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V diplomskem delu obravnavam film »Eyes Wide Shut« (»Široko zaprte oči«). Cilj dela je analiza širšega pomena neobičajne in zelo posebne uprizoritve, predstavitve oz. reprezentacije Kubrickovega para v njegovem zadnjem filmu »Eyes Wide Shut«. Glede na številne stereotipizirane predstave glavnega močnega uspešnega moškega lika v filmih »Eyes Wide Shut« predstavlja prav nasprotno, popolno čustveno razrvanost in krizo ranjene moške identitete. V vsakodnevnem življenju smo vsaj nekdaj vsi bili priče nenehne patriarhalnosti, domestifikacije žensk ter pretirane čustvenosti in šibkosti kot izključno ženskih karakteristik. Pogosto velja, da ob ženski vedno stoji zaposlen, izobražen, finančno močan in uspešen (beli) moški, brez katerega ženske ne zmorejo. V patriarhalni družbi ženska ni sama svoj akter problematično je, če si to želi biti. Veliko teoretikov pravi, da prihaja do krize identitete tega istega močnega in uspešnega (belega) moškega. Glavni namen diplomskega dela je preučiti pripovedno strukturo filma in reprezentacijo moškega lika dr. Billa Harforda. Ekscentrični režiser Stanley Kubrick je na zelo zanimiv način predstavil reprezentacijo moškosti, ki jo je mogoče kakovostno raziskati ob omembi nasprotnega ženskega spola, zato menim, da je v času izstopa iz stereotipov in dojemanja družbene umestitve žensk njegov zadnji film iz komunikološkega tako kot sociološkega vidika vreden ogleda in analize. In my thesis, I discuss the film "Eyes Wide Shut". The aim of the work is to analyze the wider meaning of an unusual and very special performance, presentation or representations of Kubrick's couple in his last film, "Eyes Wide Shut." According to many stereotypical representations of the main strong successful male character in films, "Eyes Wide Shut" represents the exact opposite, a complete emotional breakdown and a crisis of wounded male identity. In our daily lives, at least once, we have all witnessed constant patriarchy, the domestication of women, and excessive emotionality and weakness as exclusively female characteristics. It is often believed that there is always a busy, educated, financially strong and successful (white) man standing next to a woman, without whom women cannot live. In a patriarchal society, a woman is not her own actor it's problematic if it wants to be. Many theorists say that this same powerful and successful (white) man is having an identity crisis. The main purpose of the thesis is to examine the narrative structure of the film and the representation of the male character dr. Bill Harford. The eccentric director Stanley Kubrick presented the representation of masculinity in a very interesting way, which can be qualitatively explored while mentioning the opposite female sex, so I think that at the time of breaking out of stereotypes and the perception of the social placement of women, his latest film is worthwhile from a communicative as well as a sociological point of view viewing and analysis.

Diplomsko delo s področja antropologije spola se ukvarja z nebinarnim spolom in njegovo reprezentacijo v popularni kulturi, natančneje v filmih in nadaljevankah. Spolno nebinarne osebe lahko opišemo kot posameznike_ce, ki samih sebe ne doživljajo znotraj tradicionalnih binarnih okvirjev spola, torej izključno kot moške ali ženske. Čeprav je v zadnjih letih vedno več govora o nebinarni spolni identiteti in s tem tudi njenega večjega sprejemanja, spolna nebinarnost ni nov pojav prisotna je namreč bila v vseh časovnih obdobjih ter na vseh celinah – skupine spolno nebinarnih posameznikov lahko najdemo v Evropi, Ameriki, Aziji ter v Oceaniji. V zadnjem času je naraslo prikazovanje spolne nebinarnosti v množičnih medijih, tako v časopisih, pri televizijskih poročilih kot tudi v popularni kulturi. Vse več je znanih oseb, ki se opredeljujejo kot spolno nebinarne osebe in javnost ozaveščajo o tem pojavu, prav tako je vedno več spolno nebinarnih likov v filmih in nadaljevankah, kjer so prikazani na različne načine, kar vpliva na njihovo sprejemanje v širši javnosti ter njen odnos do njih. Undergraduate thesis in the field of anthropology of gender discusses non-binary gender and its representation in popular culture, specifically in films and series. Gender non-binary people can be described as individuals who do not experience themselves within the traditional binary constructs of gender, that is, exclusively as males or females. Although in recent years there has been an increase in discussion about non-binary gender identity and, with it, greater acceptance of the latter, non-binary gender is not a new phenomenon it was present in all historical periods and on all continents - gender non-binary individuals can be found in Europe, America, Asia, as well as in Oceania. Recently, there has been an increase in the representation of gender non-binary individuals in the mass media, both in newspapers, television news, as well as in popular culture. There is an increase in the number of celebrities who identify as non-binary, which gives visibility to the phenomenon, furthermore, there are non-binary characters in films and series, whose representations vary, which affects the attitude towards them by the general public.

