“Media: Theory and Practice” Book of Abstracts

Alexandra Polownikow Heinrich Heine University, Düsseldorf, Germany

Does transnationalization impair quality? An analytical concept for comparing the quality of national and transnational media content

The paper contributes to the research on transnationalization of public spheres by raising the question of media content quality. So far empirical research has mainly focused on measuring the extent of transnational media coverage. However, with increasing transnationalization of political processes and public spheres, the quality-issue needs to be reassessed: Inter- and transnational political processes require high quality media coverage to the same extent as national media content, so citizens are able to discuss matters at hand, form opinions and make informed decisions. But there are reasons to believe that transnational media coverage might not meet the same quality-standards as national media coverage. Transnational issues are potentially more complex since they often feature many stakeholders and interested parties from different nations and backgrounds. At the same time independent journalistic research proves more difficult, since access to foreign actors and information is harder to obtain. Also domestic audiences tend to not be as interested in foreign topics. Thus the paper offers a theoretical argumentation and an empirical concept for a quantitative analysis of the quality of national and transnational media coverage in German print media. For this purpose the normative approach to media quality is appraised and an audience-centric view on quality is added. The concept is further applied to the research on transnationalization of public spheres. Moreover, first results of the pretest illustrate the empirical design as well as the instrument to compare the quality of national and transnational media content.
media quality, transnationalization, public sphere, conent analysis, quantitative approach

Alptug Okten Rutgers, State University of New Jersey, USA

Manufacturing Panic: Affect and Contagion through weather news

Given the intense emphasis on weather forecast news in the US media, this study will approach them as “affective mediated phenomena” in a search for the problems which motivates practices or depletions. Through the ontological readings of ‘affect’ in the recent literature on “affective turn”, it aims to open up a new platform to analyze the fundamentals of relationality within televised and online weather forecasting and their extension in the society. I will focus on the Facebook group “StopWeatherChannelNamingWinterStorms” which was created as a resistance to the everyday production of affective threat-values of The Weather Channel (TWC)’s naming of storms. I will analyze both the shared images from TV (via Youtube videos) and user comments on them utilizing Brian Massumi’s notion of “affective facts” and Anna Gibbs’ notion of “affect-contagion”. I will argue that, weather news produce affective registers which trigger continuous processes of re-making of the bodies as if it is a real situation. Thus, through the affective reality of anticipated alternatives created by weather news, performative threat-value of the thought-signs increases. I will show instances of mimetic relations between the bodies as anxiety formation through the portrayals of practices of emptying supermarkets, showing “signs” through visualized narration of cloud movements, and live-connections to the “scene”. Media’s emphasis on faces, values and rhythms of resonance with the portrayed bodies in anxiety from the previous storms works as an activation contour of affect-contagion. Weather news produce a form of subjectivity through affective mediations of technical means which amplifies audiences.
affect and media, mediated communication, media and culture, audiencing, weather news

Ana Dosen Singidunum University, Belgrade, Serbia

Godzilla’s Body: Reviving Memories through Collective Flesh

Through Merleau-Ponty’s philosophy of the body, this paper explores the one of the most recognizable characters of Japanese pop culture – Godzilla. Born in specific historical conditions of the postwar Japan, Godzilla stands as a cinematic behemoth which has been countlessly (re)generated ever since, both domestically and internationally. In Godzilla narrative, Merleau-Ponty’s statement that „I am my Body“ can be extended to „we are other’s Body“ by transcending Japanese collective entity into its monstrous embodiment. Positioning Godzilla’s body as a site of remembrance, a walking monument, the memories of nuclear attack and fallen soldiers in South Seas battle become alive. Variety of those memories in flesh is followed by abundant Godzilla filmography which can be understood by Deleuze’s argument „that each multiplicity is already composed of heterogeneous terms in symbiosis, and that a multiplicity is continually transforming itself into a string of other multiplicities“. Godzilla’s identity shifts, from terrifying invading force meant to reflect on a national trauma, morphing to benevolent protector of Japan from foreign intruders, into a global phenomenon preying the western audience.
Godzilla, body, memory, collective, multiplicity

André Jansson; Jenny Jansdotter Karlstads Universitet, Sweden

Depicting Intimacy: Ethnographic Cross Projections of Interpersonal Media Practices among Mobile Élite Academics

Based on ethnographic research on how academic professionals integrate new media while negotiating intimacy at times of physical absence from their partner, this paper explores the prospects and pitfalls of using (multi)mediated representational techniques for analysing phenomena that are (a) of a private nature (intimacy) and (b) related to a familiar social field (proximity). The paper presents a meta-analysis, focusing on interpretive dialogues from our different positions (as PhD candidate and professor) around audio-visual material from our project. Capturing the interplay between mediated and interpersonal communication poses particular challenges for ethnographic research. Furthermore, investigation into a familiar social field or the personal sphere of one’s research subjects demands strategies for maintaining self-reflexivity and proper ethnographic distance. New media technologies may serve as valuable tools in ethnographic fieldwork, both for gathering and representing data in a transparent way. Still, the interpretive procedures of constructing and turning such data into research findings, that is, “writing culture”, are bound to be shaped by the subjective gaze of the mediator/researcher. Within this elaboration of the ethnographic method, our affinity with the social field (following Bourdieu) also allows for socio-cultural cross projections by including ourselves as researchers in the study. Aside from using photography and audio, we keep a video diary of expectations, experiences and thoughts during the whole process of fieldwork. The paper is accompanied by a multi-vocal audio-visual presentation that accommodates our assessment of mediated methods.
ethnography, mediated methods, meta-analysis, self-reflexivity, writing culture

Andrijana Rabrenović; Dragić Rabrenović Local Public Broadcaster Radio Bijelo Polje, Montenegro

Daily newspapers of Montenegro reporting on the process of NATO integration

This paper work examines how the Montenegrin daily newspaper reported on the process of NATO integration at the time when Montenegro expected to be invited to join. According to the importance of this topic for the entire Montenegrin society, future position and status of Montenegro in the international community derives explanation for creating this research. Expectations and opinions of representatives of the Montenegrin authorities are significant, for the country to become a member of NATO in the near future, on the one hand, in contrast to the attitudes of representatives of the opposition, NGOs and other stakeholders in the Montenegrin public life of NATO integration. Period to which the research relates is the last week before the session of the Ministerial Council of NATO in Brussels, June 25, 2014, when it was officially announced that Montenegro this year will be invited to join NATO. The basic hypothesis of the starting point is that printing media of Montenegro, a few months before the aforementioned meeting, intensively reported on NATO integration, which is most clearly seen in the last week. Daily newspapers we analyzed are Pobjeda, Vijesti, Dan and Daily newspapers. In this study we will use the method of content analysis, comparative method, as well as quantitative and qualitative method. For the purposes of this study, we created a code list with special categories which determines the presence of these themes specifies subjects and objects in the articles that were published in the mentioned period. Using this code-list we will try to determine the importance that the print media gave to this subject and the way they report on the integration process during this period. In doing so, we will determine the total number of articles dealing with this issue, the position and size of the text and the dominant source from which the information is placed, to determine whether the newspapers individually advocated one of these points and what was their contribution to inform citizens on this topic.
Montenegro, NATO, daily newspaper, reporting

Aneta Hristova; Meri Batakoja University “Ss. Cyril and Methodius”, Skopje, Macedonia

Frames of References – Art Museums as Unique Visual Media

The age old activity of collecting arts is not intrinsically dependent on the art museum as separate architectural type. How was the art museum as self-contained and independent structure, then, conceptualized at first place and why? What was the idea behind that concept? Was it created as a medium self-consciously and what kind of messages was it supposed to deliver? What kind of unique “textual” overlaps the various disciplines of archeology, art history, politics, literature, science and architecture created in order to produce what we today recognize as art museum space? This study will focus on the crucial historical moments of the late 17th century when such questions were posed for the first time within the discourse of the classical synthesis in the French architectural theory, which runs parallel to the consolidation of French absolutism reaching its peak in the reign of Louis XIV and the foundation of the Royal (i.e. national) academies of arts and sciences, until the mid 19th century when the answers to those questions were finally exemplified in built architecture. The study will give a comprehensive overview of the cultural context art museums as public institutions emerged from and positioned themselves as new spatial models for collective cultivation, carefully theoretically constructed throughout centuries as different from the private collections “cobwebs of sensations.”
Architectural theory, public buildings, art museum, media, frame

Banu Dağtaş Anadolu University, Turkey

Americanization of the Popular Culture in the 1950’s Turkish Magazine: Hayat

The ultimate goal of Ottoman-Turkish modernization realized with the help of top-down governing elites is to tend towards the West, namely towards Western Europe. During this modernization process, a powerful demand for Westernization in cultural life, as well as for the adaptation of economic and political institutions from Europe, was clearly detected by the elites who tried to impose them to the society. The press played an active role in the spread of western values to the society and also in the search for nation-wide support needed. This role was also observable during Republican times, and the values such as Westernization and being modern and truly western constituted the framework for the values of Turkish press. The modernization project was called Westernization until 1950s. After that period, not only the military and economic relationships established with the new hegemonic power of the Western World- USA- but also “the American way of life” started to affect cultural life, especially through movies and magazines. The magazine Hayat, was launched at the beginning of the 1950’s. The publication policy was inspired from the American magazine Life- the name is the same. The content was mostly news from Hollywood stars, popular music stars and the sentimental serials. In this paper it is defended that, the magazine of Hayat was the well symbol of the Americanization in the popular culture. Before the Hayat, the few magazines were related with the news of the Eurepean magazine. In this paper this change will be discussed by the application of the processes of the Ottoman-Turkish modernization / westernization.
Turkish magazine Hayat; Americanization in popular culture; popular culture; Ottoman-Turkish Modernization; Westernization

Bela Gligorova CCCS, Skopje, Macedonia

Social media and International Education: A match made in digital heaven?

As an educator at an international school located in a pre-dominantly South-Slavic cultural milieu, I see myself crossing several contact zones (sometimes more than one, simultaneously). While there is a dangerous sense of enjoyment that comes with this sort of ‘educational ventriloquism’, on the behalf of said practitioner, I cannot but help and wonder about its long-term effects. Exacted through the medium of the English language, students are encouraged to live out in what seems like an academic safe-haven: as they are continuously reminded of dominant social paradigms (gender, race and ethnicity, to name a few), and their operational value within ‘an imagined international community’, the language identity of their discourse becomes foreign, un-Balkan, yet also un-English. They seem to remain as dwellers of a cushioned ‘non-place’, a contact zone within a larger contact area, for the duration of their studies, and even beyond. Thus, I am interested in getting some insight on the following aspects: 1. By attempting a ‘territory of culture’ through their respective academic missions and objectives, do international schools in the Balkans contribute to a (re)creation of a ‘pseudo nation-state’ scenario? 2. Even so, could their products (students) legitimately question the unspoken acceptance and affirmation of culturally determined roles, imposed on (Balkan) individuality by various mechanisms of compliance (governmental decisions, communal practices, tradition and gossip)? 3. Yet, when all is said and done, who is to implement a newly designed language mythos: individuals or institutions or social media?
Post-Other, Social media, Education

Benjamin Eugster Universität Zürich, Switzerland

Changing Modes of Practice – Static Theories? Towards a Praxeology of New Media

When dealing with more recent phenomena of new media such as online video platforms (YouTube, Vimeo) or imageboards (4chan, 9gag) we can see how media start to be increasingly about practice rather than content. This shift from viewer/reader to “produser” (Bruns 2007) have been extensively discussed with regard to theoretical conceptions and inferred power relations in the cultural production, but the way researchers approach them have not been fundamentally altered. Despite more recent attempts at a field-specific methodology (Hine 2013), adapted modes of disciplinary research dominate these discussions: Art historians focus on the aesthetics of the digital image, linguists reinforce the notion of digital literacy and sociologists observe the digital expansion of social networks – but how can such adaptations result in theoretical innovation? The paper will tackle this interdisciplinary challenge of the disparate field of new media studies by analyzing how media theoretical/media historical research and empirical sociological/ethnographic research on new media diverge. On the basis of this divergence, the paper will bring forward a praxeological perspective on new media phenomena as theoretically informed practices. This allows for an integral analysis of emerging media practices on the basis of individual perceptions of cultural and technological historicity (digital revolution or cultural continuity?) and conceptions of “popular media” (economically driven mass media or empowering do-it-yourself infrastructure?) by amateur practitioners.
Popular Culture, Online Video, Media Technology, Amateur, Methodology

Beste Gulgun; Aslihan Çobaner Ankara University, Mersin University Turkey

Content Analysis of @saglikbakanligi

Defined by mutual interaction, self-content creation and multi-dimensionality, social media has become the center of increasing number of studies in the last decade as a result of its impact on mass communication in general and health communication in particular. We believe we will not go beyond our limits when we say that social media has already opened a new era in health communication with its all these varying characteristics. The importance of social media for public health communication is that the target audience has become both the creator and user of content. In this regard, social media has limitless opportunities for searching and sharing information. Being aware of these opportunities, public or private health institutions involve social media in their communication strategies and plans. Twitter has increasingly become popular by health institutions who would like to interact with their audience. The Ministry of Health of the Republic of Turkey has become active on Twitter since August 2012 via @saglikbakanligi. The Ministry of Health has more than 99.000 followers, follows only 7 accounts and shared 2600 tweets (22 February 2014). This study will investigate how the Ministry of Health used its Twitter account in terms of health promotion in the frame of public health between 1 January and 31 December 2013. The key question of the study is analyzing content creation and message design in line with the content. Moreover, in order to draw a picture of the reach of content and messages a number of quantitative findings will be included.
Health Promotion, Social Media, Twitter, Ministry of Health, Content Analysis

Biljana Crvenkovic Museum of Applied Art, Belgrade, Serbia

Identity of the State 1918-1980. On the Example of the State Art Collections

Defined by mutual interaction, self-content creation and multi-dimensionality, social media has become the center of increasing number of studies in the last decade as a result of its impact on mass communication in general and health communication in particular. We believe we will not go beyond our limits when we say that social media has already opened a new era in health communication with its all these varying characteristics. The importance of social media for public health communication is that the target audience has become both the creator and user of content. In this regard, social media has limitless opportunities for searching and sharing information. Being aware of these opportunities, public or private health institutions involve social media in their communication strategies and plans. Twitter has increasingly become popular by health institutions who would like to interact with their audience. The Ministry of Health of the Republic of Turkey has become active on Twitter since August 2012 via @saglikbakanligi. The Ministry of Health has more than 99.000 followers, follows only 7 accounts and shared 2600 tweets (22 February 2014). This study will investigate how the Ministry of Health used its Twitter account in terms of health promotion in the frame of public health between 1 January and 31 December 2013. The key question of the study is analyzing content creation and message design in line with the content. Moreover, in order to draw a picture of the reach of content and messages a number of quantitative findings will be included.
Health Promotion, Social Media, Twitter, Ministry of Health, Content Analysis

Chiara Bernardi University of Warwick, UK

“Woman” AND “#Egypt”: The Silent Revolution for Women’s Rights. Harassmap

This paper will analyse the role played by independent organization Harassmap with the aim to ‘put an end to social acceptance of sexual harassment’ in the country. It will be argued that Harassmap situates itself at the intersection of activism, digital media and semiotics. It is an interactive map that exemplifies the best uses of the Internet and the many tools and platforms offered by web 2.0. Harassmap is first and foremost a map where Sexual Harassment becomes a visible issue, exists and is ‘exposed’ in a country where bystanders turn a blind eye to instances of sexual harassment and even violence. Furthermore, Egypt’s legal frameworks are supplanted by social and societal practices. In addition, there is a third dimension that Harassmap brings to light and that deserves greater attention. This dimension is that Harassmap is an interactive map that can be viewed online and which is in essence a participatory project where women and men, victims of different sexual offences, can report these cases and increase awareness of ‘Sexual Harassment Hotspots’. The Application Programming Interface (API), and the usual algorithmic usage of Google Maps, changes its meaning and its scope dramatically. Therefore, Harassmap becomes itself a map of personal accounts and reports, cases of assault, stories of worries and unpleasant experiences, as well as instances of rape. Harassmap deserves attention because it rewrites the ideal of the geographical symbol as we currently understand it in the digital era of Google Earth and Google Maps.
Women, Gender, Egypt, Social Media, Crowdsourcing

Cornelia Grobner University of Salzburg, Austria

Brave – other – world? The (mis)use of an African setting for the construction of desire, identity, and strangeness in Austrian (and German) television

