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Work on the role of Peter in the play "Unusual Friend"
No full textRad na ulozi Petra u predstavi Neobičan prijatelj naslov je diplomskog rada Tonija Leakovića pod mentorstvom izv.prof.artD. Maje Lučić i sumentorstvomumj. sur. Petra Eldana na Akademiji za umjetnost i kulturu, na odsjeku za kazališnu umjetnost, smjer gluma i lutkarstvo. Predstava je nastala u produkciji Hrvatskog kazališta Pečuh, režiji Maje Lučić i premijerno je izvedena 7. travnja 2022. godine. U ovom pismenom radu student opisuje proces rada na predstavi, s naglaskom na stavak Rad na ulozi Petra u kojemu analizira svoj rad na ulozi i objašnjava svoje procese i razmišljanja. U ostalim stavcima obuhvaćeni su podatci o autoru i tekstu, te o vanjskim elementima predstave; scenografiji te stolnim lutkama. Na kraju rada nalazi se životopis studenta.“Work on the role of Petar in the play Neobičan prijatelj“ is the tittle of the graduation thesis of Toni Leaković under the mentorship of Associate Professor of Arts, Dr. Maja Lučić and the co-mentorship of artistic collaborator Petar Eldan at the Academy of arts and culture in the acting and puppetry section of the department of theatre arts. The play was produced by the Croatian theatre in Pecs, directed by Maja Lučić and premiered on the 7th of April 2022. In this written thesis the student describes the process of working on the play with an emphasis on the paragraph „Rad na ulozi Petra“ in which he analyses and explains his work on the role and the process of it's creation. In the remaining paragraphs he goes over information on the author and the text and on the external elements of the play; the stage props and table puppets. At the end of the thesis is the biography of the student
Extremely dramatic drama-the role of the character and the character of the role
No full textDiplomska predstava Nikole Radoša Izuzetno dramatična drama nastala je prema dramskom tekstu Mateja Sudarića i u režiji Marijana Josipovića. Četveročlani ansambl publici je predstavio praizvedbu kazališnog komada u srpnju 2022. godine. U ovom radu opisuje se proces stvaranja uloge Henrika – čovjeka koji shvati da je lik u predstavi. Navigirajući kroz metakazališne zakonitosti, autor rada pobliže objašnjava sistematizaciju lika i uloge kroz kazališni žargon. Analizira odnose među likovima, ali i partnerske odnose glumaca koji su morali biti ostvareni kako bi se sadržaj prenio publici. Navode se i objašnjavaju ostali elementi predstave: režija, scenografija, kostimografija, svjetlo, glazba. Predstavljaju se glavne teme komada – metakazališnost, egzistencijalizam i pitanje osobne slobode. Na kraju autor daje svoj zaključak o procesu i važnosti poruke predstave.Nikola Radoš’s graduate play An Exceptionally Dramatic Drama was written by Matej Sudarić and directed by Marijan Josipović. The four-member ensemble presented the first performance of the theater piece to the audience in July 2022. This paper describes the process of creating the role of Henrik - a man who realizes that he is a character in a play. Navigating through metatheatrical laws, the author of the paper explains in detail the systematization of a character and a role through theatrical jargon. He analyzes the relationships between the characters, but also the partnerships of the actors that had to be realized in order to convey the content to the audience. Other elements of the play are listed and explained: direction, scenography, costume design, lighting, music. The main themes of the play are presented - metatheatre, existentialism and the question of personal freedom. At the end, the author gives his conclusion about the process and the significance of the play's message
New media genres and prosumes: moms as bloggers and influencers
No full textStalna okruženost medijima i društvenim mrežama dovodi u pitanje brojne informacije koje su nam digitalno servirane. Ovaj rad bavi se pojavom medija, načinom na koji su se isti razvijali te društvenim mrežama s kojima se skoro svi susreću. Iako su utjecajne osobe oduvijek postojale, pojavom društvenih mreža njihov je broj ubrzo i porastao te ih je danas moguće pronaći u svim područjima života. Prisutnost influencera na društvenim mrežama donosi brojne negativne i pozitivne stvari, a u ovom je radu analiziran i prikazan način na koji djeluje posebna vrsta influencerica – majke influencerice. Analizom njihovih profila na društvenoj mreži Instagram u razdoblju od sedam dana ustanovljeno je nekoliko kategorija kojima se majke influenerice bave, a to su odgoj, obitelj, djeca, promocija, putovanja, dječja oprema, Q&A i ostalo. U ovom su istraživanju analizirani sljedeći profili: una.bridged, tanjahrvatin.simicic, strollerica, slavica.de.jong, sladanagrzincic, influ_mama_doris, supermama.sonja i iwaiva. Kvalitativnom analizom sadržaja definiran je koncept Instagram djelovanja majki influencerica, analizirani su elementi i