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Zaključna seminarska naloga raziskuje delovanje nemško-slovenskega kuratorja Gregorja Podnarja v obdobju 1996−2003, ko je kot umetniški vodja oblikoval razstavni program Galerije Škuc. Preko analitične obravnave petih izbranih razstav, ki jih je takrat kuriral, prikaže, kako se je izoblikoval tako v umetniškega vodjo kot tudi kuratorja in galerista. Podnarjev razvoj umesti v tedanji nacionalni umetnostni sistem, ko se vzpostavlja vloga kuratorja, oriše kulturno dogajanje v osamosvojeni Sloveniji in predstavi delovanje Galerije Škuc, vključno s kratko zgodovino njenih umetniških vodij in specifiko galerijskega prostora. The final seminar paper explores the work of the German-Slovenian curator, Gregor Podnar, in the period 1996-2003, when he designed the exhibition program of the Škuc Gallery as the artistic director. Through an analytical treatment of the five selected exhibitions he curated at the time, the paper shows how he developed into an artistic director as well as a curator and gallerist. It places Podnar's development in the national art system, when the role of a curator is established, it outlines cultural events in independent Slovenia and presents the work of the Škuc Gallery, including a short history of its artistic directors and the specifics of the gallery space.

TITLE: "Chaotic 1990s" in Russia: today's perception of Brat (Brother) movie (1997) AUTOR: Bc. Liubov Stepanova DEPARTAMENT: Historical Sociology SUPERVISOR: Mgr. Alena Marková, Ph.D. Abstract: This thesis is concerned with the period cinematography as an artifact that influences the formation of cultural memory of the modern youth. Its main aim is to discover how present-day youth incorporates cinema into its collective cultural memory. For that purpose, the movie "Brother" (1997) was chosen as it was filmed in the 1990's and includes this period in its cinematographic space. Nineties are a topic of heated discussions in Russian collective memory as the controversial events of that decade still influence Russian modernity. Cultural narrative about the 1990s is built on unclear interpretations which are influenced by current political and media institutions. Due to that the processes of 90s cultural memory formation in contemporary Russian youth are a relevant line of scientific inquiry. Theoretical part of this study explores cinema as a tool of cultural memory formation and includes a short historical review of the decade in question. Empirical part is concerned with the interviews, their transcription and detailed analysis. It also aims to reach the goals set in the beginning of the thesis and answer the...

The theses deals with the history of bungee jumping in the Czech lands and describes its current form. The aim is to characterize the development of this phenomenon in the Czech context. The area of interest is broad-spectrum and the content of the work reflects several aspects, including physiological and psychosocial aspects. It also includes a summary and analysis of published publications. All information was consulted with the founder and pioneer of Czech bungee jumping. The conclusions show that since its beginnings, bungee jumping in the Czech context has not changed significantly in its essence, it has integrated into the Czech environment, and that today it occupies its place mainly in recreology. At the same time, there is a lack of publications focusing on the topic. KEYWORDS Bungee jumping, extreme sports, adrenalin 2

