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Uwagi o przydatności porównań historycznych w psychologii społecznej

100%
Dymkowski M.
Psychologia Społeczna
|
2009
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vol. 4
|
issue 1-2(10)
78-87
EN
The usefulness of historical comparisons in social psychology is limited because, first, they are not based on experimental tests of hypotheses, and second, the historical sources used usually are not sufficiently cred- ible and present cases that are not representative for relevant historical periods (epochs). Such comparisons serve various goals, but mainly they act as a supplement to cross-cultural comparisons which help assess the universality of theories. In order to increase the usefulness of historical comparisons, it is necessary to diversify the analyzed historical contexts and, if possible, to draw cases for comparison from various, rela- tively isolated systems of phenomena.
2

FILM AS THE RESULT OF THE COOPERATION BETWEEN AUTHORS AND PRODUCERS (Film ako vysledok spoluprace tvorcov a producentov)

63%
Skreko A.
Právny obzor. Teoretický časopis pre otázky štátu a práva (Juridical Review. Theoretical journal for the questions of state and law)
|
2010
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vol. 93
|
issue 4
344-358
EN
Audiovisual culture is nowadays one of the most popular fields of the cultural expressions. The film industry holds very powerful instrument to address the lives of the people all around the globe and to bring them education, entertainment and information on the one hand, but also the expressions of the national cultural heritage, values and new ideas on the other hand as well. This unlimited cross-border 'movementt' of the audiovisual products that are also protected by copyright brings the legal science and the legal practice as well as the various types of questions, issues and queries that should be address and solved in order to secure the legal distribution and using of the films, audiovisual recordings and other potential protected (audiovisual) works. Other priority of the legal science in the field of the audiovisual creation can be found in the relationships inside the filmmaking process, it means the rights and relationships between the authors (the director, screenplay author(s), cameramen, performing artists etc.) and the producers (studios), especially in the connection with the further distribution of the film and the protection of the investments in the whole process. Presented study should be the 'invitation' for the further scientific discussion on the above mentioned issues. The study brings the historical comparison of the development of the basic institutes of the 'film law' and the deliberation on the main possibilities of the legal structuring of the rights and relationships inside the - what we call - audiovisual work.
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