sadržaj njihovih profila kao i načini na koje djeluju i promoviraju kategorije koje se tiču majčinstva i obiteljskog načina života na Instagramu. U istraživanju je zaključeno da su profili pretežno aktivni na storijima na kojima su kategorije kojima se bave puno opširnije i bogatije sadržajem nego objave. Zaključno, majke na Instagramu jako su korisne, posebice svim majkama ili onima koje će to tek postati. Sadržaj koji nude zajedno s informacijama i savjetima pozitivan su sadržaj koji se plasira na društvenim medijima te je njihovo djelovanje važno za zainteresiranu skupinu ljudi koja ih prati.Constantly surrounded by media and social networks calls into question a lot of information that is served to us digitally. This paper deals with the emergence of the media, the way in which they developed and the social networks that we have all come across. Although influential people have always existed, with the advent of social networks their number has grown rapidly and today we can find them in all areas of life. The presence of influencers on social networks brings numerous negative and positive things, and this paper analyzes and shows the way in which a special type of influencer works - mother influencer. Analysis of their profiles on the Instagram social network over a period of seven days revealed several categories that influencer mothers deal with, namely upbringing, family, children, promotion, travel, children's equipment, Q&A and others. The following profiles were analyzed in this research: una.bridged, tanjahrvatin.simicic, strollerica, slavica.de.jong, sladanagrzincic, influ_mama_doris, supermama.sonja and iwaiva. Qualitative content analysis defined the concept of influencer mothers' Instagram activities, analyzed the elements and content of their profiles, as well as the ways in which they act and promote categories related to motherhood and family lifestyle on Instagram. The research concluded that profiles are predominantly active on stories where the categories they deal with are much more extensive and richer in content than posts. We can conclude that mothers on Instagram are very useful, especially for all mothers or those who will become one. The content they offer together with information and advice is positive content that is marketed on social media and their actions are important to the interested group of people who follow them
Gender equality in sports reporting in Croatian media - a case study of handball championships
No full textMediji i zaposleni u medijima imaju veliku odgovornost zbog svojeg utjecaja na današnje društvo. Kada dođe do stereotipa i uzroka rodne diskriminacije u sportu, njihova je uloga - između ostalog - poticati i ostvariti rodno ravnopravne standarde. Mediji imaju značajnu ulogu i odgovornost kada dolazi do borbe protiv rodnih stereotipa i prikazivanja sportašica.Media and those employed in that area have a great responsability, because of their impact on today's society through media, when it comes to stereotypes and cause of gender discrimination in sport. Encourage and achieve gender neutral standards. Media have an significant role when it comes to battle of gender stereotypes and showing women atheletes in the media
Pornographic representation of women in Croatian daily newspapers
No full textKroz praćenje razvoja masovnih medija može se vidjeti i promjena stajališta publike te razvoj, prilagodba i utjecaj demokracije. Od početka je žena u medijima prikazivana kao „kućna pomoćnica“ i podređena muškarcu, no tijekom vremena mu počinje parirati i zauzimati više mjesta u medijima (televizija, radio, tisak...). Cilj ovoga rada je proučiti može li se doista reći da je žena zastupljena u dnevnim novinama isto ili barem slično kao što su to muškarci ili to ipak nije tako. Kroz razdoblje od mjesec dana proučavanja dvije vrste dnevnih novina (24 sata i Jutarnjeg lista) došlo se do zaključka da se, unatoč tome što smo kao društvo na dobrom putu prema ravnopravnosti spolova, i dalje uočava dosta velika razlika u zastupljenosti muškaraca i žena u dnevnom tisku. Muškarcima je rezervirano mjesto na stranicama predviđenima za važnije vijesti dana, dok su žene dominantnije u rubrici showbizz.By monitoring the development of the mass media, one can see the change in the audience's point of view, the development, adaptation and influence of democracy. From the beginning, when a woman was portrayed in the media as a "housekeeper" and subordinate to a man, until the time when she began to compete with him and occupy more places in the media (television, radio, press...). The aim of this paper is to study whether it can really be said that women represented in daily newspapers the same or at least similar to men or is it just a dead letter on paper. Through a period of one month of studying two types of daily newspapers (24 sata and Jutarnji list), we came to the conclusion that despite the fact that we as a society are on the right path towards gender equality, there is still quite a big difference in the representation of men and women in the daily press. Men are reserved for the pages intended for the more important news of the day, while women are more dominant in the showbizz section
