Suchergebnisse

Lithuanian authors have challenges to study Russia's politics of history. The analysis is complicated because of a few factors. Diplomatic disputes and informative wars between Lithuania and Russia concerning historical questions have encouraged researches by historians but not by political scientists. In Lithuania, the questions of who and how is forming the history politics of Russia, what is its content and the function it accomplishes, remain unexamined. The analysis is further complicated by disagreement among Russian political scientists, historians, journalists, and politicians over the existence of such politics. The present analysis demonstrates that post-soviet Russia perceives the importance of historical memory, i.e. it understands that historical memory and its forms depend on the states' politics. Russia's political history genesis testifies that trends of such politics depend on the geopolitical orientation of its government. The end of the Cold War did not manage to conceal the fundamental differences between Europe and Russia. The wave of liberalism and democracy, which spread over Central and Eastern Europe as well as Russian Federation, has caused tension in Russia ruled by B. Yeltsin. Yeltsin's Russia was not able to tackle this problem by using measures of history politics in order to lessen the distance between Russia and the West. V. Putin undertook to find the solution to this situation, and he did. By using changes of international politics, he builds the image of Russia as a great power. Politics of history are subordinated to build this image; also, it is used as an instrument in domestic politics. The history politics of Russia has taken the shape of a manipulative form and serves the interests of V. Putins's power.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

The main objective of this article is to identify the factors which determine the depiction of criminal events in Lithuanian internet media and film, as well as consumer demand for this type of information. The impact of mass media and films is evidenced in the fact that the messages they provide influence our ideas about social, economic and political phenomena and shape our perception of them. Even if a fictional film is based on subjective creativity and its criteria, mass media has to meet the requirements of objectivity; nevertheless, the messages provided by both are a representation of constructed reality. Mass media produces messages about crime, and crime movies help reproduce this information by expanding it with fictional narrative and condensing one aspect or another. In Lithuanian internet media, criminal events are presented every day, and the abundance of these messages hyperbolizes the view of the existing reality. The depiction of many criminal occurrences is used in Emilis Vėlyvis' films Zero and Zero 2. The appearance of this information in mass media and films results in consequences which affect society both negatively and positively. On one hand, information about crime helps to understand safety conditions in society, but on the other hand, it forms a fear of crime and an exaggerated view of criminality. This in turn makes it difficult to distinguish crime from entertainment, because depictions of crime are being presented in various forms of media both as necessary information for society and also as entertainment.

The intensification of historical consciousness in 1988 encouraged the questioning of the remains of the Soviet epoch and the search for heroic examples in the remote history of the state. After the first memoirs were published during the first years of independence, various forms of social memory appeared: a list of memorable days and founding of new museums. But at the period of the rebirth the collective memory was more consensual. The reconstructed monuments of the prewar period became the products of collective memory, the ideological content of which equally satisfied both the post-Soviet elite, aiming for the legitimization, and the nation, thirsty for freedom. At that time the monuments became the instruments of the socio-political power used to legitimize authority, to construct individual and collective memory. The signs of the public places witnessed the configuring of heritage that helped to determine the spirit and direction of the newly established nation-state. Therefore it became a meaningful part of the politics of memory.

The intensification of historical consciousness in 1988 encouraged the questioning of the remains of the Soviet epoch and the search for heroic examples in the remote history of the state. After the first memoirs were published during the first years of independence, various forms of social memory appeared: a list of memorable days and founding of new museums. But at the period of the rebirth the collective memory was more consensual. The reconstructed monuments of the prewar period became the products of collective memory, the ideological content of which equally satisfied both the post-Soviet elite, aiming for the legitimization, and the nation, thirsty for freedom. At that time the monuments became the instruments of the socio-political power used to legitimize authority, to construct individual and collective memory. The signs of the public places witnessed the configuring of heritage that helped to determine the spirit and direction of the newly established nation-state. Therefore it became a meaningful part of the politics of memory.

The intensification of historical consciousness in 1988 encouraged the questioning of the remains of the Soviet epoch and the search for heroic examples in the remote history of the state. After the first memoirs were published during the first years of independence, various forms of social memory appeared: a list of memorable days and founding of new museums. But at the period of the rebirth the collective memory was more consensual. The reconstructed monuments of the prewar period became the products of collective memory, the ideological content of which equally satisfied both the post-Soviet elite, aiming for the legitimization, and the nation, thirsty for freedom. At that time the monuments became the instruments of the socio-political power used to legitimize authority, to construct individual and collective memory. The signs of the public places witnessed the configuring of heritage that helped to determine the spirit and direction of the newly established nation-state. Therefore it became a meaningful part of the politics of memory.

dustry that examined the cultural and economic aspects of the Lithuanian film industry's national and global situation and developments in the 21st century. The authors review changes in the political, legal, tax, and other circumstances in 2011–2014 that led to qualitative changes in the film industry over the last four years. The authors conducted quantitative research in order to properly evaluate the symbolic and cultural national film industry output level. The survey data is analyzed and compared with survey data from the previous year.

dustry that examined the cultural and economic aspects of the Lithuanian film industry's national and global situation and developments in the 21st century. The authors review changes in the political, legal, tax, and other circumstances in 2011–2014 that led to qualitative changes in the film industry over the last four years. The authors conducted quantitative research in order to properly evaluate the symbolic and cultural national film industry output level. The survey data is analyzed and compared with survey data from the previous year.

