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1

ORIGINS OF THE COMMERCIAL NEWSPRINT MEDIA - THE COMING OF THE SENSATIONAL PRESS

100%
Niec M.
Kultura i Społeczeństwo
|
2004
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vol. 48
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issue 1
143-169
EN
The sketch presents news print media as a new idea in the market economy and mass society in 19th century. The author analyzes how this form of mass communication influences and affects the processes of democratization of a society - the beginnings of civil society. He showed origins of news media in Europe (France) and USA, in two different ways. Popular media were founded for 'private citizens' in politics, who were looking for 'easy information' (news) about social life or establishment, that buy print media for entertainment. Sensational press accommodates expectations and needs of lesser educated citizens, interested in scandals and gossip. The popular press is directed to readers of the 'lower culture', who like folk stories and folk entertainment. The commercialization of media caused the development of press and journalism, built lay-outs, comics, photos, headlines, leads, news. Process of commercialization has initiated the inclusion of many groups into a civil society.
2

THE SPORTS COMMENTATOR HAS THE FLOOR, OR ABOUT A POEM BY TADEUSZ RÓZEWICZ (Glos ma sprawozdawca sportowy czyli o jednym wierszu Tadeusza Rózewicza)

80%
Rzaca-Jaczewska M.
Przegląd Filozoficzno-Literacki
|
2009
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vol. 8
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issue 3(24)
145-155
EN
By analysing Rózewicz's 'Ballada o naszych sprawozdawcach sportowych' (in 'Zawsze fragment. Recycling') the authoress shows what formal means of expression the poet has employed to successfully mirror in his poem the mental processes of a sports commentator watching a sportsman fail to live up to the public's unreasonably high expectations. By using the 'poetry of masks', Różewicz distances himself from the excited crowds, which makes 'Ballada...' an expression of his critical attitude towards superficial mass culture.
3

THE CRITICAL REFLECTIONS ON CONSUMPTIONISM AND THE MASS CULTURE (Konsumpcjonizm i kultura masowa. Krytyczna refleksja)

80%
Nieciunski W.
Problemy Polityki Społecznej. Studia i Dyskusje
|
2007
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vol. 10
81-88
EN
The essay presents author's reflections on the subject of mass culture and its role to contemporary societies. Its focus point is the mechanisms of creating the illusion of freedom and free choice in the mass culture. The author describes the constraints of free participation in mass culture, such as: receivers' educational level, culture restrictions (social norms, tradition), economic barriers (country and society living standard as well as mass broadcasting costs that lead to prevalence of international corporations). The author concludes that the democratic state, being responsible for human and social capital creation should not be indifferent to actions of huge private media corporations and the contents of broadcasted programs. The state should take an active part in media order creation. It means the need of regulations and active role (for example in watch-dog activities) of the civic organizations.
4

Atopy: the Herd and Individuality

80%
Dziadek A.
Teksty Drugie (Second Texts)
|
2008
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issue 1-2
237-243
EN
The article's starting point is semantic analysis of 'atopy', the word rarely in use today, which, as combined with the notion of 'herd-ity' and 'individuality', is tasked with describing the subject's situation in a post-modern age, and in the first place, the experience of post-modernity. In our contemporary world, 'atopy' is combined with alienation; it is a non-place, close to the Derridian 'différance', as it is situated between the poles of unambiguous trenchant positions. It barely stands definite uncontested opinions leading to commonplace opinions (doxa). In the ethical sense, the experience of 'atopy' implies an ostentatious protest against the restricting influences of omnipresent mass culture (interpersonal relations, university, politics, etc.).
5

POZNÁMKY K FORMOVANIU HUDOBNEJ KULTÚRY A FUNKCIÍ HUDBY PROSTREDNÍCTVOM MÉDIÍ

80%
Podpera R.
Musicologica Slovaca et Europaea
|
2005
|
vol. 22
9-24
EN
The study does not aim at statistical evaluation of the frequency of musical representation in mass media. Its goal is to capture in qualitative terms the important phenomena in this sphere of contemporary culture. They include links between culture and the market, mass character of the arts, musical fetishism, dual character of manifest and latent functions of music in the media and the new conditions for creativity and production. Although music is often presented in the media in a discrediting way, we believe that in many other cases music will defend and preserve its artistic independence. Mass media lead modern people to tolerance: media guide him to be open to everything what arouses interest, what broadens musical horizons and musical experience. The studied social phenomena like age, sex, and especially education, upbringing and social background, point to a common problem: the capacity of a listener to select or to regulate musical consumption.
6