Analysis of non-financial reporting in the Republic of Croatia: A case study
No full textNefinancijsko je izvještavanje proces objavljivanja i pripreme nefinancijskih informacija o učinkovitosti poduzeća u pogledu okoliša i društvene odgovornosti. Polazi od mjerenja fizičkih pokazatelja učinkovitosti poduzeća u navedenim područjima, ali uključuje i njihovu financijsku kvantifikaciju mjerenjem, primjerice, troškova okoliša, ulaganjem u programe obuke i usavršavanje radnika i dr. Za razliku od financijskog izvještavanja, nefinancijsko izvještavanje nije strogo uređeno već je preporuka da ga se uskladi s odabranim međunarodnim smjernicama ili standardima. U radu se teorijski obrađuje pojam nefinancijskog izvještavanja, njegove važnosti, prednosti, direktive i smjernice te povezanost nefinancijskog izvještavanja i održivog razvoja. Nadalje, naglasak se stavlja na nefinancijsko izvještavanje u Republici Hrvatskoj (RH) pri čemu se analiziraju nefinancijska izvješća četiriju poduzeća koja posluju na području RH u 2020. godini. Cilj i svrha završnoga rada je objasniti što je to nefinancijsko izvještavanje, koja je njegova važnost te provesti studije slučaja na primjeru poduzeća koje provode nefinancijsko izvještavanje.Non-financial reporting is the process of publishing and preparing non-financial information about the company's efficiency in terms of environmental and social responsibility. It starts from the measurement of the physical indicators of the company's efficiency in the mentioned areas, but also includes their financial quantification through the measurement of, for example, environmental costs, investments in training and development programs for workers, etc. Unlike financial reporting, non-financial reporting is not strictly regulated, but rather a recommendation to align it with selected international guidelines or standards. The paper deals theoretically with the concept of non-financial reporting and its importance and advantages, directives and guidelines and connection between non-financial reporting and sustainable development. Furthermore, emphasis is placed on non-financial reporting in the Republic of Croatia, whereby the non-financial reports of four companies operating in the Republic of Croatia in 2020 are analyzed. The aim and purpose of the final paper is to explain what non-financial reporting is, what is its importance, and to conduct case studies based on examples of companies that practice nonfinancial reporting
Kulturana potrošnja na primjeru kupovine knjiga studenata Sveučilišta J. J. Strossmayera u Osijeku
No full textKulturna potrošnja važan je pokazatelj kulturne aktivnosti pojedinca koji ovisi o čimbenicima poput spola, dobi, socioekonomskog statusa i stupnja obrazovanja. Razni su njezini teorijski principi pa tako predstavlja kupovinu kulturnih materijalnih dobara, konzumiranje glazbe ili filmova te posjećivanje kulturnih događaja. Kultura utječe na čovjeka od njegove najranije dobi, a ostvaruje se kulturnom participacijom i kulturnim kapitalom koje najčešće roditelji prenose na djecu. Jedno je od sredstava izgradnje čovjekovog identiteta i knjiga, čija kulturna potrošnja sve više postaje predmet brojnih istraživanja u postmodernističkom sustavu. Suvremena kulturna potrošnja na primjeru knjiga uvelike ovisi o kvalitetno organiziranom nakladništvu i odgovarajućem marketingu. S obzirom na pojavu i razvoj digitalne tehnologije, navedena dva pojma dobivaju posve novu vrijednost, prilagođenu mlađim generacijama koje provode svoje slobodno vrijeme na internetu, što utječe i na trenutno stanje kulture čitanja u Republici Hrvatskoj koja je unazad nekoliko godina u blagom padu. Uz nekoliko opisanih provedenih istraživanja kulturne potrošnje kod mladih, ali i ostalih generacija, u okviru je rada provedeno istraživanje kupovine knjiga nad studentima Sveučilišta Josipa Jurja Strossmayera u Osijeku s ciljem utvrđivanja u kolikoj se mjeri ostvaruje kulturna potrošnja knjiga kao jednih od sve manje privlačnih kulturnih resursa mladim, a time čak i visokoobrazovanim ljudima. Provedeno je anketno istraživanje obuhvatilo uzorak od 200 slučajno izabranih ispitanika različitih socio-demografskih karakteristika. Dobiveni su rezultati potvrdili, ali i opovrgnuli neke od ključnih hipoteza suvremenog društva vezanih uz kulturne preferencije i kulturnu potrošnju studenata na primjeru njihove kupovine knjiga.Cultural consumption is an important indicator of an individual's cultural activity that depends on factors such as gender, age, socioeconomic status and level of education. Its theoretical principles are diverse, so it represents the purchase of cultural material goods, consuming music or