This article examines representations of the poor across three genres – the government’s Bulletin on Social Inclusion and Poverty Reduction, online news and online user comments – during the period ...that immediately followed the expiration of the first Serbian Poverty Reduction Strategy (2010–2012). The results show differences in the actors’ representation, and in attribution of causal and treatment responsibility. The Bulletin is characterised by the discourse of social inclusion, activation and responsibilisation of the poor. This discourse does not reach the news, which portrays the poor as passive beneficiaries of the government actions, as individuals in extreme poverty, and as the agentic working poor protesting for wages. In the online user comments, poverty is articulated as the personal experience of the commenters. The news discourse of state responsibility is echoed in the comments sections and further recontextualised into the discourse of political responsibility.
The subject of this paper is the discourse representation of cultural cooperation between Croatia and Serbia in media texts. The aim was to examine the dominant strategies used by the mainstream ...media in Croatia and Serbia in the representation of appearances, events and the activities of artists from the two countries by using the method of critical discourse analysis. The sample for analysis consisted of texts published in online editions of the daily newspapers Jutarnji list and Blic collected during March, April and May of 2018. The results of the research show that the dominant strategy is spectacular representation, primarily on an individual level. Unlike in previous research, when nationalistic discourse was influenced by an already existing socio-cognitive basis originating on the ideological division 'We' and 'They' and was 'more clandestine and hidden' than the one in the nineties, it has now become articulated. It is shaped by almost all manipulative strategies – differentiation, confrontation, silence and forgetting, which express the polarized relationship between the opposing groups, Serbian and Croatian. Through the patriotic discourse of well-known stereotypes that support the uncoordinated social and political narratives of Serbia and Croatia, first and foremost those of the past, journalists are pointing out explicit negative valuations towards the actors uniting themselves with members of their own group, defending and clearly distancing themselves from members of the other group, which is attacked. On the other hand, the detected antinationalist discourse in the form of critical counter-narratives of the representation of certain subjects and artists follows the tradition of a “culture of disagreement and resistance” to the current circumstances. The detected dualism of nationalist and anti-nationalist discourse in our research indicates the existence of, in a manner of speaking, two parallel forms of cultural space in the context of cultural cooperation between Croatia and Serbia.
Cilj istraživanja u ovom radu bio je da se kroz analizu diskursa upotrebe sećanja i rekonstrukcije slika u oblikovanju narativnih obrazaca u televizijskoj dokumentarno-zabavnoj seriji „SFRJ za ...početnike” istraži na koji način se u ovoj vrsti medijskog sadržaja predstavlja jugonostalgija. Da li je u pitanju jeftina i banalizovana prodaja jugoslovenskog sentimenta i utopijska projekcija nečega što nije bilo, da li se lične emocije učesnika i osećaji nadnacionalnog identiteta neminovno izjednačavaju sa komunističkom ideologijom ili sećanja protagonista na proživljeno iskustvo, kao i na celokupan sistem vrednosti na čijim temeljima su sagledavali svet oko sebe, ipak, nosi značenjske odrednice jugonostalgije kao produktivne kategorije. Rezultati istraživanja pokazuju da analizirana televizijska serija, uprkos zabavnom i humorističkom, ima jasno izražen i diskurs kritičkih kontranarativa koji povrđuju tezu o ispravnosti posmatranja jugonostalgije kao strategije otpora nacionalizmu i kritike urušenog sistema vrednosti u tranzicijskim postjugoslovenskim društvima. Kao važan edukativni medijski sadržaj „SFRJ za početnke” predstavlja poveznicu sa zajedničkim kulturnim nasleđem socijalističke Jugoslavije i nadogradnju terapijskom procesu dekontaminacije sećanja čija konfiskacija je izvršena devedesetih godina pred naletom nacionalističke ideologije u novoosnovanim državama na Zapadnom Balkanu.
The aim of the research in the paper was to explore and show the ways of representation of Yugo-nostalgia in a television documentary and entertainment series „SFRJ for Beginners” by using discourse ...analyses of usage of memory and image reconstruction in shaping the narrative patterns. Is it cheap and banal way of selling Yugoslav sentiment and utopian projection of what never existed? Is it that the personal emotions and feeling of supranational identity of the participants are inevitably equated with communist ideology? Or is it though that the memories of lived experiences of the protagonists, as well as the memories of the entire system of values, upon which they looked at the world around them, are the semantic determinants of Yugo-nostalgia as a productive category. The research results show that analyzed television series, despite the fun and humorous discourse, contains clearly expressed, discourse of critical counter-narratives what is confirmation of the thesis about the validity of the observation of Yugo-nostalgia as a strategy of resistance to the nationalism and as a criticism of collapsed value system in transition post-Yugoslav societies. As an important educational media content „SFRJ for Begginers” represents a link with the common cultural heritage of socialist Yugoslavia and an upgrade to the therapeutic process of decontamination of memory which was confiscated during the nineties under the pressure of nationalist ideology in the newly formed states in the Western Balkans.