La presente investigación tiene como objeto de estudio la coproducción internacional como mecanismo de producción fílmica en un contexto globalizado como es el de la década de los años noventa del siglo pasado y desde la perspectiva de los cines transnacionales. Tras el estancamiento de la producción cinematográfica coincidente con la llegada del primer gobierno socialista de la democracia en 1982, desde mediados de los años ochenta se produjeron numerosas modificaciones en la regulación fílmica española que debían conjugarse, además con las iniciativas supranacionales promocidas desde órganos como la Unión Europea o el Consejo de Europa. Durante estos cambios se creó un escenario en el que la producción fílmica española resurgió. En este contexto, la presencia de la coproducción internacional nos ha hecho plantearnos cuál fue su importancia durante estos años y quiénes loa principales agentes que la impulsaron. Este trabajo propone, además de una periodización del cine español desde la perspectiva de la coproducción internacional, un estudio sobre el periodo 1987-1999, identificado como el más importante para la evolución de este mecanismo de producción, así como de las dinámicas desarrolladas en aquellos años entre empresas de producción españolas y francesas por ser las principales socias coproductoras durante este periodo. A través del estudio de tres casos desde el punto de vista español (Andrés Vicente Gómez, El Deseo y Gerardo Herrero), se obtienen distintos modelos de coproducción internacional y se analizan las distintas redes establecidas durante la colaboración para la producción fílmica. This research aims to study the international coproduction as a mechanism of film production within a globalized context as it is the one of the decade of the nineties of the last century and from the perspective of the transnational cinemas. - 13 - After the stagnation of film production coinciding with the arrival of the first socialist government of democracy in 1982, Spanish film regulation was changed several times and combined, in addition, to the supranational initiatives promoted by organs such as the European Union or the Council of Europe. A new scenario in which the Spanish film production resurfaced was created. In this context, the presence of international co-production has made us wonder about its importance during these years and who were the main agents that promoted it. This work proposes, one the one hand, a periodization of Spanish cinema from the perspective of international co-production. On the other hand, a study on the period 1987-1999, identified as the most important for the evolution of this production mechanism, as well as the dynamics developed in those years between Spanish and French production companies for being the main co-producing partners during this period. Through the study of three cases from the Spanish perspective (Andrés Vicente Gómez, El Deseo and Gerardo Herrero), different models of international coproduction are obtained and the different networks established during the collaboration for film production are analyzed. Esta tesis doctoral se enmarca en el Proyecto I+D+i “Cine y televisión 1986-1995: modernidad y emergencia de la cultural global” (Ref. CSO2016-78354-P), financiado por el Ministerio de Ciencia, Innovación y Universidades-Agencia Estatal de Investigación, Gobierno de España. Su realización ha sido posible gracias a una beca predoctoral de Personal Investigador en Formación del Departamento de Periodismo y Comunicación Audiovisual de la Universidad Carlos III de Madrid. Programa Oficial de Doctorado en Investigación en Medios de Comunicación por la Universidad Carlos III de Madrid Presidente: José Luis Castro de Paz.- Secretario: María Carmen Ciller Tenreiro.- Vocal: Julie Amiot Guillouet

В данной статье рассматриваются 1990-1991 гг. как переломный период, который ознаменовал собой крах политики «перестройки». Коммунистические институты власти становятся пережитком прошлого, происходят метаморфозы в социальной структуре советского общества. В поле интерпретации «истории повседневности» находится реальность в проявлении ее субъектов, которые являются свидетелями событий тех лет. Реальность повседневности относится к различным общественным сферам, акторами событий могут выступать люди разных социальных слоев. Незаменимым источником информации для изучения отношений между властью и обществом данного хронологического периода являются газеты и журналы. За основу были взяты письма и обращения граждан из региональной газеты «Волжская коммуна», имеющей рубрики, в которых выражалось общественное мнение насчет динамики политики перестройки. В свою очередь, представляет интерес эмоциональная реакция, отраженная в письмах. Источники четко фиксируют основные тенденции и этапы общественного настроения, сложившиеся в тот период, тем самым передают распространившуюся в обществе политическую апатию. Полученная из источников информация вносит определенный вклад в изучение «истории повседневности» и может являться базисом для исследований и выявления новых аспектов в социальной истории, This paper deals with 1990-1991 as a turning point, which marked the collapse of the policy of «perestroika », the communist institutions of power became a relic of the past, metamorphoses took place in the social structure of the Soviet society. The focus of «everyday life history» is the reality in the interpretation of its immediate participants, who were witnesses of the events of those years. Such events can relate to different spheres of life, and participants in these events can be people of different social strata. Newspapers and magazines are considered to be an irreplaceable source of information for studying the relationship between government and society in this chronological period. Letters and appeals of citizens from the regional newspaper «Volzhskaya Kommuna» were taken into consideration. There were rubrics expressing public opinion about the dynamics of the «perestroika» policy. The emotional reaction reflected in the letters is of great interest. The sources clearly record the main tendencies and stages of the public mood that prevailed in that period, thereby transfer the political apathy that spread in the society. The information received from the sources makes a definite contribution to the study of the «everyday life history » and can serve as a basis for research and reveal new aspects in social history.

