THE INTERPLAY of MUSEUM DISCOURSE and POPULAR CULTURE: HOW, WHEN and WHERE HISTORY COMES ALIVE? Mina Lukić University of Belgrade, Serbia

The Interplay of Museum…

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THE INTERPLAY OF MUSEUM DISCOURSE AND POPULAR CULTURE: HOW, WHEN AND WHERE HISTORY COMES ALIVE? Mina Lukić University of Belgrade, Serbia

Abstract: Museum as an institution has been, throughout lated as commonsense or consensus narratives, en- history, inevitably connected with ideology, involved in trenched in the minds of the public, and they can take establishing and shaping of cultural memory, and crea- hold persistently against current scientific opinions. tion and affirmation of collective identities, based on Mass media images that museum visitors bring with scientific knowledge and interpretation of the past. them to the museum are inevitably shaping their inter- Nowadays, other, more effective media are involved in pretations of exhibitions. What happens then, when a those processes, e.g. film, which is examined in the paper museum gets involved with Hollywood industry? What as such a medium. Also, museums and media have been are the consequences of such an interaction? This pa- used for spreading different prejudices and stereotypes per’s aim is to shed some light on those consequences in – some of our identities are often based on such preju- the particular case of the AMNH.1 dices, either about our own or somebody else’s past or present. Nevertheless, museum as an institution has an Keywords: museum discourse, popular culture, collective aura of highest authority, based on scientific knowledge identities, the image of the Other, American Museum of and legitimized by museum collections. Museum is seen Natural History, Night at the Museum as trustworthy, unbiased and objective. Such privileged status of museums is argued and contested, and the complexities of museum discourse are traced through I. YOU KNOW HOW THEY SAY IN CERTAIN critical analysis of the current policy of the American MUSEUMS HISTORY COMES ALIVE? Museum of Natural History in New York and this museum’s participation in the production of a movie Night at “You know how they say in certain museums history the Museum (2006). As part of a “global village,” museum visitors are impacted by certain stereotypical images comes alive?” is a question posed by Larry Daley, who circulating within and outside of museums, which are a is a night watchman at the American Museum of Natu- dense package of ideas (rooted in science, folklore, ide- ral History in New York. Well, more precisely, he is a ology, politics, etc.) that thrive in cultural memory and fictional night guard, the main character in the film collective imagination. These are constructed and circu- Night at the Museum.2 Motivated by this words, I came

111 Култура / Culture, 8 /2014 up with questions, such as: How, when and where his- Egyptian artefact – golden tablet of Ahkmenrah. While tory comes alive? Whose/which history is it? struggling to figure out how to keep things under con- The AMNH itself is one of the main characters in this trol at night, Larry has to confront his predecessors – movie – the whole story unfolds within this museum’s three ex-night guards who are trying to steal the magi- walls, partially revealing the history of its artefacts and cal tablet. He convinces the exhibits to stop fighting partially its own history. Reflections this paper deliv- and work together in order to catch the thieves and ers are initiated by this fact and primarily directed regain the tablet. towards the complex relationship between museums The idea of “past coming to life” is everything but an and popular culture. I tried to inspect more closely the oddity in museum practice worldwide. The phrase dynamic interaction of science, museum institutions, itself is circulating in the social reality and is used in popular culture and collective memory, by investigat- the movie as such (“You know how they say...”). This ing current policy of the AMNH, through the analysis of “experiencing of the past”, provided by museums, is the film Night at the Museum. The film is seen and dis- also possible in the imaginary worlds of literature or cussed as an integral part and an extension of the mu- film. Each of the three involves a certain amount of seum’s discourse. fiction. As Morin observes, our relation towards the The basic premise is that the American Museum of unreal and imaginary in literature, theatre, film, etc. is Natural History has, by joining forces with Hollywood basically an aesthetic relation, the one that makes us industry, succeeded in self-promotion and self- accept the imaginary as real (even more real than real- popularization, but also helped perpetuation of some ity), while retaining the awareness of its true, artificial damaging stereotypes about other cultures, instead of nature. When immersed in fictional worlds, one pro- criticizing and questioning them. The lines that follow jects and identifies himself/herself with depicted represent an attempt to trace the reasons for such characters or situations. The amount of these projec- results of this specific interplay of museum discourse tion/identification processes that certain content ena- and popular culture and an evaluation of their compli- bles is the basis of that content’s popularity. (Moren, ance with the principles of new museology. 1979: 52-53, 68, 89-90) In museums, such processes of

