Suchergebnisse

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

Master Thesis "The implementation of culture policy in Lithuania: cinema's case study". Paper analyzes the implementation of culture policy and the case of cinema in particular. The object of this research is the implementation of cinema policy in the period of years 2002-2009. Despite the fact that cinema policy is constantly reforming, particular factors lead to inadequacy between purposes and results, which don't show expected effects, this means that implementation of policy is unsuccessful. According to successful factors of implementation which were suggested by V. Nakrošius and R. Vilpišauskas, this work analyzes the process of cinema policy implementation. The main steps are: the analysis of law base; forming of analytical scheme; analysis of cinema case. Issues raised for this analysis: are the purposes and tasks of cinema policy defined correctly?; is institutional structure of the cinema policy implementation in Lithuania suitable?; are the communication, responsibility and coordination defined clearly?; are there enough resources for the institutions?; is there an understanding between interest groups - legislatures and the executive for implementation of cinema policy in Lithuania?; do economic, social and political changes influence the success of policy implementation and what are the factors which improve implementation of policy? The following hypotheses were raised: (1) the implementation of cinema policy is unsuccessful because of ambitious purposes, lack of financial and professional resources, misunderstanding between interest groups - legislatures and the executive; (2) the main factor of unsuccessful policy implementation is inappropriate institutional structure of cinema policy. This research suggests establishing of the National institute of cinema, which would solve a lot of problems existing in implementation of cinema policy: formation and implementation of cinema policy would be provided more carefully instead of concentrating only on administration of funding; the implementation process would be provided by better skilled persons. Therefore, according to examples of "good practice" establishing of National institute of cinema would be the best decision to avoid all the problems which causes the implementation of cinema policy. Considering that policy of Lithuanian cinema hasn't been analyzed yet, this research is relevant and important.

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.

Violence was always a popular theme in movies. Nevertheless, through the history of cinema, we can track an everlasting critique of violent images. Since the beginning of the 20th century, violent cinema has been under constant political pressure, that required implementation of a strict censorship mechanism. That is why we can boldly state, that violent cinema is fundamentally connected to political questions of censorship and political order. By analyzing cinema violence, we raise questions about political concepts like fiction/reality, permitted/prohibited, moral/amoral and normal/abnormal. Usually, critics of violent cinema claim that violent films are a meaningless, but a dangerous product, that can transgress into reality. For example, violent movies can inspire the spectator to repeat the things that he saw on the screen. But such claims a priori deny the possibility that violent movies can become an original examination of violence itself. In this paper we claim that ultraviolent movies can raise an original discussion about the phenomenon of violence. This is where the problem of this paper arises. The goal of this paper is to critically analyze five ultraviolent movies made by Danish director Nicolas Winding Refn, and to examine how he creates his violent cinema. By investigating the relationship between narrative and violent images, we raise the question, do violent images inevitably become a meaningless and a dangerous object. The narratalogical analysis of five ultraviolent movies proves that movie violence can help the spectator raise important intellectual questions: who is responsible for viewing violent images, is the narrative and violence related and so on. This proves that cinema violence is more concerned with the cognitive processes of the creator or the spectator than with reality. And this gives ground for the criticism of mimetical theory of images and reality and the claim that movie violence is an insensible and dangerous product. This inquiry raises the question of the legitimacy of censorship of violent images. The originality of this paper comes in the methodological investigation of violent images, that is usually ignored by other researchers.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

The governmental promotion of culture philanthropy as a significant issue in culture policy is widely discussed in scientific literature. Many authors (Sulek 2010, Payton, 2000, etc.) argue that, though philanthropy concept has antique origins, at present still there is no comprehensive perception of its full meaning and no well-thought-out definition exists, thus, it is not astonishing that understanding of philanthropy is pretty much embedded in social, cultural and political settings. Culture philanthropy process involves different philanthropy actors – donors, intermediaries and recipients. The paper aims to discuss theoretical and practical aspects of culture philanthropy, using three differents approaches – perceptions by all three groups of actors in culture philanthropy. The paper analyses the concept of philanthropy as well as perceptions of culture policy in Lithuania. Data analysis is dwelling on the findings of the qualitative research conducted in 2014 on culture philanthropy actors' perceptions and experiences.

