Džez v Sloveniji kot subkultura

Author(s): Marta Rendla / Language(s): Slovenian Issue: 1/2008

The author focuses on the development of jazz in Slovenia. She presents it ever since its beginnings between the World Wars, when the musicians have not even played real jazz yet despite the name, through the period after World War II, when jazz as a new musical direction in the true meaning of the word started out relatively early in our territory with the establishment of the Plesni orkester Radia Ljubljana (Radio Ljubljana Dance Orchestra), developed in accordance with the Western (American) example and transcended the field of an alternative subculture, becoming an established artistic form in the 1960s, and then returned to the world of popular music with the establishment of the "Young Jazz Scene" by the younger generation of musicians, especially the group "Quatebriga" from Ljubljana as a representative of the most original contemporary improvised music lineups of the 1980s.

За системата на Станиславски и нейното профанизиране

Author(s): Eva Volitzer / Language(s): Bulgarian Issue: 5/2016

Педагогически аспекти на образователната телевизия

Author(s): Asya Asenova,Pavlin Dulev / Language(s): Bulgarian Issue: 5/2018

Television is a big part of students’ everyday life and thus familiar and enjoyable to them. Therefore, bringing television into the classroom may enhance students’ excitement about the general curriculum. When information is presented in a way that children can relate to, they enjoy learning what is being taught. Although TV is an older technology, teachers can still use it as a great resource for their classes. The purpose of this article is to present and analyze the main features of educational television, types of educational television and programs, steps to implement a programming concept in the field of scientific education.

Recenzija: Filmsko gradivo Arhiva SR Slovenije

Author(s): Metka Gombač / Language(s): Slovenian Issue: 1-2/1983

The review of: Ivan Nemanič: Filmsko gradivo Arhiva SR Slovenije. Publikacije Arhiva SR Slovenije, Inventarji. Serija Zbirke, Zvezek 1, Liubliana 1-982 str. 762, LX.

Muzea a ryzyka związane z globalizacją rynku sztuki

Author(s): Wojciech Kowalski / Language(s): Polish Issue: 25/2018

The blurring borders and disappearance of barriers in the international trade in goods leads to the phenomenon called globalisation of trade which includes the international and internal art market, too. With approval of various legal provisions, this market is controlled and limited not only in particular states, but also in the European Union. Parallelly, an important role is played by traditional general regulations, for instance those concerning liquidating results of wartime looting or “regular” theft committed in the time of peace. Finally, international cooperation is initiated in response to phenomena which are especially negative for the heritage in a particular country or countries.

Otvorenost bića i trajnost umetnosti. Jedno neobično čitanje vredne monografije

Author(s): Sreten Petrović / Language(s): Serbian Issue: 22/2014

In this paper, the theoretical and critical reading of Radivoj Korać’s book (Tajna ljudskog bitka) is motivated by the personal interest of the recipient (S. Petrović). Namely, in this account and in the provocative and underexpressed standpoints of contemporary philosophers about the outlook of man and, thus, art, I will focus on the basic questions of creative existence. A special topic of the essay is the critical inquiry of philosophical ideas about man as a historical and dynamic being, an ever-open entity. The analysis will consider several important ideas. One of these suggests a negative attitude towards the principle of continuity of man and, therefore, rules out the presence of a teleological agent in man’s fabrications. Another presupposes a permanent affirmation of man’s stepping-out, his displacement outside the boundaries of „completedness“, thereby bringing the very meaning of history into question? This dilemma has once again become urgent due to the well-known fact of persistence of work of art (and art itself), due to its always-completedness and thereby its enduring in time; finally, due to the artwork’s decisive defiance against being reduced to something contingent.

The Role of Objects and Situation Models in Film Transparency a Contribution to the Epistemology of Film

Author(s): Saša Milić / Language(s): English Issue: 17/2012

This paper deals with the problem of how viewers interpret feature films. It explains the role of mental models called situation models in interpreting diegetic worlds of fiction. By using P. F. Strawson’s interpretation that persons and material objects occupy a central position among logical subjects when we think about our world, and associating the knowledge of diegetic worlds of fiction with the knowledge of reality, we propose that these two can be compared and thus offer a better understanding of the role of extended networks of objects in viewing film narratives. Recognizing sight gags as particularly complex narrative figures, the paper describes the doubling of situation models by viewers interpreting specific sight gags. A result of this doubling is the incongruity registered by the viewer, who thus gains an analytical opening into the structure and functioning of individual situation models.

