Označevanje storitev: analiza imen in simbolov v zavarovalništvu na Hrvaškem in v Sloveniji

This paper expands the understanding of a complex area of service brand management. Since the specific nature of services makes it difficult to objectively judge a service prior to its consumption, decisions and the selection of a service brand can be critical for a marketing strategy. Strong service brands possess: distinctiveness, relevance, memorability and flexibility. Elements of a strong service brand (name, logo, symbol, character and slogan) identify the brand and differentiate the service from its competitors. Research was conducted into the appropriateness of brands within Croatian and Slovenian insurance services sectors. Elements of the 45 insurance service brands (27 Croatian and 18 Slovenian) are analyzed in this paper and evaluated in terms of how and if they meet the criteria of a strong service brand, as well as in terms of their appropriateness for creating desirable, positive and unique associations.Pričujoči prispevek skuša približati razumevanje kompleksnega področja managementa storitvenih oznak. Ker specifična narava storitev otežuje, da bi objektivno ocenili storitev pred njeno potrošnjo, ima lahko odločitev in izbira oznake storitve kritičen pomen za marketinško strategijo. Prepoznavne oznake storitev odlikuje razločljivost, umestnost, zapomnljivost in prožnost. Elementi prepoznavnih oznak storitev (ime, logotip, simbol, pisava in slogan) identificirajo oznako in diferencirajo storitev od konkurence. Opravljena je bila raziskava glede primernosti oznak na področju zavarovalništva na Hrvaškem in v Sloveniji. V prispevku so analizirani elementi 45-ih oznak v zavarovalništvu (27 hrvaških in 18 slovenskih), ki so ovrednoteni glede na to, koliko izpolnjujejo kriterije prepoznavne oznake storitve ter koliko so te oznake primerne za ustvarjanje želenih, pozitivnih in enkratnih asociacij

The Body and Japanese Cinema

The dissertation The Body and Japanese Cinema examines the notion of body in context of Japanese culture, specifically in a film domain. Throughout this study converging the cultural and philosophical models of both East and West, the focus is on various aspects of the body perception generated and mediated in Japan. This dissertation is the first attempt in Serbian scholarship, on Japanese cinema, to explore the corporeal perspective of Japanese identity. The first part of the dissertation features an extended analysis of the Japanese cultural outlook dealing with the questions of body and language, silence and visual space. Even though this is a study on nationally determined culture, it opposes to drawing the conclusions on the Japanese uniqueness following the Nihonjinron discourses of homogeneity. Rather, the focus is on the issues of heterogeneous taxonomy that could provide a platform for better understanding of Japanese culture as well as to offer a standpoint from which it is possible to indicate the similarities and differences of other, not necessarily national, identities. Without any intention of cultural essentialism, I argue that due to distinctive attributes and specificity of Japanese language and in addition, firmly established communicative practices that indicate intuitive understanding that goes beyond spoken words, the visceral perception is the crucial point of the Japanese film viewing. Second part of this study is a close analysis of selected movies from the filmographies of well-known Japanese cineastes. In particularly, this work proposes the taxonomy that deals with invisible aspects of the body in Japanese cinema. Chosen filmmakers whose opuses have been here reinterpreted are familiar to the audience outside Japan but their work is located on the furthest edges of mainstream, rendering them a somewhat outsider position. Here, the prominence is found in perspective that these filmmakers' attitudes resist the "official" Japan imagology which fixates the corpus of what is intended for foreigners to understand. Their body of work contrives effective communicative strategies that allow kaleidoscopic and more diverse insights of Japan

Visual reading of the image of Gospić and Lika in the Illustrated Weekly World (1926-1936)

Kritičko iščitavanje časopisa Svijet introspekcija je u ličku svakodnevicu koja je, unatoč lokalnim novinama koje su izlazile u Lici, bila vizualno osiromašena u tadašnjim medijima i bez šireg konteksta izuzevši političkog. Zagrebački ilustrirani tjednik Svijet omogućio je pogled u društvenu zbilju onog vremena i kontekstualiziranje jedne manje sredine unutar širih hrvatskih i europskih zbivanja. U radu se po prvi put u znanstvenoj javnosti bilježe imena domaćih gospićkih fotografa Đuke Versona, Ivana Rubčića i Matije Maksimovića što je značajan doprinos poznavanju povijesti profesionalne, ali i amaterske fotografije u Hrvatskoj. Također se u bilješkama donosi izabrana bibliografija Like u Svijetu kao vrijedan izvor svim istraživačima. Cilj rada je prikazati, interpretirati i rasvijetliti Liku i njene stanovnike iz perspektive zagrebačkog popularnog tiska međuratnog vremena.A critical analysis of the journal Svijet (World) offers us an introspection in Lika’s everyday life which, despite local newspapers being published in Lika, was not visually represented in the media of the time and without a wider context except the political one. The Zagreb ilustrated weekly journal Svijet offered a glimpse into the social reality of that time and contextualization of a smaller setting within wider Croatian and European events. For the first time in this paper, the names of local Gospić photographers Đuro Verson, Ivan Rubčić and Matija Maksimović are mentioned, which is a significant contribution to understanding the history of professional and amateur photography in Croatia. The notes also include selected bibliography of Lika in the weekly Svijet as a valuable source to all researchers. The aim is to show, interpret and elucidate Lika and its inhabitants from the perspective of Zagreb’s popular press of the interwar period