Diplomsko delo obravnava problematiko spola (spolov), bolj natančno, problematiko binarnega sistema spolov in njegovih učinkov, še posebej pa izpostavlja in tematizira konstrukt in reprezentacije ženskega spola. Prav tako je v diplomskem delu opravljena interpretativno – analitična in primerjalna literarna analiza ženskih likov v petih romanih Vitomila Zupana, ki se osredotoča predvsem na raziskovanje, kako se v besedilih kažejo objektivizacija, stereotipizacija, klišeizacija in seksualizacija upodobljenih ženskih literarnih likov v primerjavi z moškimi literarnimi liki. The aim of this thesis is to present the issue of gender, more precisely the binary sistem of gender and it's effects and it particulary highlights the consturct and representation of the female gender. I have thus included interpretative – analytical and comparative literary analysis of female characters conducted on five novels by Vitomil Zupan, focusing on researching how in the novels are present objectification, stereotipization, clicheization and sexualization of female characters in comparison to male characters.

In this paper the differences between femininity and masculinity which appear in popular TV series Modern Family were analyzed. Over the last few years the representation of femininity and masculinity has been modified and improved, however some stereotypes about what women and men should do still lingers. It can be said that in Modern Family differences between femininity and masculinity are not strictly determined. The goal of this paper was to analyze how Modern Family uses typical femininity and masculinity stereotypes to show to its viewers that they are not obliged to follow already established guidelines concerning gender differences. Modern Family provided to its viewers the notion of change, making them realize that it is possible to ignore or neglect popular opinions imposed by the society and to create your own rules. Furthermore, the TV series enabled its characters to change, meaning that female characters were given the opportunity to show their more masculine side and male characters were given the opportunity to show their more feminine side without being judged. Additionally, from the character analysis, it can be seen that division between men and women should not be taken as strictly or as seriously as it was in the past. Ovaj diplomski rad se bavi razlikama između ženskosti i muškosti koje se pojavljuju u popularnoj TV seriji Moderna obitelj. Iako se reprezentacija ženskosti i muškosti promijenila i poboljšala posljednjih nekoliko godina pojedini stereotipi o tome što žene i muškarci trebaju raditi su se zadržali. Može se reći da u Modernoj obitelji razlike između ženskosti i muškosti nisu u strogo utvrđene. Cilj ovog diplomskog rada bio je analizirati kako Moderna obitelj upotrebljava stereotipe stvorene o muškosti i ženskosti kako bi pokazala svojim gledateljima da ne trebaju slijediti već utvrđene smjernice koje se tiču razlike između spolova. Moderna obitelj je pružila svojim gledateljima ideju o promjeni te ih navela na razmišljanje o tome kako je moguće ignorirati ili čak zanemariti popularna mišljenja koja društvo nameće i kako je moguće stvoriti vlastita pravila o tome što žene i muškarci mogu raditi. TV serija je omogućila svojim likovima promjenu, tj. ženski likovi u seriji su dobili mogućnost da pokažu svoju muškost, a muški likovi su dobili mogućnost da pokažu svoju ženskost bez ikakvih osuđujućih pogleda. Nadalje, iz analize likova, gledatelji mogu vidjeti da razlike između muškaraca i žena ne trebaju shvaćati tako strogo ili ozbiljno kako su ih ljudi u prošlosti shvaćali.