#NeDamoGaleriju

Author(s): Irfan Hošić / Language(s): Bosnian Issue: 1/2018

Iz ove vremenske perspektive odbrana Gradske galerije čita se kao podvig ogromnih razmjera koji zaslužuje određeni spomenik, tj. simbol šireg društvenog značaja nad kojim je moguće prisjećati se te velike i značajne bitke. [...]

Kulturna politika različitosti na primjeru umjetničkog djelovanja Selme Selman

Author(s): Žana Vukičević / Language(s): Bosnian Issue: 1/2018

Pojava Selme Selman na domaćoj umjetničkoj sceni i njeno intenzivno stvaralaštvo tokom posljednjih nekoliko godina, posmatra se i kritički analizira kao integralni dio jednog talasa mladih umjetnika koji su još za vrijeme studija na Akademiji umjetnosti u Banjoj Luci zauzeli aktivnu poziciju u generisanju novih umjetničkih praksi na ovome prostoru. Svoje školovanje, umjetničko usavršavanje i životni put nastavili su potom u inostranstvu obrevši se, zahvaljujući stipendijama, na uglednim evropskim i svjetskim univerzitetima. [...]

Urban BeaTZ

Author(s): Merima Džubur Grbić / Language(s): Bosnian Issue: 2/2018

Pojavio se 2005. godine na talasima gradskog Radija Kameleon, kao emisija koju je uređivala i vodila DJ Mayra. Tu je trajao i živio nekoliko godina, da bi 2008. godine evoluirao u klub, tj. caffe bar. Do dana današnjeg, Urban BeaTZ je ostao mjesto na kojem se sreću i susreću umjetnost i nauka, mladost i iskustvo, inkubator pozitivne i kreativne energije, mjesto koje ne zaobilaze neka od najznačajnijih bosanskohercegovačkih, pa i svjetskih umjetnika i kulturnih radnika. [...]

Kritične tačke banjalučke umjetničke scene i pitanje migracija

Author(s): Irfan Hošić / Language(s): Bosnian Issue: 3/2018

Još od prodora ideja modernizma, banjalučka umjetnička scena profilirala se kao kulturna pojava koja bi se mogla analizirati iz više perspektiva. U vremenskom rasponu dugačkom nepunih stotinu i pedeset godina, njenu fizionomiju određivali su različiti društveni i politički događaji, ali i prirodne i ratne katastrofe. Kada je riječ o bosanskohercegovačkom kulturnom i umjetničkom kontekstu u historijskoj perspektivi, o banjalučkoj umjetničkoj sceni moglo bi se govoriti kao o iznimno dinamičnoj i u određenim trenucima naprednijoj sredini od znatno većeg Sarajeva. [...]

Udruga KVART iliti smisao života na splitskom Trsteniku

Author(s): Boris Šitum,Luka Duplančić / Language(s): Croatian Issue: 4/2019

Udruga KVART osnovana je u ljeto 2006. godine ispred kafića TNT na splitskom Trsteniku. Osnovali smo ju Milan Brkić, Željko Marović, Rino Efendić i ja. Milan je tom prilikom naglasio potrebu za udruživanjem zbog priličnog broja umjetnika koji žive u našem kvartu, a zapravo se ne poznaju. Prva naša smjernica bila je odmicanje od centra grada i stvaranje vlastite scene u mikrozajednici (kvartu). Tako smo i nazvali udrugu. Naša prva izložba istog nazivnika polučila je veliki uspjeh jer smo u startu angažirali veliki broj mladih ljudi iz zajednice. Te večeri postali smo susjedi koji se pozdravljaju. [...]

Građanke svom gradu: promišljanje zajednice

Author(s): Iva Kovač / Language(s): Croatian Issue: 5/2019

Umjetnička organizacija Građanke svom gradu djeluje u Rijeci od 2016. godine, a tijekom svog razvoja okupila je protagonistice i protagoniste iz umjetničkih, kulturnih i edukativnih krugova. Organizacija je pokrenuta uz potporu kanadske fondacije Musagetes kako bi pomogla u razvoju participatornih umjetničkih praksi te povezala građan(k)e s umjetnicama/ima. Tražeći ideje za naziv ovoga projekta poslužila nam je ploča iz vremena samoupravljanja. [...]

Da li je nama potrebno pozorište?

Author(s): Anatoly Aleksandrovich Vasilyev / Language(s): Bosnian Issue: 1/2019

Pitaju se hiljade profesionalaca razočaranih u pozorište i milioni ljudi koji su umorni od njega. Zašto nam je ono potrebno? U godinama, kada je pozornica toliko beznačajna u poređenju sa trgovima gradova i prostorima država, gde se odigravaju istinske tragedije stvarnog života. [...]

