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Glazba u vrijeme pandemije Covid-19 - uloga streaming platformi
No full textKulturno-kreativni sektor drastično je i dugoročno ekonomski pogođen uslijed krize prouzrokovane pandemijom bolesti Covid-19. Kriza je pritom iznjedrila i problem neodrživosti načina financiranja zasnovanog na projektnom tipu rada te nužnosti stvaranja održivog modela ulaganja u sektor. Digitalizacijom kulturno-umjetničkih sadržaja kultura bi postala dostupna široj populaciji, no i u toj se sferi nailazi na poteškoće. Glazbena je industrija također snažno pogođena pandemijom, a najveći je ekonomski pad doživjela zbog nemogućnosti koncertne aktivnosti. Velik pad doživjeli su i prihodi od autorskih prava te prihodi vezani uz sektor oglašavanja. Glazbene organizacije diljem svijeta razvile su mehanizme za ublažavanje ekonomskih posljedica pandemije, no navedeni mehanizmi samo usporavaju dugoročne učinke krize. Streaming platforme doživljavaju snažan razvoj u posljednjih nekoliko godina, a dolaskom pandemije taj se napredak znatno ubrzao. Utjecaj takvih platformi na glazbenu umjetnost tijekom pandemije bez sumnje je vrlo značajan budući da sve više glazbenika proširuje svoj utjecaj plasirajući svoje izvedbe putem novih digitalnih medija. Ta je digitalna mogućnost suvremenog društva glazbenicima osigurala egzistenciju, a njihovoj publici zabavu, interakciju te estetsko iskustvo u sigurnosti vlastitog doma.The cultural and creative sector has been drastically and long-term economically affected by the Covid-19 pandemic crisis. The crisis also raised the problem of unsustainability of the financing methods based on the project type of work and the necessity to create a sustainable model of investment in this sector. Digitization of cultural and artistic content would make culture accessible to a wider population, but even in this area difficulties are found. The music industry was also hit hard by the pandemic and experienced the biggest economic downturn due to the impossibility of concert activity. Revenues from copyrights and revenues related to the advertising sector also fell greatly. Music organizations around the world have developed mechanisms to soothe the economic consequences of the pandemic, but these mechanisms are only slowing down the long-term effects of the crisis. Streaming platforms have experienced strong development in recent years, and with the arrival of the pandemic that progress was considerably accelerated. The impact of these platforms on music art during a pandemic is undoubtedly very significant as more and more musicians expands their influence by placing their performances through new digital media. This digital possibility of modern society has provided musicians with a livelihood, and their public with entertainment, interaction and an aesthetic experience in the security of their own home
Actor, character, role: Work on the play: Romance of Three Loves"
No full textPre mijera predstave Romanca o tri ljubavi , djelo je hrvatskog književnika Antuna Šoljana, u režiji Roberta Raponje, premijerno izvedena 10. ožujka, 2022. godine u Gradskom kazalištu Požega, u suradnji s Akademijom za umjetnost i kulturu u Osijeku. Rad na ovoj predstavi bio je dio praktičnoga dijela diplomskoga ispita Marijina Kuzmičića, studenta diplomskoga sveučilišnog studija glume. U ovome diplomskom radu Glumac, lik, uloga: rad na predstavi Romanca o tri ljubavi , Kuzmičić se dotiče svih faza procesa rada n a predstavi od početnih faza čitaćih proba, dramaturške analize teksta do rada na samoj ulozi. U istraživačkome procesu dotiče se povijesnih okolnosti drame, žanrovskih određenja djela i cjelokupnoga kreativnog procesa rada na ulozi i elementima koji su po mogli u njenoj izgradnji. Opisuje kojim se sredstvima služio u svome radu na povjerenoj ulozi Kapelana, izazovima s kojima se susretao i znanjem koje je stekao s naglaskom na spoznajne trenutke glumačkoga scenskog djelovanja. Dotiče se procesa proba iz bil ješki koje je zapisivao u dnevnika umjetničkoga zapažanja koji je vodio tijekom svih proba. Rad na predstavi počeo je u listopadu 2021. godine te se u tom razdoblju do premijere u ožujku 2022. godine, otvarala mogućnost pozornoga, posvećenog, strpljivog i koncentriranog rada na izgradnji ove predstave i samih uloga. Uz Marijina