The long tradition of underrepresentation and stereotypical portrayals of women and people of colour in Hollywood is slowly changing, one of the evident examples of this is the movie, Black Panther. This thesis was concerned with the analysis of characters in the movie Black Panther. The intersectional approach was applied to determine the intersections between race and gender on the example of women in Black Panther. The intersectional analysis demonstrated a highly progressive representation of women in Wakanda. Women take up a significant and central role in Wakanda and are, therefore, crucial to the narrative. They are not just sidekicks to the superhero Black Panther. Other than intersectionality, elements of Black Panther that were also explored were Afrofuturism as well as the general fight of right vs wrong between the main villain and superhero and its underlying symbolism. It is important to emphasise, the film leads in the positive portrayal of African Americans in cinema and has secured its place in contemporary popular culture as Marvel’s first superhero of African descent. Duga tradicija slabe zastupljenosti te stereotipnih prikaza žena i osoba različitih rasnih pripadnosti u Hollywoodu se polako mijenja. Jedan od očiglednih primjera je film Black Panther. Ovaj se završni rad bavi analizom likova u filmu Black Panther. Intersekcionalnost je primijenjena kako bi se odredila povezanost između rase i spola na primjeru ženskih likova u filmu Black Panther. Intersekcionalna analiza je prikazala vrlo progresivnu sliku ženskih likova u Wakandi. Žene zauzimaju značajnu i središnju ulogu u Wakandi i stoga su presudne za razvoj priče. One ne predstavljaju samo sporedne likove uz superjunaka Black Panthera. Osim intersekcionalnosti, elementi Black Panter filma koji su također istraženi su Afrofuturizam te sukob između dobra i zla između glavnog negativca i superheroja te skrivene simbolike njihova odnosa. Bitno je naglasiti da film prednjači u pozitivnom prikazu Afroamerikanaca te je osigurao svoje mjesto u suvremenoj popularnoj kulturi kao prvi Marvelov superheroj afričkog podrijetla.

This Bachelor Thesis seeks to analyze the representation of race and gender on the examples of superheroes Luke Cage and Jessica Jones. The central theory is representation which was defined by Stuart Hall. In this work, a comparison of aforementioned superheroes with some examples of stereotypical superheroes will be made. Furthermore shall be examined the way in which the characters of Luke Cage, Jessica Jones and the TV shows they appear in depart from the stereotypical representation of superheroes in comic books, and even in some movies. Through the character Jessica Jones will be analyzed the progress in the representation of a female character through the theory of "the male gaze" in order to analyze the way Jones moved away from the stereotypical passive female character. Then, through the character Luke Cage will be portrayed Harlem´s culture and people along with the explanation of the importance of a black superhero with bulletproof skin. Ovaj završni rad nastoji analizirati upotrebu reprezentacije u prikazivanju rase i roda na primjeru superheroja Lukea Cagea i Jessice Jones. Središnja teorija rada je reprezentacija koju je definirao Stuart Hall. Naime, u radu će se uspoređivati prikaz spomenutih superjunaka sa superjunacima koji su prikazani stereotipično, te će se analizirati način na koji likovi Luke Cage i Jessica Jones i istoimene serije odmakli od stereotipičnog prikaza superjunaka u stripovima, pa čak i u nekim filmovima. Kroz lik Jessice Jones će biti analiziran napredak u prikazu ženskog lika te će se kroz teoriju ˝muškog pogleda˝ analizirati način na koji se Jones odmakla od stereotipičnog pasivnog lika žene. Zatim će kroz lik Lukea Cagea nastojat biti prikazan život i kultura u Harlemu te zašto su boravak u zatvoru i neprobojna koža važni za oblikovanje snažnog crnog superheroja.

This is a Bachelor Thesis which is examining how representation is used in portrayal of female characters in the Star Wars. Using feminist film criticism as a theoretical background, this paper will deal with problems of representation, male gaze and gender through two characters, Leia Organa and Padme Amidala. Firstly examining Leia and her portrayal throughout series, this paper will discuss and congregate all the negative aspects of when representation interferes to the character portrayal. Using the character of Padme Amidala, it will be showed to which extent female character’s narrative is limited to her relationship with a male hero. What will be specially taken into consideration in this analysis is appearance, personalities and relationships with other characters of these two film heroines and how this can be connected with the theory of representation and feminist film criticism. Ovaj završni rad se nastoji baviti time kako je reprezentacija korištena u prikazivanju ženskih likova u Zvjezdanim ratovima. Kao teorijski oslonac korištena je feministička filmska kritika, te je ponuđen osvrt na probleme reprezentacije, muškog pogleda u filmu te roda kroz dva lika iz serijala, Princezu Leu i Padme Amidalu. Glavni dio ovog rada baviti će se prikupljanjem i analizom kompiliranih obrazaca negative reprezentacije ženskog lika kroz figuru Leie, te u konačnici kako reprezentacija utječe na njezin prikaz. Zatim kroz lik Padme Amidale nastojat će biti pokazano do koje je mjere naracija ženskog lika limitirana na njezin odnos sa muškom figurom. Na što će biti posebno stavljena pozornost u ovoj analizi je kako možemo korelirati reprezentaciju i feminističku filmsku teoriju sa prikazom izgleda, osobnosti i odnosa ženskih likova sa muškim glavnim junacima kroz likove Leie i Padme.

