9 research outputs found
The Man of Transition in Mass-Media Society (Case Serbia)
Zemlje tranzicije danas, zajedno s ekonomskom i politiÄkom, doživljavaju i Ā»medijskuĀ« transformaciju, toÄnije izravnu transformaciju u mas-medijsko postmoderno druÅ”tvo, u kome su svi važniji socijalni odnosi posredovani medijima. Ove transformacije predstavljaju nužnost Å”to ju nameÄu kapitalistiÄki privredni sustav i demokratski poredak koji se u ovim druÅ”tvima uspostavljaju. One takoÄer donose i kulturne i psiholoÅ”ke promjene: televizija postaje kljuÄni faktor porodiÄnog i druÅ”tvenog života; potroÅ”nja, moda i kult tijela, zajedno sa sadržajima popularne i populistiÄke lokalne kulture, preko masovnih medija stižu do masa novopeÄenih potroÅ”aÄa, dok se znaÄajne politiÄke i socijalne nepravde, nejednakosti i sukobi neutraliziraju i prikazuju kao razlike u Ā»Å¾ivotnim stilovimaĀ«, Å”to je tipiÄno i za zapadnu mas-medijsku kulturu. Ovo Äe izlaganje razmotriti skoraÅ”nje primjere srpsko-bosanskog Velikog brata, srpsku tabloidnu Å”tampu i izbor za pjesmu Eurovizije, u pokuÅ”aju da bolje razumije ulogu domaÄih i stranih medija u procesima fragmentacije stabilnih druÅ”tvenih identiteta, kulturne globalizacije i politiÄkih manipulacija.Together with an economic and political transformation, transitional societies today are subjects to an ongoing transformation of mass media, i.e. they are experiencing a direct transformation into a postmodern society, in which all more important social relations are massmedialized. These transformations represent a necessity of capitalist economy and democratic political order which are being established. They also bring about cultural and psychological changes: TV becomes a key factor of family and social life, consumption, fashion and body cult together with popular and local populist culture contents are introduced by mass-media to the masses of new consumers, and significant political and social inequalities, differences and clashes are neutralized and interpreted as differences only in ālifestylesā, as is typical of Western societiesā media culture. The exposition will look upon recent examples of Serbian-Bosnian Big Brother. Serbian tabloids and Eurovision song contest in an attempt to clarify the role of media in fragmentation of social identities, cultural globalization and local media manipulations with political backgrounds
The Hidden Artist: The Work of Vojin Voja MitroviÄ in the History of Photography
ZnaÄaj Vojina Voje MitroviÄa (1937., FoÄa) za istoriju fotografije otkriven je Å”iroj javnosti, izmeÄu ostalog i zahvaljujuÄi dokumentarnom filmu Umetnik iz senke autora Milorada ÄokiÄa i Jakova Kronje, snimanom izmeÄu Beograda i Pariza od 2010. do 2012. godine. Majstor crno-bele fotografije i foto-laborant, Voja MitroviÄ, ostao je u drugom planu istorije fotografskog medijuma upravo zbog Äinjenice da nikada nije ostvario sopstveni opus, ili bar ne onakav kakvim ga uvažavaju zvaniÄni tokovi istorije vizuelnih umetnosti. VezujuÄi svoju delatnost za jednu od najuticajnijih svetskih foto-laboratorija, Picto, sa sediÅ”tem u Parizu, koju je 1950. osnovao jedan od pionira fotografije, emigrant iz NemaÄke Pierre Gassmann, MitroviÄ je od 1964. do 1997. saraÄivao sa priznatim svetskim fotografima i foto-žurnalistima meÄu kojima se istiÄu Älanovi uticajnog udruženja MAGNUM, koji su svoje fotografije razvijali, retuÅ”irali i izraÄivali u laboratoriji Picto, poput Henrija Cartier-Bressona, SebastiĆ£a Ribeira Salgada, Josefa Koudelke, RenĆ©a Burria, itd. Ukoliko se fotografija shvati kao uramljivanje stvarnosti okvirom (frejmom), onda uokviravanje sa isticanjem taÄno odreÄenog dela zbivanja za MitroviÄa predstavlja jedan od kljuÄnih segmenata njegovog stvaralaÄkog Äina. IzraÄujuÄi veliki broj fotografija Henrija Cartier- Bressona Äije je kopije umetnik i liÄno potpisao, MitroviÄ je posredno uÄestvovao u stvaranju i jaÄanju aukcijskog tržiÅ”ta autorskih fotografija, nastalog sedamdesetih i osamdesetih godina 20. veka u Sjedinjenim AmeriÄkim Državama. U ovom tekstu Äe se, s obzirom na MitroviÄevu praksu, razmatrati odnos zanata, tehnologije reprodukcije slike i umetniÄkog dela, razlike izmeÄu analogne i digitalne fotografije, ali i istražiti složene veze koje se razvijaju izmeÄu MitroviÄeve zanatske veÅ”tine i umetniÄke senzibilnosti koje mogu promeniti smisao i uticati na osnovno znaÄenje finalne fotografije.The