Around the Bloc: Serbia Calls on Steven Seagal
Martial arts master, Hollywood action hero and self-described Russian Mongol asked to train Serbian special police.
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Martial arts master, Hollywood action hero and self-described Russian Mongol asked to train Serbian special police.
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The First World War, in addition to producing an extraordinary boom in technology, also saw a proliferation in film production. New media, which had existed for less than two decades when the war broke out, were generally regarded as vulgar forms of entertainment. The war years radically changed the assessment of film, which in many countries was elevated to the status of a national art, able to rouse the population to battle and reveal the “true face” of the enemy. The First World War was unquestionably a period during which cinema rose to supremacy. Its dominant position among the other arts led both policy-makers and film producers to realise that the specificity of the new medium was its ability to create, not just record reality, and that the “truth of time” and “the truth of the screen” were two distinct things that were often impossible to reconcile. In the decades following the war, a canonised cinematic discourse arose that continues to influence the aesthetics and ethics of storytelling about war. Around 1930, the means used to construct film narratives took the shape that today in a virtually unchanged form is still considered de rigueur, and is transferred from one armed conflict to another. To understand contemporary film visions of conflicts, threats and dehumanization, it is necessary to reach back to the films produced during and after the war.
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The article looks at the links between the art world and financial markets from a historical perspective. The Vietnamese communists referred to in the title have been somewhat arbitrarily chosen to symbolize the beginning of the dismantling of the postwar economic order based on the Bretton Woods system. The history of the formation of the global art market is inextricably linked with the development of deregulated financial markets and the implementation of an economic policy based on the assumptions of neoclassical economics. The purpose of the article is to show the inextricable links between financialization, the dogmatic implementation of low-inflation policies in the 1980s by decision-makers like Margaret Thatcher, and increasing interest in the trade in contemporary art. The sources of this interest and the growth of the art market, with its hierarchical structure, are found in the non-artistic sphere.
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In this paper author explores the question of whether we can apply the notion of taste in contemporary art world. To illustrate the implications of this idea, he outlines some elements of the tradition of taste, especially in the work of Hume, he points out its inconsistencies and he suggests some hermeneutical keys that will allow us to recover this notion in the contemporary debate.
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