In the paper I would like to present my insights about media entertainment, ethnicity and identity – extracted from my dissertation project. I argue that entertainment films with a far-away setting work like long-haul tourism when it comes to the staging of culture – and, in further consequence, to the production of prejudices and discrimination. This is especially of interest since the processes of migration and globalisation let time and space shrink and let the people from the supposed ‘here’ and the supposed ‘there’ come into conflict within their daily routine. In Austria every fifth person has migrant background, in the capital Vienna more than every third person. Media is known as an important source for the production of strangeness and the othering of cultures. The research focuses mainly on the negative images in the news, but neglects widecoverage television films. In my work I connect knowledge from Communication and Media Sciences about appropriation of media products with knowledge from Postcolonial Studies, Cultural Studies, and Psychology. My two main research questions are: How is “the strange” (as representation of the cultural other) staged in fictional entertaining media products? And: How are these media contents processed by the audience?
entertainment films, audience, othering, discimination, migration

Damian Fasolo Murdoch University, Perth, Australia

Videojournalism Aesthetics in the Era of Digital Journalism (Case Study: BBC News)

We live in an age in which audiences are bombarded by a plethora of visual mediums – from cinema/televisual forms to online streaming and VOD (video on demand). In the past, each of these ‘screens’ came with its own set of conventions, or language, by which it presented and differentiated itself. Yet, as audiences increasingly interact with a crossover of mediums on a day to day basis, their aesthetic and conventional expectations are becoming homogenised. This is particularly noticeable in Digital Journalism in which online feature stories are being increasingly geared towards the sort of aesthetics (telling a story with images) that were traditionally consigned to the domains of narrative film and television. I have recently collaborated on a number of feature stories with news journalist Victoria Gill from the BBC, UK. Interestingly, my background is as a filmmaker, not a journalist, but my skills as a storyteller who creates aesthetically pleasing and meaningful images were of higher significance to the BBC. In this case study of my recent collaborative works and interviews with video journalists and editors from the BBC, I hope to analyse and reveal why there is a growing audience expectation towards aesthetically pleasing images in video news content in light of these technological and audience-viewing trends.
digital, journalism, technology, audiences, aesthetics

Daniela Blazevska University “Ss. Cyril and Methodius”, Skopje, Macedonia

The Influence of the Audiovisual Media on the Public

This paper will analyze the influence of the audiovisual media on the public. The analyses will be on theoretical and empirical level. The empirical research will be qualitative. The focus will be on the influence of the different television contents on the same viewers. In accordance with the subject of our interest, we will use the purpose sample. Research unit are the students of journalism. Students will watch two different television contents and will write down their impressions. On theoretical level, this paper will analyze the negative aspects of the television, its influence on the human soul and human nerves. In the final part of the paper, the conclusion about the effects of the audiovisual media on the public will be presented.
audiovisual media, influence, public, television

Dejan Gluvačević Josip Juraj Strossmayer University of Osijek, Croatia

Perception of the EU in Croatian Press (July 2013)

In January of 2012 in Croatia was held a referendum on European Union accession, with 66, 3% of Croatian citizens who voted in favour of joining the EU. Finally, Republic of Croatia, as their 28th member state, join the European Union on 1 July 2013, after long negotiations with the EU institutions. However, the crisis in Europe, as well as the crisis in Croatia partly influenced the change in the pro-European sentiment in Croatia, believing that joining the European Union is not good move for the state. Fear of joining the European Union was and still is mostly based on fear of Greek scenario. Besides, one of the biggest fears is the loss of national identity. But also there is a large number of those who are joining the European Union accompanied with positive aspects, seeking salvation in the European Union. For them, European Union will solve crucial problems in Croatia such as economy and unemployment. The purpose of this paper is to illustrate how was the perception of the European Union in Croatian press during the first month of membership (July 2013). The research methodology included a media analysis of four most influential newspapers (Jutarnji list, Večernji list, Novi list, Slobodna Dalmacija). The goal is to show key elements on which is based the image of the European Union in Croatian press, as well as they are gracious to the European Union, especially at the time of Croatian joining.
Croatia, European Union, EU member, perception, image, press

Doris Posch Academy of Fine Arts Vienna, Austria

The Jollywood Manifesto: Trans-local Film Cultures in Haiti’s Emerging Cinemas

his proposal focuses on various contemporary cinematographic productions from Haiti’s emerging filmmaker’s generation. The CineInstitute is the only Film School in the Antilles that currently provides training to a young generation of filmmakers and videographers. Its Jollywood Manifesto is based on the political, cultural, and societal as well as media-related vision of establishing a self-sustaining film market in Haiti. Based on lowest-budget productions made possible by the huge rise of the digital, this recent phenomenon not only asks for new modes of production, circulating distribution and reception, but also for a reconsideration of film and media theory for “internationalized” World Cinemas on a discursive level. This level will be approached by interlacing conceptions of Third Cinemas – having known its inception in the late 1960’s in Latin America and that have subsequently been adapted in the Asian and African Cinemas – with today’s assumptions of considering cinema in its political message on a transglobal space. The analysis of several cinematic productions centers multiple, plural and intertwined narratives at the interstices of postcolonial representation. By analysing the visual and aesthetical constitution, (de-)construction and representation of postcolonial film cultures on a transnational/-local/-cultural level, a methodological translation of geopolitical spaces and temporalities in the media takes place.
Film and Media Analysis, Postcolonial, Translocal, Transcultural, World Cinemas

Dragan Nikodijevic; Jovan Djukanovic Megatrend University, Belgrade, Serbia

Arts in Market Economy

Instable socio-economic position of the Arts is primarily determinated by organizational issues – begening with owersimplified methods of menagement, instable financial resources and everchanging economic rules and perspectives affecting artistic creativity. The eternal dilemma arrasing from a complex relation between the art and the economy seems once again under the scope. No doubt, management is a vital organizational instrument but is it well equipped to iniciate, organize, and manage all the process incorporated in a partucular act of artistic creation. Who should be in charge of providing good and sustainable economic decisions? It is well known that art and the economy does not match when opposing a notion of value to each other. Attached by necessity to the rude rules of the market economy artistic creation is deranged, insecure, ethically obstructed and often marginalized. Trough the human history traditional and new forms of Art were an important part of the real, vibrating economic interaction. It is possible to reconciliate Art and economy and make Artistic more reliable econoic partner by adapting and harmonnising a particular socio-economic field of interaction, managing marketing procedures and communications.
art, market economy, value, interaction, dilemma

Ekmel Gecer Loughborough University, UK

Media, Multiculturalism and Minorities: Producing a Nationalist Culture

The Turkish media have long been accused of using a discriminatory and hatred discourse against minorities and not well representing the multiculturalism in the country. The communication used in the headlines, news texts and coverage have been claimed to create a nationalist and intolerant society in the end. Despite of international and national media ethics and journalism principles, the rich media groups have been described as ‘the advocators of the state ideology’ that at the establishment was discriminative. In this regard, my paper intends to examine the connection between media and democratisation in Turkey based on ethnic conflicts and the power of news production in re-producing the ideology. The study will talk about the democratisation process in Turkey after 80s, combining theories of democracy and communication through analysing special events regarding Kurdish Question of Turkey. The study will at the same time ask questions that are more general about: the connection between media, society and politics during democratic change in Turkey under alleged political and military pressure; media ownership, news productions and consumption, the recent changes in Turkish journalism, nationalism in the media and sociology of news. Overall, for the textual analysis, the principal method in this project will be quantitative content analysis of five mainstream newspapers coverage regarding the Kurdish Issue. But this statistical data will also be supported by more detailed qualitative analysis of selected examples and cases; detailed thematic analysis and critical discourse analysis
Media, democracy. multiculturalism, censorship, politics

Eleonora Serafimovska University “Ss. Cyril and Methodius”, Skopje, Macedonia

Working model of the process of reception of political messages in newspapers

Cognitive processes of the members of the media audience involved in the reception of messages from the media are so infinitely complex that sometimes it seems that they can not be systematically analyzed. Consequently, any effort to propose a general model, which successfully copes with the discourses of the audience, would seems doomed to be “obsessed” with many difficulties and disadvantages will be equal to that of the illuminations that model can produce. Schröder suggested his multidimensional model fully aware of inevitable reductionism and terminological inconsistency involved in it. The model proposed a conceptual framework to deal with complex processes through which the audience accepts, understands, criticize and responds to mass media messages. Schröder model, and the model and criticism of Hall, studies of Morley and other researchers in the reception process were the impetus for such a study of the dimensions involved in maybe short but infinitely complex process of reception of media messages. The results highlighted the importance and complexity of many aspects, processes, dimensions, all that determine the process of reception; they stressed their simultaneous appearance and interdependence that opens the necessity of examining their joint action. Both sociological and psychological factors are important in the process of reception, but never separated from the content of the text and the way the content is written. It seems that certain content provoke certain individual characteristics, so “united” determine the process of reception.
process of reception, media messagеs, multi-dimensional model of reception

Emilija Simoska; Kalina Lechevska University “Ss. Cyril and Methodius”, Skopje, Macedonia

Social Media and the Political Culture of Young People in Macedonia

The paper regards the process of political socialization of the younger generations through the new media, with a specific focus on their political values, political behavior and civic engagement in general. Since the appearance of social media as a global phenomenon, they became a powerful and influential new tool in modern political communication. It specifically affects young generations, who spend long time in such communication. They also become open to political influence, often without an ability for a critical selection. This paper will explore the power of social media as agents of political socialization for the young people, using data from several recent researches in Macedonia on this topic.
social media, political culture, democracy, young generation

Erdal Dagtas; Ömer Özer Anadolu University, Eskişehir, Turkey

Public Sphere-Political Advertisement Relationship in Turkey: Analysing Political Advertisements of JDP in General Elections, 2011

Public sphere is a social space, open to active individual access and free discussion, rescued from state intervention, where communicative action free from violence and individual benefits is undertaken; and rational-critical discourse is built. Political advertisement is the type advertising which aims at directing voters or the government to a particular action, having them adopt a certain view or approach. The concept of political advertising emerged with the practice of using commercial advertising techniques to promote a party, candidate or an idea. Public sphere studies are mostly conducted through news stories and columns in media. In that sense, it is significant to analyse political advertisements in terms of public sphere. In this study, the political advertisements of the ruling Justice and Development Party (JDP) in the process of Turkish General Parliamentary Election, 2011 have been analysed. The political advertisements in question have been analysed via Sabah newspaper. The reason for choosing Sabah is that it supports JDP as an example of partisan press. The samples have been taken from 2 weeks before the elections. Accordingly, as a full-page advertisement is published every day, 14 political advertisement analyses have been conducted in total. Political advertisements have been analysed using qualitative text analysis. As the study follows the path of public place-political advertising relationship, it finds meaning in itself.
Public sphere, political advertisement, JDP

Eva Zekany Central European University, Budapest, Hungary

Media Addiction as Immaterial Hoarding: A Neomaterialist Reading

For Henry Jenkins “media addiction is largely a myth”; however, the growing number of research papers and news items problematizing it seem to contradict this claim. Internet Addiction, gaming addiction, and even online fandom seem to be a bête noire rather than an ontological certainty, but the discourse around them can be interpreted as a means to talk about relationships the human/nonhuman/media relationships that characterize the contemporary age. Media addiction, whether as a somatic or a cultural pathology, is constructed as a problem, and one that is difficult to grasp with empirical methods. The purpose of this paper is to examine the notion of media addiction, and to pick away at its seams. By citing the example of ‘obsessive’ online media fandoms, it proposes a reconfiguration of media addiction in order to extricate it from its psychopathological connotations. Instead, I will attempt to reevaluate it as a way of producing nonhierarchical relations between humans and media, to the point where the human/medium distinction itself is challenged. The figure of the online media addict shares many similarities with that of the hoarder, whose addiction to material objects turns her into a subject of pathology. After all, a great deal of recent media-philosophical research has turned to ideas of media-objects and media-ecologies. Reframing the online fan through the lens of Jane Bennett’s neomaterialist theories on objects (and especially her work on hoarding behaviour), it can be possible to re-read media addiction an open-ended process of relating, of ‘becoming with’ (technological) media.
media addiction, new materialism, fandom, media ecologies, digital media

Fani Cettl Central European University, Budapest, Hungary

Revisiting dystopia: the Spectacle of the Hunger Games

This essay explores intersections between Giorgio Agamben’s ideas about biopolitics and the political universe depicted by the recent two Hunger Games movies. The Hunger games politics is read through Agamben’s theory about how modern state sovereignty produces bare life, that which is killable. Modern technology figures for Agamben as well as for The Hunger Games as crucial for this production of expendable bodies. It is thus technology in the hands of the totalitarian Capitol government – high-tech transportation, genetic engineering, but crucially – the media of the “spectacle” – the Hunger Games reality show, that manages poverty and ultimately death in the totalitarian state. Modern totalitarian and contemporary liberal politics intersect at this point in the movies, in the same way that Agamben considers contemporary society of the spectacle haunted by an eruption of the sovereign right to kill. Historical links between the sound-vision media developments and their totalitarian propaganda uses help us understand this intersection. Agamben’s way towards different politics would be drawing attention to what he calls “mediality” or communicability of language that has been expropriated by the spectacle. How do the movies point towards different politics?
hunger games, biopolitics, agamben, bare life, spectacle

Fernanda Pires de Sá Universitat Pompeu Fabra, Barcelona, Spain

The co-viewing 2.0: Detaching from history and applying in the new media age

Since the advent of digital media and the 2.0 environments, the way we watch television and consume audiovisual media has changed. The audience can now be also called users, users who generate content and therefore share experiences online and offline. This has an impact on how the user understands TV content. For instance, the proliferation of user–generated content has made a strong impact on the different spheres of society, as people are able to access online information from anywhere (computers, mobile phones, tablets) and also share, create, contribute or view together new and mass media content. In other words, it has generated a new way of co-viewing. This concept of co-viewing comes from an experiment made with Sesame Street in 1969 whereby it was shown that when children watch television together with adults, their capacity of learning increases. Hence why we found it necessary, in this study, to revise this concept of co-viewing since its origins until the present days. We also apply some of the meaning of co-viewing to the digital environment such as social network websites, which have given a space where audience comment and show their perceptions of a plot. We also use this concept not just in the scope of children but in general as co-viewing and discussing media content with others can be an enhancing experience in terms of acquiring knowledge at any age. This can be useful for the media industry and also for the users themselves.
Co-viewing, User-generated content, new media, TV content, Social Network Sites

Gail Baylis; Sarah Edge University of Ulster Coleraine, UK

The Belfast Naturalists’ Field Club: science, photography and cultural identity

The Belfast Naturalists’ Field Club, established in the north-east of Ireland in1863, was the first Irish field club. Field trips and the practical study of nature formed its core ethos. In adopting photography in the 1880s the Club engaged in the art-science debate that had dogged photography since its invention. It was in dialogue with other international scientific bodies who shared its aim of creating the conventions by which the scientific photograph could operate as an objective, non-mediated and mimetic image. This scientific rubric, however, was elided by cultural needs and, in particular, the desire to insert a complex and fractured identity formation evidenced in the north-east of Ireland (Ulster-Scots/ British-Irish/ Protestant-dissenting) into the image. Through a close critical reading of photographs taken by Club members (c.1880-1914) that record their presence in the Irish landscape this paper will investigate the relationship between science and cultural placement. It will reveal the complex negotiations at play – both a desire to project an outward-looking and modern sensibility and its contending atavistic pull to confirm origins as authenticator of identity. Far from being stable the relationship between science and culture indicated flux and indeterminacy. While focusing on one case study this paper also connects the photographic procedures of the Belfast Naturalists’ Field Club with similar ventures in Europe where nature/ landscape/ culture/ science were operating to produce/ confirm identity in a period of nationalism.
Photography, science, nature, identity, visualise.