Kuzmičića igrali su Katica Šubarić, Anabela Sulić i Matko Trnčić.The premiere play Romanca o tri ljubavi , the work of the Croatian writer Antun Šoljan, directed by Robert Raponja, premiered on March 10, 2022. at the Gradsko kazalište Požega in cooperation with the Academy of Arts and Culture in Osijek. The work on this play was part of the practical p art of the graduate exam of Marijin Kuzmičić, a graduate student of the University of Acting. In this diploma thesis, Actor, character, role: work on the play Romance o tri ljubavi, Kuzmičić touches on all phases of the work process on the play, from the i nitial stages of rehearsals, dramaturgical analysis of the text to work on the role itself. Through part of the research process, he touches on the historical circumstances of drama, genre definitions of the work and the overall creative process of working on the roles and elements that helped build it. He describes the means he used in his work on the entrusted role of the Chaplain, the challenges he encountered and the knowledge he gained with an emphasis on the cognitive moments of the acting scene. He t ouches on the process of rehearsals from the notes he wrote in the diary of artistic observation, which he guided throughout the rehearsal process. Work on the play began in October 2021, and during that time until the premiere in March 2022, the possibili ty of attentive, dedicated, patient and concentrated work on the construction of this play and the roles themselves opened up. Katica Šubarić, Anabela Sulić and Matko Trnčić played with Marijin Kuzmičić
Breaking of media's ethical codexes and regulations on Croatia's internet portals
No full textSlika današnjega suvremenog i globaliziranog svijeta i društva dobrim dijelom ovisi o medijima i novinarima koji bi morali odgovorno provoditi svoj posao i dužnost! Novinarska etika usmjerava navedenu odgovornost prema moralno prihvatljivom i kvalitetnom profesionalnom djelovanju svakog novinara. Diljem svijeta brojna novinarska društva i medijske organizacije, donijeli su i vrlo često donose svoje nove kodekse i pravila, kako bi mogli zadovoljiti potrebe publike. Sasvim je jasno, kako u tom duhu novinari svoj posao i dalje moraju obavljati profesionalno i moralno. Bez obzira na to, velik broj domaćih, ali i svjetskih medija sve više „zagađuje“ medijski prostor temama koje su nevažne i neprovjerene. Tu se vrlo često javlja problem nepoštivanja novinarske etike, a samim tim dolazi i do narušavanja i profesionalnosti struke. U drugom dijelu ovoga rada, promatrano je nepoštivanje medijske etičnosti na internetskim dnevno-informativnim portalima u Hrvatskoj. U sklopu toga, izneseni su odabrani primjeri iz kojih je vidljivo nepoštivanje i kršenje medijske, odnosno novinarske etike. Ovdje govorimo i o pitanju profesionalnosti na koje je reagiralo i istodobno prijavilo Hrvatsko novinarsko društvo (HND), kao krovna organizacija hrvatskoga novinarstva. Cilj je ovoga završnoga rada, ukazati na važnost poštivanja i definiranja etičkih načela rada novinara. Također, cilj mu je ukazati na promicanja profesionalnog novinarskog djelovanja. Svakako, u ovome je završnome radu ukazano i na nepoštivanje i kršenje novinarske djelatnosti. Nažalost, svjedoci smo u svakodnevnom konzumiranju različitih medija, kako je kršenje sve prisutnije. Ovaj će završni rad svoju konačnu realizaciju dobiti kroz pregled dostupne građe. Nadalje, iz navedenih primjera će se definirati i prepoznato neetičnost kodeksa i propisa u objavama internetskih portala. Završni se rad vrlo jasno i često oslanja na primjere iz prakse, koje je kao neetične istaknulo i Hrvatsko novinarsko društvo (HND). Osnovni cilj cjelokupnoga završnoga rada, svakako je uočavanje elemenata koji ukazuju na nepoštivanje i kršenje novinarske etike. Kao posljedica toga javlja se i pad razine profesionalnog standarda. I na kraju, kao osnovni problem javlja se nedovoljna informiranost krajnjeg korisnika informacije, bez obzira je li to čitatelj, slušatelj ili gledatelj. Potpuno je jasno kako je u ovom Radu najveći naglasak stavljen na konzumente internetskih portala. Kako je Internet kao medij sveprisutan u pružanju informacija, često vrlo mladim, a ponekad i malodobnim osobama, nužno je svijest o njegovom konzumiranju staviti na vrlo visoku razinu. Kako bismo odgojili odgovornog