movies and attending cultural events. Culture influences a person from his earliest age, and is realized through cultural participation and cultural capital, which is most often passed on by parents to their children. It is one of the means of building human identity and books, whose cultural consumption is increasingly the subject of numerous researches in the postmodern system. Contemporary cultural spending on the example of books largely depends on well-organized publishing and proper marketing. Given the emergence and development of digital technology, these two concepts are gaining a completely new value, adapted to younger generations who spend their free time online, which affects the current state of reading culture in Croatia, which has been declining for several years. In addition to several described researches of cultural consumption among young people, but also other generations, the research conducted the purchase of books on students of Josip Juraj Strossmayer University in Osijek in order to determine the extent to which cultural consumption of books as one of the less attractive cultural resources young, and thus even highly educated people. The conducted survey included a sample of 200 randomly selected respondents of different socio-demographic characteristics. The obtained results confirmed, but also refuted some of the key hypotheses of modern society related to cultural preferences and cultural consumption of students on the example of their purchase of books
The Role of Photography in the Promotion of an Opera Vocal Artist on the Example of Maria Callas and the Photographer Errio Piccagliani
No full textU ovom diplomskom radu naglasak je stavljen na fotografiju. Na vizualno, ono što prvo oko sebe uočavamo i s čim se najlakše poistovjećujemo. Fotografiraju svi, pogotovo danas, kad smo svi zarobljeni u medijskom prostoru kao ni jedna generacija prije nas. Fotografi su uglavnom nevidljivi, nečujni, ne guraju se u prvi plan. Važno je samo koju poruku će poslati, koliko će slika biti viđena i upamćena. Dok su druge vrste umjetnosti naklonjene određenim vrstama ljudi, fotografija se nudi svima. Ne kaže se slučajno da slika govori više od tisuću riječi. Erio Piccagliani svojom je vizijom operne umjetnosti prenio u domove širom svijeta djeliće atmosfere koja se mogla osjetiti u velebnom i povijesno uvijek važnom opernom Teatru alla Scala, tom divnom i veličanstvenom hramu glazbe, pokreta i glasa. Kroz njegov su objektiv mnogi ljudi spoznali i osjetili kakav je moćan i veličanstven trenutak kada sopranistica poput Marije Callas pusti svoj glas da se bori i suočava s emocijama, da taj glas ispriča priču koje nas razoružava, puni i hrabri, tjera na suze i smijeh. Tijekom svoje tridesetogodišnje karijere u Scali, uslikao je toliko života koji se odigrao na pozornici i izvan nje, toliko su njegove fotografije priča ispričale da mu moramo biti vječno zahvalni. Mogli bismo reći da mu je Maria Callas bila muza, La Divina u pravom smislu te riječi. Pratio je čitav njezin razvoj - prvo je bila Maria pa La Callas da bi ostala upamćena kao La Divina. Pratio je njezinu fizičku transformaciju u kojoj se iz krupne priproste djevojke preobrazila u novu Audrey Hepburn, slatku i krhku ženu koja u toj svojoj krhkosti krije veliku moć i seksepil. Bilježio je sve promjene koje su se događale i s vremenom i s prostorom, baš kao i promjene samih aktera, samih umjetnika. Svaka umjetnost prirodno teži promjenama, baš kao i stalnom vraćanju istome. Glavni rezultat rada je prikaz operne vokalne umjetnice i umjetničkih fotografija fotografa Erija Piccaglianija, koje svjedoče o djelovanju umjetnice te služe u promociji iste u vremenskom razdoblju od 1950. do 1960. Dubinski intervju s redateljem Giancarlom del Monacom potvrđuje hipoteze postavljene u radu. Metoda analize jedna je od glavnih metoda istraživanja, uz induktivnu i deduktivnu metodu, metodu analize i sinteze, komparativnu metoda, metodu dokazivanja i opovrgavanja te metodu intervjuiranja.In this thesis, the emphasis is on the picture. On the visual, what we first notice around us and what we most easily identify with. Everyone takes photos, especially today, when we are all trapped in the media space like no generation before us. Photographers are mostly invisible and do not push themselves to the forefront. All that matters is what message it will send, how many images will be seen and remembered. While other types of art favor certain types of people, photography is offered to everyone. It is no coincidence that a picture speaks more than a thousand words. One single photograph, for the one who knows how to look, tells the whole story, reveals to him hidden worlds about which he knew nothing before. With his vision of opera, Erio Piccagliani brought to homes around the world fragments of the atmosphere that could be felt in the magnificent and historically important opera house Teatro alla Scala, this wonderful