Ganka Cvetanova; Bojana Naumovska University “Ss. Cyril and Methodius”, Skopje, Macedonia

New Media and the Level of Democratic Awareness in the Republic of Macedonia

We are living in the age of digital technologies which significantly changed the way of our everyday life, especially the way of our communication and dissemination of the information. The paper examines the relationship between new media and the level of democratic awareness of the young generation, having Republic of Macedonia as a case for analysis. The theoretical framework includes different viewpoints about the role of new media in the process of democratization of the citizens and the society as a whole. The case of Macedonia is analyzed through research data gathered by the authors in 2012 and 2013. The aim of the paper is to investigate whether the usage of new media increase the level of democratic awareness of young Macedonian generation i.e. their viewpoints and their willingness to cope with the issues in a manner which is in line with the democratic standards and principles.
new media, democratic awareness, democratization, young generation

Gentiana Skura University of Tirana, Albania

Challenges of Albanian Public Television

Albanian Public Television (RTSH) is found opposite to the new challenges, to be closer to the public. From the resent measurements it is seen RTSH has lost a huge part of the Albanian audiences (sometimes 3%-7%). This decreasing of audiences has 2 factors. The increasing number of private radio and televisions. The need for reform of RTSH as by the structural part (during the time of transition RTSH was the Albanian government megaphone, and from the contents part. Sometimes are organized some meetings (the last one at 13.12.2013, OSBE organized the meeting for the reform of the RTSH) to promote the public debate in relation with public transmitter. This would be and the core and focus of the paper. 2014 is the year of the RTSH challenges, selection of the boards members and the whole digitalisation of all television broadcasters. Besides presenting of the RTSH development in the paper special importance will be given to the RTSH strategies, like public broadcaster and the public interests. One aim is to train also transforming in the media generalist (newsroom, webpage) etc. The aim, to be given the arrival runways of this purpose, and how RTSH can raise the quality of the programmation of the RTSH and Albanian audience.
challenges of Albanian Public Television, digitalization, programmation, reforms, structure

Goran Janev University “Ss. Cyril and Methodius”, Skopje, Macedonia

Macedonian Youth (Ethno)Mediascapes

This paper analyses the recent survey results administered among student and highschool population in Republic of Macedonia. The findings point towards rather surprising ongoing battle between various media influences with classical broadcast programmes still holding strong ground. The questionnaire aimed at identifying the development of cosmopolitan identity under the influence of increased access to information via Internet, but strong ethnic cultural patterns emerged. This leads towards concluding that even the Computer Medaited Communication (CMC) fails to break the established patterns of identity formation. The analysis pertains that this maintenance of primordial attachments, formed in dependence on other social factors, even under the operation of globalized media and the world of flowing information and movement across the planet as it has been theorized as a formation of ethnoscapes and mediascapes (Appadurai: 1996) should be seen as a combination rather than exclusionary occurrence. In our case we witness increased openness to global media, yet the local identities seem to hold ground. Thus, the formation of ethno-mediascapes is offered as an explanatory concept for the identitarian conundrum posed by the Macedonian youth sample of this research.
Cosmopolitanism, Macedonia, ethnicity, identity, mediascapes

Grażyna Stachyra Maria Curie – Skłodowska University in Lublin, Poland

‘Surface aestheticization’ of modern radio programs

Aesthetic, originating from the Greek word aisthesis which means ‘impression’, ‘perception’ or ‘cognition’ from the second part of the eighteenth century had been treated as part of epistemology – a science that dealt with the idea of beauty and sensory perception. During the years it was the art, which became the main subject of aesthetic. The twentieth century redefined ‘art’ in many ways. An art object had been constantly more difficult to define, more fluid. Aesthetical criteria had to be reconsidered accordingly. In the beginning of radio, the most frequently analyzed genre in aesthetical terms was radio drama, often called ‘the theatre of imagination’. On the other hand, the radio was an interesting subject of past century’s avant-garde experiments that used the aesthetics of newly acquired medium to expand into the new territories of art. Nowadays, the regular radio broadcast radio, as it seems far from ‘art’, is rarely connected with aesthetical analyze. The paper attempts to describe the phenomenon of ‘surface aestheticization’ in the context of radio, utilizing theoretical concepts of Wolfgang Welsch, who coined the given term, describing the process of making the aesthetic phenomena out of unaesthetic ones. The aestheticizing of radio programs is broadcasters’ intentional endeavour designed for gaining audience’s attention. The article is based on textual content analyzes of popular radio shows in Poland. It aims to present some examples of such superficial, surface modeling of broadcast and explain their purpose in radio communications.
radio aesthetic, surface aestheticization, contemporary radio, modeling of broadcast, radio communication

Guy Starkey University of Sunderland, UK

‘Local radio, delivered nationally’ or ‘national brands, delivered locally’? News and programming hubs and their impact on content production of recent changes in regulation, ownership and the local content requirement in the UK commercial sector

This paper discusses current practices in radio journalism in the UK commercial radio sector and their impact on content. Issues around ownership, consolidation, political economy, technological advance and regulatory expectations of commercial operators will be contextualised within a sector-wide survey of contemporary production practices. Since the beginning of legal, land-based, local commercial radio in the United Kingdom in the 1970s, various changes in the regulatory environment have combined with lowered expectations around the provision of speech and advances in production and distribution technology to bring about radical change to the ways in which the sector is operated. These are particularly apparent in the provision of news and programming, which now exploit synergies in group ownership and new forms of content sharing that were once unimaginable. The paper will discuss ongoing research collecting new quantitative and qualitative data through original primary research among the various commercial radio groups in the UK to draw some pertinent conclusions about the ways in which a changing regulatory environment has produced production practices which balance reduced expectations around localness of content production with the potential of consolidated station ownership and the introduction of new technology and production practices to achieve economies of scale in commercial radio.
radio, content, consolidation, syndication, regulation

Helen Murphy University of London, UK

Vague Pleasures: Description of an old post-card

Throughout my research, I have been concerned with European conceptions of the ‘Orient’, ‘exotic’ and ‘erotic’ between the years 1890-1925. This paper shall consider the verbal description of a particular sort of ‘exotic’ and ‘erotic’ photographic post-card produced in abundance during this period as a means of attending to vagueness. These are post-cards that repeatedly depict a female dancer’s figure in oriental costume and/or setting. The terms in question are elusive, implying an enigmatic lack of certainty or definition as to what it is that they are supposed to signify. Yet the dominant social and cultural historical narrative tells us that this was the time when, firstly, subjective human experience would be parsed, measured, named and given a language by processes of modern rationalisation and, secondly, Modernists would be ‘making it new’, but in doing so, would be critiquing their own cultural inheritance from the previous century, including that associated with the pursuit of pleasure, orientalism and decadence. The post-cards are pictorial, exchangeable objects in popular, everyday use that cannot be subsumed into either narrative but, nevertheless bear relevance to both. Taken as artefacts of fantasy rather than as representations, I ask what precise, detailed description of their imagery might tell us about the impressions and desires of subjective experience, and perhaps of the interference of the objectivism of their time.
Fantasy, Postcards, Representation, History, Subjectivity

Hibai Lopez-Gonzalez Pompeu Fabra University, Barcelona, Spain

Media representation of technology or when ‘the question “by whom” cannot relevantly be asked’

The economic crisis has hit hard in Spain. The unemployment rate in 2012 skyrocketed to over 25 per cent and the near future remains unclear. Spanish people felt disempowered and clueless about finding a convenient way out of the situation. In this context, Spanish media seem to have seen in technology one of the solutions for this critical condition. Technology is believed to be characterized by a ‘materialistic component’ (Sanz-Menéndez & Van Ryzin, 2013) which enhances the people’s perceived capacity of technology to generate economic growth and development in our societies. In this paper we want to explore the representation of technological change in Spanish television. Drawing on the concept of ‘technoculture’ (Echeverría, 2003; Penley & Ross, 1991), we have examined the news items about technology in order to determine the values ascribed to it. In particular, we have tried to identify the agency allocation (van Leeuwen, 2008) by means of which the media discourses underestimate the human action while overestimating the technological agency. The representation of technology on television has depicted it as an autonomous problem-solver. Invested with magical features, technology has overcome the need for social compromises and has been presented as a solution in itself. Furthermore, technology has been presented as an intrinsic source of social transformation with no need for human action. This paper challenges the presumed ‘political neutrality’ of the adoption of technological advances and deepens in the role played by the media in constructing a view as such.
technology, media, representation, crisis, agency

Hoa Nguyen Vietnam Institute of Culture and Arts Studies, Vietnam

Wiring Death: Remembering on the Internet

Online networks and digital media have been integrated into contemporary processes of dying and memorialization, changing the social context in which dying takes place and establishing new memory culture. This paper, thus, examines the relation between media and memory through the case of war dead commemoration in Vietnam. As tens of thousands of Vietnamese died in military service during the war, their commemoration has been an important issue both inside and outside academia. This memory of the harsh past continues to be transmitted, historically and psychologically, through generations. Considered to be a flexible, individualized, decentralized, a-historic medium, how has the media environment contributed to the construction, reconstruction and representation of memory in Vietnam? My central argument is that, with a wide range of users, and various tools and forms of communicative interaction, internet-based media enables actors who are not part of the traditional institutions regulating the discourses about the past to constitute remembrance beyond the official narratives promoted by the authorized agents. Also, within such electronic spaces, it is pivotal to highlight the dynamics of memory which overcomes the temporal and spatial distance between the situational of remembering and the past events which are remembered. This feature of online memorialization and mourning practices, hence, poses a question to the philosophy of personal identity. While the dead somehow live on through their online presence, how do specific features of online social networks affect the ontology and embodiment of them?
Online social networks, online commemoration, Memory, War dead, Personal identity

Igor Gajin University of Osijek, Croatia

Strategies of Colonisation and (Non) Resistance- Discursive and Formative Infiltration of Media into the Transitional Croatian Literature

Before the end of the 20th century, contemporary Croatian literature has experienced a radical poetic and aestethic disruption. Since there was a transition from socialism to capitalism, from state monopolism and a totalitarian society (and media) to (neo)liberal pluralism and free market, contemporary Croatian literature has changed its poetics as a reflection of the surrounding changes. While Croatian literature prior to downfall of socialism showed sophistication of postmodernism (as it was developed in terms of a regime semi- open to the West) and it questioned and deconstructed the ideological matrix of the media labeling reality, Croatian literature in transition towards the neoliberal capitalism surrenders to the media discourse. In mainstream practice of Croatian literature the above stated means a poetic turn towards the stylistic and representational (mimetic) simplicity, towards the press (journalistic) novelty. Therefore, through contrast of postmodern and transitional literature, the work will demonstrate literary medialisation in its structural fundamentals, a loss of courage for experimentation and a lack of critical detachment from the general mediasphere, as well as unadventurous copying/ inscription of media recipes in order to infiltrate the transitional and neoliberal- capitalist cultural industry. Even when criticizing the media, contemporary Croatian literature speaks its language, encrypted into its discursive matrix.
key words: media, literacy, transition, globalisation, postmodernism

Irena Šimić University of Belgrade, Serbia

The Perverse Pleasure of an Idle Kitchman

There are deep, underlying connections between the simulated feelings of the contestants in a reality show and the sentiments they reciprocally evoke in the typical consumer of this kind of entertainment, who I named an idle Kitschman. Kitsch is neither pulp nor trash, although these terms are easily confused. Kitsch has nothing to do with form but with content, it is context-embedded and, most importantly, it is defined through the perception of its devoted consumer. The object of kitsch cannot be recognised based on its materials properties. The object of kitsch is intrinsically related to the Kitchman. The relation in question is built entirely on the level of sentiments and it rules out any contemplation and any real emotion. The object of kitsch does not inspire or provoke thinking; it is flat, lukewarm, and unambiguous, there is nothing about it that could inspire any intellectual or sincere emotional engagement. It offers instant mushy gratification – it beefs up sentiments. Sentimentality posturing as sensibility is the true mark of the Kitschman. Kitsch is the authentic product of provincial mentality that is the guardian of the status quo because the provincial logic dictates evasion of any transformative act in a naive attempt to cheat death by ways of resisting the change. This is why the provincial is genuinely satisfied with the simulation of life that is to be found in a reality show.
Kitchman, reality show, sentiment, pseudo-spectacle, provincial mentality

Isidora Stanković University of Belgrade, Serbia

Intermediating the Memories/Memories as the Intermediators: Periodical Publications of the Cultural Organizations Created in Order to Preserve the Cultural Heritage of the District Marais in Paris

The first part of the essay will be dedicated to the representation of various cultural organizations created in order to raise awareness of the cultural heritage which the historical District Marais in Paris store. Furthermore, the content of the periodical publications of these organizations will be examined and the possible use of these publications as the historical source. Some of the aspects of the methodological approach of the interpretation of these sources will be pointed out, and the need to regard them in the context in which they were written. The second part of the essay will be dedicated to the memories these publications nurture. Furthermore, the possibility of the activation of the cultural memories through these publications, hence, their role as the vehicles of the memory, will be pointed out. However, the question related to the public for which these publications were written, will be emphasized as well. Finally, it will be discussed how aforementioned memories could influence the preservation of the cultural heritage, on the one hand, and the endurance of the process of patrimonialization, on the other hand, through their role in the transferring the meaning of the past.
Cultural memory, heritage, patrimonialization, periodical publications, district Marais in Paris

Ivan Stefanovski Media Development Center, Skopje Macеdonia

The Impact of the new Media Laws on the Freedom of Expression in Macedonia

After a long and tiring process of political bargaining, public debates and negotiations, the Law on Media, and the Law on Audio and Audiovisual Media Services were passed in Parliament. Media experts, media organizations and critical media in Macedonia, insist that new regulations will further diminish freedom of media and freedom of expression in Macedonia. The main goal of the paper will be to measure the effects of the new laws, after six months of their introduction in the legal system. The activities of the Agency for Audio and Audiovisual Media Services and the Macedonian Radio and Television will be closely followed, mostly by examination of the minutes of their meetings, participation on meetings and depicting effects of their ruling. The ultimate goal will be to propose future recommendations for enhancement of the media sphere, and most precisely, the freedom of media and freedom of expression, in Macedonia.
media, law, freedom, expression, Macedonia

Ivana Ercegovac; Tatjana Milivojević Megatrend University, Belgrade, Serbia

Empathy and the Internet: positive potentials vs risks

Empathy, which was once reserved for the narrowest community, can now be expanded globally. This optimistic view, however, doesn’t take under consideration that human capacity for empathy isn’t limitless. Perceptual, cognitive, and emotional overload can lead to saturation and desensitization or dissociation where there is aperception of others, but without any emotional involvement. The paradox of empathy lays within its possibility of being used as a means of control and manipulation: it’s then a pure mimicry of empathy. It can serve a better acquaintance, rapprochement and understanding of other people and cultures, or, on the contrary, non-relations such as impersonation, inauthentic communication, and ultimately online harassment. Therefore, the possibility that Internet gives us to be connected to others is less important than the personal attitude that each individual has towards it and to others via the network. Internet isn’t empathic by itself, but it can help one’s basic empathy, which is developing in vivid interpersonal contacts in the real world, to expand to the remote and sensory unobservable others. In this article we’ll analyse the empathic potential of social networks, as well as their features that can narrow or even shut down empathy.
empathy, internet, social networking, media psychology, emotional literacy

Ivaylo Yoshkov St. Kliment Okhridsky Sofia University, Bulgaria

Journalists and Audience in Bulgarian Online Media – the new Roles

The emergence of Internet as a mass-communication platform was the beginning of maybe the biggest revolution in the field of mass-media since the invention of the printing press. Online news distribution appeared to be faster, cheaper and much more attractive for the audience than traditional press, radio or TV. So, in order to survive, traditional media had to become online. At first online media was very similar to the traditional press – one-way communication, which relied mostly on written text and rarely on photos and other formats. As the connection speed rose up, Internet evolved from the static Web 1.0 to the Social Web 2.0. It enabled everyone to create and share information in a wide variety of formats, without being a journalist. This caused the rise of so called “citizen journalism” – made for citizens by citizens, which changed the informational habits of the society. The present paper analyses the changes in the traditional roles of journalists and audience in some of the most popular web sites of Bulgarian traditional media. It examines the levels of interactivity and integration with social media sites, which enable the audience to create and share its own texts, recordings, news emissions etc. The paper defines the status of Bulgarian “citizen journalism”, making the conclusion that the audience’s new role has some similarities with the traditional journalists’ role. On the other hand journalists become mediators and moderators providing the flow of the communication.
audience, journalists, roles, change, interactivity

Jasmina Novakovic University of Belgrade, Serbia

New temptations of Benjamin’s theory about original and copy in art in the digital age

My lecture will be focused on changing the nature of art by using possibilities of new digital media. The medium is changed and medium is message, so the message has changed. It demands new art theory and aesthetics. In video works, art object is not materialized object in traditional way, which means that it does not exist in time and space like traditional form of art like sculpture and painting. One video can be displayed at two different places at the same time. That implies destabilization of originality concept. There can be more copies, so that problem opens a new question about existence of more than one original. According to this, rethinking Benjamin’s theory about original and copy, will bring us a new approach to this old problem. What is happening with aura, term first used by Benjamin? Is it lost or we are facing its transformation in new artistic circumstances caused by new media? Losing a strict line between the original and the copy demystifies art work uniqueness. At the same time the changes are visible in the new and different museological practice and communication with spectator. In video art, displayed images are not fixed and frozen as painting is, and perception is a longer process than it is usually expected. With some form of digital art, ways of presentations are more radical because some of artworks are distributed and presented only via the internet. In that case, museum is not the only place where we can see art.
Original, copy, digital media, aura, museology