significance of Vojin Voja MitroviÄ (1937, FoÄa) for the history of photography has been discovered by the wider public mostly due to the documentary Umetnik iz senke [The Hidden Artist] by Milorad DjokiÄ and Jakov Kronja, shot in Belgrade and Paris from 2010 to 2012. One of the greatest printers of black and white photography, Voja MitroviÄ has remained in the āfootnotesā of the history of photography because he never created his opus, at least not in the sense that would be recognised by the official standards of the history of visual arts. MitroviÄ worked in one of the worldās most influential photo laboratories Picto, based in Paris and founded in 1950 by German emigrant Pierre Gassmann, one of the pioneers of photography. Between 1964 and 1997, MitroviÄ collaborated with world-renowned photographers and photojournalists, members of the prominent MAGNUM agency such as Henri Cartier-Bresson, SebastiĆ£o Ribeiro Salgado, Josef Koudelka, RenĆ© Burri, who developed, retouched and printed their works in the Picto laboratory. If photography can be defined as the framing of reality, then framing a particularly chosen segment of an event represents for MitroviÄ one of the key aspects of his creative act. By printing a great number of Henry Cartier-Bressonās photographs, whose copies were personally signed by the artist, Voja indirectly participated in the creation and strengthening of the auction market of authorial photography in the United States during the 1970s and 1980s. Relying on the testimonies of Vojin MitroviÄ, and his friends, associates and colleagues who considered his advice invaluable, this paper examines MitroviÄās practice with regard to the relations between the craft and the technological reproduction of image, concerning the differences between analogue and digital photography. It also explores the complex connections evolving between MitroviÄās craftsmanship and his artistic sensibility that usually changed the meaning of the final photograph and affected the starting point of the work. This paper also illuminates the details of professional and personal ties that developed between Vojin MitroviÄ, Henri Cartier-Bresson and Josef Koudelka. They printed the photographs for their thematic and retrospective exhibitions, but also for numerous catalogues and monographs, as well as for publications that remained the only permanent trace of ephemeral displays, after which the artworks were stored in museum collections and became inaccessible to the public. In that sense, Henri Cartier-Bresson especially appreciated MitroviÄās artistic skill, stating that he made photographs with one finger, while Voja did it with all ten. Numerous film directors have recognized MitroviÄās photographic competence. Among them was American painter, photographer and author David Lynch, who worked closely with Voja during the production of his collage photo series Small Stories. In this interesting cycle, that explores the boundaries between different media (painting, photography, film) MitroviÄ was challenged for the first time to print the analogue photographs in which Lynch digitally intervened in the preparation phase. Believing that the most creative period for the development of photography was between 1960 and 2000, MitroviÄ stayed faithful to gelatine silver prints, remaining sceptical about the new digital era in which men would be replaced by machines. Even though a large number of his own photographs comment and critically examine the reality around us, MitroviÄās photographic opus has stayed unknown to the wider public. On the other hand, precisely because he emphasized that he would never be as good a photographer as he was a printer, Vojin MitroviÄ has undoubtedly left a deep mark on the history of photography, meaning not only the history of great authors and their oeuvres but also a history in which numerous āinvisibleā protagonists, who should now get the recognition they deserve, once played a significant role
The Man of Transition in Mass-Media Society (Case Serbia)
