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Recent Submissions

Now showing 1 - 5 of 8
  • Publication
    The role of art in German cultural diplomacy : an analysis of the festival of German films in Melbourne, Australia
    [Meno vaidmuo Vokietijos kultūrinėje diplomatijoje : vokiečių filmų festivalio Melburne (Australijoje) atvejis]
    research article
    Herrschner, Irina
    Media transformations, 2015, vol. 11, p. 124-141
    In Germany, cultural diplomacy, or auswartige Kulturpolitik, is seen to provide the option for a creative and less inhibited self-representation than other forms of diplomacy (G. Schneider, 2010; Schulte, 2000). A unique ‘German model of cultural diplomacy’ has emerged during the 20th century describing the mandate of one entire branch of foreign policy to independent non-government organizations, the largest of which is the Goethe-Institut (GI) (Michels, 2005; Singer, 2003). The GI is responsible for the cultural representation of Germany abroad, and follows the aim to ‘represent an authentic and varied picture of contemporary Germany’ (Denscheilmann, 2010). The GI understands film as a particularly useful medium to engage in a Kulturaustausch (cultural exchange) and organizes German Film Festivals and screenings around the world (Mosig, 2008, 2011). The GI thus engages in contemporary cinematic diplomacy, a concept that has so far evaded academic scrutiny. Different to a traditional understanding of cultural diplomacy, cinematic diplomacy highlights global commonalities and engages in an international dialogue (Fussl, 2004). This paper adds to the concept of cinematic diplomacy and highlights the opportunities that film provides in creating a reflective and productive intercultural dialogue. Through an analysis of the largest of the almost 150 Festivals of German films organized by the GI, which is held annually in Sydney and Melbourne, Australia, I highlight the importance of culture for German foreign politics. I argue that cultural diplomacy in general, and cinematic diplomacy in particular, can help establishing a picture of contemporary Germany that is less dependent on stereotypes formed during and post-WWII. Thus allowing for a crucial process for establishing egalitarian and constructive international communication (Cull, 2010; Harvey, 2005; C. P. Schneider, 2009).
      526  395
  • Publication
    Public libraries as a venue for cultural participation in the eyes of the visitors
    [Viešosios bibliotekos kaip kultūrinio dalyvavimo erdvės lankytojų akimis]
    research article
    Pöldaas, Mai
    Media transformations, 2015, vol. 11, p. 106-122
    The results of the study about the understandings of public library visitors as audience of one cultural institution are presented. 15 semi-structured interviews were conducted for data collection. Interview schedule followed the main missions of the public library by IFLA/UNESCO Public Library Manifesto (1994), which were adjusted for the current study: free and equal access to information and knowledge; availability of and access to various media; community engagement and activities; learning and lifelong learning possibilities. The data was analysed and interpreted, using the constructivist grounded theory developed by Charmaz (2006). Four distinguishable characteristics are found, in which the visitors’ understandings seem to be grounded: library as a cultured place; library as place to socialize; library as place; library – service in transition. The visitors’ expectations for public library roles are most associated with books, reading and providing access to literature. The idea of the public library as a venue for everyone in the community seems to be in its early stage.
      213  116
  • Publication
    Motivations for participating in museums’ interventions
    [Dalyvavimo muziejų priemonėse motyvacijos]
    research article
    Aljas, Agnes
    Media transformations, 2015, vol. 11, p. 84-105
    The article examines what motivates people to participate in a cultural institution’s participatory interventions. In recent decades, the changing roles of cultural institutions and the concepts of defining museum audiences are brought together in the case study of the Estonian National Museum’s participatory interventions. This paper indicates that motivations for participation are emotional and personal, that social goals are often overestimated, but the wish to cooperate and gain recognition from institutions have often been underestimated as motivators. The museum’s roles to support intercultural dialogue and facilitate diverse views were not supported by the participational interventions. Analysis indicated that being a participant does not make people more critical or dialogical in a museum context, as the topics the participants chose to be involved with are appropriate to their own experiences, contexts and assumptions.
      166  80
  • Publication
    An investigation into the field of European independent performance
    [Europinio nepriklausomo teatro lauko tyrimas]
    research article
    Arntzen, Knut Ove
    Media transformations, 2015, vol. 11, p. 74-83
    In performance as a medium of communication, the question of context and conditions has been heightening. This contribution will focus on conditions in the direction of networking and internationalization. It was networking of a dynamic kind that promoted non-institutional art since the 1970s. It was a process taking place in Western Europe as well as in North America, and then spreading onwards. What happened during the 1980s had some predecessors rooted in the 1968 anarchistic movement, but then turned into new organisation, which replaced old ones and created brand new ones, like the Informal European Theatre Meeting (IETM) contesting the slightly ageing International Theatre Institute (ITI). It was also the coming of cultural factories, for instance the Trans Europe Halls Network (TEH). These were organisations, which were quite new for the time. It was a development of new networks of an informal kind that replaced older more formal ones, in the sense of bringing more notice to new areas and artistic directions. This was the result of some farsighted people’s innovative way of working.
      111  44
  • other
    2016
      77  25