This article investigates how director Valeria Anderson constructed heroes in the documentaries she directed between 1960 and 1985. It also asks how far one could go with social criticism in the post-Stalinist/pre-Perestroika era, how pointed the revelations of economic disorder could be, and what rank of leadership could be blamed for the occurrences of these problems. The article concentrates on the documentaries made by Valeria Anderson that depict positive heroes sacrificing their personal interests for the good of the homeland. The narratives are examined by using discourse analysis.
The publication presents how the Internet and new trends in modern communication influence the Polish language. Digital forms of communication provoke people to use language shortcuts, borrowings and make users do not care about language correctness. The author attempts to outline the future development of the Polish language.
The article suggests that cinematic figures can be divided into two basic groups - barbarian and intellectual. The definition is based on the level of the figures’ intelligibility in the works of Jean-Luc Godard and Andrei Tarkovsky. As Claude Lévi-Strauss’ myth analysis shows, there are structural similarities between cinematic figures and myths, the article searches for a closer, more site-specific link, engaging fairy tales, i.e. local myths, as a more efficient way of observing the distinctive features of the figures in specific regions.
This article analyses and maps the links between caricature and animated film, as well as their development during the post-World War II era, in communist Eastern Europe. The article also deals with the specific nature of animation production under the conditions of political censorship and the utilisation of Aesopian language as an Eastern European phenomenon for outmanoeuvring censorship.
Online marketing is nothing else than a model of traditional marketing in cyberspace; it is a hybrid of previous forms of mass communication. In the first decade of the 21st century, the instruments used in marketing in political communication were revolutionized by the emergence of solutions enabling the interactions of users on the Internet. This type of marketing is characterized by a range of concepts, and includes online advertising campaigns, websites, interactive social networks, video-sharing sites, which encourage users to regularly post new material, websites that enable the publication of photos, images and other files or those that are based on content provided by users i.e. Wikipedia (including blog sites). Contemporary, internetized election campaigns combine low costs with effectiveness because location no longer limits social contacts in the exchange of election-related information.
External marketing communication of companies is a purposeful process of transferring information to the company’s environment - society, competitors, clients and receiving their feedback. Based on the signals, the company adapts its way of communication. Choosing the most suitable type of communication may be one of the factors deciding about a company’s success. Even the best offer would not be able to attract customer’s attention if the information did not reach one. The article combines secondary data - results of the research conducted in Polish companies regarding the use of communication tools, and primary data obtained from own surveys carried out on students regarding the perception of those tools. The purpose of the article is to evaluate the perception of different communication forms by young customers.
This article presents the results of a study in which the Estonian audiences of various stage versions of the same opera (live opera theatre performance and live-in-HD, which were shown at cinemas) during the same season were compared in a social constructivist paradigm to underline whether, and to what extent, audiences’ membership, cultural consumption preferences, attitudes, expectations, values and perceptions differ or coincide, thereby revealing what audiences distinguish as the differences or similarities between live and mediated opera performances. It presents the preference dimensions of the Estonian opera audience and provides an opportunity to discuss the issue of whether a technologically mediated cultural event offers any new opportunities for traditional opera to expand its audience, or whether it captures the audiences and creates competition for the theatres whose performances are not mediated. The survey was carried out among audiences attending performances of Carmen (Georges Bizet, 1875) in the 2014/2015 season at five different venues in Estonia. The findings revealed that, due to the fact that the hierarchy of motivators for the target groups of live and live-in-HD opera differs, it does not support the idea that opera theatre will gain new audiences from cinema or vice versa.
The article is an attempt to confront Lev Manovich’s soft technological determinism with two contemporary media - the smartphone and the mobile application called Instagram. The analysis is based on the characteristics of a term called “new media” identified by Manovich, with emphasis on variation and cultural transcoding. The verification of accuracy and the use of the soft technological determinism in the context of selected new media has varied by the discourse on contemporary new media and constitutes an interesting point of view. The evolution and the development of both variation and cultural transcoding (two elements conditioning their universality which continually shows an upward trend) regarding mobile media, give an opportunity to forecast their productive potential.
The paper systematises and analyses basic definitions, classifications, functions, and forms of expression of the ideologeme as a fundamental unit of ideology, as well as reveals the specific features of functioning of ideologemes in the media discourse. In particular, it elaborates on the issue of ideologeme and mythologeme convergence, which can cause mythologization of ideology and ideologization of mythology. A special emphasis is placed on the ability of ideologemes to adapt the structural units of the myth to their content. The purpose of the article is to determine the ability of ideologeme to represent an ideology in the media discourse in the light of its definition framework and functional parameters.
The article deals with the psychological and linguistic methods of establishing a social life and the impact of the magazines on the public consciousness in the Ukrainian Soviet Socialist Republic. Press provided concealed manipulation programming of the citizens′ behaviour. The whole society was imposed with the regulated values, moral imperatives and ideals via indoctrination, pressure and attack. Mass zombing was considerably played by “the new language” which implemented the basic notions of the totalitarian ideology. Transforming of citizens′ consciousness was possible by manipulating with their interests and desires. In this way the run of social processes was regulated. Russification, denationalization and destroying of national memory took place. Having no alternative a person was transformed into a system cog. Thus the aim of the article is to specify the influence of the journal periodicals in 1950- 1980s by psycho-linguistic means on forming the necessary concept of “a Soviet person”. The following methods were used: concrete historical and sociological press analysis, systematic and comparative analysis as well as generalization of contents and subjects of the magazines, analysis of political impact factors on magazines transformation as the mean of forming public consciousness, content analysis for stating the level of ideological partiality in the magazines and the frequency of usage of the ideological words in magazine texts and peculiarity of their combinability. Content analysis indicators are received by calculation on the sectional observation material. The basis of the empirical research is four public-political magazines “Ukrayina” (“Ukraine”), “Vitchyzna” (“Motherland”), “Zhovten’” (“October”), “Radyans’ka Zhinka” (“Soviet Woman”) and two children’s magazines “Barvinok” (“Periwinkle”) and “Malyatko”2 (“Baby”) of the 1950-1980s.