and magnificent temple of music, movement and voice. Through his lens, many people have come to know and feel what a powerful and magnificent moment it is when a soprano like Maria Callas lets her voice fight and face emotions, that voice tells a story that disarms us, fills and encourages, brings tears and laughter. During his thirty-year career at La Scala, he painted so many lives that took place on and off the stage, so many of his pictures of stories told that we must be eternally grateful to him. We could say that Maria Callas was his muse, La divina in the true sense of the word. He followed Maria-La Callas-La Divina entire development. He followed her physical transformation in which she transformed from a big simple girl into a new Audrey Hepburn, a sweet and fragile woman who hides great power and sex appeal in her fragility. He recorded all the changes that took place with time and space, as well as the changes of the actors themselves, the artists themselves. Every art naturally strives for change, just like a constant return to it. The main result of the work is the presentation work of the opera vocal artist and artistic photographs of the photographer Erio Piccagliani, which testify to the artist's work and serve in its promotion, in the period from 1950 to 1960. An in-depth interview with director Giancarlo del Monaco confirms the hypotheses set out in the paper. The method of analysis is one of the main research methods, along with the inductive and deductive methods, the method of analysis and synthesis, the comparative method, the method of proving and refuting, and the method of interviewing
Music and folklore in Gradište and Županja then and now
No full textFolklor i glazba koja se veže uz njega sastavni su dio tradicije koja je važna u stvaranju nacionalnog identiteta jednog naroda. Da se ona ne bi izgubila, bitno je istraživati i čuvati tradicijsku građu. Upravo tome je i posvećen ovaj završni rad. Sam naziv rada govori da će se on usmjeriti na folklor i glazbu dvaju mjesta – Gradišta, odakle je i autorica rada, i Županje. Kroz osam poglavlja, prikazana su najvažnija obilježja dvaju mjesta. Na početku je objašnjen sam pojam folklora, nakon čega slijedi prikaz njegovih segmenata: glazbe, tradicijske odjeće, bećarcaca.. Predstavljena su i mjesta o kojima se radi te skupine i udruge koje se bave folklornim aktivnostima.Folklore and the music associated with it are part of a tradition that is very important for creating national identity of Croatian people. In order for it not to be lost, it is important to research and preserve traditional structure. This final paper is dedicater exactly to that. The very title of the work says that it is directed to folklore and the music of two places – Gradište, from wich the author comes, and Županja. Through the eight chapters, the most important folklore characteristics of the two places are shown. At the very beginning, the concept of the folklore is explained, followed by a presentation of its segments: music, traditional clothing, „bećarci“.. The mentioned places are also presented, as well as groups engaged in folklore activities
Banksy, street art and social values
No full textU ovom radu istražiti ćemo umjetnost grafita, njihove korijene, tehnike, materijale i slično. Biti će prikazane dvije strane grafita, ona koju publika smatra vandalizmom i ona koju ista ta publika počinje smatrati umjetnošću. Ukratko ćemo objasniti široku definiciju ove umjetnosti, njezine grane, te događaje koji su trajno promijenili uličnu umjetnost. U radu će biti razjašnjeno tko je publika u ovoj umjetnosti, te koje se poruke prenose putem grafitne umjetnosti istoj toj publici. Govoriti ćemo o poziciji ulične umjetnosti u kulturi, te položaju grafita kao umjetnosti u kulturi danas. Također, dotaći ćemo se problematike odnosa umjetnosti grafita s dominantnom estetikom i politikom, uz koje vežemo i sustave vrijednosti koji variraju od estetike do estetike. Na kraju razjasniti ćemo pitanje mogu li grafiti i ulična umjetnost postati visoka umjetnost.In this paper we will explore the art of graffiti, its roots, techniques, materials and the like. Two sides of graffiti will be shown, the one that the audience considers vandalism and the one that the same audience begins to consider art. We will briefly explain the broad definition of this art, its branches, and the events that permanently changed street art. The paper will clarify who the audience is in this art, and what messages are conveyed through graffiti art to the same audience. We will talk about the position of street art in culture, and the position of graffiti as art in culture today. Also, we will touch on the issue of the relationship between graffiti art and dominant aesthetics and politics, to which we also associate value systems that vary from aesthetic to aesthetic. Finally, we will clarify the question of whether graffiti and street art can become high art