konzumenta informacija s internetskih portala, nužno je u sve uključiti roditelje, odgajatelje i sve relevantne dionike šire zajednice. To je jedini ispravni i pravi put kojim se dobiva zrelog korisnika.The image of today’s contemporary and globalized world and society largely depends on the media and journalists, who are expected to responsibly carry out their work and duties. Journalistic etiquette steers the aforementioned towards morally acceptable and quality professional conduct. Around the world, numerous journalistic societies and media organizations have been adapting their codices and rules so that they can meet the needs of the audience. Therefore, journalists are also expected to carry out their duties accordingly. Regardless, various domestic and international media is increasingly “contaminating” the media space with trivial subjects, frequently defying professional etiquette. In the second part of this paper, non-compliance with media ethics on internet news portals in Croatia was observed. Within this framework, select examples of non-compliance and violations of media or journalistic ethics and professionalism were provided. The examples were registered and reported by the Croatian Journalists’ Association (HND) which is the umbrella organization of Croatian journalism. The aim of this paper is to indicate the importance of respecting and defining ethical principles and promoting professional journalistic conduct, as well as to shed a light on surging journalistic misconduct. It will be obtained by reviewing seminal literature and examples in which the disobedience of codices and regulations is clearly recognized in the postings of internet portals. Furthermore, the paper is often based on examples which were deemed as unethical by the Croatian Journalists’ Association. The main goal of the paper is examining the elements signaling deviations from journalistic etiquette, ultimately resulting in a decline of professional standards. Lastly, the main problem arises due to misinformed media consumers. This paper predominantly highlights the perspective of online media consumers. The prevalence of the internet in the spreading of information necessitates the awareness of all consumers. The only way of raising an aware consumer is through the inclusion of parents, guardians, and all other relevant figures throughout society
Culture and dance - professional dancers in the cultural and creative industries
No full textU ovom završnom radu 'Kultura i ples – profesionalni plesači u kulturnim i kreativnim industrijama' objasnit će se značenje pojmova kulture, plesa, značaja i vaţnost plesa u kontekstu razvoja civilizacije, te vaţnost plesa kao umjetničke i kulturološke komponente civilizacije. Glavna tema ovog završnog rada je iskustvo profesionalnih plesača u kulturnim i kreativnim industrijama, te uz metodu provedbe dubinskog intervjua i analize istoga, proći će se sve potrebne definicije i obrazloţenja raznih vrsta plesova, povijesti plesa, izvedbene umjetnosti, kulturne i kreativne industrije i drugih. Budući da je završni rad na hrvatskom jeziku i proveden je na hrvatskom sveučilištu takoĎer će većina ispitanika biti hrvatski graĎani ili profesionalni plesači koji rade u hrvatskoj plesnoj industriji, uz poneke strane individualce i individualce koji rade u drugim europskim drţavama. Cilj ovog završnog rada je pojasniti navedene teme, te pribliţiti i razumjeti radne uvjete i odnose, uz sama mišljenja ispitanika o profesionalnom plesu u kulturnoj i kreativnoj industriji. Način ispunjenja cilja tj. provoĎenja metodoloških okvira je kroz dubinski intervju s profesionalnim plesačima u kojima su oni podijelili svoja iskustva. Dobiveni rezultati istraţivanja proširili su vidike o plesnom svijetu, prikazali su stvarnost izvedbenog i plesnog svijeta, ukazali su na probleme izvedbene umjetnosti i odnosa plesača i poslodavaca u Hrvatskoj, a i u svijetu, te su ukazali i na njihovu ljubav prema plesu i umjetnosti.n this final paper 'Culture and dance - professional dancers in the cultural and creative industries', the meaning of culture, dance, significance and importance of dance in the context of the development of civilization will be explained, as well as the importance of dance as an artistic and cultural component of civilization. The main topic of