American filmmaker Shirley Clarke, in search of empowerment in the male-dominated world of cinema, challenged the racist and homophobic America of the 1960s with her pseudo-documentary (Portrait of Jason, 1967). This centered on a homosexual black man, Jason Holliday, who dreams of a nightclub act as a way of attaining success as a performer. The 16 mm indie film was forgotten for forty-six years until its 2015 success at the Berlin Film Festival. Over thirty years (1999) after Portrait of Jason was shot, American filmmaker Cheryl Dunye, a black lesbian who both represents and acts herself on screen, searched for archival material that might empower women actresses of the past by recovering their names and personalities. She thus shines some light on the “stories that have never been told”, of those queer black actresses usually limited to stereotyped roles as mammies and perhaps not even credited in the movie. Both Clarke and Dunye present us with the small world that emerges from these hidden lives. Thanks to their art, both filmmakers were empowered; for the former, however, this happened too late.

This diploma thesis "The Image of Lifestyle in Magazine Vlasta between 1990 and 1999" is focusing on media image of lifestyle in the nineties in Czechoslovakia, later Czech republic. The subjects which were investigated in terms of a lifestyle were: housing, fashion, health, eating, weight loss, sport, traveling, new technologies, consumer goods and beauty. The thesis is divided into two parts - theoretical and empirical part. In the theoretical part there is a political, historical, cultural and media environment in nineties. Empirical part describes a history and editorial staff of the magazine Vlasta. A content analysis was chosen for examining the magazine and it is described in methodological part. The goal of a quantitative and qualitative analysis is to prove stated hypotheses. The nineties meant for Czech people a lot of social changes and also everyday life was affected. The transformation involved habits and interests of people which can be observed during the decade. This diploma thesis is focusing on changes in lifestyle because of commercialism. Observes how much more people were interested in traveling considering new possibilities and aims also on health lifestyle.

The article is about investigation on the somatic otherness of the 90’s music videos under the prism of anthropology. It looks for similarities between the poetics of ritual, aesthetics, culture and audiovisual art. It highlights the grotesque bodies associated with myth that are hidden in certain musical productions. Happiness in slavery (1992) a music video of Nine Inch Nails directed by Jon Reiss is analysed as a developed model study., El texto genéricamente indaga sobre la alteridad somática en los vídeos musicales de la década de los noventa bajo un prisma antropológico, buscando semejanzas entre la poética del ritual, estética, cultura y arte audiovisual. Cuerpos grotescos asociados al mito y que subyacen latentes en ciertas producciones musicales. Por último analiza al videoclip Happiness in slavery (1992) de Nine Inch Nails dirigido por Jon Reiss, como modelo del estudio desarrollado., O texto investiga genericamente a alteridade somática nos vídeos musicais dos anos 90 através de um prisma antropológico, procurando semelhanças entre a poética do ritual, a estética, a cultura e a arte audiovisual. Corpos grotescos associados ao mito e que subjazem latentes em certas produções musicais. Finalmente, analisa o videoclipe Felicidade na escravatura (1992) de Nine Inch Nails dirigido por Jon Reiss, como um modelo para o estudo desenvolvido.