Zemlje tranzicije danas, zajedno s ekonomskom i politiÄkom, doživljavaju i Ā»medijskuĀ« transformaciju, toÄnije izravnu transformaciju u mas-medijsko postmoderno druÅ”tvo, u kome su svi važniji socijalni odnosi posredovani medijima. Ove transformacije predstavljaju nužnost Å”to ju nameÄu kapitalistiÄki privredni sustav i demokratski poredak koji se u ovim druÅ”tvima uspostavljaju. One takoÄer donose i kulturne i psiholoÅ”ke promjene: televizija postaje kljuÄni faktor porodiÄnog i druÅ”tvenog života; potroÅ”nja, moda i kult tijela, zajedno sa sadržajima popularne i populistiÄke lokalne kulture, preko masovnih medija stižu do masa novopeÄenih potroÅ”aÄa, dok se znaÄajne politiÄke i socijalne nepravde, nejednakosti i sukobi neutraliziraju i prikazuju kao razlike u Ā»Å¾ivotnim stilovimaĀ«, Å”to je tipiÄno i za zapadnu mas-medijsku kulturu. Ovo Äe izlaganje razmotriti skoraÅ”nje primjere srpsko-bosanskog Velikog brata, srpsku tabloidnu Å”tampu i izbor za pjesmu Eurovizije, u pokuÅ”aju da bolje razumije ulogu domaÄih i stranih medija u procesima fragmentacije stabilnih druÅ”tvenih identiteta, kulturne globalizacije i politiÄkih manipulacija.Together with an economic and political transformation, transitional societies today are subjects to an ongoing transformation of mass media, i.e. they are experiencing a direct transformation into a postmodern society, in which all more important social relations are massmedialized. These transformations represent a necessity of capitalist economy and democratic political order which are being established. They also bring about cultural and psychological changes: TV becomes a key factor of family and social life, consumption, fashion and body cult together with popular and local populist culture contents are introduced by mass-media to the masses of new consumers, and significant political and social inequalities, differences and clashes are neutralized and interpreted as differences only in ālifestylesā, as is typical of Western societiesā media culture. The exposition will look upon recent examples of Serbian-Bosnian Big Brother. Serbian tabloids and Eurovision song contest in an attempt to clarify the role of media in fragmentation of social identities, cultural globalization and local media manipulations with political backgrounds
"Social horror": A critical analysis of ideological and poetic function of the motive of victim in the contemporary Serbian film
This paper analyses achievements of Serbian cinematography after 2000, which
narrative strategies and visual aesthetics are focused on the issues of
violence and victims in the context of social despair, post-communist
transition and ongoing global value crisis. Films made by Mladen ÄorÄeviÄ
Life and Death of a Porn Gang (2009), SrÄan SpasojeviÄ A Serbian Movie
(2010), and Marko NovakoviÄ Menagerie (2012) integrate these complex
characteristics of disintegration of Serbian community and dysfunctional
state system into their cinematic poetics. These films present examples of
radical film aesthetics, which, through strategies of making things unusual,
and the influence of underground, pornography and horror on the realistic
drama, speak about permanently traumatised Serbian society. They directly
connect collective political state and the domain of personal, family,
intimate and sexual, controversially relying on the images and narratives of
gender misogyny and the violence it produces and its victims. The paper
critically approaches these issues from the gender- feminist perspective
Mechanism of 1,2-hydride shift in some carbocations involved in steroid biosynthesis
The mechanism of 1,2-hydride shift in protosteryl C(20) cation (1A) and in dammarenyl C(20) cation (2A) was investigated by the semi-empirical AM1 method and ab initio quantum Chemical calculations (HF/3-21G level). Stationary points 1A/1B and 2A/2B, and the corresponding transition hydrido-bridged structures 1TS and 2TS were located on the energy surface. Process 1Aā1B turned out to be energetically more favorable than process 2Aā2B by ca. 9 kcal mol-1, mostly due to the unfavorable steric repulsive interaction between the methyl group at C(14) and the Ī²-oriented side chain at C(17) in 1A and the lack of CC-hyperconjugative stabilization in 1A. The exothermicity of processes 1Aā1B and 2Aā2B was increased by subsequent introduction of substituents (H, Me, i-Pr, and t-Bu) at C(14). The more pronounced trend in 1Aā1B proves that the origin of the relative stability of 1B comes from the steric interactions in 1A. Introduction of the halogen atom (F, Cl, and Br), due to its -I effect and relatively small size, changed the direction of the equilibrium 1AY/1BY, and 1AY was found to be by ca. 3 kcal mol-1 more stable than 1BY