Edward Said defined the term “orientalism”, and explained it as prejudices West (Occident) have towards the East (Orient). In the representation of the East the West uses outdated stereotypes based on the work of Western scholars. This knowledge about the East is perceived and constructed throughout history and various literary sources that often do not provide a clear and distinct insight into the actual life of the Middle East. This ”pre-made“ knowledge created images which are used even today by mass media. Today, visual popular culture is experiencing a global growth. One of the most popular extents of visual popular culture, we are exposed to every day, are advertisements. The aim of this thesis is to recognise orientalism in ads, by deconstructing and analysing different advertisements. By using concepts of meaning, representation and objectificatin the thesis analyses how orientalism is the key instrument in creation of Western identity. The advertisements the thesis analyses are ”Axe's Make Love”, ”Not War advertisement”, ”Barbie’s Imagine the Possibilities” and ”Coca-Cola’s Coke Chase”. These advertisements are full of stereotipical assumptions underlying Western attitudes toward the rest of the world. Along with the questions of dominance and inferiority, the thesis examines the problems of gender, race and ethnicity. Edward Said definirao je pojam „orijentalizam“, i objasnio ga kao niz predrasuda koje Zapad ima prema Istoku. Kako bi prikazao Istok, Zapad koristi zastarjele predrasude koje se temelje na radu zapadnih znanstvenika. Znanje o Istoku je kreirano tijekom povijesti te kroz razne književne izvore i upravo zbog toga ne pruža jasan uvid u stvarni život na Bliskom Istoku. Ovakvo „stvoreno“ znanje i Istoku je omogućilo stvaranje slika i prikaza Istoka koje i danas koriste mediji. Vizualna popularna kultura doživljava gobalni rast, a jedan od najpopularnijih oblika vizualne popularne kulture, kojem smo svakodnevno izloženi, su reklame. Cilj ovog rada je pronaći orijentalizam u reklamama, a to ću postići dekonstrukcijom i detaljnom analizom reklama. Koristeći koncepte značenja, reprezentacije i objektifikacije analizirati ću činjenicu da je orijentalizam jedan od najvažnijih načina na koje se stvara identitet Zapada, a uz to se potiču različitosti među kulturama. Analzirati ću britanskih reklamu Axe mirisa pod imenom „Make Love, Not War“, zatim Coca-Cole „Coke Chase“ i Barbie „Imagine The Possibilities“. Ove reklama pune su stereotipnih pretpostavki na kojima se temeljie stavovi Zapada prema ostatku svijeta. Uz pitanja dominacije i inferiornosti tijekom analize dotaknuti ću se i problema roda, rase te etničke pripadosti.

