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Cultural Identity Politics <strong>in</strong> the (Post-)Transitional Societies<br />
occurr<strong>in</strong>g s<strong>in</strong>ce the 1990s, while the problem of fi nanc<strong>in</strong>g fi lms, although still present, has<br />
been reduced through the <strong>in</strong>troduction of the Croatian Audiovisual Centre. 13<br />
It is also important to research what k<strong>in</strong>d of market structure we are deal<strong>in</strong>g with <strong>in</strong><br />
relation to the global and local levels. Not only is the ownership of <strong>in</strong>frastructure relevant,<br />
but ownership of content that is distributed through these channels is also important.<br />
When tak<strong>in</strong>g a look at the present situation <strong>in</strong> Croatia, it has to be stressed that the new<br />
channels of commercial television have brought about the strengthen<strong>in</strong>g of domestic<br />
production, but primarily through soap opera enterta<strong>in</strong>ment shows and, to a narrow extent,<br />
drama series. Th is has opened up opportunities for local production and is develop<strong>in</strong>g<br />
<strong>in</strong> several ways: partly as orig<strong>in</strong>al domestic production, while on the other hand we can<br />
see the hybridization of cultural products com<strong>in</strong>g from global trends, for example <strong>in</strong> the<br />
“direct translation” of available (enterta<strong>in</strong>ment) shows and the creation of hybrid <strong>format</strong>s.<br />
Global <strong>in</strong>fl uences are evident ma<strong>in</strong>ly <strong>in</strong> the <strong>format</strong>s of enterta<strong>in</strong>ment shows, such as<br />
reality shows, and diff erent licensed shows with enterta<strong>in</strong>ment <strong>format</strong>s. Th rough global<br />
cultural fl ows a lot of cultural objects/th<strong>in</strong>gs have arrived <strong>in</strong> Croatia, some of which have<br />
either stayed <strong>in</strong> their orig<strong>in</strong>al forms or are domesticated <strong>in</strong> their localized and hybridized<br />
<strong>format</strong>s. 14 Th e question of quality of the content of these shows has to be raised especially<br />
as they dom<strong>in</strong>ate the media space. Th is is especially important <strong>in</strong> the context of the public<br />
broadcast<strong>in</strong>g service as it is try<strong>in</strong>g to compete with commercial channels us<strong>in</strong>g the same<br />
model of enterta<strong>in</strong>ment and reality shows with its relevant discourse. In this context the<br />
question of the commercialization of public television and the potential homogenization<br />
of media space has to be stressed. In conditions where public television is produc<strong>in</strong>g these<br />
enterta<strong>in</strong>ment programmes <strong>in</strong> order to compete with commercial television, one has to<br />
ask what its social role is. In addition, what is problematic is the fact that “translated”<br />
and localized <strong>format</strong>s of television programmes are classifi ed as domestic programmes, 15<br />
13 Th e Croatian Audiovisual Centre was established <strong>in</strong> 2007 <strong>in</strong> accordance with the Law on<br />
Audiovisual Activities (67/07).<br />
14 From localized <strong>format</strong>s we can highlight shows based on the Freemantle Media licences:<br />
brands of enterta<strong>in</strong>ment and reality shows – Hrvatska traži zvijezdu (RTL) (Idol), X Factor,<br />
Supertalent (NOVATV) (Got Talent), Ljubav je na selu (RTL) (Th e Farmer Wants a Wife),<br />
Odred za čistoću (RTL) (How Clean is your House), and games such as – Pazi zid! (NOVATV)<br />
(Hole <strong>in</strong> the Wall). In addition, there are licensed shows from the Endemol corporation such<br />
as Uzmi ili ostavi, (Deal or No Deal), Jedan protiv sto (1vs100), Operacija trijumf (Operation<br />
Triumph), Fear Factor, (RTL) Big Brother, and shows based on BBC licences such as Ples sa<br />
zvijezdama (Strictly Come Danc<strong>in</strong>g), Zvijezde pjevaju (Just the Two of Us), and Trenutak ist<strong>in</strong>e<br />
(Weakest L<strong>in</strong>k), that are created <strong>in</strong> HRT production (Croatian Radio Television – public<br />
broadcast<strong>in</strong>g service) and on the Channel 4 licence, for <strong>in</strong>stance Jezikova juha (Ramsay’s<br />
Kitchen Nightmares), etc.<br />
15 “Najbolje emisije iz domaćeg i stranog programa u sezoni 2008/2009”, accessed: http://<br />
www.rtl.hr/najbolje-emisije-clanak-139 (23 February 2010).<br />
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