individual projection and identification are similar, but A. How, When And Where History Comes Alive? different in a sense that there is usually no awareness Night at the Museum is a fantasy adventure-comedy 4 film based on the 1993 children’s book, written and of the fiction inevitably involved in re-enactments/ illustrated by Milan Trenc.3 In the movie adaptation, reconstructions of the times long gone – person is the main character is Larry Daley, played by Ben Stiller. convinced that everything museum displays are facts A divorced father, who is trying to impress his 10- and reality. Those facts and ideas, absorbed as truth, year-old son, he applies for a job as a night watchman usually have a crucial impact on formation of individu- at the AMNH to subsequently discover that everything al identities and collective memory. This museum in the museum comes to life at night, owing to an quality, referred to as a “truth-speak”, is extremely

112 The Interplay of Museum… important in regard to the exhibitory practices and analysis of the Hall of Human Biology and Evolution, visual rhetoric of the AMNH. Monique Scott notices that exhibition’s texts, which Founded in 1869, the AMNH is one of the biggest notably contrasted the progress narratives encoded in American museums; it has 45 permanent exhibitions, the dioramas, usually escaped visitors’ attention be- nine of which are dedicated to the human cultures. cause of the dioramas’ dramatic force, unrivalled by Besides the original objects themselves, the museum the media accompanying it. The assertiveness of their possesses a great number of artificially produced ob- materiality and life-like presence clearly surpasses all jects and environments that accommodate them. This other forms of communication. (Scott, 2007: 10) museum’s artefacts, models and dioramas are im- When considering where, when and how history mensely popular. The reason of that popularity is fas- comes alive, we could say that it certainly happens in cinating, remarkable craftsmanship and their life-like the American Museum of Natural History, by day (in appearance, persuasiveness and realism. reality) or at night (in the movie), magically. Why mag- When standing in front of the AMNH’s dioramas, we ically? Because the described dioramas surely have instantly forget Kenneth Hudson’s familiar remark: “A captivating, hypnotic and bewitching impact, nowa- tiger in a museum is a tiger in a museum and not a days perhaps paralleled by special effects which 3D tiger.” The AMNH gave its best in the effort to per- technology provides. If we disregard some obvious suade the spectator that he/she is witnessing reality – differences that exist between the two media, they its dioramas, called habitat groups, contain a small certainly share a very specific quality – the things rep- group of animals or people in the foreground, in the resented sometimes appear more real and convincing midst of exact reproductions of plants, insects, rocks, than the reality itself. This “effect of the real” is addi- soil and painted environment in the background. But, tionally reinforced by the museum’s scientific authori- these animals are represented in perfect, artificial ty, which entertainment industry doesn’t possess. By realities, such as we could never see in the real nature. borrowing its own authority to the film, the AMNH (Haraway, 1984-1985: 23-25) The representation of gave legitimization to the movie narrative itself, con- foreign cultures and reconstructions of their everyday sequently strengthening certain stereotypes about lives also lack an indication of constructedness. The other cultures. So, a more important question apropos artificiality of dioramas is disguised by their “effect of the subject of “history coming alive” in this context the real” and their aesthetic appeal – this realistic ef- appears to be: Whose/which history is it? fect is a form of “truth-speak”, of a “discourse that claims the truth to which the viewer is asked to submit, B. Whose/Which History is it? endorsing the willing suspension of disbelief that rules This question brings us to the nature of the AMNH the power of fiction”. (Bal, 1996: 16, 22) itself, its own heritage and its discourse. Museums are The following example illustrates how powerful and not the sites of unified discourses - the stratified layers convincing is this effect of the real at the AMNH. In her of their own past persist in the present. The AMNH is

