Posljednjih desetljeća meka moć država postaje sve važniji segment njihova globalnog utjecaja. Naime, dok su nekada veličina teritorija ili broj stanovnika, odnosno ekonomska i vojna moć, definirali ...globalnu važnost pojedine države, u vremenu globalizacije i manje države postaju međunarodno
utjecajni igrači ako posjeduju određenu snagu karizme i šarma, odnosno ako kreiraju globalno relevantne i atraktivne poruke, sadržaje, proizvode ili poteze. Taj se utjecaj sve češće temelji na kulturi,
osobito popularnoj, koja ne poznaje granice i zahvaća najširi krug ljudi. Stoga sve veći broj država
ulaže ozbiljna sredstva u jačanje globalne prepoznatljivosti kroz popularnu kulturu, osobito film.
Iako je film od svojih početaka korišten kao promotivno, pa i ideološko sredstvo, posljednjih godina
postaje – s jedne strane važan komercijalni proizvod, koji proizvođačima donosi velike prihode, a s
druge strane izrazito važan segment meke moći države, jer na kreativan i popularan način progovara
o vrijednostima neke zemlje ili kulture, važnim temama, velikanima, povijesnim događajima, načinu
života i sl. U tome kontekstu popularna hollywoodska industrija nema više globalni primat, iako još
uvijek prilično kreira trendove. Uz snažnu filmsku produkciju u Indiji, Južna Koreja postaje sve važniji
globalni igrač. Kina sve više ulaže u vlastitu filmsku produkciju i jačanje meke moći kroz kulturu, a
Turska je postala drugi globalni igrač u proizvodnji televizijskih serija. Stoga ćemo u ovome radu
definirati ulogu filma kao važna segmenta meke moći, analizirati nastojanja SAD-a, Južne Koreje i
Kine te ukazati na trendove i mogućnosti uporabe.
Na samom početku svoga teksta pod naslovom "Je li džez
popularna glazba?" Simon Frith tvrdi da je vrlo lako
odgovoriti na to pitanje. On jednostavno i jasno kaže:
"Da! Kraj diskusije." Međutim, ...činjenica da oko odgovora
na to pitanje nema konsenzusa – ni među teoretičarima,
a ni među glazbenicima i publikama – indicira da odgovor
ni izdaleka nije tako jednostavan i naglašava kompleksnost
džeza kao glazbenoga i kulturnoga fenomena nastalog
na početku 20. stoljeća. Uzimajući u obzir paradoksalnu
prirodu džeza i njegov specifični povijesni razvoj, čini se
simptomatičnim da su "popular music studies" i "jazz studies"
dvije zasebne znanstvene discipline. Iako je 1920-ih
i 1930-ih godina džez nedvojbeno, u određenim
varijantama, imao popularni karakter, neki teoretičari
smatraju da je taj njegov aspekt nepravedno zapostavljen u
istraživanjima popularne glazbe. S druge strane, džez je
nazivan i "američkom klasičnom glazbom", a ne masovnim
medijima distribuiranom popularnom glazbom, pa bi kao
takav trebao biti tretiran kao ozbiljna "visoka" umjetnost.
Zagovarači ovakva pristupa smatraju da džez nije
zapostavljen unutar "popular music studies", nego onamo i
ne pripada. Neovisno o tome promatramo li povijest džeza
evolucijski, kao žanr koji je prešao put od folka do
komercijalne zabavne glazbe pa do "ozbiljne" umjetnosti, ili
kao stalno promjenjiv dijalektički odnos između avangarde i
mainstreama, pitanje njegove definicije i dalje ostaje
problematično.
Kriminalistički romani odnedavno su, s nizom drugih artefakata
popularne kulture, postali važnim analitičkim objektom
suvremenih kriminoloških istraživanja. Upravo zato će
interpretativni okvir rada ...činiti logičke i argumentacijske strategije
teorije kulturalne kriminologije koja, hipotetičko-deduktivnim
pristupom problemu kriminala, na tvorevine kulturnih praksi gleda
kao na analitičke objekte. Mnoge ideje kulturalnih kriminologa
temelje se na uvidu da elementi kulture prenose određena
značenja o kriminalu, a krimić raznoliko uprizoruje ono što
kulturalna kriminologija nastoji postići. Riječ je o tome da ovaj
književni žanr pruža uvide u šire društvene percepcije o problemu
kriminala i otkriva ono što je ostalo skriveno iza „pročelja službene
kriminologije“ (Ferell 2008). Na taj se način šire i spoznaje o
uzročnicima kriminalnih i aberacijskih ponašanja. Unutar iskoraka
prema kulturi namjera je pokazati nove tendencije umrežavanja
kriminologije s disciplinama književne teorije i izučavanja
književnih činjenica. U pronalaženju mjesta na kojima se preklapaju
teme iz područja kriminologije, teorije književnosti i kulture,
pokušat ćemo ponuditi nova čitanja kriminalističkoga žanra te
ukazati na moguća obogaćivanja kriminoloških istraživanja.
