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Abstract
This article examines the transformation of the Serbian media landscape over the last two decades, by applying four analytical categories developed for identifying levels of media capture in different national contexts (Dragomir 2019). Implementation of diachronic document analysis provides rich descriptions of the media regulatory capture, grip over public service broadcasters, misuse of state advertising and project-based financing of media content, as well as endurance of state media ownership. Therefore, this study identifies some of the reasons behind recent decline of media freedoms in Serbia, adds elements for finding the right place for Serbia on the map of Central and Eastern European post-communist media transformations, and contributes to the growing literature aimed at understanding media capture in its many forms and variations across the globe.

This research examines the "protest paradigm" in the digital news environment of a politically polarized media system by considering relations between news and online readers' comments about the Serbian protest Against Dictatorship, which was held in 2017. Applying content analysis to news and comments from two news websites, our study indicates the need to account for opposing framing of the protest (violence/peacefulness, de/legitimizing and un/democratic) in a polarized environment. The results show that the distribution of opposing frames is guided by the media relations with the government. Online readers' comments generally enhance this polarized pattern of frame distribution, with the exception of the performance frame, which remains prolific in the media, but absent from readers' comments.

This paper builds on the framing theory and its paradigm related to media coverage of protests. Protests are considered as multidimensional phenomena with important visual manifestations both at the time they take place and in later treatment in the media. The aim of this research was to contribute to understanding of visual framing of protests in Serbian media. For that purpose, we analyzed "Against the Dictatorship" protest held after presidential elections in 2017. Our analysis was focused on TV news aired on RTS1, B92, Pink and N1, photographs published in print outlets Kurir, Informer, Vecernje novosti, Politika and Danas, and photos from Web sites blic.rs and telegraf.rs. The method of content analysis was used to examine the representation of visual frames of violence, performance, legitimization and delegitimization, and social semiotics to analyze the content of frames. Results of our study show that the mediascape in Serbia is divided between outlets which positively represent protests and others which frequently use negative frames of violence and delegitimization. More than other frames, visual performance is linked with newsrooms' work routines and focuses on the visual attractiveness of the event, while legitimization and delegitimization frames reflect political bias and editorial policies of certain media outlets. ; U radu se polazi od teorije uokvirivanja i unutar nje formulisane paradigme o medijskom izveštavanju o protestima. Protesti se posmatraju kao višedimenzionalni fenomeni u kojima je vizuelni izraz važan kako tokom protesta, tako i u njegovoj kasnijoj masmedijskoj obradi. Cilj ovog rada je da doprinese razumevanju vizuelnog medijskog uokvirivanja protesta, na osnovu studije slučaja protesta Protiv diktature koji je organizovan u Srbiji posle predsedničkih izbora 2017. godine. Analizom je obuhvaćeno izveštavanje televizija RTS 1, B92, Pink i N1, štampanih izdanja Kurira, Informera, Večernjih novosti, Politike i Danasa, i sajtova Blic.rs, Telegraf.rs. Metodom analize sadržaja ispitana je zastupljenost vizuelnih okvira nasilja, performativnosti, legitimisanja i delegitimisanja, a iz ugla socijalne semiotike kvalitativno je analiziran sadržaj ovih okvira. Rezultati pokazuju da je medijska scena podeljena između medija koji proteste prikazuju pozitivno i onih koji frekventno koriste negativne okvire nasilja i delegitimisanja. Za vizuelni performativni okvir može se reći da više od ostalih odslikava rutinu rada redakcija i stavlja u fokus vizuelnu atraktivnost događaja, dok se okvir legitimisanja i delegitimisanja pre mogu pripisati političkoj pristrasnosti i uređivačkoj politici određenih medija.

The expectations that the society and its different segments have from the university are influenced by historical circumstances and social, economic, political and cultural environment as the widest context within which the university interacts with its surroundings. Having this in mind, this paper aims to identify and analyze the explicit and implicit needs articulated by different social actors towards Serbian universities. This is done with an understanding that these needs arise in the context of comprehensive and deep social (economic, cultural, political) transition. The 'third mission' of the university, which includes the university participation in economic development as well as in building the civil society and democratic values, is considered to be especially important in the transition period. However, this mission is least present in practice given the fact that Serbian universities are so overburdened by other new roles in scientific research and education that they do not manage to systematically and strategically formulate their tasks within this new mission. ; Očekivanja koje društvo i različiti segmenti društva imaju od univerziteta uslovljena su istorijskim okolnostima i društvenim, ekonomskim, političkim i kulturnim ambijentom kao najširim kontekstom unutar kog univerzitet stupa u interakcije sa okruženjem. Imajući ovo u vidu, u radu se uočavaju i analiziraju eksplicitne i implicitne potrebe koje različiti društveni akteri artikulišu prema univerzitetima u Srbiji, uz razumevanje da ove potrebe nastaju u okolnostima sveobuhvatne i duboke društvene (ekonomske, kulturne, političke) tranzicije. Konstatuje se da je 'treća misija' univerziteta, koja se ogleda u učešću univerziteta u ekonomskom razvoju i u izgradnji civilnog društva i demokratskih vrednosti, posebno važna u tranzicionom periodu. Međutim, ona je najmanje zastupljena pošto su univerziteti previše opterećeni drugim novim zadacima u nauci i nastavi da bi sistematično i strateški formulisali svoju ulogu u okviru ove nove misije.

In this article, we develop the concept of small acts of engagement (SAOE) in a networked media environment as a conceptual framework to study specific audience practices and as an agenda for research on these practices. We define SAOE, such as liking, sharing, and commenting, as productive audience practices that require little investment and are intentionally more casual than the structural and laborious practices examined as types of produsage and convergence culture. We further elaborate on the interpretive and productive aspects of SAOE, which allow us to reconnect the notions of a participatory culture and a culture of everyday agency. Our central argument is that audience studies' perspective allows viewing SAOE as practices of everyday audience agency, which, on an aggregate level, have the potential to become powerful acts of resistance.