this thesis is the experience of professional dancers in the cultural and creative industries, and along with the method of conducting an in-depth interview and analysis of the same, all necessary definitions and explanations of various types of dances, history of dance, performing arts, cultural and creative industries and others will be covered. Since the final thesis is in the Croatian language and was conducted at a Croatian university, the majority of respondents will also be Croatian citizens or professional dancers working in the Croatian dance industry, with some foreign individuals and individuals working in other parts of Europe. The goal of this final paper is to clarify the mentioned topics, and to bring closer and understand working conditions and relationships, along with the respondents' opinions about professional dance in the cultural and creative industry. The way to fulfill the goal, i.e. to implement the methodological framework, is through an in-depth interview with professional dancers in which they shared their experiences. The obtained research results broadened the horizons of the dance world, showed the reality of the performance and dance world, pointed out the problems of performance art and the relationship between dancers and employers in Croatia and in the world, and also pointed out their love for dance and art
Online tools in public relations
No full textModernizacija i sve brži razvoj tehnologije i društvenih medija doveli su do promjene načina rada u području odnosa s javnošću. Kako su odnosi s javnošću neizostavni u uspješnom poslovanju svakog poduzetnika, oni su se uzajamno morali poboljšavati i mijenjati kako bi u svakom području ponudili ono što se od njih traži. Značaj odnosa s javnošću primjećuje se od njegove prve pojave 90-ih godina sve do danas. Ovaj rad temelji se na istraživanju različitih načina rada odnosa s javnošću, ovisno o novome mediju u kojemu se pojavljuju. Tako se uspoređuje utjecaj i način rada PR stručnjaka te maksimizacije njihove djelatnosti u različitim novim medijima poput Facebooka, Instagrama, LinkendIna te mnogih drugih. Prvi dio rada opisuje teorijski okvir koji definira pojam odnosa s javnošću te razvoj novih medija i društvenih mreža. Drugi dio rada odnosi se na studiju slučaja koja se bavi analizom korištenja online alata brenda Dove te se u zaključku sintetiziraju interpretirani rezultati.Modernization and the increasingly rapid development of technology and social media have led to a change in the way of working in the field of public relations. As public relations are indispensable in the successful business of any entrepreneur, they had to improve and change each other in order to offer what is required of them in each area. The importance of public relations has been observed since their first appearance in the 90s of the last century until today. The work is based on the research of different ways of working with the public, depending on the new medium in which they appear. Thus, the influence and way of working of PR experts are compared and the maximization of their activity in different new media such as Facebook, Instagram, LinkedIn and many others. The first part of the paper describes the theoretical framework that defines the concept of public relations and the development of new media and social networks. The second part of the paper refers to a case study that deals with the analysis of the use of online tools of the Dove brand, and the interpreted results are synthesized in the conclusion
The lead struggle for the maintenance of puppetry, faith in the puppet and its existence (the path of directing procedures through the play 2Lead soldier")
