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The paper critically assesses, from a legal point of view, one neglected aspect of artistic freedom of expression - the freedom of cinematographic speech. The most important sources and concepts of cinema law are presented and defined - far more precise than in the Serbian Cinematography Act. Authors have stressed out critical shortcomings of the current legal system of cinematography law in Serbia - such as the need to expand the subject of this law to all audiovisual arts. Furthermore, the authors point to the necessity of extending the circle of the authors of the movie on the director of photography, the chief editor, and dramatists; as well as the need for better protection of morals and other issues of public interest in Serbian society in the case they are offended by the movie's content. Finally, there is an unresolved issue of the status of the national film festival that needs to be regulated in future Audio-Visual Creativity Act.
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MIKSER, Redakcijska grupa ULUS-a: ULUS je mrtav, živeo ULUS!; ŠTRAFTA, Aleksandra Sekulić: Kakav je vazduh tamo gore?; ZID, Oliver Ressler: Okupljanje oko olupine; ANTI CEMENT, Nenad Vujić: Ni Ljudi Ni Muzike – imaginacija u štrajku
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VREME SMRTI I RAZONODE, Geza Antal: Mičov ples; MIXER, Biljana Andonovska: Mali avangardni časopis koji bi se zvao časopis; CEMENT, Mirnes Sokolović: Visoke peći neutralnosti
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MIXER, Gjorgje Bozhoviq: Potkrovljenje srpske balvan-garde; antiCEMENT, Aleksandar Pavlović: Morfologija srpske bajke; ARMATURA, Dinko Gruhonjić: Postoji li medijska alternativa u Srbiji?; VREME SMRTI I RAZONODE, Alen Alenijevič Elijevsky: Prvi put s ocem na liniju
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MIXER, Branislav Jakovljević: A gde su dečaci?; CEMENT, Irena Javorski: Stiže nova govedina!; ARMATURA, Zoran Janić: Projekcija na horizontu; VREME SMRTI I RAZONODE, Predrag Lucić: Sen patrijarha; BULEVAR ZVEZDA, Pavić Siniša; BLOK BR. V, Kosmoplovci: To je tako divno
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Povodom izložbe „Kraljevski namesnici (1934–1941)“ Pre skoro mesec dana u Domu narodne skupštine je otvorena izložba „Kraljevski namesnici (1934– 1941)“. Iako je proteklo izvesno vreme od otvaranja izložbe, a za ovu temu sam veoma zainteresovan, nije bilo umesno da o izložbi pišem pre nego što je posetim – što sam tek nedavno i učinio, pa otuda i ovaj relativno zakasneli izveštaj.
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The academic discipline of the history of religions is intrinsically interdisciplinary, and perhaps in a position to contribute particularly useful insights to the dialogue across academic boundaries. This essay is intended to present a very thin slice of cultural responses to our contemporary condition, and to suggest a few possible resources for analysis of them.
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Ovo nije tekst o Koroni. Ali jeste o apokalipsi. Dobro, po svemu, koliko god da se ovdašnji režim trudi da nam utera strah u kosti, daleko je Kovid 19 od slika totalnog uništenja iz Jovanovog otkrivenja. Pa onda Korona u prvoj rečenici stoji tek kao mamac za čitaoca. Kao da ne može ni o čemu drugom da se ovih dana piše ili čita, izuzev o Koroni. Hajde ipak da probamo. Uskrs nam je povod da prikažemo novi strip Alfreda Castella i Corrada Roija – „Apokalipsa. Knjiga otkrivenja svetog Jovana“.
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Bauk kruži Evropom (i čitavim svetom, kad smo već kod toga)–bauk korone. Sve sile stare Evrope (i sveta, naravno) sjedinile su se u svêtu hajku protiv tog bauka, to jest virusa Kovid 19. Ovde možemo stati. Stariji čitalac, recimo nastavnik, odmah je prepoznao referencu na „Manifest komunističke partije“, revolucionarno štivo iz druge polovine 19. veka, autora Karla Marxa i Friedricha Engelsa. U fokusu mlađeg čitaoca, recimo srednjoškolca, ostaće pak aktuelni virus i globalna panika u koju je potonula planeta. Drugim rečima, srednjoškolac bi uvodne rečenice mogao čitati kao opis zbivanja u svetu danas, i ne bi pogrešio, iako bi to čitanje ostalo lišeno njihovog pamfletskog predloška. Pođimo od epidemije, a stići ćemo i do manifesta.