En aquest article partim de la proposta per a una poètica de la ciutat que vam elaborar per al Curs de Patrimoni del Col·legi d'Arquitectes de Catalunya i que presentàrem a la seu de Barcelona. A partir d'aquell text donem una visió personal del patrimoni arquitectònic des d'un punt de vista poètic, tot revisant i valorant les actuacions dutes a terme en el patrimoni arquitectònic d'una ciutat de grandària mitjana i intentant esbrinar quins han estat els efectes (positius i negatius, desitjats o no, previstos o no) d'una certa ideologia proteccionista que es donà a l'Estat a les darreres dècades del segle xx i quines foren algunes de les polítiques que conseqüentment elaboraren les administracions públiques. La ciutat de referència tenia vora 180.000 habitants i una intensa dinàmica productiva. A l'Ajuntament l'autor desenvolupà la seua tasca professional durant setze anys, a la vegada que bastia un extens corpus de catalogació del patrimoni arquitectònic i monumental i d'història urbana sobre la ciutat, com també un conjunt de llibres de poesia que en moltes ocasions tenien com a escenari o, inclús com a protagonista, la mateixa ciutat. Tot plegat, durant aquests anys la mateixa ciutat esdevingué un laboratori on desenvolupar propostes arquitectòniques i urbanístiques i comprovar-ne els resultats. In this article we depart from the proposal made to develop an architectural poetic of the city for the Heritage Course at Catalonia's College of Architects (presented at Barcelona's headquarters in December 1980). From the creation of that text we conceive a personal view of the architectural heritage from a poetic point of view. Revising and taking into account the proceedings in the architectural heritage of a mediumsized city, this article tries to figure out the consequences of the protectionist ideology from the late twentieth century (positive, desired, expected or not). Besides, it also focuses on the policies that were created in the public administrations at that time. The city in question had approximately 180.000 inhabitants and a high production dynamic. While carrying out his job at the city council during sixteen years, the author also built a large corpus focused on cataloguing the architectural and monumental heritage and urban history of the city. Furthermore, he also archived a set of poetry books that most of the times had the city as stage or main character. All in all, during these years the city became a laboratory to develop and test new architectural and urban proposals.

Muy discutida en su momento, la producción de Belleza y Felicidad, y especialmente los debates que generó en torno suyo, permite iluminar retrospectivamente los conceptos y valoraciones subyacentes en las discusiones sobre arte y poesía de fines de los noventa y principios de la década del dos mil. Este artículo recorre, desde esta premisa, tres textos críticos publicados en el período por Martín Prieto y Daniel García Helder, César Aira y Mario Ortiz, en los que a propósito de la lectura crítica de Belleza y Felicidad, se ordenan ciertos modos posibles de la vinculación entre poesía y política., A very controversial initiative in its time, the production of Belleza y Felicidad (Beauty and Happiness) –and especially the surrounding debate that it generated– retrospectively helps to enlighten the underlying concepts and assessments in art and poetry discussions during the late 90s and early in the decade of 2000. From this premise, this article reviews three critical texts published in this period by Martín Prieto and Daniel García Helder, César Aira and Mario Ortiz, in which, in connection to the critical reading of Belleza y Felicidad, certain possible ways to link poetry and politics are pointed out., Instituto de Investigaciones en Humanidades y Ciencias Sociales

The following bachelor thesis focuses on film exploitation as a tabloid phenomenon; particularly examines the tabloid tendencies of productions of Vít Olmer in the years after the Velvet Revolution between 1990 and 1995 in Czech cinema. His work reflects the new creative democratic circumstances that arose after November 1989. Olmer effectively used these circumstances to his benefit and as a result he became one of the most productive personalities of the mid-90s. The first part of the thesis consists of a mapping of the status of exploitation film in foreign academia. Based on Pierre Bourdieu's concept, it explores how the logic of "pure taste" influenced the approach to the "tawdry cinema", its research, and last but not least, an attitudes of researchers of (exploitation in) cinema themselves. It then provides an overall view on allied difficulties accompanying exploitation film; the scattered identity unfounded by virtually no theoretical basis remains an essential problem of the analyses of exploitation cinema in the context of film studies. The second part of the thesis expounds a rudimentary nature of the exploitation phenomenon with the contribution of sensationalism, theoretical model used mainly in a media studies. The part proves close relation between the sensationalism, a paradigm...