113 Култура / Culture, 8 /2014 described by Mieke Bal as “a product of colonialism in zation and its Others, opposition between the West and the a postcolonial era”. (Bal, 1996: 15) Why? Rest, between the so-called civilized and primitive cul- The colonial project made the formation of many tures. “Primitive, being essentially a temporal concept, is a museums’ possible. Acquisitions made during the sci- category, not an object, of Western thought.” This catego- entific expeditions, organized in the late 19th and the ry is based on temporal distancing and separation of early 20th century, were justified by the idea of pro- those who are observed from the Time of the observer, tecting the cultures that were on the brink of extinc- on the denial of coevalness to the cultures that are stud- tion, and preserving their artefacts in order to gain ied. (Fabian, 1983: 17-18, 25-35) knowledge about disappearing cultures. The artefacts Labelled as under-developed and located in distant collected from what were considered the “primitive”, past, the Others represented in 19th century natural “natural”, or “tribal” peoples of the world, were put on history museums and fairs were deprived of their own display in museum institutions, mostly established history and historicity. This is something Mieke Bal during the second half of the 19th century, such as the criticizes in her analysis of the AMNH’s discourse. She AMNH. These institutions directed, as well as rein- recognizes as the most obvious problem of this muse- forced, prevailing ideologies of progress. The philoso- um the dichotomy between nature and culture and the phy of social evolutionism, advocating the idea of cultures juxtaposition of animals and human cultures, whose rising from primitive, savage state to civilization, in- story is a story of “fixation and the denial of time”. (Bal, formed such museums almost from their origins. Ideas 1996: 15-16, 32-35) The cultures in this museum are about other cultures as biologically and culturally inferior frozen in static representation based on the concept of to Europeans were authorized by the anthropology that typicality, degraded to the status of a mere object, was taking shape in museums at the time. (Scott, 2007: mute and visually graspable. Absence of the repre- 29) So, in these institutions usually a very specific history sentatives of Western culture in the museum empha- came to life – the one justifying colonial subordination sizes the otherness of the peoples exhibited and the and establishing the identity and supremacy of western problematic juxtaposition of animals and human for- white male citizens. The colonial discourse, narrative of eign cultures. (Bal, 1996: 28-31, 45, 49) progress and anthropological concept of unilineal evolu- According to Bal, the primary meaning of the muse- tion shaped their exhibitory practices. (Haraway, 1984- um, inherited from its history within colonialism, 1985; Bal, 1996: 22) should be relativised by adopting the idea of meta- As Johannes Fabian has convincingly shown, an- museum – the one that offers testimony and critical thropology has been closely connected with power rela- reflection of its own practice and history. She clearly tions from its beginnings, and has constituted its object states that although there is a visible critical project (the Other) in a manner which provided intellectual justi- and an effort to offer such a testimony, the AMNH fication of the colonial enterprise. The order of know- sends conflicting messages and, overtly or implicitly, ledge constituted in the historical context of colonialism still promotes Western culture supremacy over the produced enduring dichotomies between Western civili- Others. (Bal, 1996: 36-53)

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Monique Scott, an anthropologist and the research signified), becomes a mere signifier. The first system is associate at the AMNH, who recently analysed how a “language-object, because it is the language which audiences interpret human origins and evolution ex- myth gets hold of in order to build its own system” and hibits, confirms such conclusions. She stresses that the myth is a “metalanguage, because it is a second museum staff’s critical endeavours and interventions language, in which one speaks about the first”. By re- have had a little impact when confronted with the ducing sign to signifier, myth does not suppress the persuasiveness of exhibits and visitors’ expectations meaning of the sign; it only deforms and impoverishes and preconceptions. (Scott, 2007: 66-67) it, deprives it of its history and memory and uses it as a pure form which is filled with new meaning. By doing

so, myth naturalizes a certain idea. The naturalization II. YOU CAN'T STOP PROGRESS! of the concept is an essential function of myth, which “My research strongly confirms that a belief in uni- then appears to be a factual system and is taken for lineal progress among races, across continents and granted as obvious truth. (Barthes, 1991: 113-130) nations, is entrenched in the minds of the public and Relying on these premises, we can say that Western takes hold persistently against more current scientific civilization took artefacts from non-Western cultures opinion or moral fashions.” (Scott, 2007: 18) as emptied signifiers, used for the construction of the Scott considers that it is evident that most people in myth of progress. In process of this myth’s production, the Western cultural tradition still believe in the Victo- the Other was colonized as a distorted sign, coming to rian ideal of progress, which implies existence of hier- signify primitiveness. Western metalanguage deprived archy between societies and cultures on the line of the Others of their history, memory and the ability to constant progression from primitive to more complex speak of themselves, and museums were one of the societies. Despite the critical growth in anthropological media that have served this purpose during the last science throughout the 20th century, which has strong- two centuries. ly undermined ideas of teleological evolutionary pro- Anthropology officially denounced evolutionism, gress and racial hierarchy, outdated Victorian progress owing to the Boasian shift in professional thought at motifs are naturalized and still linger in the popular the end of the 19th century. However, scientific racism imagination. (Scott, 2007) persisted in many museums and the AMNH’s was one of them in the first half of the 20th century. (Scott, 2007: A. The Myth Of Progress, Museums And Science 33) Doctrine of unilineal evolution appeared to rest on The Victorian idea of progress can be recognized as strictly scientific, hence universally valid principles. a myth in Roland Barthes’ terms, and a very persistent Epistemic authority of these ideas contributed to their one indeed. Myth is defined by Barthes as a type of wider acceptance and naturalization. Thus, we could speech, a “second-order semiological system” – that in claim that science and museums, in conjunction with which a sign from the first system (the associative colonial ideology and politics, promoted the idea of total of an image and a concept, of the signifier and the biological and cultural inferiority of certain peoples

