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Transmedia project "Puppet and me"
No full textTema rada bila je lutkarstvo kao umjetnost koja je stara kao i teatar, ako ne i starija, mada je neki teoretičari vide kao dio teatra. U radu se kroz transmedijski projekt koji je obuhvatio scenarij za film, teorijsku obradu lutkarstva kao umjetnosti i predmeta znanstvenog proučavanja, internet podcaste o lutkarstvu i web stranice, željelo pokazati koliko je ta umjetnost zapostavljena, posebno pojavom novih medija kao što su film i televizija. Uz to namjera je bila razjasniti stereotip kako je lutkarstvo namijenjeno samo djeci. Podaci za rad su prikupljeni preko osobnog iskustva studentice koja se bavila lutkarstvom, izrađivala lutke i bila animator i glumac u lutkarskim produkcijama, kao i preko stručne literature čiji su izvor knjige i internet. Rezultat istraživanja je doveo do zaključka da je lutkarstvo ozbiljna i složena umjetnost prisutna od davnina u svim dijelovima svijeta i u svim civilizacijama bez obzira je li sadržajem produkcije namijenjena djeci ili odraslima. Zaključno je istaknuto da je lutkarstvo kao umjetnost i lutkarska produkcija izvedena pred publikom na pozornici, lutkarskom teatru ili drugom okruženju, rijetka suvremena umjetnost koja nastaje kao stvarni rezultat ljudskog rada od početka, pa do kraja bez tehnološko-informatičke pomoći koja stvara lažnu stvarnost. Preporuka koju je za lutkarstvo dala studentica je daljnje poticanje ljudi da se vrate lutkarstvu, posebno odraslih, te djeci u razvojnom procesu kao način druženja i otklona od opčinjenosti suvremenim medijima (internet, društvene mreže) kao i pomoć u odgoju i obrazovanju.The topic of the paper is puppetry as an art that is as old as theatre, if not older, although some theorists see it as an integral part of theatre. Through a transmedia project that included a film script, a theoretical treatment of puppetry as an art and a subject of scientific study, Internet podcasts about puppetry and websites, the aim of the paper was to show how neglected this art has become, especially as new media such as film and television emerged. On top of that, the intention was to offer another view beyond the stereotype that puppetry is intended only for children. The data for the work were collected through personal experience of the student who was engaged in puppetry, who made puppets, who worked as an animator and actor in puppet productions, as well as from academic literature relying on books and the Internet as a source of information. The results of such research led to the conclusion that puppetry is a serious and very complex art that has been present since ancient times in all parts of the planet and in all ancient and new civilizations, regardless of whether the content of the production is intended for children or adults. In the conclusion it is pointed out that puppetry as an art, and puppet production performed in front of an audience on a stage, a puppet theatre or in some other environment, is a rare contemporary art that is created as a real result of human work from the very beginning to the end, with no technological or IT tools that create a false reality. The recommendation given by the author regarding puppetry is to further encourage people to return to puppetry, especially for adults, and for children in various development stages, as a way to socialize and to move away from the fascination with modern technical gadgets, as well as to provide support in the spheres of education and health
Pripremni, scenaristički i redateljski rad na kratkometražnom igranom filmu "Guska i Jarac"
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Pripremni, scenaristički i redateljski rad na kratkometražnom igranom filmu „Sama u vodi“
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Pripremni, scenaristički i redateljski rad na kratkometražnom igranom filmu „Etape“
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The Mediterranean as a Constituent Element in Building Literary and Film Space in Slobodan Novak and Ante Babaja's Opus
No full textSlobodan Novak (1924—2016), a Croatian prose writer, novelist and essayist, in his works he created one of the most important oeuvres of recent Croatian literature. Recognizable writing, exceptional style, polished sentences, rhythmic syntax, devastating irony, pungent humour, modernist orientation, existential pondering, reflections on identity, memorable characters, wondrous imagination, Mediterranean symbolism has been meticulously built over almost 70 years of creation. Ante Babaja (1927—2010) is one of the most respected Croatian film directors, and like Novak, the author of a small but anthological artistic biography. With Novak, among other things, he shares an adherence to the modernist approach, fragmentation of exposure, structure of the work that is carefully thought out, a masterful performance, a unique combination of poetics, psychology, irony and philosophy, and his oeuvre gives the impression of coherence and thoughtfulness rare in Croatian film history. This paper will examine the Mediterranean component of some works of these two great Croatian artists, and with the focus on Novak’s novels Gold, Frankincense and Myrrh and Lost Homeland as well as Babaja’s film adaptations of these novels, it will explore the way in which the Mediterranean spirit merges into their literary and cinematic work as its constituent element, and participates in the shaping of man, space and time at all levels, from structural, symbolic, ideological, existential, identity, linguistic to poetic, narrative and the level of film language
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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