'Tajny Detektyw' (1931-1934) - a Weekly Tabloid Published by the IKC concern

80%
Matykiewicz A.
Rocznik Historii Prasy Polskiej
|
2004
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vol. 7
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issue 1(13)
21-37
EN
The weekly 'Tajny Detektyw' (Secret Detective) was published by the 'Ilustrowany Kurier Codzienny' (Illustrated Daily Courier) concern from 1931 to 1934. Dedicated to coverage of crimes and sensational accounts of court cases, the weekly had been raising many controversies since its very beginnings. Despite the editors' self-professed dedication to support the judiciary system, it was in reality little more than a purely commercial venture that focused on providing sensation and entertainment. Criticised by many influential communities, the weekly nevertheless attracted much popularity and its circulation was about 80 000 to 90 000.
7
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ANALYSIS AND INTERPRETATION OF MASS CULTURE PHENOMENON IN SLOVAK AND CZECH PERIODICAL PRESS

80%
Matyas M., Plencner A.
Slovenské divadlo (Slovak Theatre)
|
2006
|
vol. 54
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issue 2
334-344
EN
This paper is offering a comparative analysis of the phenomenon 'mass culture' which occured in the Slovak and Czech periodical press from September 2003 till September 2005. The purpose was to find out the presence of the term mass culture, its location, frequency, seriousness of debates about it, a comparison between its use in the Slovak and Czech mass media, and the most commonly used the connotations and the denotations. We were also searching for the similarities and differences between the journalistic and the academic discourses. The results are as follows: the term mass culture is mentioned only twelve times in the Slovak press, while in the Czech press it is mentioned eighteen times. It could be caused by the fact, that the mass media typically spread a mass culture, therefore the mass cultrue is invisible in the communication sphere - it is too widespread to be discussed as a specified subject. The term pop-culture is more distinct and used more often. In the Czech press the mass culture was debated more abundantly in the themes, the journalistic styles and genres. The overall quality was higher.
8
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The known and unknown world of comics

80%
Biesiadowska B.
Acta Baltico-Slavica
|
2007
|
vol. 31
45-49
EN
The term comics in the U.S. came to define early newspaper strips, which initially featured humorous narratives. The first successful comics series featuring regular characters was either R. F. Outcault's single-panel cartoon 'The Yellow Kid' (1895). It became so popular as to drive newspaper sales, and in doing so prompted the creation of other strips. Comics are the combination of both word and image placed of images in sequential order. Comics, as sequential art, are a hybrid form of art and literature. In comics, creators transmit expression through arrangement and juxtaposition of either pictures alone, or words and pictures, to build a narrative. Comics are a new and separate art; an integrated whole, of words and images both, where the pictures do not just depict the story, but are part of the telling. Comics start to be one of the genre of art, when Roy Lichtenstein and Andy Warhol incorporated comics into their work in different ways. 'Maus: A Survivor's Tale' by Art Spiegelman attracted an unprecedented amount of critical attention for a work in the form of comics, including an exhibition at the Museum of Modern Art in New York and a special Pulitzer Prize in 1992.
9
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REKLAMA AKO POPKULTÚRNY PRODUCT

70%
Peknušiaková E.
ESPES
|
2015
|
vol. 4
|
issue 1
47 – 56
EN
The article analyses the ad text as pop-cultural product. It can stand in its centre - the mainstream or on the periphery. The text is approaching the issue from a broader cultural context, through the issue of mass and popular culture. Short analysis brings television advertising spot both as a common commercial product, and as a product of artistic value.
10
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Sfera zachowan ludycznych w kontekście spoleczno-ekonomicznych konsekwencji kryzysu gospodarczego

61%
Thel K.
Homo Ludens
|
2010
|
issue 1(2)
191-200
EN
The paper tackles the subject of changes in people's behaviour in the area of entertainment in the face of the current economic crisis. First, it presents the list of definitions and theories concerning the role of entertainment in social life. Subsequently, it characterises some chosen phenomena that have been observed during the last months in the area of mass culture as well as the situation of some sections of the entertainment industry. In conclusion, the paper emphasises the role of conscious participation in culture so as to defend oneself against the threat that is present in it.
11

PHENOMENON OF AMUSEMENT AND ROLE OF STEREOTYPES IN PRODUCTION AND ACCEPTANCE OF MEDIA CULTURE (Fenomen zabavy a uloha stereotypov v produkcii a recepcii medialnej kultury)

