact that the small round, which still lives in current practice as an important identity marker of the Raška region, are characterized as part of the intangible cultural heritage.

Komplex nadřazenosti. „Naše“ versus „cizí“ v českém užitém umění mezi světovými válkami

Author(s): Iva Knobloch / Language(s): Czech Issue: 2/2021

André Gide described Soviet attitudes towards the outside world in the 1930s as a manifestation of a superiority complex. And it seems to me that the proclamations of representatives of architecture, applied arts and professional art education in the Czech lands between 1918 and 1925, when they created a “national” or “state” style, do not differ much from these attitudes in many ways.In the texts of Pavel Janák, Otakar Novotný, Jaroslav Benda, V. V. Štech and others, the pronoun “our” occurs most often, which seems to have been generally accepted without further explanation; the opposite is “foreigners” who have nothing more to offer “us” – as the above-mentioned representatives of the Czechoslovak Werkbund, an organization that has set itself the goal of raising the level of housing culture and the environment of life in general, assure themselves. It manifestly promoted “domestic values and domestic spirit”, which are embodied in Slavic poetic, emotional, melodic works, suitable for the mood of “our people”, who were defined as a small, modest person, an ordinary descendant of farmers and village teachers. He is satisfied with the “provinciality”, the “obsolescence” of “our” art, because it reflects “our” conditions.Although the textual programmes of the representatives of the state, national style come to terms with the position of Czech applied art and architecture on the world stage in an immature way, the actual results of their artistic work no longer have to be evaluated from the modernist perspective as a dead end, but as distinctive manifestations of international modern decorativism, despite the isolationist ideas of the creators at the time.

Figury afektywne w polskiej piosence

Author(s): Leszek Tymiakin / Language(s): Polish Issue: 1/2024

In the article, rhetorical devices which help to express external emotions are described and supported with examples (exclamatio, evidentia, sermocinato and similar prosopopeia, expolitio and similitudo). In the song genre, apart from the main constitutional role, these devices perform two other interdependent tasks: the first one is related to the sender, the second one – to the recipient. In addition to their expressive and conative functions, the supporting role is assigned to the following functions: amplifying, motivational and aesthetic. It is important that the beauty and charm of short, vocally performed pieces are to a large extent dependent on not only on the music but also on the words used in them to successfully express and engender emotions.

KOMODIFIKACIJA I KULTURNA INDUSTRIJA: RAZUMEVANJE TREP FOLKA I „GASERSKOG“ STILA U SRBIJI I POSTJUGOSLOVENSKOM PROSTORU

Author(s): Dragana Mrvoš,Barbara Frey / Language(s): Serbian Issue: 1/2024

The capitalist market system of post-industrial society gradually encompasses all social relations as it subsumes the entirety of social and cultural realms under its profit-making logic. Music is also deeply immersed in economic transformations of society and is a significant determinant of youth identities and style. In this study, we analyze the origin and characteristics of trap folk music and gaser style among young people in Serbia and the former Yugoslav region. In order to better understand the peculiarities of the new music genre and the style associated with it, we primarily analyze the importance of commodification and the cultural industry. Methodologically based on a qualitative analysis of popular trap folk songs, visual representation and slang among the most popular trap folk artists, our study points to the presence of global consumer culture and political apathy among young people in the Balkans, which also reflects the formation of fluid identities without visible authenticity and deeper meaning. Despite the apparent absence of political resistance, we conclude that class affiliation is an important determinant of the emerging gaser style and identity, which is not the case in post-subcultural sociological discussions about youth subcultures.

„NEUKUS“ KAO OBLIK KULTURNOG OTPORA: FESRAM I DEBATA O LOŠOJ MUZICI U SRBIJI

Author(s): Irena Šentevska / Language(s): Serbian Issue: 1/2024

The recent social developments in Serbia have established a new model of political monopolies and an effective return to the one-party regime. Such absence of alternatives in the official political sphere provokes three basic forms of resistance: complete disillusionment with the political system and its major exponents which results in political abstinence; mass protests in response to concrete instances of abuse of political power and informal cultural initiatives which communicate political messages through the critique of the politicisation of the cultural sphere. In this paper, the case study for this form of political resistance is the independently produced, low-budget music festival Fesram (Festival sranje muzike or Festival of Crap Music), active between 2012 and 2019, which at the same time challenged the political and cultural systems in the country, and their respective core values. The introductory part of the article situates Fesram in the context of the existing forms of political resistance to the currently dominant political regime. The second part discusses the concept of „bad music“ in the Serbian cultural context, its history and academic treatment (or lack thereof), and its wider cultural and political implications. The third part discusses Fesram, its background, and practices. The fourth part discusses Fesram’s manner of dealing with the cultural stereotypes prevailing throughout Serbian history and the perceived absence of social criticism in Serbia’s official cultural sphere. In the concluding part Fesram is observed as a form of „discreet activism“ resorted to in circumstances in which other forms of political resistance seem to fail. Without permanent funding, venues or a fixed time-frame, Fesram changed its dates and locations, spontaneously responding to current goings-on in Belgrade and Serbia, and communicated with its audiences mainly through its Facebook page. Playing with ideological opposites, confronting them in „outrageous“ combinations (musical, verbal and visual) Fesram invited its audiences to critically (or even un-critically) distance themselves from the extreme poles of the political spectrum. Although it parodied characters from the official political and cultural spheres and mocked the language of tabloid media and the prevailing political jargon, Fesram did not align with any established political option, inviting its audience to think beyond the existing political system and question the society’s core values. Fesram was not didactic: it communicated exclusively by annoying anyone who failed to receive its messages. And Fesram’s probably most important message is that Serbian society has nurtured false cultural values and associated political doctrines for far too long and that it has only itself to blame for the condition it has found itself in. This erratic music festival had not only shaped an alternative form of activism, but a new type of „activist citizen“ who understands the meaning of „crap“ (whether in music, culture, politics or society in general) and the importance of this understanding. Fesram also showed that political resistance goes hand in hand with resistance to the cultural values propelling political action.

