The aim of the paper was to introduce the specialized press oriented towards jazz music and its practitioners that was published from 1953 to 1965 on the territory of the Republic of Serbia. The ...marked period was chosen for consideration since it represents the most fruitful stage in the development of the press of a specific thematic profile, but also because of the significant changes in the entire Yugoslav society. These changes, as it was possible to show, influenced the complex processes that shaped the press of the time, as well as the attitude towards this musical genre and its practitioners. The processes in question include, first of all: certain internal political movements that consistently modeled the cultural policy of the time, within which jazz attempted to obtain a favorable position; integration of the former socialist state into polarized international currents that implied the use of jazz as a means of affirming the foreign policy orientation of Yugoslav society; and the creation of the operational power of artists for self-organization and the acquisition of certain labor and social rights within the Association of Jazz Musicians. The association was founded in 1953 in Belgrade with the aim of advocating for the rights of contemporary musicians, while at the same time initiating the publication of the first newspaper Jazz: Journal of Popular and Jazz Music (Jazz. List za pitanja zabavne i džez muzike). Under this name, the journal was published from 1953 to 1954, and during the publication period from 1957 to 1958 it changed its name to Bulletin of the Association of Jazz Musicians (Bilten Udruženja Jazz muzičara). After that, in Novi Sad, in 1962, Rhythm – Yugoslav Review of Jazz and Popular Music (Ritam – Jugoslovenska revija za džez i zabavnu muziku) began to be publish by NIP Dnevnik, and later changed its name to Rhythm – Yugoslav Review of Popular Music (Ritam – Jugoslovenska revija za zabavnu muziku), under which it continued to be published until it ceased publication in 1965.
This anthropological analysis of the Serbian TV series Muddy Tires (Kaljave Gume), which aired in the spring of 2021 on the Radio Television of Serbia, aims to point out the principal meanings ...which can be subsumed under the three dominant problems faced by the protagonist Vesna when she finds herself in situations that demand a reexamination of previously accepted norms regarding older members of contemporary Serbian society. The analytical procedure, also applied to film, involved the construction and study of an ethnography which consists of production, content and reception, with primary emphasis on the first two elements. In this way, it was possible to distinguish several of the more important themes that underpin the basic plot structure, which, very briefly, follows the everyday life of a sixty-year-old former pianist who, following the death of her husband with whom she had an unhappy marriage, leaves for California to visit her son, daughter-in-law and grandchildren. Her relocation from the environment in which she has spent her entire life has thus created the conditions for her to embark on a new relationship with an elderly American whom she met online, but also for the process of conflict with and resistance to norms which have typically dictated to her, as a widow, certain emotions, and actions in accordance with them, while challenging others. This process in which her age is foregrounded in contrast to actions which are labelled "out of time" and therefore inappropriate, even unacceptable for those closest to her, also involves actions by opponents dressed up in the specific form of ageism such as the so-called well-meaning ageism, when an older person is forced to accept unwanted expressions of "concern" and "assistance". Finally, a subsidiary but haunting motif is the motif of suicide of older members of society (in the series committed by Vesna’s brother-in-law Jovan), which functions as a reflection of easier acceptance and understanding by one’s community, unlike the decision to continue life in a new, late-life relationship following the death of a spouse. Finally, it should be observed that the attitudes, actions and censure of the adult members of one’s family are dominant.
Ciklus predavanja u okviru seminara Antropološka agora u 2017. godini na Odeljenju za etnologiju i antropologiju Filozofskog fakulteta Univerziteta u Beogradu, u organizaciji Instituta za Etnologiju ...i antropologiju Filozofskog fakulteta
This paper analyses Croatian film Night boats (2012), directed by Igor Mirković, from the anthropology of film and anthropology of age point of view. The film story is analyzed as the so-called ...diegetic universe, i.e. as an ethnography of the film, and is connected to the real experiences of the elderly. The plot of the film follows the meeting and emotional bonding of Helena and Jakov in one of Zagreb's nursing homes. Shortly after their brief acquaintance, these "seventy-year-old teenagers" begin a romance, run away from home and embark on a road adventure. In terms of genre, this film can be viewed as a road movie since, in addition to the fact that the main characters spend more than half of the plot on the road, the film thematically and visually follows the conventions of the aforementioned genre. Their road adventure is initiated on a metaphorical level, as an escape from illness and death, as well as an escape from loneliness and the circumstances that life in old age brings. The main characters flee from the lack of choice they are faced with which is why their journey can be interpreted as a search for lost, almost stripped identities. The journey of Helena and Jacob, two elderly individuals faced with the problems of loneliness and physical decline, represents a transformative experience for the main characters and signifies a form of quiet rebellion, a refusal to accept cultural conventions according to which active life ends with a socially constructed notion of old age. In this sense, this film story served to critically address various issues and problems concerning society’s stereotypical attitudes towards the elderly.
The decades-long process of studying popular culture as part of Serbian anthropology has been expanded and deepened with the anthropology of television series as a soundly established subdisciplinary ...field. Aiming to shed light on various aspects of problems by means of anthropological insights – from the meaning of specific television series to the audience needs they satisfy – the Journal's first issue in 2022 comprises four original scholarly articles, namely: Prof. Bojan Žikić's The Vampire as a Model of Cultural Otherness in the Television Series What We Do in the Shadows; Asst. Prof. Bogdan Dražeta's Ethnic and Regional Stereotypes in the TV Series Konak kod Hilmije; research associate Milan Tomašević’s The Sixth Corridor: The Contextualization of the TV Series Cosmos: A Spacetime Odyssey; and Culture Wars in Gothic Mode: The Example of HBO’s Miniseries Sharp Object (2018) by Vladana Ilić, a doctoral student at the Department of Ethnology and Anthropology of the Faculty of Philosophy, University of Belgrade.
This anthropological analysis of the Serbian TV series Muddy Tires (Kaljave Gume), which aired in the spring of 2021 on the Radio Television of Serbia, aims to point out the principal meanings which ...can be subsumed under the three dominant problems faced by the protagonist Vesna when she finds herself in situations that demand a reexamination of previously accepted norms regarding older members of contemporary Serbian society. The analytical procedure, also applied to film, involved the construction and study of an ethnography which consists of production, content and reception, with primary emphasis on the first two elements. In this way, it was possible to distinguish several of the more important themes that underpin the basic plot structure, which, very briefly, follows the everyday life of a sixty-year-old former pianist who, following the death of her husband with whom she had an unhappy marriage, leaves for California to visit her son, daughter-in-law and grandchildren. Her relocation from the environment in which she has spent her entire life has thus created the conditions for her to embark on a new relationship with an elderly American whom she met online, but also for the process of conflict with and resistance to norms which have typically dictated to her, as a widow, certain emotions, and actions in accordance with them, while challenging others. This process in which her age is foregrounded in contrast to actions which are labelled "out of time" and therefore inappropriate, even unacceptable for those closest to her, also involves actions by opponents dressed up in the specific form of ageism such as the so-called well-meaning ageism, when an older person is forced to accept unwanted expressions of "concern" and "assistance". Finally, a subsidiary but haunting motif is the motif of suicide of older members of society (in the series committed by Vesna’s brother-in-law Jovan), which functions as a reflection of easier acceptance and understanding by one’s community, unlike the decision to continue life in a new, late-life relationship following the death of a spouse. Finally, it should be observed that the attitudes, actions and censure of the adult members of one’s family are dominant.