U radu se definira pojam neomedievalizma i donosi problematika vezana za njega. Rad se prije svega temelji na teorijskim postavkama Umberta Eca, koje se sistematski primjenjuju na tri reprezentativna ...modela: Tolkienov, Disneyjev i model Georga R. R. Martina. Cilj je komparativne valorizacije analiza interpretacije srednjovjekovnog imaginarija u popularnoj kulturi te kategorizacija odabranih primjera te kulture unutar kreiranih modela. Konačno, autor na temelju komparativne analize pokušava u uskim granicama rada objasniti složenu mrežu motivacije za rekreiranjem srednjovjekovlja i njegovih manifestacija unutar modernog društva 20. i 21. stoljeća.
Snažan učinak tržišnih komunikacija na osobnosti, mišljenja, preferencije i odluke ljudi do sada je ekstenzivno proučavan. Ako marketing može promijeniti mišljenje ljudi i utjecati na njihov karakter ...i afinitete, te ako je pop kultura dio tih karaktera i afiniteta, interesantno je istražiti u kakvoj su točno korelaciji marketing i pop kultura i kako ih opća populacija percipira kada se kombiniraju, primjerice, u marketinškim kampanjama koje sadrže pop-kulturne elemente. Upravo time bavi se ova kvantitativna studija s upitnikom koji prikazuje više primjera tržišne komunikacije koji sadrže elemente pop kulture ili reference te ih uspoređuje s njihovim sličnim verzijama koje ne sadrže takve elemente. Cilj istraživanja bio je utvrditi percipiraju li potrošači različite oblike tržišnih komunikacija pozitivnije kada sadrže elemente popularne kulture, za razliku od tržišnih komunikacija koje takve elemente ne sadrže ili se na njih ne referiraju. To je testirano metodom uspoređivanja u parovima; za šest različitih primjera tržišne komunikacije ispitanici su trebali iskazati sklonost jednoj ili drugoj verziji, a bile su dostupne i opcije jednake preferencije ili nesviđanja. U pet od šest analiziranih primjera potrošači su preferirali verzije tržišnih komunikacija koje sadrže pop-kulturne elemente. Ovi rezultati, koji jasno idu u prilog korištenju elemenata pop kulture, mogu biti korisni marketinškim stratezima i praktičarima kada razmatraju uključivanje pop kulture u svoje komunikacijske napore.
Only Entertainment Dyer, Richard
2002, 20050708, 2002-04-25, 2005-07-08
eBook
Only Entertainment explores entertainment as entertainment, asking how and whether an emphasis on the primacy of pleasure sets it apart from other forms of art.Dyer focuses on the genres most ...associated with entertainment, from musicals to action movies, disco to porn. He examines the nature of entertainment in movies such as The Sound of Music and Speed, and argues that entertainment is part of a 'common sense' which is always historically and culturally constructed.This new edition of Only Entertainment features a revised introduction and five new chapters on topics from serial killer movies to Elizabeth Taylor. In the final chapter Dyer asks whether entertainment as we know it is on the wane.
Popular music as part of popular art is today a dominant form in music culture. Critics of mass culture and supporters of elite art often one-sidedly criticise it as a degradation of ar not taking ...into consideartion its cultural meanings and the possibility of fulfilling high aesthetic and artistic criteria. Traditional criticism and its treatment of popular music indicate the need for a different approach in the research of this music culture. The first part of the paper discusses the conditions for the development of popular music, its general characteristics and the relationship towards high culture. Also analysed is its symbolic role in creating viewpoints and its influence on changes of cultural values with special stress on the theory of subcultures, while the other part of the paper deals with its criticism and the problem of aesthetic relevance
Provider: - Institution: - Data provided by Europeana Collections- The thesis is concerned with the modernist novels of British writer Virginia
Woolf, with the aim of proving that this novelist’s ...modernist literature is
based upon the concept of interface – a two-way relationship between body and
city. Especially emphasised is the fact that the thesis deals with the novels
written in a modernist manner, as precisely these works contribute to the
omnipresence of the body-city linkage and its presentation on the fictional
scene. The novels selected for the research are the following: Jacob’s Room,
Mrs. Dalloway, To the Lighthouse, Orlando, The Waves, Flush, and The Years.