U radu analiziramo predstavljanje izbeglica na „Balkanskoj ruti“ u televizijskoj slici i novinskoj fotografiji. Rad ima za cilj da istraži kako se izbeglice predstavljaju u zemlji u kojoj izbeglička ...kriza nije politizovana i da ispita kako se izbeglice predstavljaju u različitim modalitetima - putem statičnih i pokretnih slika. Uzorak od 125 tekstova i televizijskih priloga prikupljen je tokom sedam dana u martu 2016. godine i tokom marta 2017. godine iz onlajn izdanja novina Blica i Politike, i večernjih dnevnika Radio-televizije Srbije i TV N1. Metoda vizuelne analize zasnovana je na Kresovoj i Van Lijuvenovoj vizuelnoj gramatici, i posebno na analizi vizuelnih toposa predstavljanja. U pogledu narativnih obrazaca predstavljanja identifikuje se pet toposa: drama, kretanje, primanje pomoći, higijena i igra. U konceptualnim obrascima pojavljuju se toposi porodice, dece, usamljenosti, žice i simboličke drugosti. Pozitivnije nego u drugim zemljama, ove su vizuelne predstave izbeglica su kontradiktorne – iako pozivaju na saosećaje i dalje konstruišu drugost i razlike između „nas“ i „njih“.
This paper provides an analysis of representations of the refugees on the "Balkan route" in television images and news photographs. The aim of the paper is to identify how the refugees are ...represented in the country in which the refugee crisis is not politicized, and to examine how the refugees are represented in different modalities - static and moving images. The sample, consisting of 125 texts and television news stories, has been collected during seven days in March 2016 and in March 2017 from online editions of daily newspapers Blic and Politika, and from evening newscasts of Radio-television of Serbia and TV N1. The method of visual analysis is based on Kress and Van Leeuwen's visual grammar, and specifically on the analysis of visual topoi of representation. In terms of narrative patterns of representation we identify five topoi: drama, movement, receiving help, hygiene and play. Within conceptual patterns there are topoi of the family, children, loneliness, wire and symbolic otherness. More positive than in other countries, these visual representations are contradictory - although they call for compassion, they still construct otherness and the differences between "us" and "them".
U radu se analizira vizuelno predstavljanje glavnih aktera siromaštva u srpskimmedijima. Vizuelno predstavljanje nije samo mehaničko oslikavanje stvarnosti, i zbog toganesumnjivo ima veoma važnu ...ulogu u oblikovanju značenja tema i događajma u javnosti.Zato je cilj istraživanja u radu bio da se utvrdi na koji način se vizuelnim kodom prenoseporuke o siromaštvu i socijalno isključenim grupama u analiziranim televizijskim vestima ifotografijama koje su ilustrovale posmatrane tekstove. Metodama analize sadržaja, kritičkihstudija diskursa i semiotičkog pristupa posmatran je uzorak od 410 tekstova o siromaštvukoji su prikupljeni u periodu od 14. do 28. oktobra 2010. i 2011 godine. Analiza strukturediskursa pokazuje da je vizuelno predstavljanje glavnih aktera siromaštva pojednostavljeno,stereotipno i daleko od prikazivanja celokupnog konteksta. Svedeno je na male delove slika,koji nemaju tu snagu da dočaraju na pravi način ozbiljnu problematiku siromaštva i sa kojimse masovna publike teško identifikuje.
This paper analyzes the media's visual representation of various poverty groups within Serbia.The visual representation is not simply a reflection of reality, but rather an instrument that plays an ...important role in prescribing different meaning to media events and their appearances in public.The aim of this research is to determine how the visual code transmits messages about poverty and socially excluded groups, in the analyzed television news, newspaper and online photographs. Based on the sample of 410 articles on poverty, collected between the 14th and 28th of October 2010 and 2011, this paper critically analyses the medias representation of poverty within Serbian society through methods of content analysis, critical discourse studies, and the use of semiotic approahes to images. Analysis of the structure of discourse shows that the visual representation of the poor in Serbian society is highly simplified, stereotyped and is seperated from the wider societal context of poverty. It is rather reduced to bits and pieces of media images, which do not properly indicate the seriousnes of the problem of poverty making it difficult for mass audiences to identify with.
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