The master's thesis analyzes the problems of smart city cultural governance. The smart governance of cultural policy is perceived as a multidimensional phenomenon that includes the smartness, smart management, smart public management and smart cultural management. In order to reveal the problematic aspects of the research, the aim was to develop a theoretical model of smart city cultural governance and to evaluate Šiauliai city smart cultural governace functioning. The result of qualitative content analysis based on scientific sources is 3 chapters of the theoretical part: smart management, smart city and expression of intelligence in cultural management. The smart governance chapter reveals the key aspects of smartness as a fundamental component of the smart social system and the concepts of smart governance, smart public governance. Second chapter introduces the key concepts of smart city, discusses the essentials of smart city, presents smart city model, identifies the quality of smart social system. The third chapter presents and discusses different conceptual approaches of cultural management, on which are based theoretical model of smart city cultural governance. The theoretical smart city cultural governance model consists of six dimensions and eighteen qualities of a smart social system. The methodological part of the research describes the chosen qualitative research strategy, which is applied for: analysis of the content of scientific sources, analysis of the content of legal acts and informants' provisions. The theoretical model of smart city cultural governance is based on the results of the analysis of theoretical sources and a partially structured interview results. In the analysis part of the research results legal acts of different level are analyzed: legal acts of the European Union, Lithuanian national level (strategic documents, legal acts), local level strategic documents. The project of the law called the Fundamentals of Lithuania culture, which is going a long way to be confirmed by the Parlament of the Republic of Lithuania, is also analyzed. 10 informants participated in the survey of informants' attitudes. The content analysis of the informants' attitudes was done, on which base was formed Šiauliai smart culture governing model. In order to determine the functioning of the smart social management system in Šiauliai, a quality assessment was carried out. According to the evaluation, eighteen qualities of the smart social system were distributed: 5 qualities work well, 10 qualities work moderately and 3 qualities perform poorly. For poor performed qualities are made recommendations.

The master's thesis analyzes the problems of smart city cultural governance. The smart governance of cultural policy is perceived as a multidimensional phenomenon that includes the smartness, smart management, smart public management and smart cultural management. In order to reveal the problematic aspects of the research, the aim was to develop a theoretical model of smart city cultural governance and to evaluate Šiauliai city smart cultural governace functioning. The result of qualitative content analysis based on scientific sources is 3 chapters of the theoretical part: smart management, smart city and expression of intelligence in cultural management. The smart governance chapter reveals the key aspects of smartness as a fundamental component of the smart social system and the concepts of smart governance, smart public governance. Second chapter introduces the key concepts of smart city, discusses the essentials of smart city, presents smart city model, identifies the quality of smart social system. The third chapter presents and discusses different conceptual approaches of cultural management, on which are based theoretical model of smart city cultural governance. The theoretical smart city cultural governance model consists of six dimensions and eighteen qualities of a smart social system. The methodological part of the research describes the chosen qualitative research strategy, which is applied for: analysis of the content of scientific sources, analysis of the content of legal acts and informants' provisions. The theoretical model of smart city cultural governance is based on the results of the analysis of theoretical sources and a partially structured interview results. In the analysis part of the research results legal acts of different level are analyzed: legal acts of the European Union, Lithuanian national level (strategic documents, legal acts), local level strategic documents. The project of the law called the Fundamentals of Lithuania culture, which is going a long way to be confirmed by the Parlament of the Republic of Lithuania, is also analyzed. 10 informants participated in the survey of informants' attitudes. The content analysis of the informants' attitudes was done, on which base was formed Šiauliai smart culture governing model. In order to determine the functioning of the smart social management system in Šiauliai, a quality assessment was carried out. According to the evaluation, eighteen qualities of the smart social system were distributed: 5 qualities work well, 10 qualities work moderately and 3 qualities perform poorly. For poor performed qualities are made recommendations.