No full textPredstava „Olovni vojnik“ JU Pozorišta mladih Sarajevo u Sarajevu diplomska je predstava studenta Marija Drmaća na Diplomskom studiju lutkarske režije pod mentorstvom doc. art. Tamare Kučinović. U predstavi igraju Mirza Dervišić, Ajla Cabrera, Elma Ahmetović, Belma Lizde-Kurt, Sanin Milavić, Alma Merunka, Anita Kajasa-Memović te Dino Sarija. U ovom pismenom radu student opisuje proces rada na predstavi, fokusirajući se na posao redatelja, koji je ujedno i autor adaptacije zajedno s dramaturginjom Džejnom Hodžić, nastale prema motivima bajke „Hrabri olovni vojnik“ H. C. Andersena. Opisuje način odabira suradnika i rad sa svakim od njih (dramaturgom, kreatorom lutaka i tehnologom, scenografom, glazbenikom i glumcima). Vraća nas u svoje najranije djetinjstvo i upoznaje sa svojim prvim kazališnim iskustvima, s odlaskom iz rodnog grada Mostara na studij glume pri Akademiji scenskih umjetnosti u Sarajevu, sa svojom stalnom borbom za održivost lutkarske scene koja se sustavno zapušta, kao i s odlukom da upiše studij Lutkarske režije u Osijeku. Zaključuje kako je za redateljski posao, kao i za svaki drugi posao umjetnika, potrebna vjera i borba s vječitim promjenama u zemlji. Jedino ustrajnom borbom, voljom, strpljenjem i učenjem dolazimo do svojega cilja.The theater play “Tin Soldier” of the Youth Theater of Sarajevo in Sarajevo is the graduation performance of student Mario Drmać at the graduate study of Puppetry directing under the mentorship of Assistant Professor Art. Tamara Kučinović. Actors in the play are Mirza Dervišić, Ajla Cabrera, Elma Ahmetović, Belma Lizde-Kurt, Sanin Milavić, Alma Merunka, Anita Kajasa- Memović and Dino Sarija. In this written work, the student describes the process of working on the play based on the work of the director who is also the author of the adaptation, together with playwright Džejna Hodžić, based on the fairy tale “The Brave Tin Soldier” by H. C. Andersen. He describes the method of selecting collaborators and working with each of them (playwright, puppet maker and technologist, scenographer, musician and actors). He takes us back to his earliest childhood and introduces us to his first encounters with the theater, his departure from his hometown of Mostar to the study of acting at the Academy of Performing Arts in Sarajevo, and his constant struggle for the sustainability of the neglected puppetry scene, as well as his decision to enrol in Puppetry directing studies in Osijek. He concludes that the director's job, as for all other artists' work, requires faith and struggle with eternal changes in the country. Only through persistent struggle, will, patience and learning can we reach our goal
New media: Do we trust influencers?
No full textRad opisuje promjene u novim medijima te pojavu i razvoj društvenih mreža: primarno Instagrama te trenutno najbrže rastuće društvene mreže Tik Tok. Razvojem društvenih mreža došlo je i do pojave tzv. influencera – utjecajnih osoba koje promoviraju proizvode velikih brendova i prate ih tisuće, čak i milijuni ljudi na društvenim mrežama. Influenceri su prisutni gotovo u svim područjima – od mode, kozmetike, fitnessa pa sve do majčinstva, kuhanja i područja videoigri. Utjecajne osobe dijele se prema broju pratitelja, vrsti sadržaja koju objavljuju te platformama na kojima plasiraju svoj sadržaj, a svaka od kategorija detaljno je opisana u radu. Opisan je i povijesni razvoj influencera po čemu se da zaključiti kako su oni, u nekom obliku, postojali još i prije pojave društvenih mreža samo se nisu tako nazivali. U istraživačkom dijelu komparativnom metodom uspoređena su dva istraživanja: iz 2019. i iz 2022. godine u kojima je bio cilj, prema odgovorima na ista pitanja, utvrditi koliko su se stavovi glede praćenja influencera i povjerenja u sadržaj koji plasiraju mijenjala. Već sada je primjetno blago zasićenje tržišta, unatoč njihovoj sveprisutnosti i velikoj ulozi u kreiranju javnog mnijenja kao i trendova koje prepoznaju i prate milijuni ljudi. Glavno pitanje ovog rada također je i što će biti s influencerima u budućnosti, oko čega su mišljenja i dalje uvelike podijeljena, ali jedno je sigurno – još dugo će biti sveprisutni na društvenim mrežama i u svim oblicima novih medija. Povjerenje publike je najteže dostižna, ali i najvažnija stvar u tom, sad već prihvaćenom full-time zanimanju. U radu se govori i o promjenama u novim medijima pa je tako zaključeno kako se kroz godine sve više smanjuje broj ispitanika koji nikada ne čitaju papirnati oblik medija, isključivo elektronički.The paper describes the changes in new media and the development of social media: primarily Instagram and the currently fastest growing social network - Tik Tok. The development of social media led to the development of the so-called influencers - influential people who promote products of big brands and are followed by thousands, even millions of people on social networks. Influencers are present in almost all areas – from