Jelena Jurišić University of Zagreb, Croatia

Social media knock down journalistic principles

At the end of the last decade researchers saw the internet as the main cause of crisis of quality and professionalism of journalism, while it initiated copy-paste culture in profession, as well as in public relations, which took an almost monopolistic position amongst news sources. In the meantime, the social media entered into journalism, too. Almost half (47%) of 500 journalists from 15 countries in 2011 used Twitter, and a third (35%) used Facebook for sourcing new story angles. In 2012 54% of respondents said they used micro blogging updates (The Oriella PR Network, 2012). In Croatia 82% of journalists uses social media as sources and often in a non-transparent way, violating both professional and ethical standards (Rakela, 2012; Jurišić & Šipić, 2013). Such approach resulted with loss of audience: in 2011 52% of respondents trusted media, while in 2012 this number decreased to only 18% (Gfk Croatia, 2012). These data bring up the question of whether the media content created in this manner can even be considered journalism. The example of the Croatian government, which since 2012 has been almost exclusively communicating with journalists via social media, demonstrates that journalists are unable to verify the information and fulfil their ethical obligation. We claim that the information published in this manner cannot be considered journalistic, alike this way of working cannot be considered journalism. Therefore, we argue that journalism must adjust to these changes through modifying its professional principles in order to protect its credibility.
social media, journalism, credibility, journalistic principles

Jelena Pavličić University of Belgrade, Serbia

Cultural heritage as media. Reflections on the Church of Virgin of Ljevisa in Prizren

The aim of this paper is to emphasize the potential of cultural heritage to be a media in the social life and space-time contexts. Today we perceive cultural heritage (as phenomenon) as a result of social history through time and a mirror of those processes. It is transmitter of messages and information about the different realities that it passes through. In this paper we discuss these theses on the case of church of Virgin of Ljevisa in Prizren. The biography of this sacral place is in interrelation with town. During its existence, physically and functionally it was transformed from the form of the basilica, through the church, mosque to the church again. In the semantic meaning it passes numerous changes (one of them is to be on a UNESCO List of World Heritage in Danger ), and today also is a reflection of the social changes of Prizren. Although the church but inactive one, today it speaks of the socio-political changes in Kosovo and in the city of Prizren.
cultural heritage, media, social history, Prizren, Church of Virgin of Ljevisa

Jennifer Vilchez Central European University, Budapest, Hungary

The Controversy around ‘Tomboy”: The Aversion to Gender Theory in French Education and Culture

On February 19th, 2014, French television channel Arte aired Céline Sciamma’s Tomboy (2011), a film about a ten year old girl who pretends to be a boy, against the demands of Civitas, a fundamentalist Catholic organization, who claim the film is propaganda in favor of gender theory. Civitas called for the prohibition of Tomboy via an online petition arguing its screening would promote an ideological position regarding gender identity. This action follows the “Manif pour tous” demonstration, which opposes the passing of same-sex marriage, on February 2nd that included not only rightwing political parties and conservative Catholic associations but also Muslim groups and extremist nationalists. Two weeks prior to this demonstration, parents received mobile text messages to support a collective action to keep their children out of school to protest curriculum which would allegedly teach gender theory and includes Tomboy as part of the “Ecole et Cinéma” educational program. Education Minister Vincent Peillon responds to this campaign by stating that the national school system is “in no way teaching gender theory.” In what ways is Tomboy being understood or (re)presented as a subversive text in which gender is articulated as a construct and as an identity? What is the perceived danger by oppositional groups and even the government to the promotion, in any degree, of gender theory in national education and culture? How is the discussion of these events by the media pushing forward certain political agendas while hiding others?
France, gender theory, Tomboy, education, film

Joanna Bachura-Wojtasik University of Lodz, Poland

Creating the world by listening to the sounds. The position of artistic radio genres in the contemporary culture and their power of interaction

The article discusses the important issue of ‘audio culture’ in the contemporary world dominated by an audio-visual culture. The creators of artistic genres of radio including documentary, feature, and radio-drama prove that radio narrative forms continue to be attractive to a present audience, but under the condition that the essence is to combine tradition and modernity. On the one hand, a thematic attractiveness of selected works is presented; on the other, the interpenetration of the qualities from different radio genres and their phonic attractiveness are indicated. The several cultures’ audio texts produced by the Polish and The European radio broadcastings, which are based on joining the tradition with the modernism at the level of the content or form, were selected for this paper as examples. These include: a radio-drama series „1-Minute Small” (1-Minuutjes) [The Netherlands] – the winner of the festival Prix Europe 2012, a radio-drama „Andy” [Poland] – the winner of the festival Prix Europe 2013 in the category ‘The best radio-drama’, feature “Everything is possible” (Wszystko jest możliwe) [Poland] and “Radiotherapy” (Radioterapia) [Poland] – radio-drama which can be watched on the Internet. Also, popularity of photo-casts indicates on continuous search of “more comprehensive forms” for creating sound stories extended beyond the radio. The results of discussion along with examples to illustrate the problem clearly confirm both very strong position of radio in today’s mass media-predominated world and still huge interest from the audience – active participants in the culture. Nowadays, radio exists as creation modern medium which can work online with images and photos.
artistic radio, radio-drama, feature, radio documents, contemporary culture

Katarzyna Szklarek University of Lodz, Poland

Sound and silence. The history and interpretation of a radio play “Drugi pokój” by Waldemar Modestowicz.

The subject of my presentation is a radio play entitled “Drugi pokój”. This radio play is an amazing and unique work. Originally “Drugi pokój” was a text written by a polish poet Zbigniew Herbert specially for the radio. The radio play (also entitled “Drugi pokój”) was directed by a polish radio director Waldemar Modestowicz in 1993. The most interesting seems to be the connection between the radio play and the original text. “Drugi pokój” tells a story of a young couple. They live with an old lady, who is an important character in this work. Nevertheless, unusual is the fact that an old lady does not say a word in this radio play. She is represented by the silence, which is very significant. What is more, the silence becomes meaningful and symbolical. The contrast between the sound and silence is also uncommon, because the silence seems to be more important than the sound. I would like to analyse this two interesting creations (the text written by a poet and the radio play) as important cultural works. Moreover, I would like to recall the history of the radio play entitled “Drugi pokój” and comment on its content. I find this work very interesting, but in my opinion not very known. I would like to change it.
“Drugi pokój”, radio play, Modestowicz, Herbert, radio

Kinga Klimczak University of Lodz, Poland

Tell me your story and I will tell you who you are? About narration in radio feature

The text talks about the importance of living speech in comparison to the letter. An example of the living speech is the narration of the character in radio feature. The way of speaking says a lot about the person who talks-about her emotions, personality, age, origin, knowlegde. During speaking a character constitutes himself, we can say that he defines himself. The story becomes a form of learning about himself.
radio, feature, narration, dialog, personality

Liane Rothenberger; Mihailo Kotarac TU Ilmenau, Germany

The Discursive Construction of Terrorist Group Identity

Terrorist acts are a topic covered extensively by the media and this coverage has been subject of numerous scientific studies. However, the terrorist groups’ own communication perspective has not been thoroughly researched. The following paper deals with terrorist groups and their use of websites as strategic communication and in identity building. The discursive construction of terrorist group identity will be examined applying Critical Discourse Analysis (CDA). Hence, this paper also explores definitions of terrorism, (strategic) communication,as well as identity and identity building. The CDA of online texts allocated on websites of terroristgroups is based on a five macro-strategy scheme provided by Wodak et al. (2009). The sample consists of six terrorist groups, with two groups each sharingdifferent motivations: social-revolutionary, ethnic-nationalistic and religious (Waldmann, 2001). All the groups to be analyzed are listed as terrorist organizations by the European Union (The Council of the European Union, 2001). Through the analysis of the online communication of these terrorist groups, the researchers draw conclusions on the strategies employed by these organizations in building identity and how to counter their unregulated propaganda.
terrorism, identity, critical discourse analysis, internet, communication

Liesl Conradie Univeristy of Bedfordshire, Luton, UK

Social Media and Professional boundary Management within a Helping Profession

A report published by the National Youth Agency (NYA) in England in 2008 found that the great majority of social network site on-line interaction between youth work practitioners and young people took place ‘under the radar’. ‘Under the radar’ in this context was defined as outside the relevant guidance and without line manager agreement. My research set out to find out why and how this is taking, and the meaning attached to this practice to the different role players. As part of my qualitative research I interviewed 20 youth work practitioners (paid and voluntary workers) from a variety of backgrounds and 13 young people over the age of 16. Due to the sensitive nature of the topic area it was difficult to find participants. Therefore it was decided to not only interview participants with direct experience bur to include participants who have thoughts or feelings concerning the research area. Youth work practitioners and young people differ in their reasons for wanting to ‘befriend’ each other on social media and what this signifies; is it a professional or a personal relationship or a hybrid? Boundaries and expectations of the ‘audience’ become blurred and perforated. Combined with the ever-changing nature of the technology itself maintaining or developing professional relationships through social network sites becomes challenging. This presentation will explore the boundary management that both young people and youth workers employ in order to maintain the relationships that they foster with each other ‘under the radar’ online.
youth work, boundaries, audience, professional, personal

Lilia Raycheva; Mariyan Tomov; Nelly Doneva St. Kliment Okhridsky Sofia University, Bulgaria

The 2013 Social Protests in Bulgaria: Media Images and Issues

The text will discuss major political and social implications of the new roles of the audiences viewed through the prism of the media activism in Bulgaria. It is based on comparison of two case-studies, focused on recent social events in the country that had significant political effects. The first one, triggered by the high electricity bills, is connected with disapproval of the living standards. Although it resulted in resignation of the acting government in February 2013, the cost of electricity has not changed. The second one has moral purpose – for sustaining the democratic standards. On June 14, about 10,000 people summoned spontaneously via the social networks to protest against the Parliament for the non-transparent appointment of a controversial media mogul and MP as a head of the State Agency of National Security. Although the Parliament withdrew the appointment immediately, since then (nearly eight months) hundreds of activists are every day out in the streets protesting against other controversial measures of the government. Both events enjoyed extensive mainstream media coverage. The aim of the undertaken research is to focus on the images of the protests (both in media and in social networks) as well as to reflect on the issues behind these images. The analysis will be situated against the contemporary political, economic, social, regulatory and media environment in the country. In addition, some of the most significant images of the protests disseminated through both social networks and traditional media will be also analyzed.
social protests, media, images, issues, audience

Loreta Axhami Tirana University, Albania

Advertising impact on the media content

One of the challenges faced by the Albanian media today is maintaining its independence in an environment in which the governmental or corporate advertising attempt (and in many cases succeed) to impose rules. Cracking of the “Chinese Wall” distinguishing the commercial from the media is just another form of the influence of advertising influence not only in traditional media but also to new ones. Media specialists consider sharing of content of the advertisements one of the main mechanisms guaranteeing editorial freedom and independence, which is very important not only for the media but also the development of society as a whole. Another problem in Albania involves lack of transparency on the data for advertising media market. No concerted efforts are observed on the side of the media industry neither to measure the audience nor to publish data on the advertising market. Market advertising problems are unknown and unexplained, in a situation lacking basic information upon which the “advertising cake” is logically divided. However, the fact that for most of the Albanian governmental and large corporations media advertising are the main source of income, shows how easy it can influence the editorial policies. This study is focused on the relationship among advertising and journalism; characteristics and impacts of these reports on the quality of journalism. In order to conclude this research, we utilized empirical data, media content analysis and interviews conducted with journalists and the most influential media editors in chiefs of media in the country.
Advertising, Media, Content, News, Public Relation

Loreta Georgievska Jakovleva; Mishel Pavlovski University “Ss. Cyril and Methodius”, Skopje, Macedonia

The term european values in printed media in Macedonia

The researchers of the Centre for Culture and Cultural Studies, on basis of the findings of a variety of forums, workshops, gatherings, public opinion polls, on the meanings implied by the the mention of the term European values, reached the conclusion that it is an umbrella term that covers all sorts of notions and that its exact meaning is not really clear. European values are frequently mentioned and discussed in the Republic of Macedonia, especially in the context of the naming-dispute with Greece. After 2008, when Macedonia didn’t get the invitation to join NATO, and later didn’t get the date for the start of negotiations with EU, the term European values, and especially in the media, was subject to extensive discussion, mostly with negative connotations. That situation inspired the research team of the CCCS to approach USAID and the Foundation Open Society – Macedonia with a project proposal titled The Scope and Meaning of the Term European Values as Used by Macedonian Print Media, led by the position that the scope and the meaning of the term are not set in stone and can be negotiated. That view was supported by the analysis that used as the starting point the hypothesis that, after 2008, with the growing disappointment of Macedonian citizens in decisions made by EU and NATO, while Euro-scepticism is on the rise, many different meanings will be tied to the term European values.
newspaper, european values, Macedonia, survey, meaning

Magdalena Stoch Pedagogical University, Krakow, Poland

Media discourse around the concept of “gender” in the pages of the Polish press at the turn of 2013/2014

The proposed occurrence refers to the media debate what the pages of Polish media flared up at the turn of 2013/2014, and referred to the concept of “gender”, used by supporters and opponents of certain options worldview. Detailed analysis of two data logs: the liberal “Gazeta Wyborcza” and extremely conservative “Our Journal” is to attempt to answer the following questions: 1. What face has the gender discourse in the pages of the two newspapers? What shape assume its individual components (in terms of van Dijk: social interaction, language use and communication of ideas)? 2. Who and what promotes a specific vision of reality, present in these two forms of discourse over pays? 3. To whom is this discourse? How does this affect his form? 4. How to Polish culture and adopted a communication perspective affects the studied phenomenon? 5. What might be the effects of this type of media policy? I’m going to use a critical discourse analysis, through which I could explore the hidden relationships and determinating of causality, occurring between the texts, events and discursive practices and the wider structures, relations and processes of social and cultural
Gender, discourse, media, culture, CDA

Maja Neskovic University of Belgrade, Serbia

Film in heritologist’s role

Paper is based on relation and synergy of two visual arts (fine and film arts), reciprocaly connecting their meaning, action and analysis. Accent is on film as media interpretation of art and heritage. Starting from hypothesis that film adds to and connects with fine art solutions, questions and problems, and taking into consideration realization, implementation, scenography and any other visual form and presentation, we deduce that fine arts has major role in film. Just like painting studies, explores and analyses movement, “moving picture” derives from static painting. Film is a media which serves as testimony and preserves document from certain period of time observing it through a museologist’s and heritologist’s magnifying glass, viewing it as culture of memory and memorization of cultural values. Films by Dziga Vertov “Chelovek s kino-apparatom” and “Kinoglaz”, 1924. whose camera was instrument similar to human eye, which he used to document events from real life, are prime examples. In both cases, heritologist and film push the time back to epistemologically look and interpret meaning of object. Film manifests as a media which possesses strength, not only to reflect but to project living memory, place which keeps and encourages remembrance. It is a medium between subjective and cultural memory. With its pictures it guides us into modern age, familiarizes us with different reading of meaning and signification of object, creates new visual world of purport. It makes exhibition of an era, life, people and presents and materializes their thoughts, reflections and dreamings.
film picture, painting, museum, interpretation, memory

Marek Sokołowski Uniwersytet Warmińsko – Mazurski w Olsztynie, Poland

Digital discourse. Society according to the Web 2.0 paradigm

The article presents the subjects about new model society in XXI c. – society Web 2.0. This article concerns the relationship between the new media ( Internet, Facebook and other) and society
media, digital discorse, Web 2.0 . paradigm, new society

Marija Lončar; Magdalena Nigoević; Zorana Šuljug Vučica University in Split, Croatia

Media representation of the human body: discourse analysis of advertisements

The authors’ approach includes qualitative discourse analysis of advertisements. The objective was to identify the relationship between the human body and textual messages as integral components of the advertised item taken in consideration, as well as the ways in which they interact with the reader’s overall experience. For this purpose, different advertisements that contain visual and textual messages representing human bodies have been analysed. They were all published in the following lifestyle magazines: Cosmopolitan, Playboy, Men’s Health, during 2012 and 2013. The authors conclude that media representations of a human body as social phenomena perceive value and treat the body in different ways depending on the relation among the advertisement, the textual message and the human body.
discourse analysis, advertisements, representation of human bodies, visual and textual messages, lifestyle magazines

Marija Vasiljević University of Belgrade, Serbia

Memory culture and ‘memory technologies’ in intersection: What do you mean by ‘resistance movement’?