Predmet istraživanja u doktorskoj disertaciji je vizuelna reprezentacija roda na reklamnim fotografijama u proizvodima ženske popularne kulture, u ženskim časopisima. Studija slučaja je ženski časopis sa najdužom tradicijom u Srbiji, Bazar, a socijalizam i tranzicija posmatrani periodi. Postavljeni ciljevi i hipoteze jesu da su reklamne fotografije tekstovi, značenjski vredni zapisi koje čitaoci ,,čitaju” i koji govore o raspodeli moći i rodnim razlikama, a u skladu sa ideološkim konstruktima patrijarhalnog društva, i da su nosioci rodnih stereotipa. Navedene hipoteze dokazujemo primenom kvantitativnokvalitativne analize sadržaja objavljenih reklamnih fotografija u časopisu Bazar, u prvoj polovini 1979. i 2014. godine. U radu se primenjuje i metodologija sociologa Ervinga Gofmana (Erving Goffman), primenjena u knjizi Reklamiranje roda (Gender Advertisements), koja predstavlja kombinaciju ramske i semiološke analize. Primenom komparativne metode utvrđujemo da, uprkos promeni društveno-istorijskih okolnosti, politika reprezentacije roda nije značajno promenjena u poslednjim decenijama. Pored navedenih, primenjujemo i teorijsko-analitičke metode, kroz izbor i analizu reprezentativnih tekstova iz oblasti semiologije, feminizma i studija kulture. Postavljeni ciljevi i hipoteze u disertaciji su rezultatima istraživanja potvrđeni, a zaključak je da reklamne fotografije imaju ulogu afirmacije vladajuće doktrine, vladajućih kulturnih vrednosti, da ne ustaju protiv statusa quo u društvu. Masovni mediji održavaju mušku dominaciju u patrijarhalnim društvima negujući rodne stereotipe. Na taj način mediji produbljuju rodne nejednakosti, jer oni nisu samo ogledalo društvenih odnosa, već su u sprezi sa vladajućom ideologijom, i njihov kreator. Medijski tekstovi aktivno i neprekidno učestvuju u konstrukciji ,,ženskosti“ i ,,muškosti“ u jednom istorijskom trenutku. Research subject in this PhD thesis is a visual representation of gender in advertising photographs of women in the products of popular culture, in women's magazines. The case study is a women's magazine with the longest tradition in Serbia, Bazar, while socialism and the transition period will be observed. The set objectives and hypotheses imply that the advertising photographs are actually textsand records of importance which the readers “read”, and which talk about the distribution of power and about gender differences, all in accordance with ideological constructs of patriarchal society, and these are the source of gender stereotypes. These hypotheses will be proven by using quantitative and qualitative analysis of the content of advertising photographs in the magazine Bazar, in the first half of 1979 and 2014. The paper applies the methodology used by the sociologist Erving Goffman, applied in the book Gender Advertisements, which is a combination of frame and semiological analysis. By applying the comparative method we determine that, despite the change of social and historical circumstances, the policy of gender representation has not significantly changed in the last decades. In addition to the aforementioned, we apply the theoretical and analytical methods for selection and analysis of representative texts from the field of semiology, feminism and cultural studies. The set objectives and hypotheses in this thesis have been confirmed through research results, and the conclusion is that advertising photographs play the role in affirmation of the predominant doctrine and of the predominant cultural values and they do not stand up against the status quo in society. Mass media maintain male dominance in patriarchal societies by cherishing gender stereotypes.In this way, the media deepen gender inequalities because the media are not only the mirror of social relations, but they are also in conjunction with the dominant ideology, and they are its creator. Media texts actively and continuously participate in the construction of “femininity” and“masculinity” in a certain historical period.

Television reflects and shapes, or in Hall’s terms, represents American culture to the audience, and sitcoms are one of the major instruments through which dominant ideologies about gender are circulated. The aim of this thesis is to analyze how a popular American ABC’s sitcom, Modern Family, which apparently resists traditional gender portrayal, uses systems of representation to construct meanings and reproduce knowledge about gender, using mainly Stuart Hall’s work of representation and Foucault’s concepts of discourse, power, knowledge and normalization. The analysis shows that although Modern Family engages in social change, where characters and the way they interact do resist traditional gender discourses, the show still relies on stereotypes and patriarchic discourses of gender and family dynamics. Moreover, the normalizing power in Modern family is realized through stereotypical representations of difference, positioning as a butt of humor and subordinating everyone who does not fit to the norm, dividing between the normal and the abnormal, insiders and outsiders, which further reinforces and naturalizes traditional discourses of gender, sexuality and race. Televizija predstavlja i oblikuje, odnosno jezikom Stuarta Halla, reprezentira američku kulturu, a komedije situacije jedne su od glavnih instrumenata kroz koje cirkuliraju dominantne rodne ideologije. Cilj ovog rada jest analizirati kako popularna američka ABC-jeva komedija situacije, Moderna obitelj, koja se naizgled opire tradicionalnom prikazu roda, koristi specifične oblike reprezentacije kako bi konstruirala i cirkulirala rodna značenja i znanja, pri čemu će se uglavnom koristiti Hallov rad o reprezentaciji te Foucaultovi koncepti diskursa, znanja, moći i normalizacije. Analizom se pokazalo kako, iako Moderna obitelj koketira s društvenim promjenama, gdje se kroz likove i njihovu interakciju opire tradicionalnim diskursima o rodu, serija se i dalje oslanja na stereotipe i patrijarhalne diskurse roda i obiteljske dinamike. Također, moć normalizacije u Modernoj obitelji realizirana je kroz stereotipnu reprezentaciju različitosti, tj. drugosti, subordiniranje i pozicioniranje onih likova koji se opiru rodnim normama kao objekata humora, raščlanjivanjem između „normalnih“ i „nenormalnih“, „insidera“ i „outsidera“, što u konačnici dodatno učvršćuje i naturalizira tradicionalne diskurse o rodu, seksualnosti i rasi.