The key methods used during the research are: definition, concretisation,
analysis, interpretation, and induction. The author defines the main
hypothesis and the sub-hypotheses, the goals of the research and the concepts
it uses; the author’s claims are concretised through the examples of the
relevant novels; the examples undergo analysis and interpretation; an overall
conclusion is induced on the basis of the results gained. From Elizabeth
Grosz, a contemporary theoretician, the paper borrows the term interface,
used by Grosz to define the relationship between body and city, seen as a
“two-way linkage“ or “cobuilding“ (Grosz 1992: 248). The study also accepts
Grosz’s notions of body and city, body being understood as a certain
integration of physical and psychosocial sides of a human subject, that is,
as a “sociocultural artifact“ (Grosz 1992: 241), and city being understood as
all living and non-living, material and non-material, concrete and abstract
elements of an urban entity (Grosz 1992: 244). However, by considering a (not
necessarily urban) building – the elementary unit of an urban form – a
notional part of the city, and by recognising a fundamental relation of the
acts of building/structuring and (de)structuring with the idea of city, the
study extends the limits of Grosz’s city definition to a certain extent. The
paper also makes use of John Fiske’s theory of popular culture, in which
popular culture is seen as a product actively created in the encounter
between people and the culture industry (Fisk 2001: 32), in a process in
which individuals accept a product, at the same time modifying it to suit
their own needs (Fisk 2001: 36). This theory makes it possible for popular
culture to be interpreted as a field on which an interface between body and
the city industry, represented by the culture industry, takes place. In
addition, the study echoes some of Henry Bergson’s views on the relation
between body and spirit, and uses some of the definitions of urbanism – the
study of city. In order to prove its main hypothesis, the paper provides
arguments in favour of its stated sub-hypotheses, within eight thematically
different chapters. The first chapter points out the fact that the characters
of the selected novels are dominantly placed within a city, whereas the city
rules over the characters’ lives. The relationship between the characters and
the city is shown in close-up and from two opposing perspectives – from the
point of view of a body that plays a certain role in the city, and from the
standpoint of the city that enters a relationship with an urban body. The
novels analysed are Mrs. Dalloway, Jacob’s Room, Flush, and Orlando. The
second chapter offers the arguments in favour of the claim that the
relationship between body and city exists even in the novels which are not
built upon an urban ground, or that it exists in non-urban segments of the
novels mainly set in a city environment. The arguments are based upon the
analysis of To the Lighthouse and Orlando. The third chapter makes an attempt
to prove that the concept of the body-city interface forms the base of
formally the most experimental of Virginia Woolf’s novels – The Waves. In the
analysis of the novel dominated by rhythm instead of plot, the characters are
seen as differentiated aspects of one human personality, of which the most
distinguished are the natural and the urban human trait. The chapter tends to
prove that of the two aspects it is the urban one that prevails. The fourth
chapter points out that the interface between body and city predominates as a
notion in Virginia Woolf’s modernist works even when the novelist deals with
the theme of seclusion and inaccessibility of human soul. By emphasising that
interface is by definition a two-way relationship between two different
(id)entities, and that each individual tends to preserve their own identity
during the communication with the (urban) outside world, the chapter attempts
to prove that many among Woolf’s heroes possess a tendency towards social
isolation and identity preservation. The isolation, however, does not
indicate a halt in the interface; on the contrary, it shows an ever-lasting
character of its existence. The chapter analyses Jacob’s Room, Mrs. Dalloway,
Flush, and The Waves. The fifth chapter concerns The Years, with a view to
proving that the body-city interface constitutes the basis for this later
novel, which, in spite of its greater dependence on historical facts, remains
a modernist work. The sixth chapter deals with some elements of popular
culture in the selected novels, understanding popular culture as one of the
points of interface between body and its (urban) environment, that is, in
terms of Fiske’s implications. The arguments are based upon the analysis of
Mrs. Dalloway, The Years, To the Lighthouse, and The Waves. The subject