Social memory theories define the past as shaped by official memory culture and memory of informal social groups. So, memory isn’t just psychological fact but cultural also. If memory is culturally shaped, is it a technological fact too? Are the ‘technical’ devices (and media in general – print, visual, audiovisual, WWW) just organizers, neutral carriers, transmitters and (political) instruments of memory, or by coexistence of ‘old’ and ‘new’ media properties in every social context they have a role in shaping what we recognize as ‘past’? Paper is about neglected and unpredictable aspects of memory shaping by ‘memory technologies’. We cannot explain memory as entirely subordinated to ‘political’ or ‘social’ factors. These questions will be examined on different examples of Yugoslav (urban) resistance movement during World War II in public and media sphere from end of the war till today. It will not be a redefinition of historical illegal movement (‘What had happened?’) but posing a question how image of illegal movement is transforming (and developing into something ‘new’) in public sphere. These transformations are not absolutely politically defined by official/informal memory culture but they depend also on ‘memory technologies’ in general.
Memory culture, ‘memory technology’, media, Yugoslav resistance movement, heritage

Marijana Markovich University “Ss. Cyril and Methodius”, Skopje, Macedonia

Methodological research of real and virtual identity

This paper will be focused on the differences and similarities of methodological research in real and virtual environmental, phenomenological appearance of the category –identity. The mainly common explanation of the “identity” at the same time consisted sameness in time and space and difference with others. It is usually seen as a collection of roles which one plays according to “scene”, but in every role there is awareness about the sameness of the self. Identity in virtual environment is different role than any others played in the real world because of the differences between environments. Every person who establishes a communication in virtual and social environments owns a virtual identity. Virtual Identity is the manifestation of one’s self in the digital world of e-commerce, e-mail, social networking, and virtual worlds. Identity in our digital age is no longer tied to static, physical anchors, such as driver’s licenses or passports. In on-line analyses there have been used methodological hybrids which combined many research methods, for example: ethnography, autobiography, message analysis, picture virtual behavior etc. In off-line analysis, researcher is exploring the relation between cyberspace appearance, activity and real life appearance behavior. The main question here will be: can we apply classical methodology approaches, procedures and techniques used for exploration of identity appearance in real world to explore the appearance of identity in virtual world? Quantitative and qualitative methodologies used for the research in “both worlds” will be challenged.
real identity, virtual identity, methodology

Marko Pavlovski University of Zagreb, Croatia

The media representation of culture in Jutarnji list

In my paper I will try to explore the famous statement about the representation of culture as the topic of media report, as per the amount of pages dedicated to the cultural section, as per the notifications of cultural events, especially those of international importance, throughout the entire content of one of the most widely read newspapers in Croatia. The aim of this paper is to show the presence of cultural themes in one of the highest circulation daily newspapers published in the Republic of Croatia, Jutarnji list. I’ll conduct a research which will include the contents of this daily for a period of one year (1st January 2013 until 31 December 2013), to show the presence of cultural themes in it. Preliminary insights of the issue show certain characteristics of the distribution of cultural content in Jutarnji list. It is noticeable that they are not always represented only in the section dedicated to cultural news and articles, but they are also found in other sections of the newspaper. For this reason I’ll conduct a complete review of each number of the aforementioned newspaper. Therefore, I will compare the relationship between the representation of certain artistic genres, the presence of film art as opposed to the amount of contributions devoted to literature, and I will devote special attention to the content of the so-called non-commercial aspects of a particular genre, such as the amount of information about events in the poetry scene, promotions or collective exhibitions of young artists at home and abroad.
Culture, media, media representation, Jutarnji list, culture section

Michael Bourgatte Institut Catholique de Paris, France

Learning to Read Images and Movies

Screens are no longer simple interfaces useful for viewing audiovisual content. People can watch, on the screen, the film, the tools – which are useful for cutting movies, producing trailers, writing, introducing keywords, etc. – and an amount of peripheral contents, including their own. To use Michel de Certeau language, it could be said that these devices, as “places”, become “spaces” in that “space is a practiced place” (1980). In 2013 and 2014, I organized several research fields in classrooms to train groups of young people using a software named Lignes de Temps (Timelines). This software is dedicated to the discovering of movies, their enrichment and their analysis through annotative activities. I gave tutorials and I observed interactions, using Grounded Theory methods (Goffman, 1967), within groups of children and teenagers in elementary schools and high school classrooms. As I was alone, I linked my observations with a video ethnographic technique (Heath & alii, 2010). I would like to give comments about these experiences and show that such technologies allow to a better understanding of cinema, both from a technical and a social point of view (people can watch a scene several times, taking notes or tagging it, etc.). From a theoretical point of view, I will try to answer the following question: what sort of economy of the screen the annotative activity implements? I will track, obviously, its socializing value because it seems to participate in the highlighting of a plurality of “world views” as Svetlana Alpers said (1984).
cinema, education, screen, annotation, digital

Milan Popadić University of Belgrade, Serbia

Looking for Museotaurus: Museological Labyrinths between Media and Philosophy

After more than two centuries of existence of museums, museology has finally reached the stage when it was necessary to ask questions that are usually called philosophical. Therefore a contemporary view recognized museology as “an independent philosophical discipline with responsibility for developing a theory of the museum and museographic praxis” (Delos 2006). On the other hand, museums have long been understood as media, with McLuhan’s concepts serve (only) as evidence and theoretical support for museological research (Glusberg 1980; Sola 1984). Starting from these premises, this paper examines the relationship between media and philosophy in the museological space. In doing so, it uses the metaphor of Labyrinth, as an area of empirical research aimed at the senses, the experience of space, and the relationship between space and practice (Tschumi 2004). In other words, the museum is seen as an area of philosophy of the media. Although museums treasures testimonies of the past, the result of their action is the formation of contemporary identities. Therefore, reflection on the museum as a medium creates a predisposition of visualization and discourse on current philosophical events.
museum, museology, media, metaphor of Labyrinth

Milena Gnjatovic University of Belgrade, Serbia

Collection: Museum Message or Artwork?

The paper tends to examine the idea of creating a museum out of the presence of materiality, the fact that things and objects outlive their owners and speak about different identities. Through the development of the system of representation from the antiquity onwards, people are wittingly electing things and objects to make their untruths credible. Thus, museum is actually, contrary to the most general institutional apprehension, just one of the media for communication, transmitter of the messages (from the past). Therefore, museum of tomorrow must be different from the museum of the old times and museums from the 18th or the 19th century. In so called revolution of the free time and everyday faster technological development in the 20th and the 21st century, the institution devoted to the past, or museum, can be saved only by changing it and adjusting it to the apparitions characteristic to this age. While concentrating on the idea of the artistic, or museums/collections of art as media, and quite recognizable tendency of contemporary artists to create their works with the direct use of the objects from the past, so to form their own museums representing those “forgotten” segments of the past (and not to submit their works to the collection of some grand museum), in this paper I will raise questions of the museum as the message, comprehension of the contemporary collecting, and questions of creativity or creation of museums/artworks.
collection, museum, medium, message, contemporary art

Milica Bozic Marojevic University of Belgrade, Serbia

Heritage Dissonance. Ways of Interpreting Wartime Legacy

During the nineties, the wars in the former Yugoslavia have greatly influenced the cultural heritage. Many monuments have been damaged; a large number of them disappeared without a trace. However, some survived, renamed, and incorporated into new monumental compositions. New myths were created, fresh heroes established, latest historical events celebrated. In the last decades, the intention to mark and preserve from oblivion even negative legacy of the past is becoming more common. But the problem is in which the manner. How to present and interpret it, what is the right measure and where are the boundaries of good taste? Do they have just educational importance? Is there also tourist potential of these memorials? These are just some of the questions we will try to answer in this paper.
heritage, dissonance, wartime legacy, memorials, interpretation

Mina Lukić University of Belgrade, Serbia

Public Monument as a Medium – its Efficiency and its Messages Today

The aim of this paper is to investigate the position and role of public monuments in contemporary public spaces by analysing the current situation in the capital cities of Serbia and Macedonia. Public monuments are seen as media which have had an extreme importance during the 19th and 20th century, but are less effective today. Although their importance may appear infinitesimal nowadays, continuous debates concerning their creation or destruction, placement or replacement, show that they haven’t lost their relevance yet. At least those who create public policies still consider them important media in shaping of the collective memories and public opinions. This is shown through the analysis of the changes in Belgrade and Skopje’s public spaces during the last decade. Processes of construction or destruction of cultural memory, conditioned by current political interests, are analysed from the perspective of public monuments, being one of the media used to convey appropriate ideological messages and act on the public sphere. Controversies concerning the removal of the monument to Dimitrije Tucović in Belgrade and “Skopje 2014″ project are used as primary examples in the paper. It represents an attempt to evaluate the efficiency of public monuments as media today, where the transformations of the urban space and visual identity of Skopje are seen as an effort to make this almost obsolete media effective again.
Public monuments, media, Belgrade, Skopje, identity

Mirjana Stošić Singidunum University, Belgrade, Serbia

Medusa’s Gaze – the female stroller through mediascape

This paper deals with gender performativity in media practices, with interweaving realms of flâneur figure and scopophilia phenomenon seen through Medusa’s new mythology. Not so much a research of media representations of women, this paper is an attempt to investigate the (im)possibility of women gazing back, transforming the mediascape into medusian imaginary of the flâneuse, the female stroller. Paradoxical figure of the flâneur becomes the aporetic figure of the flâneuse, measured not by the aesthetic distance between the subject and the object of the gaze, but by proximity, dangerous connectivness and disruptive kinships that escape the „regulated scopophilia“ of falogocentric male gaze. Female gaze has too often been associated with consumerist voyeurism, on the one side, or with public invisibility, on the other. The pervert gaze of the flâneuse can be looked upon from critical viewpoint of Martha Rosler’s series of photomontages House Beautiful: Bringing the War Home (1967-1972), and from semiotic „stitches“ in Shelley Jackson’s hypertext Patchwork Girl, or the Modern Monster (1995). In different media forms, House Beautiful and Patchwork Girl utilize the collage technique in creating the flâneuse gaze that destabilizes depictions of female body as a commodity, domestic figure and patriarchal projections of desire. This female gaze is strolling on the boundary of imaginable, patchworking the plural body, cut through by intertextual practices. Assembled photographs from the pages of Life magazine (Martha Rosler’s photomontages) and stitched female body as the hypertext-body (Shelley Jackson’s hypertext) create a challenging mediascapes for questioning dominant gender discourses.
gender, flâneur, flâneuse, gaze, discourse

Mojca Planšak Independent media and cultural researcher, Slovenia

The role of social media during the Slovenian rebellions in 2012

The media perform a crucial role in the public representation of social relations, power, and daily national and political life. Mass media, importantly, are a part of the dominant means of ideological production. Slovenia provides a strong illustrative example of a culture where the presence of participatory, especially online media is still rare and in its grassroots, precisely because the Slovene media are under the patronage of commercialization and neo-liberal capitalism. Since September 2012, throughout the region we witness the Slovenian nation has finally rebelled towards then the governing party and its leader Janez Janša, using multiple, online mobilization, (twitter, facebook, etc.). The activists organized via mobile for the first time in the Slovenian history. In Maribor, in September 2012 the largest rebellion against mayor Franc Kangler happened. For some indictments he is already fully legally accused. The proposed paper will seek to examine the importance of online media sphere and how, in particular, social media have evolved and get the citizens / activists involved. A facebook group, called Gremo gor Maribor (Stand up Maribor), was crucial for the revolt in Maribor and later on for the whole Slovenian rebellions in 2012/2013. Also online media Mladina.si, which in the times of the biggest student movements in 1968 (in that time still only in print version) has already been first and independent weekly that has helped to change the society and it has had an amazing role by the Slovenian independence and by the rebellions in 2012/2013.
Mass media, online mobilization, political activism, ideology, online media

Monica Biagioli University of the Arts London, UK

The Talayots of Mallorca: Fine art activity in support of cultural heritage

This research investigates intuitive models for cross-pollinating fine art practice so as to encourage an appreciation of local cultural heritage. A key element is to examine methodologies for mapping cultural value of artistic activities to support the research approach and its proposed outcomes. For my presentation, I will be using my findings on Talayots in Mallorca, Spain and its application in my own practice to expand the notion of cross-pollination. The aim is to make the case for cultural heritage activities that support a stronger sense of place in the local community. The Talayots of Mallorca are protohistoric sites of cultural importance to the island and to the region of the Mediterranean where the island is located. These sites, many abandoned or poorly recognised, are of key historical significance to the development of inhabitants in the island. The work I produced for an exhibition at Lluc Fluxà Gallery in Mallorca in September 2013 was based on notions of heritage and its transmissions from past to present. The key dimension I would like to explore in my presentation is how to map the intangible cultural value of the work exhibited in light of the tourism industry in the island. There were intricate links and co-influences achieved through the exhibition of works in Mallorca and those could be further developed in support of a greater appreciation for the Talayot sites and their potential importance as part of the tourism industry in the island.
fine art, cultural heritage, heritage tourism, Talayot, Mallorca

Natalia Kowalska University of Lodz, Poland

Is it feature? Artistic radio documentaries by Katarzyna Michalak

The main aim of my essay is to present works by Katarzyna Michalak – polish radio documentary producer. Katarzyna Michalak is one of the greatest polish reportage maker. Her reportages are based on truth but some of them includes fictional parts. Katarzyna Michalak uses real sounds, voices or characters as well as fictional ones to create artistic radio documentaries or feature-type reportages. Most of her works are winners of European and Polish media festivals for instance: Prix Europa 2005 (Chłopcy z Wygnanki with Monika Hemperek), Prix Italia 2006 (Niebieski płaszczyk), Prix Italia 2009 (Modlitwa zapomnianej with Dorota Hałasa). My analysis is based on Polish and European scientists’ statements and it presents theory of artistic radio documentary and understanding of radio feature in Poland and West Europe.
reportage, radio documentary, feature, katarzyna michalak, polish radio

Norbert Merkovity University of Szeged / National University of Public Service, Budapest, Hungary

Social Networking Sites and Politics: Analysis of Politicians’ Twitter Use in Croatia, Hungary and Montenegro

I am measuring something entirely new in terms of examining how social networking technology changes (or not) dynamics of politics. Central research question is what are the effects of social networking technologies on political communication? This question can be divided into two parts: 1. What we know about MPs interactivity on new information and communication technologies? 2. How the MPs are using the internet, especially the social networking sites like Twitter? (The use of the new information and communication technologies in the political system, especially among the elected representatives.) Our research team conducted the research between November, 2013 and January, 2014 on Croatian, Hungarian and Montenegrin MPs. We used qualitative content analysis on MPs posts and comments. The results are being processed on the basis of the research questions. At the beginning of the project we expected that most of the MPs are using Twitter to demonstrate their openness to the new ICTs, but they do not actually use them to keep daily contact with their voters. This assumption has already been confirmed in the previous two phases of the research project, when we analyzed the email and Facebook use of the MPs. On the basis of the previous results we expected the preference of unidirectional practice of communication in the Twitter research, as well. Our expectations were justified. The logic of Twitter use is relatively closer to media logic than to other “new” logic.
new political communication, SNS, content analysis, empirical research, media logic

Olympia Kiriakou King’s College, London, UK

“Ricky, this is Amazing!” – Performative Nostalgia and the Dark Side of Disney Fan Community

Since opening in late 1971, Walt Disney World has become synonymous with childhood, and accordingly, is traditionally thought of as a vacation destination that cater primarily to families. However, there is a large demographic of avid Disney park fans that do not fit the stereotypical park guest mold. This paper focuses on one such group, namely the Dark Side of Disney fan community, and offers a fan studies analysis of their relationship to Walt Disney World. Named after a book by fan Leonard Kinsey, the Dark Siders may be an extreme example of Disney fandom, as their anarchistic and openly-critical attitude set them apart from other Disney fan communities. Key to their fan experiences is their nostalgic attachment to a Walt Disney World of the past. Their nostalgic inclinations adopt a performative dimension through their penchant for photo and video documentation, which I argue allows them to reconcile with the inevitability of progress that comes with dealing with an unstable object of fandom.
Walt Disney World, fandom, nostalgia, performance, documentation, Svetlana Boym

Omer Ozer Anadolu university, Eskişehir, Turkey

Media Anthropology: Economic, Social and Cultural Experiences of the Early Years of Television in Eskişehir/Turkey

