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SažetakU poslednjoj deceniji, kreativne industrije postale su veoma popularan koncept unutar javnih politika širom sveta.U mnogim sredinama doživljavan je kao sasvim nov pogled na odnos kulture i ekonomije. Međutim, profit i kulturno stvaralaštvo, u početku teško spojive kategorije, približavali su se tokom čitavog dvadesetog veka, te mesta za iznenađenje gotovo da nema. Cilj ovog rada je da postavi koncept kreativnih industrija u širi istorijski i teorijski okvir, te da posmatra odnos javnih politika prema ovom konceptu. U radu se nudi pregled različitih teorija, od kritičke teorije Frankfurtske škole, preko ranih diskusija o kulturnim politikama u okviru Uneska, do najnovijih debata o kreativnoj ekonomiji i kreativnim industrijama.Ključne reči: Kulturne industrije, Kreativne industrije, Kulturna politika, Frankfurtska škola FROM CULTURAL INDUSTRIES TO CREATIVE ECONOMY -THE POPULAR CULTURE WITHIN THE PUBLIC POLICY AbstractLately, creative industries have become an extremely popular concept in cultural policies across the globe. For many, it came as a surprise. However, the idea of merging culture and arts with industrial production has been slowly evolving during the 20 th century, thus there is not much space for a surprise. The aim of this paper is to position creative industries in a broader historical and theoretical framework. The paper is looking at the interplay of popular culture and public (cultural) policies: from the post-war critical theory of the Frankfurt school and UNESCO's early debate on cultural industries to the recent policies and theories on creative economy and creative industries.

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We have shown the development of neoliberalism as a doctrine and the basic ideas that were connected to it during if s genesis. It still remains as a question, as well as a good example, the effectiveness of a neoliberalism as a theory, which in few decades turned from a group of enthusiasts to a dominant ideology. We extracted the main principals and discussed their essence and possible relations. In a defense-offence sense, what is a noble goal from one point of view, is immoral excuse from another. At the end, we gave an overview of common definitions, main problems of defining and a personal view of defining neoliberalism. In all it's aspects, neoliberalism stands as a controversial doctrine, and the whole variety of phenomenon is being attached to it, and both strongly defended and attacked by numerous authors. What seems to be missing are authentic writers on one side who would clarify if s meaning. More important, critics should be more aimed at offering realistic and acceptable alternatives, than indicating dysfunctions of a current system.

The case of Novi Sad European Capital of Culture 2021 (NS2021), in which various rationales of cultural policy (local, national, supranational) thread a complex web of political interactions, brings interesting challenges to the theoretical landscape of cultural policy research. We start with the analysis of the Bidbook NS2021 as a cultural policy text, discussing its inconsistencies and ambiguities. Then we study the context and the policy process through participant observation and interviews with key authors. We find that the policy-making process is best explained as contingent - meaning that it is dependent on the historical discourses, demands of the specific policy genre, external requirements and internal pressures, and individual agencies and accidents. In the concluding section, we discuss theoretical and methodological implications that policy contingency poses to cultural policy studies.

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Sa že tak: U da na šnjim hi per kom plek snim dru štvi ma, u ko ji ma je dra ma ti čan rast obi ma in for ma ci ja jed na od ključ nih od red ni ca, po sta vlja se pi ta nje da li su ma sov ni me di ji još uvek u sta nju da ostva re svo ju osnov nu funk ci ju dru štve nog me di ja to ra. Odvo je ni od pu bli ke, kri ti ko va ni za ma ni pu la ci ju, ne de mo kra tič nost i ko mer ci ja li za ci ju, ma sov ni me di ji tra že no ve ob li ke funk ci o ni sa nja. Isto vre me no, po pla va bes plat nih sa dr ža ja na in ter ne tu i ne hi je rar hij ska lo gi ka mre že po sta vlja me di je u ne za vi dan po lo žaj u ko jem se sa ma lo gi ka po slo va nja i fi nan si ra nja me di ja znat no me nja. Par ti ci pa tiv ne for me no vi nar stva, od no sno pre la zak pu bli ke na stra nu pr o iz vo đa ča in for ma ci ja, iako vo de plu ra li zmu iz ra za, bez si ste ma se lek ci je vo de još go roj kon fu zi ji i ha o su. Ključ no pi ta nje je na ko ji na čin upra vlja ti ve li kim obi mom in for ma ci ja ko je ko ri sni ci sva ko dnev no pr o iz vo de? U ovom ra du, na ba zi te o ri je, ali i ori gi nal nog na uč nog is tra ži va nja, u ko jem su uče stvo va li ured ni ci i no vi na ri iz če ti ri on lajn re dak ci je, na pra vljen je pre gled pri sut nih mo de la i stra te gi ja me nadž men ta par ti ci pa tiv nog no vi nar stva u Sr bi ji. Ključ ne re či: par ti ci pa tiv no no vi nar stvo, gra đan sko no vi nar stvo, me nadž ment me di ja, kon ver gen ci ja me di ja, no vi me di ji 7 Grbeša M., Kriza javnog komuniciranja i ideja građanskog novinarstva,