2012
DOI: 10.4324/9780203203330
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Cited by 180 publications
(47 citation statements)
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“…Po njima, recepcijom dela dominira napetost koja potiskuje i slabi maštu, a koncentraciju i fokusirano praćenje umetničkog dela ili njegovog izvođenja zamenjuje difuzna i usputna potrošnja. (McGuigan, 1996), BBC nastaje u vreme u kome državna intervencija u kulturi može da se okarakteriše pre svega kao društvena kontrola u službi promocije aktuelne ideologije. Na temelju kritike masovne kulture devetnaestog veka, državna podrška umetnosti i kulturi u prvim decenijama dvadesetog veka nastoji da kroz upotrebu savremenih tehnologija, pre svega radija, dopre do udaljenih građana i "ugradi" u njihove umove više kulturne vrednosti.…”
Section: Kulturna Industrija -Le Grand Oeuvreunclassified
“…Po njima, recepcijom dela dominira napetost koja potiskuje i slabi maštu, a koncentraciju i fokusirano praćenje umetničkog dela ili njegovog izvođenja zamenjuje difuzna i usputna potrošnja. (McGuigan, 1996), BBC nastaje u vreme u kome državna intervencija u kulturi može da se okarakteriše pre svega kao društvena kontrola u službi promocije aktuelne ideologije. Na temelju kritike masovne kulture devetnaestog veka, državna podrška umetnosti i kulturi u prvim decenijama dvadesetog veka nastoji da kroz upotrebu savremenih tehnologija, pre svega radija, dopre do udaljenih građana i "ugradi" u njihove umove više kulturne vrednosti.…”
Section: Kulturna Industrija -Le Grand Oeuvreunclassified
“…The boundedness of arts marketing theory to Romanticism suggests that marketisation might not be a clear-cut cultural change, which is often characterised as a one-sided permeation of market values and logics into the arts (e.g. McGuigan, 1996). Rather, it can be understood as a complicated process of the "persistence" of the existing culture in the arts sector and its "negotiation" with the market ideology.…”
Section: Cultural Persistence and The Embeddedness Of The Marketmentioning
confidence: 99%
“…Contemporary literature on British arts policy and management tends to conceptualise the institutional change in the non-profit arts sector since the 1980s as "marketisation" (Bennett, 1996;Gray, 2000;McGuigan, 1996;Quinn, 1998). 1 Although there exist different opinions on whether public arts subsidy has actually reduced and to what extent it has been replaced by private money, the literature agrees that a fundamental cultural change has occurred in the sector.…”
Section: Introductionmentioning
confidence: 99%
“…The cultural public sphere (McGuigan, 1996) is more like the perpetual interaction between the public interest in culture and the dynamic operations of culture rather than exercising power over others. Missing from Habermas's concerns are the ways in which culture connects with more affective sensibilities that are more often central features of most cultural encounters, from looking at pictures in an art gallery to watching an exciting film on television.…”
Section: The Notion Of Public Sphere and Governmentality Embedded In mentioning
confidence: 99%