It could be suggested that the organisation of a visual language as an alternative to writing is the first endeavour that comes to mind when we say visual anthropology. If we look at the historical aspect of the relationship that anthropology has with the visual, we can see the other forms of relationships it has built with the visual and media, new subjects of studies it has created for itself, and the contributions of the matters it has developed on these subjects to the discipline of anthropology (Doğan, 2013: 75). Media anthropology, defined as a subfield of visual anthropology, studies experiences in both production and consumption aspects of media texts in the processes of ethnographic fieldwork (Doğan, 2013). In this study, economic, social and cultural experiences of the early years of television in Eskişehir/Turkey -which corresponds to late 1960s and early 1970s- are presented. Accordingly, in-depth interviews have been conducted with the people from this period in Eskişehir. According to the findings reached, the rich bought television first in those years. Those who could not afford visited the ones with televisions at nights. Television became an important socialisation tool. Located in the seat of honour at homes, it rose to the most important appliance status. People had an intense feeling of excitement when they first bought their televisions. At the time, TV programmes were on air only between 19.00 and 24.00. People used to wait all day long for the programmes to begin. Television had an impact on the public opinions and behaviours. It also determined daily conversations. Family conversations at nights were replaced by television.
Visual Anthropology, Media Anthropology, Television, Eskişehir/Turkey

Patrycja Wlodek Pedagogical University of Cracow, Poland

America’s Lost Innocence and Cinema

In my paper America’s Lost Innocence I intend to focus on American cinema of the ’50s, part of ’60s, and contemporary throwbacks to those decades. The ’50s have been called “the last decade of American innocence”, “the happiest decade in America’s history – when things were going on – that everybody misses” (by Jean Baudrillard). That era symbolically ceased on 22 November 1963; however, many scholars and publicists undermine the belief in its very existence. Michael Wood calls the ’50s a time of “self-deception”; therefore, the question raised is – has America ever been innocent? By concentrating on the message conveyed by mostly genre (e.g. drama, melodrama, musical, romantic comedy) and mainstream movies made in the ’50s and early ’60s (e.g. A Place In the Sun [George Stevens, 1951], Cat on the Hot, Tin Roof [Richard Brooks, 1958], Home From the Hill [Vincente Minnelli, 1960]), I intend to analyze the portrait of American society of that time, it’s rules and expectations towards individuals and system as a whole. In the second part of my paper I will focus on contemporary throwbacks to those times depicted mostly in movies made in the 21st century, although not exclusively (e.g. Far From Heaven [Todd Haynes, 2002], The Hours [Stephen Daldry, 2002], Revolutionary Road [Sam Mendes, 2008], the tv series Mad Men [2007–], Pleasantville [Gary Ross, 1998]). Using those and other movies as examples, I intend to prove the thesis that the phenomenons of retro and contemporary retromania are not always and not by definition conservative, and can serve as a means to a critical approach towards society.
American cinema, genre, the ’50s, American society, retro, nostalgia, contemporary throwbacks, retromania

Piotr Marecki; Aleksandra Małecka Jagiellonian University, Kraków, Poland; Warsaw University, Poland

The challenges of translating digital literature

Digital works have remodeled all the traditional notions in literary theory (idea of a work, authorship, role of the reader). It is thus not surprising that translation is refashioned in this new paradigm. The authors describe the field of new media literature translation, drawing examples from the Poland. After an overview of the challenges posed by new media genres, an analysis of different works in translation is provided. First, the authors discuss Nick Monfort’s textual machines. The user reacts to the apparent randomness of the generated work interpreting it within their own context. Not unlike modernist endeavors, Monfort’s generators reach deep into the fabric of language as a system. How to preserve this flexibility in a language with different systematic constraints? Amaranth Borsuk’s Between Page and Screen is an interactive augmented-reality book, playing on the visuality of the words, a conversation between the page and the screen, which literally react physically. The translation will have meet challenges posed by the physicality of the text. The authors of the presentation underline the new determinants shaping the process of translating digital literature: gift economy and the resulting collaborative nature of work. Often such translation requires the knowledge of not only the natural language, but also the programming one, hence, thinking about not only the output, but also considering the input, the code, how to change it to accommodate for the grammar or vocabulary of the new language. We can thus speak of a certain transition within/between not only languages but also media.
New media literature, translation, transmedia literature, collaborative writing, media transition

Robert Imre University of Newcastle, Callaghan, Australia

Biopower/Biopolitics: Agamben and the Mediated Self

In this paper I explore technology and technological self using Agamben’s biopolitics. Agamben has repeatedly claimed that in contemporary politics it has become more and more difficult to act politically against the state. Agamben locates this problem in the creation of the ‘state of exception’, especially in the post-9-11 global politics claiming that we are in a declared emergency of some kind. Political campaigns around the world have used this state of emergency, budget emergencies, border emergencies, terrorist emergencies, to claim that the sovereign needs to exercise power, claim the state of exception, and close the spaces for political action. Employing Agamben’s concepts, I will analyse the ways in which technology, the technological self, and the media, might play a role here.
Agamben, biopolitics, biopower, mediated self

Sergey Korkonosenko St Petersburg State University, Russia

New opportunities for the journalism theory in a perspective of de-Westernization of media studies

Some works related to internationalization and de-Westernization of media studies, became challenge to the stable representations. Among the authors John Downing, J. Curran and M. J. Park, D. Thussu et al should be mentioned. The idea consists not in excluding Anglo-American domination from the media field but in including other theoretical traditions in international context. The paper is focused on this favorable context for Russian media researchers and practical steps towards broadening international cooperation. During decades on the West Russian media researches were treated as something abnormal in comparison with the “right” traditions; they were separated from the global research community. It is highly difficult to promote Russian production to prestigious English-language journals while in Russia there are no periodicals on media registered with top databases. At the same time, Western paradigms are broadly distributed at Russian journalism schools. This is a good way to widen theoretical horizon of scholars and students. But acquisitions from abroad replace domestic intellectual traditions which are a substantial part of national cultural heritage. De-Westernization trend creates opportunities to minimize negative effects of mutual autonomy. For this purpose intensive communication with potential partners from the West is required, not only at biggest universities but at provincial schools. Then, the program of inventory of the scientific experience is needed, including defining of leading schools and collecting databanks of works, which are for international attention. Certainly, it is necessary to translate a significant part of publications into English.
media studies, de-Westernization, Russian researches, cooperation

Simon Weaver Brunel University, Uxbridge, UK

Examining ‘Race’, Racism and Representation: An audience reception study of the comedy of Sacha Baron Cohen

Sacha Baron Cohen’s characters Ali G, Borat, Bruno and General Aladeen are immensely popular yet have all provoked critical responses and in some cases protest from various groups (e.g. from Black activists in 2002 and Hasidic Jews in 2012). Since Ali G’s emergence in 1999, Baron Cohen’s characters have provided key examples of the public debate that can be generated by comedy on race, racism and representation. These debates often polarise, rarely reach a conclusion and show the centrality of comic media for understandings of group representation. Comedy, it seems, is rarely ‘just a joke’. This paper presents the results of a recent audience reception study of the comedy of Baron Cohen. The study examines responses from 18 to 29 year olds, stratified by social class, gender and ethnicity. The paper will detail the ways in which the comedy affects the reception and representation of issues of race and racism for this audience group. Such issues of reception have a global relevance and are of central importance in multicultural democracies.
Comedy, Race, Racism, Representation, Sacha Baron Cohen

Stanislaw Jedrzejewski Kozminski University, Poland

Radio and new technologies: process of remediation

Nowaday, radio broadcasters are able to be presented on various platforms, especially on new media platforms along with their online and mobile service offers and involvement with social media platforms. Multi-platform distribution is of major importance to most broadcasters, which generally offer radio services on at least four different platforms: the traditional analogue FM platform and the internet are the two dominant platforms for radio content distribution, followed by satellite, smartphone/tablet devices and AM (LW , MW, SW ) Internet ( networking) has become a vital platform for radio broadcasters to provide audio content, both live and on-demand, linear and non-linear, and it has become increasingly common for radio broadcasters to adapt their content to mobile access on devices such as mobile phones and smartphones/tablets. Furthermore, radio broadcasters offer their listeners/users the participation and/or information through external social media sites. The users can easily access radio content, on-demand and/or live via smartphone/tablet applications. Other online services, which are offered by radio broadcasters, are: RSS feeds, podcasting, mobile services, discussion forums, blogs, voting and the opportunity to comment on specific topics or programmes. Some years forward would be very important years for new radio and that will likely reshape its development. The paper is able to search which strategies and possibilities are to choose for radio stations. The challenge will be to formulate and implement a consistent strategy amidst the uncertainty of choices
radio, cross platforms, digital radio, new media

Sunčana Tuksar Radumilo Juraj Dobrila University of Pula, Croatia

Multimodality and moving image

How could moving image and multimodality contribute to the image? How to get engaged into telling the kinds of mode of the narrative rather than standing back having a kind of a media studies approach to film? The aim of this paper is to raise the question of how meaning is made into a digital form. It tackles the multimodal approach to the perspective and an insight of how technology mediates and thus influences film media. It looks into the process of documenting cinematic facts, thinking about the functions of the modes by breaking the modes down and single them out to be sure not to miss an aspect that could be really important and to still keep the role for education clear. The film semiotic approach of theories and how film makes meaning by Christian Metz is the starting point of looking into the digital era where all the modes are fed into the moving image altogether. In his work Analysing Moving Image and Film Production, Andrew Burn and Victoria Hurr name such multimodal approach a multimodal mixing desk: Film and editing are like an empty box without content but rather an empty grammatical structure into which we put content. Furthermore, film is somehow thought of as a pure art form, whereas multimodal approach implies the opposite: is it a form which is built on other cultural forms and is now implicated with other cultural forms in digital era.
Multimodality, moving image, semiotics, digital era

Surangama Guha Goldsmiths University of London, UK

Imagining Mother-India: Briefly critiquing Bollywood’s construction of the Cultural Imagery of the Nation-state

The paper will explore a somewhat neglected area of the representation of the ‘Indian’ national identity through the symbolic body of the popular Bollywood film heroine. While a lot of work has been done on the presentation of women, and the diasporic Indian identity in Bollywood cinema, not a lot of critics have delved into how a single fixed ‘Indian’ identity is defined differently in terms of gender. While for the ‘Indian’ man the national identity is perceived more ambiguously, for the ‘Indian’ woman it comes across more strongly, she is the embodiment of the Indian morality, and thus identity for her is more rigidly defined. While investigating into these definitions, the paper will also show how the ‘Orient’ identity is conveyed as superior to the ‘Occident’ identity with the woman as the trope. The paper will be grounded in the theoretical frameworks of Anderson’s ‘imagined community’, Stuart Hall’s notion of fixed and fractured identity, and ‘Orientalism’.
national and cultural identity, gender, Bollywood, Stuart Hall, imagined community

Xin Zhang Cardiff University, UK

Representation of Chinese in the UK: 1800 – Present

This paper aims to explore the history of political representation of Chinese people in the UK. It studies how British political representation shape and form the Chinese cultural and diaspora identities, and a memory of how the image of Chinese had been constructed. According to Stuart Hall’s point of view on Cultural Identity, The ‘past’ experiences play an important role on shaping Chinese diaspora’s current identity. This paper will give an introduction on Chinese immigration history to Britain, and a brief overview of their living in the UK. Second and more importantly, this paper will discover the history of how Chinese had been represented by British media. There is a theoretical approach on representing Other. Moreover, Althursser’s notion of interpellation explained that once an identity hailed out from dominate; there is no choice for the subaltern to not response it. It can explain that when Chinese came to Britain, their identity is more likely politically and culturally established by the White Britons, their very Chineseness actually formed and constructed by British dominate. Apart from that, this paper also followed by several theories in Post-colonial studies such as Orientalism, Stereotypes, Subaltern discourse, Cultural Discourse, Hegemony and Power etc. Secondly, it is also important to address the changes of political strategies on representing other race in different historical stage in the UK. Overall, this paper is a political and cultural memory of representation on Chinese in the UK, it also stresses the importance of how the past influenced and formed the present.
British Chinese, Diaspora, Identity, Political and Media Representation, Migration

Yiming Chen Vrije Universiteit Brussel, Belgium

A Discourse Analysis of TV News Presenters Under the Control of China’s Media Policy — A case study of the program ‘Network News Broadcast’ of CCTV with a Post-structural Approach

China Central Television (CCTV) as the most important political communication institute in China. Broadcast news presenters and program hosts play an effective ideological communication role and are always called a ‘mouthpiece’ of the Chinese Communist Part. Obviously, the system and power of media discourse have been affected directly by China’s government and media policy. The paper aims to select the TV news presenters of CCTV as the research subject so as to explore how media policy controls the discourse and political ideology and to sum up the system of the media discourse with the interactions of language and non-language symbols. In the first part, starting with setting forth the China’s media policy, it illustrates that the background and process of the news presenters’ discourse’s control and under-control, and the impacts of the discourse under the political ideology are to be represented as well. Through discourse analysis, the second part plans to proceed from the perspective of Michel Foucault’s theory on power/discourse, the basic features and modes of the presenters’ discourse politics will be investigated. In addition to explain how political power displays its role by penetrating news presenters’ discourses and language use. Lastly, applying Gramsci’s cultural hegemony theories, the paper points out the cognition of presenter’s perplexity of identity among political, social and media self-identity of the CCTV.
TV news presenter, media policy, media discourse, control, identity

Александр Новик Музей антропологии и этнографии им. Петра Великого РАН, Санкт Петербург, Россия

Албанцы Украины и средства массовой информации: конструирование идентичности

На юге Украины, в Одесской и Запорожской областях, расположены четыре села с албанским населением. До настоящего времени албанцы (в основном представители старшего поколения) разговаривают дома по-албански, сохраняют традиционную культуру и, главное, этническое самосознание. На поддержание высокого уровня и статуса принадлежности к сообществу оказывают средства массовой информации. В албаноязычные села на протяжении последних десятилетий приезжают многочисленные журналисты: телевизионщики, репортеры газет и журналов, радиоведущие. Так, о жизни албанцев в Буджаке и Приазовье были сняты документальные фильмы телевизионными каналами Украины, Македонии (режиссер Сефер Муслиу), Албании. В 2010 г. о работе экспедиции Санкт-Петербургского государственного университета и Музея антропологии и этнографии (Кунсткамера) среди албанцев Приазовья был снят фильм “Ga tantë” (в переводе с албанского говора «Из наших») (автор Никола Скальдаферри). Фильм построен таким образом, что через будни экспедиции мы видим жизнь албанских сел Георгиевка и Девнинское. В фильме, который можно отнести к жанру визуальной антропологии, звучит албанская речь. В нем звучат песни, которые по своему происхождению болгарские, но в последние полвека переведены на албанский. Показывается, как выпекают просфоры к церковному празднику. Можно увидеть албанские танцы, сохранившие элементы балканской архаики. Вместе с кинокамерой мы попадаем в дом к знахарке, способной исцелить от серьезного недуга. Работа медиа и ученых, изучающих данную этническую группу, чрезвычайным образом влияет на поддержание идентичности, способствует сохранению идиома и различных элементов традиционной культуры.
Албанцы Украины, самосознание, роль массмедиа

Ана Стојаноска Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Новите медиуми како предизвик за театарот

Театарот како најстар медиум долго време го држеше приматот на најмасовен и најреспектиран медиум во културолошката практика. Моќта на театарот како медиум е непосредниот допир со публиката и можност за остварување взаемна интеракција. Поради тоа, долго време театарот беше и користен како најкорисен медиум. Меѓутоа со доаѓањето на новите медиуми, посебно во текот на ХХ век, со појавата на телевизијата, видеото, и најпосле со интернетот, на театарот му стана тесен сопствениот израз и требаше да се размисли што и како понатаму. Од една страна, создавањето театар во рамки на својата модулативност – сцена – кутија, драмски текст, актери што играат режисерски концепт, и од друга, театар што ќе „кокетира“ и со новите медиуми. Моето истражување ги следи двете линии на создавањето театар во XXI век, на кој начин театарот ја задржува својата изразност, но и на кој начин може да ги користи современите медиуми и да проектира нови театарски форми. За таа цел ја користам современата театролошка литература и правам анализа на некои од доминантните театарски појави на нашето време. Преку систематичен преглед на некои од актуелните форми на современиот театар, може да се покаже идејата за тоа каков театар има и каков театар ни треба во новото време. Истражувањето се фокусира на поимањето на театарот како медиум и на начинот на кој тој оперира и кореспондира со другите медиуми на XXI век.
театар, медиуми, интернет, современ театар, театарски форми

Антон Сухов Уральский федеральный университет им. первого Президента России Б.Н. Ельцина, Екатеринбург. Россия

