scholarly journals Liberalization and Development of the Media in Communist Croatia in the 1960s and Early 1970s

2015 ◽  
Vol 24 (2) ◽  
pp. 239-258 ◽  
Author(s):  
Josip Mihaljević ◽  
Keyword(s):  
Author(s):  
Michael Ahmed

This paper re-evaluates the significance of Sir Curtis Seretse, a black character from the 1960s television series Department S (ITV 1969-70) which has largely been ignored. While earlier critical and academic discourse of Department S has primarily centred on the flamboyant Jason King, the importance of Seretse’s character has been overlooked. Seretse, as the head of Department S, is in a position of authority and power over the other (white) characters of the show. Furthermore, he represents a highly educated character that converses on equal terms with Prime Ministers and Presidents, a unique representation of a black character on British television at that time. Seretse’s appearance on prime time television, at a period when black performers in the media were invariably confined to little more than token characters, is therefore worthy of further attention. This paper examines how Seretse represents a different type of black character not previously seen on British television, when compared to the representations of racial problems on other television crime dramas.


2021 ◽  
Vol 66 (1) ◽  
pp. 93-117
Author(s):  
Christian Henrich-Franke

Abstract The second half of the 20th century is commonly considered to be a time in which German companies lost their innovative strength, while promising new technologies presented an enormous potential for innovation in the US. The fact that German companies were quite successful in the production of medium data technology and had considerable influence on the development of electronic data processing was neglected by business and media historians alike until now. The article analyses the Siemag Feinmechanische Werke (Eiserfeld) as one of the most important producers of the predecessors to said medium data technologies in the 1950s and 1960s. Two transformation processes regarding the media – from mechanic to semiconductor and from semiconductor to all-electronic technology – are highlighted in particular. It poses the question of how and why a middling family enterprise such as Siemag was able to rise to being the leading provider for medium data processing office computers despite lacking expertise in the field of electrical engineering while also facing difficult location conditions. The article shows that Siemag successfully turned from its roots in heavy industry towards the production of innovative high technology devices. This development stems from the company’s strategic decisions. As long as their products were not mass-produced, a medium-sized family business like Siemag could hold its own on the market through clever decision-making which relied on flexible specialization, targeted license and patent cooperation as well as innovative products, even in the face of adverse conditions. Only in the second half of the 1960s, as profit margins dropped due to increasing sales figures and office machines had finally transformed into office computers, Siemag was forced to enter cooperation with Philips in order to broaden its spectrum and merge the production site in Eiserfeld into a larger business complex.


Author(s):  
Angela de Castro Gomes

The first decades of the 21st century brought back to the international arena a family of terms well known in Latin America to designate both styles of politics and the leaders who embodied them: populism and populists. Brazil is seen as a paradigmatic example of this type of experience, called “classic populism,” for two periods of its history, corresponding to its process of transition from a “traditional” society to a “modern” economy and society. The first period ran from the 1930 revolution until 1945, with the fall of the Estado Novo and the removal of its “leader,” Getúlio Vargas. The latter period covered the 1950s, “the golden years of populism,” since, despite the socioeconomic development achieved, democracy did not manage to establish itself in the country. The populist interpretation of this period of Brazilian history was formulated and shared by academia, essentially after the 1964 coup, and was dominant in the 1960s and 1970s. However, it extended these frontiers, using the language of the media, political conflicts, and the common sense of Brazilians. Widely used, the concepts of populism and populist were conflated with the events and characters they name, only being critiqued in the 1980s and 1990s. Since then, the number of scholars seeking other references has grown, whether redrafting the meanings of the original proposal, the case of the “populist political system,” or abandoning it completely, in the example of the “trabalhista pact.” In this dense debate, one constant can be observed: in Brazil populism became a “category of accusation,” translating negative values present in the “other” to whom one is referring. Although many academic studies do not use this pejorative tone, it is so consolidated in Brazilian politics that it has become part of the political culture of parties and trade unions, circulating widely.