By combining the approaches of film history theory with research of the Soviet period, and on the basis of empirical research, this study carries out the reconstruction of exhibition, distribution and production. The main aim of this study is to present film as a multi-layered phenomenon of the Soviet period which encompasses socio-cultural, ideological, political, creative, technological, economical and institutional levels. This research not only identifies the main aims and tasks of the Soviet film policy (from above), but also discloses reasons for those cases when the programme-aimed intentions failed to be executed (from below). As it turns out, the "most important of all arts" was not that significant. The so-called advantages of cinema, such as its "mass appeal" or "effectiveness", were only programme-based aspirations that granted film with mythical powers that had nothing in common with the processes that took place in the reality of Soviet Lithuania. The end of the creation of the Lithuanian film studio signified, on the one hand, the fact that the creation of the model of film industry in the periphery of the USSR had come to an end (production, distribution, exhibition); on the other hand, it marked the appropriation of the multi-stage system of film control. Having thoroughly analysed the modes of control expression, the research proposes a construct for this control system ("control pyramid").

By combining the approaches of film history theory with research of the Soviet period, and on the basis of empirical research, this study carries out the reconstruction of exhibition, distribution and production. The main aim of this study is to present film as a multi-layered phenomenon of the Soviet period which encompasses socio-cultural, ideological, political, creative, technological, economical and institutional levels. This research not only identifies the main aims and tasks of the Soviet film policy (from above), but also discloses reasons for those cases when the programme-aimed intentions failed to be executed (from below). As it turns out, the "most important of all arts" was not that significant. The so-called advantages of cinema, such as its "mass appeal" or "effectiveness", were only programme-based aspirations that granted film with mythical powers that had nothing in common with the processes that took place in the reality of Soviet Lithuania. The end of the creation of the Lithuanian film studio signified, on the one hand, the fact that the creation of the model of film industry in the periphery of the USSR had come to an end (production, distribution, exhibition); on the other hand, it marked the appropriation of the multi-stage system of film control. Having thoroughly analysed the modes of control expression, the research proposes a construct for this control system ("control pyramid").

Natural environment plays essential role for human being as a biological organism. Now-days using specific environmental objects, such as forests, parks, water fields are very important to ensure for society's health and welfare. In Lithuania, after restoration of independence, private ownership as a field of law was restored also. Since then, more and more real property objects are bought from the state or falls into private ownership by restitution. Under such circumstances crucially important issue arises: how the state will regulate the relationship between owners of real property and other members of society. Since Roman law, it is widely known, that under specific circumstances one can use the property of another man without his permission (by servitudes). There was an old customary law In the Statutes of Lithuania, which let the people use the forests freely, despite the will of owner. This legal norm is still provided in Lithuanian law. After restoration of independence, the right of public access was provided in the new-coming law, but the legislation was significantly changing even during quite short period of independence. In this thesis author analyses the restrictions, suffered by owners because of law-provided right of individuals to use another's real property without permission. Also, author compares Lithuanian and Swedish legal norms, genesis of such restrictions, legal procedures on implementation of such right. According to an author, there is a lack of regulation in Lithuanian law; regulation sets no limits to protect owners' privacy. On the other hand – owner can easily limit the right of public access by initiating total prohibition without any reasonable background. According to these conclusions, author proposes to improve Lithuanian legal regulation, set clear limits and conditions, under which it would be not aloud to restrict owners' rights by the right of public access.

Natural environment plays essential role for human being as a biological organism. Now-days using specific environmental objects, such as forests, parks, water fields are very important to ensure for society's health and welfare. In Lithuania, after restoration of independence, private ownership as a field of law was restored also. Since then, more and more real property objects are bought from the state or falls into private ownership by restitution. Under such circumstances crucially important issue arises: how the state will regulate the relationship between owners of real property and other members of society. Since Roman law, it is widely known, that under specific circumstances one can use the property of another man without his permission (by servitudes). There was an old customary law In the Statutes of Lithuania, which let the people use the forests freely, despite the will of owner. This legal norm is still provided in Lithuanian law. After restoration of independence, the right of public access was provided in the new-coming law, but the legislation was significantly changing even during quite short period of independence. In this thesis author analyses the restrictions, suffered by owners because of law-provided right of individuals to use another's real property without permission. Also, author compares Lithuanian and Swedish legal norms, genesis of such restrictions, legal procedures on implementation of such right. According to an author, there is a lack of regulation in Lithuanian law; regulation sets no limits to protect owners' privacy. On the other hand – owner can easily limit the right of public access by initiating total prohibition without any reasonable background. According to these conclusions, author proposes to improve Lithuanian legal regulation, set clear limits and conditions, under which it would be not aloud to restrict owners' rights by the right of public access.