Zimna wojna w popkulturze. Czołówki festiwali piosenki Interwizji i propaganda sukcesu

Author(s): Lidia Kopania­-Przebindowska / Language(s): Polish Issue: 03/2018

The aim of the article is to point out that popular culture, in the framework of which popular song contests function, although associated with the practices, needs, experiences and traditions of ordinary people, is a form of the game of power and that the shape and the character of the Intervision Song Contest were influenced by the Polish United Workers' Party. The course of the Cold War was also meaningful for its organization. The analysis of two opening credits of the Intervision Song Contests of 1977 and 1979, partially animated, allows to show that the festival was planned thoroughly and was assessed by the party which used it for the propaganda. The post-colonial perspective appears to be proper for the analyses, although the term is ambiguous and explained by numerous opinions which exclude each other. However, it enables to deconstruct and expose the models of colonial thinking and acting, demonstrating that, despite the organizers’ declarations of political neutrality, the festival was both an artistic and political initiative.

Movie as self-portrait. Auto-narration and narrative identity in Neil Jordan’s „Breakfast on Pluto”

Author(s): Ewelina Twardoch-Raś / Language(s): English Issue: 03/2018

The paper aims to analyze Neil Jordan’s famous movie Breakfast on Pluto in the context of affective “narrative identity.” Breakfast on Pluto is an adaptation of Patrick McCabe’s diary and presents the story of a man who wants to be a woman – he feels like a woman and gradually transforms into one. Patrick/Patricia is thus a transsexual (not only transgender) person who tells the story of a bodily metamorphosis. The author of the paper finds the process of storytelling extremely interesting for a number of reasons. In the paper, the author focuses especially on the process of creating a new identity for the protagonist through the movie’s narration in reference to the categories of “subjective narration” (Edward Branigan) and narrative identity, that is the creation of an identity in the process of telling one’s own story. The author shows how the tools of the movie can shape the process of storytelling (by using special frames, montage, etc.) and how three stories are incorporated in Jordan’s movie: the male and the female story as well as, finally, the subversive self-creation when Patrick/Patricia becomes one whole, one processual identity (in the context of Judith Butler’s assumption about gender). In the paper, the diegesis of the movie will also be analyzed: a number of objects – attributes of masculinity and femininity and the quasi-parodic character of the movie space and the process of storytelling. Parody in Breakfast on Pluto emphasizes the subversive and surfictional structure of the self-story in the movie. The author treats Breakfast on Pluto as a movie version of Entwicklungsroman – the process of narrativization of an identity in transition, of fictionalizing the real life of the protagonist. Therefore, the author also refers to J. M. Coetzee’s assumptions about confession, which is always an important part of self-narration.

Što je neo u neoavangardi?

Author(s): Hal Foster / Language(s): Croatian Issue: 1-2/2019

Nije tajna da su neo i postovi preplavili poratnu kulturu sjeverne Amerike i zapadne Europe. Osim eklekticizma u recentnoj umjetnosti i arhitekturi, u poratnom razdoblju imamo bezbroj ponavljanja: kako ćemo iz razdvojiti i razvrstati? Kako objasniti razliku između povratka nekoj arhaičnoj umjetničkoj formi s kojom se učvršćuju konzervativne tendencije u sadašnjosti i povratka nekom zagubljenom umjetničkom modelu kako bi se zamijenili ustaljeni načini rada? Ili, u registru povijesti, kako objasniti razliku između revizionističkog prikaza napisanog kao podrška za status quo u kulturi i genealoškog prikaza s kojim se to želi osporiti? U realnosti ovi su povratci mnogo složeniji, pa i mnogo više prisilni - pogotovo sad na kraju stoljeća kad su revolucije s njegova početka navodno poražene, a formacije za koje se smatralo da su odavno mrtve opet neobjašnjivo oživljavaju. [...]