matter of the seventh chapter are the motifs of clothing and fashion as
highly significant aspects of Virginia Woolf’s fiction writing, which, at the
same time, function as a zone of interface between the novels’ bodies and the
city/ies they inhabit. The chapter analyses Mrs. Dalloway, Jacob’s Room,
Orlando, Flush, and The Years. Last but not least, the eighth chapter is
concerned with some details of all of the selected novels in which body and
city are identified with each other in a verbal, metaphorical, and/or
symbolic sense. The results of the research within these eight chapters are
the following: - the characters of Mrs. Dalloway, Jacob’s Room, Flush, and
Orlando are dominantly placed within a city or they are influenced by a city
space, whereas the urban environment and its elements have an important role
in the characters’ lives; - the characters of To the Lighthouse and the title
hero of Orlando are inextricably linked to a building – the elementary unit
of an urban form. The Lighthouse – the building which the characters of the
first novel tend to reach in a physical sense – functions as an imaginary
space filled with personal wishes, while Orlando constantly leans, both
physically and emotionally, on his/her family house, as a symbol of the
character’s linkage to his/her native land; - in the battle between two
dominant aspects of the many-sided human personality of The Waves, the one
that wins is the urban side – the tendency towards city and the development
of social relations; - social isolation, a characteristic of Jacob Flanders,
Mrs. Dalloway and Septimus Smith, Flush and Elizabeth Barrett, and of some
protagonists of The Waves, functions as a constitutive part, a fact, and an
indication of the interface between these characters and the city in
question; - the body-city relation forms the basis for the theme dealt with
in The Years – the theme of social changes at the end of the 19th and the
beginning of the 20th centuries, while the relationship between the
characters and the city creates the dominant background of the presented
changes; - Mrs. Dalloway and Londoners, the Ramsay mother and son, Rose
Pargiter, and the characters of The Waves unconsciously create instances of
popular culture, modifying the look and/or the meaning of the products or
services offered by the urban environment; - in Mrs. Dalloway, Jacob’s Room,
Orlando, Flush, and The Years, clothing, fashion, or even the natural fur
serve as important signifiers of the fictional body and its feelings towards
itself and the others, thus also representing the body-city interface; - in
Jacob’s Room, The Years, Mrs. Dalloway, Flush, and Orlando, there is a verbal
and/or figurative identification of characters with their rooms; in Jacob’s
Room, The Years, Mrs. Dalloway, To The Lighthouse, Orlando, and The Waves, a
body and a building frequently change places or roles, while life is often
felt in terms of building/structuring and destructuring; finally, in Jacob’s
Room, Mrs. Dalloway, Flush, The Years, The Waves, and Orlando, a city in its
entirety is identified with (a) body and (a) life. On the basis of the given
results issuing from separate chapters and proving the sub-hypotheses, the
paper derives the following conclusion as to the experimental novels of
Virginia Woolf: (1) the body constantly belongs to the city, whereas the city
dominantly inhabits the body; (2) the body is strongly connected to the
building as a notional and material base of the city, notwithstanding the
(non)urban environment; (3) the concept of the body-city interface forms the
base of a novel entirely dependent on rhythm instead of plot; (4) the body’s
isolation from the city as a dominant theme of the given novels is, at the
same time, one of the pillars of the body’s interface with the city; (5) the
main theme of a later modernist novel is rooted in the body-city interface;
(6) elements of popular culture function as frequent actors on the fictional
scene, which means that they also constitute one of the fields of the
body-city interface; (7) clothing and fashion as significant motifs of these
novels also serve as a large zone where the body and the city meet each
other; finally, (8) the body and the city in Virginia Woolf’s modernist
novels frequently swap places in a verbal, metaphorical, and/or symbolic
sense. The inductive conclusion based upon the preceding inferences would be
as follows: the conception of int
Reprezentacijom domovine u izabranim tekstovima suvremene hrvatske popularne kulture bavit ćemo se analizirajući literarni tekst i tekstove popularnih domoljubnih pjesama, tražeći odgovore na pitanja ...do koje nas mjere određuju osjećaj pripadnosti i emocionalna topografija, na koji način doživljavamo domovinu i domoljublje te što je, dakle, domovina i je li ona tek fikcija.
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