Politike predstavljanja ženskih identiteta ujavnom i medijskom diskursu mogu seposmatrati kao izraz odnosa moći u određenomdruštvu i istorijskom razdoblju, i da je u tomsmislu pozicija «ženskog» konstruisana ioznačena kao figura «drugog», kao figura ukojoj se ogledaju dominantni društveni odnosi.Žena je ovdje kategorija, dakle, riječ je o tomeda je ono što se pripisuje ovoj kategorijiodnosno ženskom principu drugo,drugorazredno, nepoželjno, manje vrednovano uvladajućim ideologijama i njima svojstvenimmedijskim praksama. Jedan od problema kojimase bavim u ovom radu je istraživanje da li novemedijske tehnologije i novi oblici komunikacijai prenošenja medijskog sadržaja, kao iformiranje dinamičnog su/odnosa medijskogteksta i medijskih publika doprinose promjenireprezentacije i konstruisanja ženskih identitetau medijskim diskursima ili naprosto ponavljajupatrijarhalne diskriminatorne obrasce u novommedijskom okruženju.Cilj istraživanja je da pokaže kako se konstruišurazličiti identiteti žena u reprezentacijskimpraksama online (onlajn) izdanja štampanihmedija, kao da li su na dijelu, i ako jesu na kojinačin djeluju, strategije isključivanja žena umedijskoj praksi kroz konstrukcije stvarnosti,getoizacije i stereotipizacije žena u medijima.Metodološki okvir istraživanja ”Rodna analizaonlajn štampanih medija u Srbiji” predstavljakombinaciju kvantitativnih i kvalitativnihpristupa u procesu dokazivanja postavljenihhipoteza, jedne opšte i tri specifične, proizašleiz nje.Opšta hipotezaŽenski identitet nezavisno od globalnetransformacije medijskih žanrova i načinakomunikacije u savremenom tranzicionomdruštva u Srbiji je uvijek reprezentovan krozfiguru „drugog” i „drugosti”, i to bez obzira naidentitetsku poziciju koju zauzima u društvenojraspodjeli moći.Hipoteza 1Različita distribucija moći i vidljivosti u odnosuna različite ženske identitete je prisutna umedijskom diskursu (žene iz javne sferenaspram marginalizovanih).Hipoteza 2Medijski tekst prepoznaje temu nasilja nadženama kao ključnu koja se odnosi na životežena, odnosno kada su u pitanju medijskereprezentacije žena u društvenom kontekstu,one su u najvećem broju predstavljene kaožrtve.Hipoteza 3Žene iz manjinskih i marginalizovanih grupa sunevidljive u medijskom diskursu onlajn izdanjaštampanih medija.Provjera hipoteza se realizuje kroz istraživanjekoje uključuje monitoring onlajn izdanjaštampanih medija (tekstova i komentara čitalacai čitateljki): četiri nacionalna: Blic, Politika,Kurir, Danas i jednog lokalnog ‒ novosadskiDnevnik. Istraživački ciklus je obuhvatio periodod 5 mjeseci (od novembra 2013. do marta2014.). Selektovani su tekstovi o ženama koji suna web stranicama: www.blic.rs; ww.politika.rs;www.kurir-info.rs; www.danas.rs;www.dnevnik.rs u sljedećim danima:07.11.2013.; 25.11.2013.; 10.12.2013.;18.12.2013.; 27.01.2014.; 31.01.2014.;14.02.2014.; 28.02.2014.; 08.03.2014.;13.03.2014.Ukupan broj pregledanih tekstova je 184, dokbroj pregledanih komentara iznosi 980.Onlajn sadržaj štampanih medija proizvodiistovjetne strategije isključivanja žena i njihovugetoizaciju, kako u samom tekstu tako i ukomentarima nove interaktivne publike, kojapostaje ko-autor/ka u procesu promocije ilegitimizacije mizoginije kao javnog govora.Ovaj rad je pokazao da informacijskokomunikacijsketehnologije same po sebi nemjenjaju nejednakosti i da je neophodnouspostaviti nove modele upotrebe savremenihtehnologija, koje će žene i drugemarginalizovane grupe koristiti za socijalnopozicioniranje na internetu, ali i obrazovanjekoje implicira novo oblikovanje rodnih uloga ipraktičan rad (programiranje, veb-dizajn) kakobi stvorile orodnjeni i pravedniji sajber prostor(gendered syber space)., Policies of representation of female identities inpublic and media discourse