Narratives: Is everywhere, which generates more confusion when parts of information or representations are neglected, as researchers we need to consider why this is and for what reason and who’s benefit.
The narratives, that are often expected within a country such as Serbia, as a commodity culture, can become fragmented that can develop and maintain a constant state of mis information interpreted. Resulting in the country from starting again from ‘zero’.
Considering a critique of a political economy: the way it is studied in terms of contemporary institutions and practises who controls the resources is important to consider as researchers. Who owns and controls them? Who owns the resources of the political economy and decides the interest of the people who are in power and will this investment be returned? In terms of Serbia’s current narrative they continue to speculate a desire to attain that on the surface everything is fine. However the reason for this is the forgone closure of a fragmented past. The media continues to form part of what is controlled in the news of the world and what does not get distributed shapes and defines our understanding of the world and space around us, including those spaces we have not yet explored.
Here, we consider our positionality as researchers. Well cultured, though still ignorant to the entire Yugoslavia history when considering at a young age in Serbia, English is learnt and developed. The politics of how this is controlled and represented is also determining on our understanding and knowledge as prosumers of media content in which we produce. Therefore, we should continue to consider theories of agency and theories of consent within the media and provide very finite media controls that can still progress even though we are digitally processing the use of media news at our own convenience (Zoric). Journalist Olja Beckovjk reports directly on the media break downs and black outs Serbia has experienced which is key to our own understanding of what their own journalists see worthy as published news report material. We are constantly re recreating new images and viewpoints. A cycle of narrative to fragmented narratives. Which enables us to comment on the media security of Belgrade and how reporters feel when reporting sensitive issues of their own narrative space.
Considering Zizek, (The last utopia dies with commodity culture) we begin to focus on how Belgrade has managed it’s mediation of celebrity and the political economy of the sign as a celebrity. This narrative that formulates its idea around the concept of a celebrity is important because it pulls in freedom of expression and to with free choice (hegemony) lifestyle and consumer choice. Here, again the idolised reporter Beckovjk can be highlighted: once supporting B92 radio station and entertainment her programme was ‘axed’ – Impression of the Week – a political programme that begun in 1991. Beckovjk now focuses on the current state of the media in Serbia. What future does it have and what kind? Does media still matter and in what form, she asks. How can journalists improve the situation – or narrative – that they are already in? when considering these meta narratives we can begin to consider surveillance culture (Foucault) and gender representations (McRobbie 2006). This alternatively relates into structuralism and understanding Serbia’s culture as a change in their previously established routine (pre Yugoslavia conflict – Utopia Socialism – Engles 1880). An ideologically driven system that can provide hegemony and attempt to provide (similarly to Beckovjk) a solution to a perfect vision and ‘new world’. Why and how has this narrative form become so powerful? As media students we will need to untidy these narratives through our understanding and progressing knowledge of Serbia. People want certain things that will make their world represented as more simplistic but they are also trying to shut the world off by an opposing reflection that everything is ‘fine’ in order to provide a positive identity.
Utopian Socialism can be expanded by the understanding of the lure of the marginal (the 3 temptations). Continue to consider power, Engles points out that extreme revolutionists did not recognise any external authority of any kind whatsoever – therefore reason became the sole measure of everything. Revolutionary uprising of class begun in Serbia after their Utopia was broken and a fragmented narrative expanded during the conflict. It is interesting to consider the future for Serbia and how the culture maintains its sole independent collaboration with countries they foresee as ‘powerful’ and useful for future engagement. Curran (2009) considers that the higher levels of news consumption contributes to a smaller within-nation knowledge gap between the advantaged and disadvantaged – Curran will be interesting to consider further when understanding the wider processes in society that take over the power of the media in determining how much people know about public life. Especially gaps between generations.
Here the West is introduced: capitalism and hegemonic ideas of freedom that can be conflicted with Serbia’s idea of freedom. The ‘Human Drift’ (1894) and ‘the will to power’ leading back to Utopian Socialism. Architecture and inter connections become considers (industrial revolution and post modernism) – adapting and integrating for productivity, in which Serbia is progressing to achieve, from zero.