Компьютерные игры и искусство

Современные компьютерные игры – яркий пример бурного развития информационных аудиовизуальных технологий XXI века. Невероятно популярные сейчас, компьютерные игры в своем развитии прошли долгий путь от примитивных аркад 70-80-х до полноценных виртуальных миров типа «The Elder Scrolls: Skyrim» или «Mass Effect 3», которые по степени эстетического воздействия можно сравнить с традиционными видам искусства. Но можно ли назвать современные компьютерные игры искусством? Что делает компьютерные игры искусством? Во-первых, в докладе осуществляется поиск и анализ источников, свидетельствующих об играх как об искусстве. Их условно разделить на 2 группы – «первичные» («авторские» и визионерские компьютерные игры) и «вторичные» (компьютерные издания, аналитические статьи и публикации в СМИ; художественные манифесты самих создателей игр; официальные заявления государственных деятелей и организаций считать компьютерные «искусством» – институциональный источник. Во-вторых, в докладе подробно выявляются характерные особенности компьютерных игр, позволяющие отнести их к сфере искусства.
Компьютерные игры, искусство, медиа искусство, виртуальная реальность, эстетика

Атанас Чупоски Кинотека на Македонија, Скопје

Релациите Македонија vs. Европа во современиот македонски филм

Текстот се занимава со односот меѓу актуелната историско-политичко-културолошка стварност и филмската уметност, во македонски контекст, односно со релациите помеѓу Република Македонија и Европската унија кои се регистрирани во современиот македонски игран филм. Имено, од прогласувањето на независноста во 1991 г., Република Македонија се обидува да стане член на Европската унија, но до денешен ден, од разни историско-(гео)политички причини тоа не ú успева, иако за тоа прашање постои согласност помеѓу политичките партии во земјава. Тоа отворено прашање: неуспехот од зачленувањето во Европската унија, е извор на разни социолошко-политички фрустрации кои од актуелната стварност се рефлектираат и на филмското платно, што е особено забележливо во филмовите снимени на почетокот на дваесетипрвото столетие. Оттаму, преку компаративна, интердискурзивна, содржинско-наратолошка анализа на три филма од овој период: „Како лош сон“ (2003) на Антонио Митриќески, „Како убив светец“ (2004) на Теона Стругар Митевска и „Тајната книга“ (2006) на Владо Цветановски; ќе се обидеме да поставиме неколку тези/прашања кои се поврзани со медиумскиот/филмски дискурс во однос на идеологијата и националното/идентитетот, хегемонијата/ глобализацијата, помнењето/заборавањето, афирмативен/негативен однос кон Европа/Европската унија и т.н. „меѓународна заедница“, перцепцијата од европска гледна точка на македонското општество во транзиција, итн. Листата од три филма кои се предмет на нашата анализа не е исцрпна и не ги опфаќа сите филмови во кои релациите помеѓу Македонија и Европа се од примарно значење, но, сметаме дека овие три филма релеватно ќе ú послужат на нашата анализа.
Македонија, Европа, историја, политика, филм

Билјана Петревска Универзитет „Гоце Делчев“, Штип, Македонија

Примена на социјалните медиуми во туристичката промоција: перцепција на младите во Македонија

Овој труд настојува да го истражи односот на младата популација во Македонија кон социјалните медиуми. Подетално, истражувањето проучува како младите го перципираат Интернетот, и дали користат електронски социјални мрежи во споделувањето искуства. И во двата случаи, поле на истражување е туризмот и патувањето. Оттука, целта на трудот е да дефинира туристички профил на младата популација во Македонија, и истовремено да го определи степенот на користење на електронските алатки. За тие потреби, спроведено е испитување на мислењето на 520 студенти како претставници на младата популација. Податоците се собрани на три локации во Македонија: Скопје, Штип и Гевгелија во март 2012 година. Емпириското истражување ги потврдува поставените хипотези и укажува на огромното значење на социјалните медиуми во туристичката промоција на земјата. Воедно, трудот препорачува користење на Интернетот и другите електронски алатки во зголемувањето на свеста за Македонија како туристичка дестинација. Дополнително, овој труд ја поттикнува потребата за идентификување ефективна рамка за справување со досегашните скромни туристички резултати, притоа делувајќи како основа за иницирање предлози за подобрување, во прв ред на електронската туристичка промоција на Македонија.
Социјални мрежи; Интернет; Туристичка промоција; Македонија

Биљана Рајчинова-Николова Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Поимот идентитет виден низ призма на македонските печатени медиуми

Поимот идентитет е чадор – термин, кој во различни дискурси и контексти добива различно значење. Мотив за изработка на трудов е желбата да се одреди конструкцијата, содржината и значењето на овој поим, виден низ призмата на неговата застапеност во печатени медиуми(Дневник,Нова Македонија и Утрински весник). Цврста е врската помеѓу процесите на конструирање идентитет и дејствувањето на медиумите, во кои медиумите имаат одлучувачка улога. Идентитетот се гради врз вредностите, а медиумите вредностите ги ставаат во контекст на структурите што владеат. Недостатокот од епистемолошки проучувања на поимот идентитет во земјите од Југоисточна Европа и во Македонија е провокација за вакво истражување. Можен начин да се надомести недостатокот, а воедно и да се истражи што се подразбира под поимот идентитет воМакедонија, е да се проследат печатените медиуми, како значајни фактори во конструирањето на идентитетот, за кој веќе треба да се преговара, а за тоа прво треба да се одреди што земјите од Југоисточна Европа(Македонија) подразбираат под терминот европски вредности. И од тука произлегува истражувачкиот проблем, кој се идентификува во непостоење на дефинирана рамка во Македонија за опсегот, содржината и значењето на терминот европски вредности. Предмет на истражување на трудот е да се одреди конструкцијата, содржината и значењето на поимот идентитет, виден од аспект на неговата употреба во дневните печатени медиуми, со основна цел да се испита како преку медиумите може/не може да се конструира идентитетот, а задача на ова истражување е да ја провери претпоставката дека идентитетот е перформативно – дискурзивна конструкција,а променливоста, нестабилноста и пластичноста се негова темелна одредница .
Идентитет, вредности, европски вредности, Македонија, Европа, печатени медиуми.

Дејан Донев Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Моралноста на медиумската и новинарската практика и теорија во демократијата

Меѓу мноштвото домени на човечката активност, а кои се исплетени со етички прашања, во современото општество, медиумите, новинарството и информирањето заземаат првостепено значење. Тоа е така затоа што денес медиумите имаат незаменлива улога во модерното демократско и плуралистичко општество. Тие се еден од факторите кои го овозможуваат воопшто неговото функционирање. И покрај тоа што во овие општества е дојдено до релативизирање на сите вредности, сепак повторно се поставува прашањето за етичките вредности и критериуми според кои случувањата во светот на општествената комуникација би можело и би требало да се управуваат и вреднуваат. Затоа е неодминлива расправата за моралноста на медиумската и новинарската практика и теорија, особено поради нивната голема делотворност. Истата со себе повлекува голем степен на одговорност, затоа што новинарството секогаш одново доаѓа во служба на различни интереси, а тоа заедно со формалните и содржинските квалитети на медиумската понуда, е еден од најважните критериуми за оценка. Наметнува потребата за примена на судот на разумот и моралните проценки и на ова подрачје. Во спротивно, медиумите без морал стануваат собиралиште на подли страсти, слика на општествениот хаос во кој се прекинува континуитетот и се дестабилизира системот на општествени норми, а со тоа и самото модерно општество.
медиуми, етика, моралност, демократија, новинарство

Златко Поповски Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Кружните прелевања помеѓу уметничките практики и новите медиуми во добата на глобалните потреси на масовната култура

Претпочитајќи го проблематизирањето на уметноста како појдовна точка за оваа расправа, излагањето треба да одговори на прашањето Зошто се случува исчезнување на уметноста (во нејзиното стандардно значење/важење) и како културата влијае врз тој сложен акт? Се случува дејствување на културата по граничните линии на естетизацијата, односно се поставува еден „позитивен или негативен“ интервал околу граничењето на високата и популарната култура, што наоѓа свој израз, пред сѐ во визуелните медиуми. Новите медиуми генерираат мошне значајни промени на полето на естетизацијата, т.е. како нови информациско-комуникациски технологии (фундирајќи нова технокултура) имаат потреба од промени и во јазикот (кој станал технички) – и во пристапот кон знаковноста (која станала сликовна): сложена ситуација во која не е пренебрегнат ниту просторот. Технокултурата, значи, имплицитно ги опфаќа „транслокалноста и глокалноста на просторот во нивната симболичка претставеност“, а кои – како хибриден социо-антрополошки и етнолошки дискурс – се позиционирани во самото јадро на расправата. Со оглед на опфатноста на оваа проблематика, забелешките ќе бидат фокусирани во „хајдегеријанско толкување на сликата на светот“, зафаќајќи ја при тоа и проценката на Хајдегер во нејзината дивинаторска исполнетост. Флуктуира ли уметноста на границите помеѓу „интерсубјективитетот“ и „колективитетот“, колкаво е влијанието на брзиот технолошки и бавниот општествен и културен развој (врз претпоставената ситуација) и, на крајот, кој е прилогот на биотехнологиите на современите услужни пракси при исчезнувањето на уметничките вредности (нивната транспозиција во стоково-пазарнаи вреднувања)?
нови медиуми, глобално, технокултура, „слика на светот“, граничник помеѓу висока и популарна култура

Јана Симовиќ Машки камерен хор, Белград, Србија

Медиумите во публиката – публиката во медиумите

Во времето во кое сме современици, не можеме да ја занемариме улогата, влијанието и моќта на медиумите. Доколку би направиле анализа и би се обиделе да утврдиме кои од медиумите имаат и колкаво влијание, сигурно би се согласиле дека телевизијата и интернетот во моментов се двата најмоќни. Кога говориме за односот меѓу медиумите и публиката, ми се чини дека всушност говориме за односот на производители и консументи. Медиумите се тие кои произведуваат звуци, бои, импресии, идеи, информации и сѐ она што човекот на современата доба јаде и пие без забелешка (се чини со големо уживање). Колку еден производ има повеќе консументи толку е поголема и неговата продукција, затоа често ни се чини дека колку и да бил голем изборот, медиумските содржини често личат едни на други. Како влијанието на медиумите ја формира естетичката и етичката страна на публиката? Што е за денешниот човек убаво? Зошто се смееме на она што не е смешно? Зошто воајеризмот станува една од главните каратеристики на денешниот човек? Она што е карактеристично за денешното време е тоа дека и публиката може многу лесно да стане дел од медиумите. Денешните медиуми како никогаш даваат можност публиката да биде и консумент и произведувач. Се прашувам ќе остане ли некој од нас или на крај сами себе ќе се изедеме и испиеме под будното око на камерата?
медиумите, публиката, производители и консументи

Јелена Стојановиќ Универзитет во Белград, Србија

Посвојување на медиумите

Tekst se bavi radom mešunarodne grupe Internacionale situacionista i njihovom filmskom produkcijom. Osnovna teza je da je osnovni umetnički medijum grupe upravo bio način na koji je hladnoratovski diskurs manipulisao medije masovne komunikacije.
Internacionala situacionista; filmska produkcija; Hladni rat

Катерина Петровска – Кузманова Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Театарот во времето на телавизијата, компјутерите и интернетот

Денес често се поставува прашањето за интермедијалните, интерсемиотичките и интердисциплинарните врски во театарот. Творечкото експериментирање со интермедијалните изразни форми и содржини во театарот доведува до користење на електронските и други медиуми. Несомнено е дека интермедијалноста врши транссемиотичко редефенирање не само на уметноста на зборот (книжевниот текст и знак), туку и на колективно усвоените структури, култури, епохи. Во еден таков систем квантитативните односи се менуваат со текот на семиозата во различните етапи од процесот на функционирање на знакот од емитувачот кон примачот, па за таа цел трагаат по постапки и елементи кои им се соодветни на другите уметности. Односно во рамките на театарските претстави слободно се мешаат изразни средства кои им припаѓаат на други уметнички дисциплини. Тоа значи дека на истражување и сондажа се подлежни голем број аудиториуми истовремено, а преку нивната исто времена употреба театарот покажува своевидна прилагодливост кон електронската средина. Од тој аспект може да се каже дека современиот театар користи голем број медиуми со што претставува една мулти сонда обид за поврзување на голем број симултани жанрови. Со други зборови дигителната ера отвара голем број можности како за создавање така и за перцепција на театарската уметност. Во текстот ќе се разгледа пресекувањето на границите и воспоставувањето нови релеции меѓу театарот и современите медиуми.
телавизија, компјутери и интернет, театра, уметност

Климе Бабунски Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Од МРТ до ЈСР: коперникански пресврт

Денес, јавносервисната радиодифузија е под притисок кој е насочен кон менување на нејзиниот мандат и принципи. Но денес, јавносервисната радиодифузија покажува виталност и сé уште е стожерен дел од националните медиумски или комуникациски системи. Анализирањето на ваквите „за“ и „против“ аргументации и сценарија, особено во контекст на македонското искуство со јавносервисната радиодифузија ја дефинира истражувачката насоченост на овој труд. Ваквиот истражувачки пристап се темели врз основните конституитивни елементи на демократската комуникација како и врз основните принципи на јавносервисната радиодифузија. Паралелно на ова, трудот се фокусира и на начините преку кои би се оптимализирала примената на принципите, со цел да се обезбеди што поголема реална функционалност на идеалниот модел. Во трудот се аргументира дека, без соодветна управувачка структура и соодветно финансирање, е невозможно да се создаде самостојниот идентитет на јавносервисната радиодифузија, кој преку уредувачката независност и институционалната автономија ќе може да се брани од негативните надворешни влијанија, и врз таква основа, да биде носител на процесот на создавање на демократска јавност. Се препорачува промислување на јавносервисната комуникација низ архитектурата на повеќеплатформен јавносервисен медиум. Трудот заклучува дека „коперниканскиот пресврт“ не е само исполнувањето на мандатот на јавносервисниот повеќеплатформен медиум: да се биде форум на јавноста, туку е и гаранција за иднината на демократската комуникација, а со тоа и на демократијата воопшто.
демократска комуникација, принципи на јавносервисна комуникација

Кристина Димовска Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Фолклорните обрасци во неколку видео-игри

Предмет на истражувањето со овој наслов ќе биде транспозицијата на неколку фолклорни обрасци во избор на видео-игри и следењето на нивната структурно-семантичка модификација. Поттикот за еден ваков интерпретативен поход се јави од потребата да се укаже на тоа дека видео-игрите, привлечни не само за припадниците на младата, ами и на припадниците од постарата генерација, без оглед на нивната културна позадина, не се создадени ex nihilo, туку дека своите корени ги влечат, во зависност од жанрот кон кој приклонуваат, и од фолклорните мотиви, теми и сижеа. Во овој контекст, претставува вистински предизвик да се мапира патот по кој мотивите се пренесуваат, преобразуваат и видоизменуваат од условно кажано „книжевниот“ медиум, оној кој оперира со писмени знаци, кон медиумот на видео-игрите, кој пак оперира со една специфична компјутерска семиотика и кој е исто толку комплексен како и првиот.
игри, видео-игри, фолклорен образец, парадигма, транспозиција, модификација, компјутерска семиотика

Лилия Дускаева Санкт-Петербургский государственный университет, Россия

Отражение эстетического сознания в арт-медиадискурсе

Арт-медидискурс составляет в журналистском поле весьма разноообразную как в функциональном, так и в стилевом отношении картину. Три важнейших функции выполняет присутствие публикаций об искусстве в масс-медиа – эстетическую, просветительскую и компенсаторно-гедонистическую. Но в речевой практике в каждом из изданий эти функции представлены в разном соотношении. Это обуславливает дифференциацию дискурса. Дискурс представлен главным образом тремя речевыми жанрами – творческим портретом, сообщением о событии жизни искусства и оценкой чужого высказывания. Каждый из речевых жанров представлен в разных типах изданий весьма разнообразно. Цель доклада – представить картину арт-медиадискурса в современных СМИ.
арт-медиадискурс, функции, речевые жанры, стилистическая вариативность

Лилјана Силјановска Универзитет на Југоисточна Европа, Тетово, Македонија

Теоретски пристап за медиумите и јавното мислење во плуралистичката комуникациска реалност

Средствата за масовна комуникација во современите општествени промени, особено во ерата на глобализацијата која е потпомогната со техничко-технолошката експанзија и масовната култура, се повеќе заземаат централно место во формирањето на јавното мислење за низа значајни прашања од општествено-политичкиот, економскиот и културниот живот. Поливалентната функција на медиумите од една страна и од друга плурализмот на изборот на медиумски теми, креираат медиумска реалност која во основа ја имаат демократизацијата на јавноста. Но, токму тезата за сестрано информиран граѓанин во услови на масовизација на комуникациските содржини поради дисфункционалност, најчесто на информативната и аналитичката функција на медиумите, ретроградно делува врз критичкото јавно мислење. Девијациите во тој поглед се: канализирање на јавното мислење, манипулацијата и пропагандата.Редукцијата на општествената свест во исто време се одвива на две нивоа сегрегација и унификација, а синдромот на идентификација и проекција преку медиумските содржини, овозможува креирање на фокусирана јавност. Редукцијата на когнитивната дисонанца што како појава исто така е карактеристична во плуралистичката комуникациска реалност се изразува со улогата на масмедиумите во услогласувањето на ставовите и практичните дејствувања на личноста, односно реципиентите
средства, масовна ,комуникација, јавно, мислење

Луси Караниколова-Чочоровска Универзитет „Гоце Делчев“, Штип, Македонија

Уште еден пристап кон „Сомнително лице“: текст и театар

This article refers to the text and the performance of the comedy “A Suspicious person”, from Branislav Nusic, which was held in the Macedonian National Theatre in Skopje. Although it is a matter of dramatic text from the beginning of 20th century, contemporary actualization of the topic about “the suspicious person” adds a new dimension to the play. It gives us the right to talk about the similarities and differences among the text and its visualization in a scene, as well as about the similarities and differences in mentality – Macedonian, Serbian and Balkan, – once and nowadays
text , theater, medium, written media, theatrical scenes

Мира Беќар Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Е-комуникација: Адаптација или директен трансфер на вештини за интеракција?