fashion, cosmetics, and fitness to motherhood, cooking, and the field of video games.Influential people are divided according to the number of followers, the type of content they publish, and the platforms on which they market their content, and each of the categories is described in the paper. The historical development of influencers is also described, by which we can conclude that they, in some form, existed even before social networks, but they just weren't called influencers. In the research part, two studies were compared using the comparative method: 2019 and 2022, in which the goal was, according to the answers to the same questions, to determine how much the attitudes regarding influencer monitoring and trust in the content that is being marketed have changed. It is already noticeable that the market is slightly saturated, despite their ubiquity and great role in creating public opinion as well as trends that are recognized and followed by millions of people. The main question of this paper also researches what will happen to the influences in the future, about which opinions are still largely divided, but one thing is certain - they will continue their popular work in all forms of new media for a long time. However, the audience's trust is still the most difficult achievable, yet the most important thing in influencing – which is now fully accepted as a full-time job. Also, the paper talks about changes in new media, so it was concluded that the number of people who never read paper forms of media, only electronic ones, is decreasing more and more throughout years
Grotesque in painting - artistic expression and cultural echo
No full textU ovom radu govorit će se o groteski i njezinom utjecaju na svijet i umjetnost i o tome koje osjećaje budi u ljudima dok je gledaju. Specifičnije, pričat će se o povijesti groteske, odakle je došla, kako se širila i mijenjala svoje značenje. Cilj rada je objasniti grotesknu umjetnost općenito i njezino prikazivanje u slikarstvu, književnosti i arhitekturi. Spomenut će se i važan umjetnik groteske Francisco Goya, jedan od najvažnijih umjetnika u Španjolskoj, koji je inspirirao i puno drugih umjetnika. Opisat će se njegov život, karijera i mračno razdoblje u kojem je najviše slikao uznemirujuće sadržaje. Ući će se u detalje o svakoj njegovoj slici iz tog razdoblja. Uz njega, govorit će se i o dva druga umjetnika, Francisu Baconu i Zdzisławu Beksińskom, također važnim umjetnicima ovoga smjera. Pred kraj, spominjat će se utjecaj groteske i estetike ružnoga na svijet te kako je ona prikazana u današnjem svijetu.The topic of this paper will be the grotesque and its influence on the world and art, and what kind of feelings it evokes in people when they look at it. More specifically, we will talk about the history of the grotesque, where it came from and how it spread and changed its meaning. The aim of the paper is to explain grotesque art in general and its presentation in painting, literature and architecture. An important grotesque artist, Francisco Goya, who was one of the most important artists in Spain and inspired many other artists, will also be mentioned. His life, career and the dark period in which he painted the most disturbing content will be explained, and each of his paintings from that period will be talked about in detail. Along with him, two other artists, Francis Bacon and Zdislaw Beksins, who were also important for this direction, will be discussed. Towards the end, the influence of the grotesque and the aesthetics of the ugly on the world and how it is depicted in today's world will be mentioned
Work on the play: "White Clown"
No full textBijeli klaun prvi se put pojavljuje u komediji dell'arte u 16. stoljeću te se javlja kao lik Pierrota. Pierrot sa sobom nosi osjećaj tuge i naivnost te razočaranosti u ljubav. U 19. stoljeću Jean-Louis Barrault postupno je metamorfozirao Pierrota u omekšanu i sentimentalnu osobnost iako ga je i dalje prikazivao kao tradicionalnog klauna zaljubljenog u ljubav. Pierrot je ranije bio odjeven u preširoku odjeću s komično dugim rukavima, velikim ovratnikom i šeširom širokog oboda. Ideja Pierrota kao bijelog i emotivnog klauna inspiracija je mnogim umjetnicima, pa tako i Damiru Milošu. Rad na predstavi Bijeli klaun bio je iznimno emotivan, poučan i poseban proces upravo