This paper analyzes, from the social and economic crisis in Venezuela and the unbelief with the alternative political programs in the nineties, three remarkable books of poems in the literary production written by women: El arte de la pérdida (1991) by Verónica Jaffé, Olympia (1992) by Manón Kübler and Safari Club (1993) by Laura Cracco. Through the notions of alterity and engagement, these works take over new prototypes of responsibility in dialogue with the old national literature. From this perspective, besides an approximation to innovative kinds of reflections about the Other, these poetics have provided original and transgressive representations of borders, gender, sexuality, historical imagination and collective memory that raise new questions about literary history of Venezuela. Este trabajo analiza, en el contexto venezolano de crisis sociocultural y descreimiento político- económico de los años noventa, tres poemarios de singular relevancia en la producción literaria escrita por mujeres: El arte de la pérdida (1991) de Verónica Jaffé, Olympia (1992) de Manón Kübler y Safari Club (1993) de Laura Cracco. Una lectura de estas obras a partir de las nociones de compromiso y alteridad nos permitirá observar dichos referentes de la eclosión femenina como modelos alternativos de responsabilidad en un diálogo abierto con la vieja literatura nacional. Desde este planteamiento, además de aproximarnos hacia inéditas reflexiones sobre el Otro, confirmaremos en ellos la aportación de originales y transgresoras representaciones de frontera, género, sexualidad, imaginación histórica y memoria colectiva que nos llevarán, en última instancia, a plantear nuevos interrogantes sobre la historia literaria de Venezuela.

A fines de los noventa, Belleza y Felicidad emerge como un proyecto multidisciplinario cuyas características –modos de edición y distribución, uso del local como punto de cruce entre artistas provenientes de distintas disciplinas, prácticas dede-generación relativas tanto a los géneros literarios como a los sexos, estética punk, performance y poemas concebidos para la ejecución, es decir, para la lectura en público-dan cuenta de un cambio de paradigma respecto de la tradición moderna centradaen la idea de “obra” (Laddaga 2006). Este trabajo lee las vinculaciones posibles que se dan en Belleza y Felicidad entre la performance poética y la performance del género (Butler 2007), y el modo en que éstas modifican el modo de concebir el discurso poético, que ya no puede pensarse sólo en relación al campo literario sino a los intercambios más amplios de una comunidad de artistas en la que el énfasis está puesto más en el “hacer” que en el producto final. By the end of the nineties, Belleza y Felicidad emerged as a multidisciplinary project whose characteristics –types of edition and distribution, use of the gallery as a kind of crossroads where artists from different disciplines converged, practices of de-generation applied both on the literary genres and the sexual identities, punk style, performances and poems conceived for their public execution-indicate a shift of paradigm in regard to the modern tradition centered in the idea of “oeuvre” (Laddaga 2006). This paper reads the many possible links that take place within the Belleza y Felicidad project between poetic performance and genre performance (Butler 2007), and the way these modify the conception of poetic discourse, which can no longer be considered only in relation to the literary field, but needs to be situated amongst the broader exchanges of a community of artists in which the emphasis is placed in the “making” rather than in the final product. Fil: Yuszczuk, Marina. Universidad Nacional de Mar del Plata; Argentina.

En el marco de las poéticas emergentes en Argentina en la década del noventa y de la presencia del objetivismo como línea poética dominante centrada en una figura de poeta que ostenta un saber específico sobre el medio, el artículo trabaja con dos autores que plantean poéticas divergentes (Daniel Durand y Fernanda Laguna) en las que la banalidad levantó una pregunta por la pertenencia legítima de estas poéticas al ámbito literario. La hipótesis que aquí se sostiene es que dicha banalidad, acompañada de la imposturade no saber y cifrada en la construcción de figuras de poeta-analfabeto, está en la base de un uso de la lengua que intenta evadirse de las retóricas establecidas y elige lo “mal dicho” en un intento utópico por renovar el discurso poético. In the context of the emergent poetics in Argentina in the nineties and the presence of objectivism as the dominant poetic line centred in a poet figure that shows a specific knowledge of the genre, this article focuses on two authors that pose divergent poetics (Daniel Durand and Fernanda Laguna) in which the presence of banality raised a question about the legitimate place of these poetics within the field of literature. The hypothesis here sustained is that such banality, along with the pretension of not knowing and condensed in the construction of figures of illiterate poets, is in the base of a new way of using language that intends to avoid the established rhetorics and conventions and chooses the “badly said” in an utopic attempt to renovate the poetic genre. Fil: Yuszczuk, Marina. Universidad de La Plata; Argentina.