Комуникацијата преку социјални мрежи како Фејсбук (Facebook), Твитер (Twitter), како и четувањето преку Џи-мејл (Gmail) и Скајп (Skype) ја нагласуваат улогата на јазикот за општествено делување. Социјалните мрежи дозволуваат дружба на индивидуи кои одлучуваат да коментираат на општествени или лични теми синхроно и асинхроно. Како што укажуваат социолингвистичките истражувања (Leppänen 2012a: 235) интернет културата е се популарна и го усложнува значењето на поимот ,,култура“ кој се фокусира на хибридност, далекусежност, но и зависност од неопределен број контекстуални фактори како технологија, сопствена перцепција, и градење на виртуелен идентитет. Во овој труд истражувам како личните искуства на четири девојки се оформуваат преку онлајн интеракцијата. Преку примери од онлајн четови на македонски јазик ќе покажам каков идентитет тие градат зад екранот. Иако е-комуникацијата делува поедноставна поради можноста да се избегне соочување лице в лице, стратегиите за заштита на ,,губење на образот“ (“face-threatening acts”) се присутни во голема мера, а интересно е дека истите стратегии се изразуваат со паралингвистички елементи, како на пример емотикони. Со употреба на методите за анализа на конверзација (Sacks, Schegloff & Jefferson, 1978) и за анализа на дискурсот (Schiffrin, 1987), како и преку интервјуа го анализирав општественото делување на четирите учеснички преку приспособување на нивните вештините за интеракција. Резултатите покажаа дека оформувањето на интерактивниот идентитет зависи од вештината на соговорниците брзо да се приспособат кон насоката на развивање на четот, но и дека секоја учесничка има специфични стратегии да ја изрази и задржи интерактивноста и друштвеноста.
вештини за интеракција, дискурс анализа, чет, општествено делување, е-комуникација

Нада Петковска Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Телевизискиот медиум и драмата

Телевизијата како медиум има посредно и непосредно влијание и на театарот. Како аудио-визуелен масовен комуникациски медиум, таа е привлечна за гледачите со способноста да пренесе слика од нешто сто се случува во моментот, на некое друго место. Додека новите технологии на претставување ги реформираат или ремедираат претходните, суштината на телевизуелното веднаш е дефинирана како онтологија на животот, сродна со театарот. Нејзините суштински техники се непосредност, интимност, реализам. На овие основи се базира и специфичниот телевизиски вид – реалното шоу, што е предмет на разгледување во овој прилог.
телевизија, драма, реализам, непосредност, реално шоу

Наташа Илиевска-Таневски ЦККС, Скопје, Македонија

Македонски медиуми: поглед во огледало

Слободата на говор е една од најголемите придобивки на демократските општества. На неа се темелат изразувањето на единката, како и слободата на информации. Слободата на говор е неразделиво поврзана со медиумите во едно општество. Томас Џеферсон ќе каже: „Единствената сигурност на сите е во слободата на медиумите“. Според Репортери без граници, „Македонија од 2009 до 2013 година направила огромен пад во слободата на информирање. “(Нова Македонија, 2013). Поврзувањето на слободата на говорот со автоцензурата на новинарите се интересни за анализа. Тие се составен дел од медиумската работа, и треба нивното спротивставено практикување (присуство на слобода на говор и отсуство на автоцензура) да претставува основна норма при работата на секој новинар. Но оценката која дојде од истава организација за 2014 година, „е дека македонските новинари се соочуваат со самоцензура, што е неприфатливо за земја-кандидат за членство во ЕУ. Тековната состојба во општеството, високите казни за новинарите и скорешното судење на еден македонски новинар“, според Репортери без граници укажуваат дека „Македонија е многу далеку од слободата на говорот прифатлива за едно европското општество.“ (Проект на УСАИД за зајакнување на медиумите во Македонија). При оценката на ваквата состојба со слободата на говорот и автоцензурата, сакаме да ја истражиме перцепцијата за медиумите преку самите нив? Како еден поглед во огледало. Како тие самите известуваат за себеси, за својата слобода на говор, за својата слобода на изразување, за својата слобода на информирање, како реагираат на тврдењата дека македонските новинари се автоцезурираат? Со став дека не се автоцензурираат или со автоцензура на автоцезурата?
слобода на говор, слобода на изразување и информирање, македонски медиуми, автоцензура

Никита Аргылов ФГАОУ ВПО “Северо-Восточный федеральный университет имени М.К. Аммосова”, Якутск, Россия

К вопросу о государственной информационной политике региона (на примере Республики Саха (Якутия)

В сообщении планируется рассмотреть государственный подход к выработке государственной информационной политики, практическую реализацию на территории с малой численностью населения, с огромным пространством. Немаловажным фактором станет анализ функционирования негосударственных средств массовой информации в контексте политической и общественной трансформации Российской Федерации. Связь отрасли с политической элитой, с потенциальной аудиторией. Будет сделана попытка типологизации региональной прессы – рынок содержания, рынок свободного времени.
Якутия, Россия, информационная политика, элита, аудитория

Радомир Поповски Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Новите медиуми и отсуството на корпоралноста: проблематиката на виртуелниот музеј

Отсуството на телесноста во медиумите одамна се подразбира како „нужност при транслиферацијата“ на информации. Меѓутоа, ако се земат предвид можностите што произлегоа од дигиталните технологии и новите медиуми, ова прашање е далеку од наивно. Со оглед на бројните реперкусии во нивната етичка, естетска, аксиолошка… или културална повеќенасоченост, ова излагање е посветено на отсуството на телесноста – при создавањето на новиот вид на музеи: виртуелниот музеј. Пред сѐ ќе биде истражуван статусот што овој нов вид „музеј“ си го обезбедува во светот на новите технологии и медиуми, при што треба да се земат предвид повеќе фактори и релации: односите со „реципиентите на виртуелното“ што се реализираат на естетско и етичко ниво, како и односите во информациска и едукативна смисла… Како медиум-„носител“ на виртуелниот музеј се идентификува Интернетот. на Клучните проблеми – со оглед на профилот на излагањето – би можеле да ги групираме во две насоки: естетска и аксиолошко-етичка. Естетската димензија го повлекува проблемот со „естезисот“ кај реципиентот: бидејќи се работи за „репликанти“ на уметничките дела (значи, имаме проблеми со илузијата), естетската проблематика се поврзува со етичката, накусо кажано. Аксиолошко-етичката проблематика е поврзана со можноста виртуелниот музеј да го истисне „вистинскиот“ музеј, да ја разниша неговата институционалност (истиснувајќи го како институција). Аксиолшките рефлексии треба да бидат „премер“ помеѓу придобивките од виртуелниот музеј (убиквитетноста на информациите и енормното проширување на корисници) – и опасноста од разнишувањето на музејот како институција. Културолошкиот аспект е да ги стави во опсег сите претходни одредници
Интернет, нови медиуми, виртуелен музеј, технолошки егалитаризам

Родна Величковска Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Значењето на современите медиуми во собирањето и проучувањето на македонските традиционални пејачки форми по примерот на „Пијанечката свадбена обредност и пеење“

При проучувањето на традиционалните обредно-пејачки форми како дел од усното народно творештво на Македонците, од несомнена важност се записите кои останале сочувани како белешки за песните во зборниците и снимените аудио и видео записи. Записите објективно го прикажуваат усното народно творештво, но, истите не се доволни кога се проучува музичко-фолклорниот текст и неговиот контекст. На самиот текст му се придружува и гласовен запис кој верно ја претставува дикцијата, ритамот, тонот и бојата на интертпетацијата. Видео записите ја претставуваат гестикулацијата и емоцијата на интертпетаторот, во контекст во кој е прикажана обредноста и традиционалното пеење. Без современите медиуми мелопоетските записи би биле недоволни за истражување на темелни аспекти на комуникативноста кои можат да се толкуваат како контекст. Медиумите на јавно комуницирање најмногу влијаат врз ширењето на основната идеја на пренесување на музичко-фолклорниот текст, а тоа нуди претстава за презентираноста на музичко-фолклорното паметење по пат на ревитализирачки процеси при презентирањето на музичко-фолклорните содржини. Во овој труд посебно ќе се истакне улогата на видеозаписот на пијанечката свадба, кој од една страна ја чува усната народна творба од заборав, а од друга страна ја одзема нејзината темелна вредност, а тоа е усното пренесување од генерација на генерација.
Медиуми, музичко-фолклорни содржини, пијанечката свадба, усна народна творба, интертпетација

Соња Здравкова Џепароска Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Високо и ниско. Технологија, нови медиуми и уметност

Некогашниот начин на чување, прнесување и конечно следење на танцовото дело во себе вградува систем на активности кои се поврзани со самиот уметнички чин. Самиот ритуал на одење во театар го штима гледачот кон особен културен настан и ужиток, а интерпретаторите ги обврзува за неверојатна мисија каде креација се создава еднаш и е уникатна. Тоа беше се до појавата на мас медиумите. Сега во еден нов клуч од сопствениот дом сме во можност да ја следиме премиерната изведба во Баљшој театарот од Москва или концертот во Метрополитен операта во Њујорк. Седнуваме покрај компјутерот и пребарувајќи бираме која изведба ќе ја гледаме, кој дел од неа, со можност од репетитивност (повторување, враќање, успорување) итн. Сетоа ова е извонредна придобивка, но дали оваа лесна достапност не ја брише магијата на чинот на изведба и од аспект на рецепција и од аспект на изведба? Ставовите про и контра се присутни. Лесната достапност, можноста за симултано следење од страна на голем број конзументи е секако придобивка за изведувачите кои многу полесно ја пласираат својата уметност. Од друга страна репликативноста, мас продукцијата е одлика на популарната односно масовната култура? Дали уметноста посакува да стане масовна култура? Што се добива, а што се? На кој начин уметноста се брани од тривијализацијата? Прашањата, дилемите и новите позиции на еден прилично конзервативен вид како што е балетот, но и другите танцови типови во однос на импутот на технолошки иновации и новите медиуми се провокација на овој текст.
Танц, нови технологии и медиуми, рецепција

Стојанка – Јана Манева – Чупоска Европски универзитет, Скопје, Македонија

Теорија и практика – предуслови за креирање модна колекција

Првиот дел се однесува на почетниот систематски пристап при создавање модна колекција, истражување со примена на научно-теориска анализа од областа на теоријата на модата. Теоријата, модата ја опишува како општествен феномен кој во својата суштина е интердисциплинарен и е предмет на истражување на повеќе научни дисциплини. Преку синтеза на различните хуманистички и општествени науки, сложените интеркултурални и транскултурални збиднувања во едно глобално време, модата претставува и симболичен аспект на културниот идентитет на еден народ, група или поединец. Вториот дел од овој труд се однесува на приказ на практични примери произлезени од студиската програма на Факултетот за арт и дизајн при Европскиот универзитет на Република Македонија. Примерите се изработени од студенти кои по пат на истражувања и проекти по предметот „Колекција“ успеале да реализираат т.н. „модни книги“. Во нив се застапени принципите на дизајнерскиот процес на размислување, истражување, конципирање на идеи, адаптирани во моден концепт. Принципите на планирање и креирање се едни од условите за успешна кохезивна колекција која потоа се пласира и продава на пазарот. Со совладувањето на релевантните специфични дизајнерски вештини и нагласената апликативност на студиите, студентите во своите студентски проекти ја потенцираат неопходноста од познавањето на теоријата и практиката при креирање модна колекција. Издвоените студентски примери во овој труд, каде се проследува преплетувањето помеѓу теоријата и практиката, докажуваат дека овие два сегмента се основни методолошки компоненти кои модниот дизајнер мора да ги користи при самиот процес на креирање модна колекција.
теорија, практика, мода, колекција, студентски истражувања

Сузана Џамтоска-Здравковска; Андон Мајхошев Универзитет „Гоце Делчев“, Штип, Македонија

Манифестирање на говорот на омраза преку средствата за масовна комуникација: примери од практиката во Република Македонија

Говорот на омраза е тема за која и покрај многубројните напори на домашни и меѓународни организации, пресликани преку апели, написи, осуди, кодекси, декларации и останати пишани документи, сѐ уште се говори и сѐ уште е присутна во низа земји во светот. Целта на овој труд е да ја отслика состојбата во Република Македонија во однос на присутноста на говорот на омраза на Интернет и во медиумите. Медиумите, како моќни средства за масовна комуникација, имаат исклучително голема улога во промовирањето толеранција, рамноправност, почитување на различноста, почитување на човековите права. Но, и покрај тоа често пати и самите стануваат промотори на јазик на омраза. Во поново време, освен преку медиумите, говорот на омраза најде нов начин на своја манифестација – преку социјалните мрежи на Интернет, чија популарност и широка употреба овозможува одредена содржина да допре до илјаднитна публика. Преку метод на анализа поткрепен со низа примери од практиката, во трудот се заклучува дека во Република Македонија има голема злоупотреба пред сѐ на Интернет порталите и на социјалните мрежи, но и на медиумите, во насока на непочитување на различноста, ширење предрасуди, нетолеранција и стереотипи.
говор на омраза, медиуми, Интернет портали, социјални мрежи

Христина Андоновска Универзитет „Св. Кирил и Методиј“, Скопје, Македонија

Евролектот во медиумите

Процесот на интегрирање во Европската унија – како политички, социоекономски и културен настан – доведе до појава на нова терминологија во јазикот. Станува збор за т.н. евроними, кои се однесуваат на именување институции, службеници или економски, политички, социјални и културни активности на ЕУ. Всушност, преку процесот на преведување на правните акти на ЕУ на националните јазици на земјите-членки или на земјите-кандидатки се распространува т.н. евролект, присутен во голем процент и во медиумите, кои вршат, од своја страна, функција на филтрација, селекција и промоција на новата терминологија во јазикот. Врз примери од македонскиот јазик ќе се задржиме на одредени термини од евролектот – заемки или калки, кои имаат честа употреба во јазикот на медиумите.
евролект, медиуми, евроними, заемки, калки

Юлия Коняева Санкт-Петербургский государственный университет, Россия

Творческая личность в арт-медиадискурсе

Значительное место в арт-медиадискурсе занимают публикации, цель которых – представить творческий портрет личности: композитора, исполнителя, художника, т.е. творца. Из таких публикаций, выполняющих просветительскую функцию, аудитория узнает о жизни в искусстве, наполненную вдохновенным творчеством, великими взлетами человеческого духа. В центре внимания оказываются творческие поиски, переживания, эстетическая оценка созданных личностью произведений. Наиболее талантливо написанные материалы становятся хрестоматийными. Вписанные в контекст эстетической жизни общества, эти публикации составляют, к сожалению, незначительную, но существенную, ядерную часть арт-медиадискурса. Однако реальность такова, что все большее место занимают материалы, в которых персона из сферы искусства – звезда, и тогда в центре внимания оказываются эксцентричные выходки, тайная жизнь персон, продемонстрированная широкой публике. Журналистика сегодня отнюдь не в полной мере выполняет свои функции. Ее потенциал огромен.
творческая личность, рефлексия, эстетическая оценка, гедонизм