51%
Pravdova H.
Communication Today
|
2011
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vol. 2
|
issue 1
6-24
EN
The paper deals with the issue of amusement phenomenon and function of stereotypes by production and acceptance of media culture. The goal of submitted text is the analysis of complex row of primary and secondary factors, on the ground of which, the author defines the initial ideas and conclusions. The paper is divided into four, logically ordered and mutually connected ideas and conclusions. The first part was by the author called 'Amusement phenomenon reflection from interdisciplinary points of view.' There are drafted out some views of key disciplines-philosophy, aesthetics, social and cultural anthropology, cognitive psychology, sociology and methodology on ontological origin of amusement. The author comes to conclusions that the phenomenon of amusement in human culture is the result of need, resulting from mental and physical dispositions of individuals. The need to be entertained is culturally related and defined as well. The amusement phenomenon has its formal and content related expression too (verbal, motional, written, symbolical, genre etc.), which takes into consideration and respects given cultural issues (symbols, language, norms, values). There is some specific emotion connected with the acceptance of amusement-fascination that signals the intensity of living by an individual-something unexpected, surprising, shocking, wonder, feelings and states of flush, thrill, etc. The amusement consumption in mass media leads to fantasy escapes from reality to imaginary worlds and to loss of interest in the relevant social questions. In the second part, 'Mental 'corridor' of contemporary society - fascination and phenomenon of amusement,' the author allocates the implications of secularized amusement acting in purviews of processes of progressive infantilism, juvenilization, voyeurisms, carnival show, individualization, reduction, narcissism and hedonism of individuals, who live in funny, humorous, spectacular or adventurous society. She also analyses the phenomenon of mass and pop culture in the context with cardinal changes of society. She comes to the following conclusions: The phenomenon of amusement fills several functions-hedonistic, escapic and therapeutical. The contemporary man is fascinated by media amusement, because it enables him distraction, short-lasting reality escape, change of identity by becoming one of the main protagonists, distance from the suffering of others, riddance of responsibility for the others, etc. On one hand, in the theoretical reflexion of the issue, the authors point at fatal influence of media amusement on an individual and society, and on the other hand they praise its ability to recover the energy, inform, educate and bring up in a non-violent, interesting way. The success of American general popular mass culture in global dimensions proves the global human interest in love, sex, violence, mysticism, hedonism, possessions, as well as the abilities of American commercial companies to use this interest in their advantage. The fascination by amusement enhances the way of self-presentation of recipients, sets the favourite free-time activities, lifestyle and reinforces the effort to liberate from responsibility for the others. The individuals identify themselves with amusement, which offers them various kinds of consuming, exciting show of disparate pictures, rhythms, exotic fads, erotic etc. They act under the media pressure of two antagonistic tendencies. On one hand, they live in the frame of mass culture which offers uniformity, standardization, homogenization, 'hyperconsum.' On the other hand, their pop-culture resistance leads to extreme individualism, to an effort to differentiate from the others, exhibition of narcissistic superego and flashy self-presentation. The next part called 'Dominant position of television in the spectrum of media amusement' is dedicated to impact of television on the most important and most watched mass media in the field of amusement production in various types of programmes. The most favourite and watched types of amusement in contemporary TV production are so called easy dramatic genre. The author states that the amusement became the base building principle of other programmes and genres as well, including news or news-documentary genres. The primary duty of TV production is to drag the viewer into the story, which is usually set in some realistically perceived frame. The media content does not usually bring any specific message but simple, not complicated, easy-to-understand amusement, the goal of which is to offer the imagination, dramatic actions and emotions to people. This world is typical for the news and documentaries, which started to be created in the spirit of trivial infotainment. The trend of co called infotainmentization proves it. This trend is the result of public service news being changed into commercial one. Infotainment makes the happening easier, completes, edits according to its own images, dramatizes or changes the authentic events and affirmations about them entirely. The last part, 'Problem of stereotypes in the context of television infotainment, 'deals with mediated and mass media stereotypes in the process of creating specific media reality. According to the author, the stereotypes are present in the frame of creating news service, where the specific elements and methods of infotainment are applied to large extent. She emphasises that when identifying individual elements creating the stereotypes in contemporary TV news service it is necessary to take into consideration the specialities of infotainment and trends, when processing given event, which have been applied mainly in commercial televisions. TV news service in Slovakia has several expressive components and features: infotainmentization (variety and ranking of topics, way of their processing in the way of show), celebritization (extreme personification), exercitation of sharp graphic, dynamic cut and comment elements in news service texts. The author came to a conclusion that TV news service in the context of infotainmentization offers own versions of media reality and in it included media stereotypes.
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