can be seen as theexpression of the relations of power in a certainsociety and historical period. In that sense, theposition of „feminine“ is constructed andlabeled as „the other“, the figure reflectingprevailing social relations. Thus, woman is acategory and things attributed to this category,i.e. to the feminine principle, are other, secondrated,unwelcome, less worth within thedominant ideologies and media practices typicalfor them. One of the issues I deal with in thiswork is the research on whether the new mediatechnologies and new forms of communicationand conveying media content, as well as thedynamic relationship between media contentsand media audiences, contribute to the changeof representing and constructing feminineidentities in media discourses, or they justrepeat the patriarchal discriminatory patterns ina new media setting.Aim of the research is to show how differentidentities of women are being constructed in therepresentation practices of the online editionsof the printed media, as well as to determine ifthese media practices include the strategies ofexcluding women through certain constructionsof reality, ghettoization and stereotyping ofwomen in the media, and if they do, to examinehow these strategies work.Methodological framework of the research„Gender Analysis of the Online Editions ofPrinted Media in Serbia“ includes combinationof quantitative and qualitative approaches to theprocess of proving hypotheses – one generaland three specific hypotheses derived from thegeneral one.General HypothesisUnrelated to the global transformation of mediagenres and ways of communication, femaleidentity in the contemporary transitional societyof Serbia is always represented as „the other“and through „otherness“, regardless of theposition an identity has in the social distributionof power.Hypothesis 1In the media discourse there is unevendistribution of power and visibility of differentfemale identities (women from the public spherevs. marginalized women).Hypothesis 2Media texts recognize the subject of violenceagainst women as the crucial subject of the livesof women, i.e. it is crucial in the mediarepresentations of women in the social context –and the majority of women are presented asvictims.Hypothesis 3Women from minority and marginalized groupsare invisible in the media discourse of the onlineeditions of printed media.Hypotheses were tested through the researchbased on monitoring online editions of theprinted media (texts and comments of readers):four national – Blic, Politikа, Kurir, Dаnаs, andone local – Dnevnik from Novi Sad. Researchcycle covered 5 months (from November 2013to March 2014). I selected texts about womenpublished at web pages www.blic.rs;www.politika.rs; www.kurir-info.rs;www.danas.rs; www.dnevnik.rs on thefollowing dates: 07.11.2013.; 25.11.2013.;10.12.2013.; 18.12.2013.; 27.01.2014.;31.01.2014.; 14.02.2014.; 28.02.2014.;08.03.2014.; 13.03.2014.Total number of examined texts was 184, whilethe total number of examined comments was980.Online content of the printed media producesthe identical strategies of excluding andghettoizing women, both in the texts and in thecomments of the new interactive audience thatbecomes the co-author of the promotion andlegitimization of misogyny in the publicdiscourse.This work showed that informationalcommunicationaltechnologies by themselves donot change inequalities, and that it would benecessary to establish new models of use ofcontemporary technologies, so that women andother marginalized groups could use them forsocial positioning on the Internet, but also forthe education that would imply reshaping ofgender roles and practical work (programming,web-design) for the purpose of creating moregendered and equitable cyber space.