Duchampova šutnja. Vrijeme bez događaja

Author(s): Žarko Paić / Language(s): Croatian Issue: 1-2/2019

Tekstovi filozofa i umjetnika izravno ili neizravno vezanih uz duh »povijesne avangarde« nose patos očekivanja velikoga obrata. To, dakako, ne treba čuditi. Dva svjetska rata i komunističke revolucije bile su sudbonosnim događajima prekretnice u odnosu na postojani smjer povijesnoga gibanja. Između apokaliptike i mesijanstva ideje nastale u 20. stoljeću stapaju se s retorikom revolucija i mahnitom srdžbom sukobljenih strana u građanskim ratovima. Uostalom, bez razumijevanja radikalnoga obrata povijesnoga sklopa bitka, bića i biti čovjeka ne može se uopće dohvatiti ono čemu je smjerala umjetnost avangarde. Tko bi u ime čistoće forme želio suvremenu umjetnost osloboditi od buke i bijesa politike ne samo da bi ispao naivan u blaženom estetskome autizmu. Još bi bilo gore misliti da se tome može oduprijeti bijegom u zatvorene svjetove dekadentnoga osjećanja života, poput des Esseintesa, glavnoga junaka romana Jorisa-Karla Huysmansa Naopako, koji se sklanja u odaje vlastita narcizma i odbojnosti spram prostaštva masovnoga ukusa svjetine da bi očuvao dostojanstvo mišljenja i vlastite slobode.i S modernim je razdobljem znanosti i tehnike otpočela istodobno najgorljivija politizacija svijeta života u povijesti čovječanstva. [...]

Painful Neutrality: Screening the Extradition of the Balts from Sweden

Author(s): Lars Kristensen,Christo Burman / Language(s): English Issue: 6/2018

The article deals with the extradition of Baltic soldiers from Sweden in 1946 as represented in Per Olov Enquist’s novel The Legionnaires: A Documentary Novel (Legionärerna. En roman om baltutlämningen, 1968) and Johan Bergenstråhle’s film A Baltic Tragedy (Baltutlämningen. En film om ett politiskt beslut Sverige 1945, Sweden, 1970). The theoretical framework is taken from trauma studies and its equivalent within film studies, where trauma is seen as a repeated occurrence of a past event. In this regard, literature and moving images become the means of reaching the traumatic event, a way to relive it. What separates the extradition of the Baltic soldiers from other traumas, such as the Holocaust, is that it functions as a guilt complex related to the failure to prevent the tragedy, which is connected to Sweden’s position of neutrality during World War II and the appeasement of all the warring nations. It is argued that this is a collective trauma created by Enquist’s novel, which blew it into national proportions. However, Bergenstråhle’s film changes the focus of the trauma by downplaying the bad conscience of the Swedes. In this way, the film aims to create new witnesses to the extradition affair. The analysis looks at the reception of both the novel and film in order to explain the two different approaches to the historical event, as well as the two different time periods in which they were produced. The authors argue that the two years that separate the appearance of the novel and the film explain the swing undergone by the political mood of the late 1960s towards a deflated revolution of the early 1970s, when the film arrived on screens nationwide. However, in terms of creating witnesses to the traumatic event, the book and film manage to stir public opinion to the extent that the trauma changes from being slowly effacing to being collectively ‘experienced’ through remembrance. The paradox is that, while the novel still functions as a vivid reminder of the painful aftermath caused by Swedish neutrality during World War II, the film is almost completely forgotten today. The film’s mode of attacking the viewers with an I-witness account, the juxtaposition and misconduct led to a rejection of the narrative by Swedish audiences.

Representation and Ruination under a Soviet Shadow: Wajda, History, and Chris Marker’s Re-thinking of Tarkovsky’s ‘Zone’

Author(s): Paul Coates / Language(s): English Issue: 6/2018

Following the recent death of Andrzej Wajda, a reconsideration of his work is timely, and all the more so because he provides a reference point for many East Central European cinéastes. Thus this article uses his work as a main switching point between meditations on the issues his films raise. It theorises the status accorded History in them, and in Marxism in general, in relation to Walter Benjamin’s work on allegory and ruin, as well as to questions of characterisation. Also considered is the degree and nature of existentialism’s influence on this cinema, with blockages of choice foregrounded as necessarily entailing a thematics of doubling, contradiction and masking, and a reworking of the meaning of accusations of ‘treachery’ that have been a leitmotif of oppressed cultures, particularly when – as in cinema – access to the means of production depends on real or apparent collaboration with state authorities. The particular meaning of certain delays in production will also be considered, as will certain figures from the Polish culture (this writer’s primary specialisation) with an obvious ‘Baltic connection’, i.e. a Lithuanian origin, such as Tadeusz Konwicki and Czesław Miłosz. The thematics of doubling will finally be related to notions of ruination and of a filmic language adequate to it, which it will be argued may be seen prototypically in ‘the Zone’, Chris Marker’s name for a particular method of image-presentation, named in homage to that great Soviet film shot in Estonia, Andrei Tarkovsky’s Stalker (Сталкер, Russia, 1979). To revert to the title of Wajda’s final film Afterimage (Powidoki, Poland, 2016), and invoke Miłosz also, the Zone may be called the native realm, not only melancholic but also surprisingly utopian, of the after-image that is the ruin.