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MIKSER, Natalija Cerović: Umetnički paviljon „Cvijeta Zuzorić“ i Udruženje likovnih umetnika Srbije – juče, danas, sutra; ŠTRAFTA, Jelena Vesić: Iz karantina s ljubavlju – Homeworks Sanje Iveković, VREME SMRTI I RAZONODE, Radivoj Šajtinac: Kovid maska zabrađena balada; ZID, Sanja Iveković: HOMEWORKS; IN MEMORIAM, Borka Pavičević
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MIKSER, Jelena Veljić i Emil Kovač: Liberalni kult smrti – sloboda da se mre; ŠTRAFTA, Anke Vandereet: No Name Kitchen u susretu sa antimigrantskim trendom u Šidu Nevena N.: Dajte nam azilante – evo vam žandarmerija; ARMATURA, Sonja Sajzor: Položaj trans populacije u klasnoj borbi; ZID, Zoe Gudović: Jukebox
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MIKSER, Gabriela Mihalič:Da li umetnost i dalje postoji?; ŠTRAFTA, Zoe Gudović: Učenje po Zedu!; ARMATURA, Anke Vandereet: Deportovana iz Srbije zbog pomaganja ljudima; ZID, Aleksandra Sekulić: Slike koje se slušaju: Black Market
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ŠTRAFTA, Mirjana Boba Stojadinović: Otuđeni spektakl; CEMENT, Jovan Jović: Lorens generala Lera; ARMATURA, Jelena Veljić: Obavezna vakcinacija – pod hitno; ZID, Hamlet u dvorištu Centra za kulturnu dekontaminaciju; VREME SMRTI I RAZONODE; Vladimir Milojković: Površina od nevidljivih neprijatelja kuda idu
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MIKSER, Galina Maksimović: Linglong – lanac (ne)odgovornosti; CEMENT, Dejan Vasić: Fino poliranje; ŠTRAFTA, Aleksandra Sekulić: Na barikadama – o Festivalu autorskog filma 2021; ZID, Bojana Knežević: „A Queen of Montenegro – Guslarske minijature“ 2018–2021
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MIKSER, Aleksandra Sekulić: Hvatač snova u vozu iz Kijeva; ŠTRAFTA, Zorana Simić: Dve muške knjige; ARMATURA, Nikola Gajić: Osmomartovska dešavanjau Jugoslaviji; ZID, Goran Đorđević: Sećanja na jednog Mondrijana
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MIKSER, Tara Rukeci: 9. festival dokumentarnog filma „Da nam živi, živi rad“; ŠTRAFTA, Aleksandra Sekulić: Mrsite rese! – o filmu „Duga resa“ Dragana Protića Prote; VREME SMRTI I RAZONODE, Vladimir Milojković: Sudbina jednog Vladimira; BLOK BR. V, Radovan Popović: Evropa; ZID, Sekundarna arhiva
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Common trends of Balkan painting as basic cultural locus of old Byzantine culture influenced Medieval iconographic models of wall-painting heritage of Christian temples in Tarnovo and its region dating from XV – XVIII century. Iconography was developed and enriched by symbolic images and interpretations of motives and events fundamental in Christian philosophy, Bible and hymnography. Artistic tradition of Christianity, strongly apparent in theocentric compositions of church vaults of that period revealed the ideas of Protoimage of God and its realization in cognizable world.
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In the second half of the 17th century a Boka-Kotorska icon painting school was formed. Despite its popularity, extensive research and publications have been made on representative personalities. In the museum of the medieval town of Dubrovnik today there are 35 icons belonging to the Boka-Kotor School. The amount of works attributed to the artistic range of the school is not exhausted. In the first decades of the eighteenth century icons appeared in the most elite and high-paying commercial territories, churches and monasteries, which are post-Byzantine. Even in stylistic terms, as I have already said, they have nothing to do with the old masterpieces of the Dubrovnik masters. The first distinctive feature is that the models and models of iconography that will be used in the work of this school are of post-Byzantine origin. For example, the composition “Deisis”, which is strongly represented in the work of some generations of masters, is indicative. Of course, Western prototypes, decorative elements characteristic of Baroque painting, are coming into the art of later periods. The Tryavna iconographic school, despite its individual characteristics, also follows the traces of naivetry and the shaping of shapes. Undoubtedly, there are long distances, distant centres developing independently of each other. But, on the other hand, the boundaries of art come closer, even cross, especially when it comes to religious-popular ideas and the progression of visual rhythm and reflection of creative consciousness. The present study is devoted to these issues and a comparative analysis of various inscriptions and stylistic features.
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The beginning of the publication of Novine Horvatzke (January 6, 1835) and its weekly literary supplement Danicza Horvatzka, Slavonzka y Dalmatinzka (whose owner and official editor was Ljudevit Gaj) marked the entry into the most intensive phase of the Croatian national revival. It coincided with the stronger efforts of the Hungarians to limit Croatian autonomy with the imposition of the Hungarian language, and with intense competition between the Hungarian and Croatian honorati in agrarian and commercial affairs. These circumstances encouraged the involvement of Croatian noble-men and wealthier citizens in the revival movement. At the beginning of the movement, there were two social programmes. One of them was a conservative program based on Drašković’s Disertatia, which foresaw a gradual modification of the feudal system with the aim of preserving it. The second, barely known to the public at first, was a bourgeois-liberal programme to abolish the feudal system while preserving the economic strength of the nobility. At first, it was mainly advocated by the citizenry, and by 1848 it was at least partially accepted by the nobility.
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