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dc.contributor.advisorJanković, dr Aleksandar
dc.contributor.otherŠuica, dr Nikola
dc.contributor.otherDaković, dr Nevena
dc.contributor.otherMilovanović, dr Aleksandra
dc.contributor.otherIlić, dr Vlatko
dc.creatorАјдуковић, Александрија
dc.date.accessioned2018-11-02T08:53:58Z
dc.date.available2018-11-02T08:53:58Z
dc.date.submitted2018-10-12
dc.identifier.urihttp://eteze.arts.bg.ac.rs/handle/123456789/363
dc.description.abstractAnimal print je životinjska šara koja je u ovom radu analizirana kao segment odevnih predmeta i kao deo narativnog i performativnog prostora u kojem je sniman film, reklama i video spot, a predstavlja privatni i javni prostor kroz koji se kreću junaci filmova i TV serija, video spotova, stripova i slično. Životinjska šara je modni stil odevanja u kojem se koristi odeća koja nalikuje uzorku kože i krzna životinja. Animal print će biti predmet teorijske analize unutar četiri stilske paradigme: glamurizacija, egzotizacija, kempizacija i zoomorfizacija ali i medijatizacija koja je obrađena u studiji slučajeva.. On je deo materijalne kulture glamura i zapažan je još u periodu ranog Holivuda. Na osnovu njegovih osnovnih karakteristika i velikog broja primera, možemo zaključiti da je glamurizacija glavna paradigma kojom se objašnjava fenomen animal printa. Prva od četiri stilske tendencije, glamurizacija, naslanja se na nasleđe Holivuda i narativ zvezde koji je dao Ričard Dajer (Richard Dyer) u studiji Stars. Gandl i Kasteli (Stephen Gundle i Clino T. Castelli) unutar studije Glamur razrađuju sve elemente glamura, a životinjska šara pripada materijalnoj kulturi glamurizacije. Posmatrano kroz paradigmu egzotizacije, animal print ima upravo te dve glavne karakteristike: obilje i polimorfnu erotičnost. Druga stilska paradigma, egzotizacija, u mnogim elementima se preklapa s glamurizacijom, ali ima i autonomna svojstva. Unutar ove paradigme pokušaćemo objasniti kako se artikuliše kolonijalni tj. postkolonijalni identitet oslanjajući se na teoriju Homija Babe (Homi K. Bhabha). Posmatran kao fenomen unutar stilske paradigme kempizacije, animal print je pre svega liminalnog karaktera. Teorija liminalnosti je zasnovana na konceptu antropologa Viktora Tarnera (Victor Turner), a mi je posmatramo iz ugla teoretičarke izvođenja Erike Fišer Lihte (Erica Fisher Lichte). Zoomorfizacija ljudske seksualnosti proizilazi iz antropogeneze i totemskih koncepcija, gde se poreklo svakog pojedinca može dovesti u vezu s nekom od sakralizovanih životinja. Ovaj rad će pojam zoomorfizacije predstaviti putem teorije liminalnosti ili prelaza, utemeljene kod Fišer Lihte, i kroz teorijski tekst Manifest za kiborge Done Haravej (Donna Haraway), a takođe će biti razmatrane totemističe pretpostavke, teorija šamanizma i kulturna zoologija. Uzorak kojim smo se bavili čine medijski sadržaji s teritorije regiona, od kojih je devedeset devet odsto s prostora bivše Jugoslavije i jedan primer je iz Bugarske. Vremenski uzorak je strukturisan prema kriterijumu – dvadeset godina pre rata i dvadeset godina posle rata, kako bismo dobili ravnomerno raspoređen uvid u medijske sadržaje koji su bili zastupljeni u celovitoj državi, kao i tokom rata i posle rata u novonastalim državama. Pojmu animal printa u ovom radu prilazimo kao intertekstualnoj konstrukciji, koja se proizvodi upotrebom različitih medija i kulturnih praksi. U studiji slučaja razmatrani su primeri iz oblasti regiona. To je područje bivše Jugoslavije. Taj prostor podrazumeva bivše republike Socijalističke Federativne Republike Jugoslavije: Sloveniju,Hrvatsku, Bosnu i Hercegovinu, Srbiju, Makedoniju i Crnu Goru. U današnjem diskursu ovaj prostor se još naziva i postjugoslovenski.en