Migration patterns, migration discourse and underlying representations, migrants’ experiences, obligations and duties as well as the expectations relative to their migration are gendered. Since the pioneering feminist migration scholars’ questioning of men as a universal reference and the invisibility of women or their stereotypical representations as dependents in the mainstream production of knowledge on migration, the scholarship has evolved considerably. It is argued in the paper that the ongoing process of cross-fertilization of developments in two separate epistemologies, each initially questioning monolithic and essentialist visions of a “migrant” on one hand and a “woman” on the other, produced a fecund subfield of research “migration and gender”. The paper provides an insight into this, reviewing work on the issues related to gendering different phases of migration. Bridging migration and gender brought to the top of research agendas issues that used to be on the margins, creating new visibilities but leaving out other gendered dimensions of complex realities of migrant experience., Migracijski obrasci, migracijski diskurs i s njima povezane reprezentacije, iskustva, obveze i dužnosti migranata kao i očekivanja od migracije rodno su obojeni. Otkako su feminističke znanstvenice koje se bave migracijama prve počele s propitivanjem muškaraca kao univerzalne reference i nevidljivosti žena ili njihova stereotipnog predstavljanja kao nesamostalnih u prevladavajućem korpusu znanja o migracijama, znanost se znatno razvila. U radu se tvrdi da je stalni proces unakrsnog razvijanja u dvije odvojene epistemologije, a svaka je na početku propitivala monolitne i temeljne vizije »migranta« s jedne strane i »žene« s druge, otvorila plodno potpolje istraživanja »migracija i rod«. Slijedi pregled radova o orodnjavanju različitih faza migracije kako bi se pružio uvid u ta istraživanja. Povezivanje migracija i roda dovelo je na vrh istraživačkih prioriteta i učinilo vidljivima teme koje su bile na marginama, pri čemu su izostavljene druge orodnjene dimenzije složene stvarnosti migrantskog iskustva.

Tema diplomskega dela je analiziranje oddaje MTV European Top 20, kjer nas zanima, v kolikšni meri je v videospotih prisotna spolnost. Diplomsko delo je sestavljeno iz dveh delov. V prvem se spoznamo z zgodovino MTV-ja in podrobneje z oddajo European Top 20. Sledijo teorije medijskega vpliva, ki pripomorejo k razumevanju vpliva vsebine na gledalce. Nato pogledamo, kako se spolnost prikazuje v medijih, kjer se osredotočimo na reprezentacijo spola in spolnosti ter mite. V drugem delu sledi analiza izbranih 20-tih videospotov glede na ustvarjene kategorije in vrednotenje pridobljenih rezultatov. The diploma work deals with the analysis of MTV European Top 20 chart. We would like to research the level of sexuality in the music videos. The diploma work consists of two parts. The first part presents the history of MTV and the details of The European Top 20. It is followed by the theories of media influence which help us understand the influence of music videos' contents on the viewers. Afterwards, how sexuality is shown in media is also displayed in that part the diploma work focuses on the representation of the sexes, erotica and myths. The last part brings the analysis of the chosen 20 music videos referring to the categories and the evaluation of the obtained results.

Straipsnio tikslas - praplėsti Lietuvos akademinį diskursą analizuojant vaizdinius, kurie yra neatsiejama šiuolaikinės masinės kultūros dalis ir formuoja simbolinius lyčių reprezentacijos kodus. Remiantis psichoanalizės, lyčių teorijos, žiniasklaidos ir kultūros studijomis, čia nagrinėjamos moterų reprezentacijos strategijos, kurios padeda arba, priešingai, trukdo moterų kaip subjektų atstovavimui žiniasklaidoje. Kalbama apie "kasdienės pornografijos" įsišaknijimą masinėje kultūroje ir ją paremiančius normatyvinio heteroseksualumo imperatyvus. The article continues the Lithuanian academic discourse and centers on the analysis of imagery that make up a concurrent part of modern mass culture and form codes of symbolic gender representation. Women's representation strategies that make possible or, on the contrary, impossible the representation of women as subjects in the mass media are approached from the point of view of psychoanalysis, gender theory, mass media and cultural studies. The author focuses on the codes of "everyday pornography", i.e., the naturalization of gender hierarchy, objectification of woman's image, erotization of violence, and silencing of women, that are deeply rooted in the Lithuanian mass culture. She also analyses visual strategies that reinforce masculine hegemony and links their deconstruction with the critical evaluation of heterosexual imperative that supports the normative gender system.