2005 ◽  
pp. 9-69
Author(s):  
Borislav Mikulic

On the basis of selected examples of average lay as well as professional and theoretical discourses on the media phenomenon and the very notion of media, the author seeks to identify moments conducive to constructing a model for media analysis of a social-theoretical bent, and both structural-semiotic and substantive-critical in character. The analysis refers to the media in both the strict (technological) and the expanded (semiological) meaning of the term - as technical devices and semiotic objects, such as discourses of ideology, science and literature. In the first section (I. 1-3), almost entirely devoted to Marshall McLuhan?s brief and legendary text ?The Medium Is the Message?, his basic thesis is put under a discursive-logical analysis of the text and reverted into the seemingly diametrically opposed form, ?The Message Is the Medium?, whose further interpretive possibilities are then explored. In the second section (II. 1-3) McLuhan?s ?integral? approach to media analysis, as a particular theory (communication theory), is examined by placing it in the discursive context along with the ?End of Ideology? thesis from the 1960s and instances of humanistic-scientific discourse on non-technological media forms (hermeneutic theories of perception, psychoanalysis of narrative strategies in fictional discourses). The aim of the discussion is to relocate the phenomenon of conceptual regression (whether substantive, cultural, or ideological) in discourses presupposing absolute innovativeness and progressiveness of their media form. The result of the inquiry shows that regressive ness lies in the ?progressive? media form itself, that is, in the very conceptions (theories, ideologies) of the form.


2019 ◽  
Vol 11 (2) ◽  
pp. 136-160
Author(s):  
Alexey V. Antoshin ◽  
Dmitry L. Strovsky

The article analyzes the features of Soviet emigration and repatriation in the second half of the 1960s through the early 1970s, when for the first time after a long period of time, and as a result of political agreements between the USSR and the USA, hundreds of thousands of Soviet Jews were able to leave the Soviet Union for good and settle in the United States and Israel. Our attention is focused not only on the history of this issue and the overall political situation of that time, but mainly on the peculiarities of this issue coverage by the leading American printed media. The reference to the media as the main empirical source of this study allows not only perceiving the topic of emigration and repatriation in more detail, but also seeing the regularities of the political ‘face’ of the American press of that time. This study enables us to expand the usual framework of knowledge of emigration against the background of its historical and cultural development in the 20th century.


Author(s):  
Roy Foster

Oxford University Press, with a long tradition of publishing scholarly books on English literature, canonical authors, and anthologies of poetry, did not introduce a contemporary poetry list until the 1960s. Under the direction of Jon Stallworthy, himself a noted poet, and with the support of the Delegates, the Press developed a vibrant list that included the work of poets from Britain, Ireland, America, Australia, and New Zealand, as well as English poetic translations of European titles. Despite its critical success the poetry list was not profitable, and, facing serious financial constraints across the business, the Finance Committee decided to discontinue the list in 1998. The chapter discusses the financial considerations behind the decision, the heated debate it provoked both within the University and in the media, and the lasting impact of the controversy on the Press.


2013 ◽  
Vol 38 (3) ◽  
pp. 18-29
Author(s):  
Mela Dávila Freire

Half a century after the 1960s, commonly considered to have been the period when artists’ publications expanded and consolidated, this genre seems to be experiencing a new ‘golden age’. In recent years, the number of books and printed matter produced by artists has grown exponentially, and so has the interest in them demonstrated by exhibition curators, public and private collectors, and even the media. The contemporary art scene in Spain is not immune to this phenomenon. On the contrary, over the last decade, artists’ publishing has undergone an explosion in quantity, quality and impact with no precedents in Spanish art history. The causes for such an explosion and its main traits are explored here, focusing on a number of significant examples and protagonists. Relevant sources of information documenting its course are offered, both online and in print.