S ONE STRANE ZAPADNOG OGLEDALA – KONSTRUKCIJA DRUGOSTI BALKANA I ISTOČNE EVROPE U HOROR FILMOVIMA PRVE DECENIJE XXI VEKA

Author(s): Đorđe Stojanović / Language(s): Serbian Issue: 1/2024

Ever since Bram Stoker published his famous novel about the vampire Dracula, the region of the Balkan peninsula and Eastern Europe and its population have been represented as “other” compared to the West. The main goal of this paper is to deconstruct how contemporary “realistic” horror movies (with no supernatural elements) continued the tradition of constructing the region’s otherness by creating the image of Balkans/ East Europe as a “social wilderness” – a paradise for illegal practices. The emphasis will be on the deconstruction of visual and narrative elements that push Balkans/Eastern Europe to the other side of social reality such as 1) the images of the region and its environment and, 2) the characteristics of the main, supporting, and episode characters through the glances of their origin (western tourists/victims vs eastern hosts/perpetrators) and gender ((western and eastern) male vs (western and eastern) female).

Интеркултуралност на платну – колажи религија и култура у делима Гистава Мороа

Author(s): Jovana Nikolić / Language(s): Serbian Issue: 1/2024

Using the oeuvre of the French artist Gustave Moreau as an example, it will be shown how the French culture of the second half of the 19th century and the art of Symbolism adopted and depicted themes and motifs taken from Eastern cultures and religions, how they incorporated them into their own cultural patterns and what roles they assigned to them. Such “borrowings” are considered one of the basic features of Moreau’s work, which is generally cited as a good example of the interculturality of that period. The paper will highlight the intentional mistakes that the painter made in his paintings and explain the idea of erasing clear boundaries between cultural contents and their deliberate mixing within a single work.

The Impact of Japonisme on European Art and Painting in the Late 19th Century: Characteristics of Cultural Exchange During the Rise Of European Imperialism

Author(s): Nada M. Sekulić / Language(s): English Issue: 1/2024

Since the opening of Japan to trade with the West, a cult of Japanese aesthetics in the art and design has been created in Europe. Japonisme exerted a remarkable influence on the emergence of Impressionism and Post-Impressionism, including a recognizable individual influence on key artists within those movements. Motifs, technique, composition, colors were directly borrowed from Japanese art, especially woodcats (ukiyo-e). Japonisme also influenced some later movements in painting and design, but Impressionism and Post-Impressionism represented the initial turning point. Only by considering the imperial expansion of Europe is possible to understand the essential components of that transmission, which requires not only art criticism, but rather, in its complexity, significantly overflows into the field of social critique and anthropology of art. The aim of this study is to trace the pathways and networks of exchange and power that facilitated the spread of Japonisme in Europe – to show how elements of Japanese culture were adopted, assimilated, and to what extent the inventions and originality of new styles and the establishment of new aesthetic standards relied on the dominant position of European culture, which could appropriate elements from other cultures. The study highlights how this transfer was marked by an exotic and Orientalist vision of Japan in Europe and examines the reception of the exoticization of Japan within Japan itself.

Италијанство је у очима посматрача: анализа реакција публике на италијанску туристичку кампању Italia. Open to Meraviglia

Author(s): Marija Koprivica Lelićanin / Language(s): Serbian Issue: 1/2024

In April 2023, the Ministry of Tourism of the Republic of Italy launched the Italia. Open to Meraviglia (Italy. Open to Wonder) campaign with the intention of promoting the beauty of Italy abroad. The Ministry introduced Botticelli’s Venus as a virtual and modern influencer at Lake Como, in front of the Colosseum, and on St. Mark’s Square in Venice. The first advertisements sparked controversy in Italian society, and Eco characterized such phenomena as divisions between apocalyptic thinkers and integrated intellectuals as early as 1964. The aim of this work is to uncover the reasons for such polarization through the content analysis of more than 3000 public comments on the Ministry’s Instagram profile’s most popular posts/images. The study establishes connections between audience reactions and the posts, as well as between the audience and the Ministry (as the senders of this advertising campaign). The analysis also includes a study of the news discourse of the campaign author’s responses in Corriere della Sera, the most circulated daily newspaper in Italy. The harshest criticisms tend to lean towards Eco’s apocalyptic view of popular culture and Hall’s (2017) oppositional reading. On the other side, the authors responded that there was no such thing as bad publicity and pointed to Italian identity as a global phenomenon.

Radość i bunt. O „Macierzy” Marii Rodziewiczówny

Author(s): Ewa Graczyk / Language(s): Polish Issue: 2/2024

The writer tells the story of a protagonist named Pokotynka, who, from being a despised prostitute, becomes a woman worthy of (also social) trust. This process has a very unexpected course because it is accompanied by an extraordinary duel of moments of rebellion and joy with depression and conformism. The main protagonist’s evolution is related to the transformations of other characters – her father and her lover, who also has a dark past. It is worth emphasizing the importance of nature in Rodziewiczówna’s text; her approach to nature is amazingly empathetic and close to us.