dc.description.abstractAnimal print was analysed in this work as a segment of clothing or as a part of the narrative i.e. performance space in which a film, video or commercial was shot, representing the private or public space in which the heroes of films and TV shows, videos, comics, etc. exist. Animal print is a fashion trend with garments resembling the samples of animal skin or fur. Animal print will be the subject of theoretical analysis within four stylistic paradigms: glamourisation, exoticisation, campisation and zoomorphisation, but also a mediatization which is considerd in a case study. It is part of the material culture of glamour and was noted even in the early Hollywood period. Based on its main characteristics and a large number of examples, we can conclude that glamourisation is the main paradigm explaining the animal print phenomenon. The first of the four stylistic tendencies, glamourisation, relies on the Hollywood legacy and the star narrative as explained by Richard Dyer in his study Stars. Gundle and Castelli in the Glamour study elaborate all the elements of glamour, and animal print belongs to the material culture of glamourisation. Viewed through the paradigm of exoticisation, animal print indeed has these two main characteristics: abundance and polymorphic eroticism. The other stylistic paradigm, exoticisation, overlaps with glamourisation in many elements, but also has autonomous properties. Under this paradigm, we will try to explain how the colonial, or rather postcolonial identity is articulated, relying on Homi K. Bhabha’s theory. Observed as a phenomenon within the stylistic paradigm of campisation, animal print is primarily liminal in its character. The theory of liminality is based on the concept proposed by anthropologist Victor Turner, and we are approaching it from the point of view of the performance theorist Erika Fisher Lichte. The zoomorphisation of human sexuality arises from anthropogenesis and totemic conceptions, where the origin of each individual can be linked to one of the sacralised animals. This work will present the concept of zoomorphisation through the theory of liminality or passage, established by Fischer Lichte, and through A Cyborg Manifesto, an essay written by Donna Haraway; it will also discuss totemic assumptions, theories of shamanism and cultural zoology. The sample we treated consists of media excerpts from the countries in the region, 99% of which are from the territory of former Yugoslavia and one example comes from Bulgaria. The t ime sample was structured around the following criterion: 20 years before the war and 20 years after the war - in order to gain an evenly distributed insight into the media content which was present in Yugoslavia before the war, as well as during the war and in the new countries emerging after the war. The concept of animal print in this paper is used as an intertextual construction, which is produced using different media and cultural practices. In the case study, examples from the region were considered. This is the area of former Yugoslavia. This area includes the former republic of the Socialist Federal Republic of Yugoslavia: Slovenia, Croatia, Bosnia and Herzegovina, Serbia, Macedonia and Montenegro. In today's discourse this area is also called the Post Yugoslav.en
dc.language.isoscen
dc.publisherУниверзитет уметности у Београду, Факултет драмских уметностиsr
dc.sourceФакултет драмских уметностиsr
dc.subjectanimal print, glamorization, exotication, camp-ization, zoomorfization,mediatization, body, body treatment, region, film, tv series, mediaen
dc.subjectanimal print, životinjska šara, glamurizacija, egzotizacija, zoomorfizacija, kempizacija, medijatizacija, pop-kultura, telo, tretman tela, region, film, tv serije, medijien
dc.titleТретман тела у популарној визуелној култури (Теорија "Анимал принта")en
dc.typedoctoralThesisen
dcterms.abstractЈанковић, др Aлександар; Шуица, др Никола; Миловановић, др Aлександра; Илић, др Влатко; Даковић, др Невена; Ajduković, Aleksandrija; Tretman tela u popularnoj vizuelnoj kulturi (Teorija "Animal printa");


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