2021 ◽  
Author(s):  
◽  
William Liell Carter

<p>In the period 1966-1974 there were at least forty independent, low-budget feature films made in the United States about motorcycle gangs. These films were inspired by media coverage of the notorious exploits of actual gangs in the post-War period. They depict bikers as violent libertines who live non-conformist lives and engage frequently in anti-social behaviour. The films are marked by motorcycle 'runs,' wild parties, brawls, and sexual violence. While the biker film has received some critical attention, it has not been analysed to the same extent as that more reputable and better known genre of the same period, the road movie. This thesis will expand on existing research by initially examining the factors that shaped the biker film, such as the media panic about real gangs, the influence of the counterculture, exploitation filmmaking, and New Hollywood cinema. The project will also investigate the narrative features of the genre, and link this analysis to debates around post-classical narration. Finally, the thesis will interpret the representation of gender in the biker film. This thesis will argue that the biker film should be situated within a continuum of male-oriented genres that involve violent spectacle. It will also make a contribution to the ongoing research on New Hollywood cinema.</p>


2020 ◽  
pp. 402-422
Author(s):  
A. S. Stoletova

Based on the archival sources first introduced into the scientific community, the article highlights the question of the material well-being of Soviet citizens in estimates of the mass consciousness of the 1960s and 1980s. Within the framework of the problems, the well-being of citizens, which are the drivers of the socio-economic development of the state, are considered. In addition, the mental side of the processes is affected. The question is raised of social stratification, the beginning of the formation of a new structure of society as the realities of the second half of the 20th century. It is noted that in the public environment, vigilant monitoring of the excessive enrichment of persons in leadership positions was conducted. Based on the analysis of the material database of the Russian State Archive of Recent History, the author concludes that the trend of the time was the increase in the number of illegal acquisitions in three areas: housing, motor transport, personal household plots. A problem related to modernization processes in the spiritual sphere of life in Soviet society is raised. It is shown that there were changes in the behavioral stereotypes of social classes in the development of the right to use socialist property in this area, in relation to things and the desire for a comfortable life in society. It is concluded that the global consequence of these phenomena is the affirmation of private property morality.


2018 ◽  
Vol 1 (1) ◽  
pp. 24
Author(s):  
Arif Rahman Bramantya

AbstractRatnaningsih dormitory is a female student dormitory founded by UGM Women's Family Association (PWK UGM) with a capacity of 90 peoples in the 1960s. At that time, Ratnaningsih dormitory was very helpful for the students as a result of large amount of the students studying at UGM. Through the organization of the Family of Ratnaningsih Female Student Dormitory (KAMPR), various activities are recorded and documented. Along the time, KAMPR began to fade away and disperse, so the archives was not maintained and it’s almost lost. One of the saved collection of KAMPR refers to organization's photographs archive. In archival management, the photographs archive included in audiovisual form and it’s required a contextual approach to be descripted in accordance with international standards. Specifically, this study explains the importance of archives for human life and historical consciousness of the students about KAMPR activities through the students learning process of photographs archive management as a non credits practice. The process of digitilalization becomes an important part in the maintain and preservation of photographs archive. Eventually, (virtual) exhibitions is one of the media socialization as an educational tool that can increase public conciousnes in the era of information technology. IntisariAsrama Ratnaningsih adalah asrama mahasiswa putri yang didirikan oleh Persatuan Wanita Keluarga UGM (PWK UGM) dengan kapasitas 90 orang di tahun 1960an. Pada saat itu, asrama Ratnaningsih sangat membantu para mahasiswa sebagai akibat dari banyaknya mahasiswa yang belajar di UGM. Melalui organisasi Keluarga Asrama Mahasiswa Ratnaningsih (KAMPR), berbagai kegiatan organisasi direkam dan didokumentasikan. Dengan berjalannya waktu, KAMPR mulai memudar dan membubarkan diri, oleh karena itu arsipnya tidak terawat dan hampir hilang. Salah satu koleksi KAMPR yang tersimpan mengacu pada arsip foto organisasi. Dalam pengelolaan arsip, arsip foto termasuk dalam bentuk audiovisual dan diperlukan pendekatan kontekstual untuk dapat diseskripsi sesuai dengan standar internasional. Secara khusus, penelitian ini menjelaskan pentingnya arsip bagi kehidupan manusia dan kesadaran sejarah tentang kegiatan KAMPR melalui proses pembelajaran mahasiswa dalam pengelolaan arsip foto sebagai bentuk praktik non SKS. Proses digitalisasi menjadi bagian penting dalam pemeliharaan dan pelestarian arsip foto. Pada akhirnya, pameran (virtual) merupakan salah satu media sosialisasi sebagai alat edukasi yang dapat meningkatkan kesadaran masyarakat di era teknologi informasi. 


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