zato što je bio moje prvo ostvarenje u profesionalnom kazalištu kao mlade lutkarske redateljice. Poput Bijelog klauna, i ja sam u tom procesu tražila svoje boje i upoznavala boje svojih kolega i suradnika. Svačiju drugačijost iskoristili smo na najljepši način, dajući posebnu nijansu ovoj predstavi. „Najveći trenutci kazališne aktivnosti događaju se kada se nijedan od sastavnih elemenata drama, glumci, redatelji, scenski efekti, zgrada, ne nadmeću oko prvenstva, ili kada su natjerali jedni druge u ravnotežu.”13. Upravo kako kaže Ronald Harwood, pokušali smo naći taj balans, tu ravnotežu i obojati predstavu našim bojama i našim drugačijostima.The first appearance of the White Clown has its origin in the commedia dell'arte in the 16th century and he appears as the character Pierrot. Pierrot carries with him a sense of sadness and naivety, and disappointment in love. In the 19th century, Jean-Louis Barrault, a French mime gradually metamorphosed Pierrot into a softened and sentimental personality although he still portrayed him as a traditional clown in love. Pierrot was previously dressed in baggy clothes with comically long sleeves, a large collar, and a wide-brimmed hat. The idea of Pierrot as a white and emotional clown is an inspiration to many artists, including Damir Miloš. Working on the play „The white clown” was an extremely emotional, instructive and special process precisely because it was my first achievement in a professional theater as a young puppeteer director. Like the White Clown, I was looking for my colors in the process, as well as getting to know the colors of my colleagues and associates. We used everyone's differences in the most beautiful way, giving a special nuance in this play. „The greatest moments of theatrical activity occur when none of the constituent elements of the drama, actors, directors, stage effects, buildings, compete for primacy, or when they have forced each other into balance.” Exactly as Ronald Harwood says, we tried to find that balance, that balance and paint the show with our colors and our differences
Potentials of development of digital economy - Osijek as a regional center of IT industry
No full textPojam „ekonomija“ odnosi se na načine prilikom kojih se društvo služi ograničenim resursima kako bi uspjelo proizvesti dobra i usluge za pojedince. Taj pojam je danas puno opširniji pa obuhvaća i „kreativnu ekonomiju“ i „internetsku ekonomiju“. Kod kreativne ekonomije naglasak je na iskorištavanju potencijala ljudskog uma i ljudskog kapitala, a ne prirodnih resursa i industrijskih čimbenika. Moderno doba interneta uvelike je utjecalo na ekonomiju i pomoću procesa digitalizacije transformiralo ju je u ono što je danas u kontekstu „četvrte industrijske revolucije“ poznato kao „digitalna ekonomija“, odnosno potpuno novi oblik ekonomije koji se u poslovanju sada služi modernim digitalnim tehnologijama. Digitalna ekonomija svakako ne bi postojala bez razvijenog IT sektora industrije, koji čine sva infrastruktura i komponente modernog računalstva. Upravo je hrvatska IT industrija, preciznije, IT industrija grada Osijeka, uz ranije spomenutu digitalnu ekonomiju unutar osječkih IT tvrtki, predmet istraživanja ovog diplomskog rada.The term "economy" refers to the ways in which society uses limited resources to successfully produce goods and services for individuals. Today, this term is much broader and includes both the "creative economy" and the "internet economy". In the creative economy, the emphasis is on exploiting the potential of the human mind and human capital, rather than natural resources and industrial factors. The modern era of the Internet has greatly influenced the economy and, through the process of digitalization, transformed it into what is known today in the context of the "fourth industrial revolution" as the "digital economy", i.e. a completely new form of economy that now uses modern digital technologies in its business. The digital economy would certainly not exist without a developed IT sector of the industry, which consists of all the infrastructure and components of modern computing. The IT industry of Croatia, more precisely, the IT industry of the city of Osijek, along with the previously mentioned digital economy within Osijek's IT companies, is the subject of research in this master thesis