115 Култура / Culture, 8 /2014 and consolidated the Victorian myth of progress. As the term has come to signify uncivilized, cruel, violent, Fabian puts it, the ideas of “passage from savagery to aggressive person, and retains those meanings to the civilization, from peasant to industrial society, have present day. The use of this term seems appropriate to long served an ideology whose ultimate purpose has describe representation of the Maya and the Huns in been to justify the procurement of commodities for the movie. our markets.” (Fabian, 1983: 95) It seems that varia- Aggressive, fierce, hostile and wild, people from tions of these concepts are still used today by the most both cultures are depicted as savages, barbarians un- powerful countries to justify their ongoing colonizing willing and unable to speak English and verbally com- encounters and economic exploitation of certain parts municate with “civilized” movie characters. The Huns, of the world. life-sized wax figures, are chasing Larry with the intent to kill him since their first encounter and are described B. A BARBARIC CIVILIZATION as superstitious savages who “would often tear off the American movies often appear to give an equal limbs of their helpless victims”. That is exactly what treatment to different ethnic groups. Nevertheless, they are trying to do, after Larry’s unsuccessful at- they usually reinforce ethnic and racial stereotypes, tempt to trick them by showing them some magic. simultaneously preserving the centrality of dominant Mayan, Roman and Wild West displays are in the western ideology and ideas of progress and socio- same room and consist of miniature models and fig- cultural evolution. Night at the Museum is such a movie. ures. During Larry’s first night at the museum, all of How is the dichotomy primitive/civilized visible in them have simultaneously attacked him. Nevertheless, this movie? There are a few examples, but I decided to the following night Larry locks only the Maya, without demonstrate it by discussing four cultures represented even trying to communicate with them, while the Ro- in the movie – the Maya, the Huns, the Ancient Romans mans and Americans are given permission to roam and the Ancient Egyptians, 5 and their differentiation free if they “promise to behave”. Jedediah or Jed, 18th according to the knowledge of the English language. All century cowboy, and Octavius, the Roman general, are of those, with the exception of the Roman culture, have heroes, brave and strong, symbols of manhood, “great been denied the ability to communicate with Larry, leaders who just want what’s best for their people”. and in a broader sense, with the audience itself. This Their attempt to kill Larry and their constant fighting recalls the aforementioned position of the cultures are not seen as barbaric, but quite the opposite, while displayed at the AMNH, as mute objects, deprived of the aggression of the Maya and the Huns seems quite possibility to speak of themselves. unjustified and unprovoked, unreasonable, pure sav- It appears useful in this context to mention the term agery. Statements such as: “The Roman Empire knows barbarian. It originates from the ancient Greek word no boundaries.” and “We expand or we die.” (Octavius) βάρβαρος (barbaros), which had been used in order to or “You can't stop progress!” and “It's manifest desti- describe foreigners, people speaking non-Greek lan- ny.” (Jed) clearly give meaning to their actions, while guages. Implying the incomprehensible speech at first, the motivation of Attila appears to be sheer brutality

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(eventually, the cause is revealed to be his traumatized of the AMNH's discourse. Popular culture and film childhood – he was neglected by his father, who was industry are using certain commonly held views in too busy pillaging and plundering!). order to facilitate audiences' identification with the The Romans are represented as an alter ego of the characters and topics that appear in a particular movie. American nation – they are powerful, great empire Public reception of museums as scientific and objective which knows no boundaries – not even those linguistic, institutions has a similar grip on popular imagination obviously, because they are perfectly capable of speak- as the Victorian idea of progress itself. The AMNH’s ing English. On the other hand, the Huns are described as authority thus legitimizes this movie narrative and “the only genuine threat to the Roman Empire”. Thus, the supports the dichotomy primitive/civilized, making it logical conclusion is that the only genuine threat to “the natural, normal and unquestionable. American Empire” is savagery and primitivism of those less civilized peoples, probably coming from Asia. Also, another source of hostility is obviously located in Central III. DO YOU KNOW WHAT ‘MUSEUM’ MEANS? America (the Maya), which may be indicative of current fears or aspirations of the American nation. The first thing Larry asks the Huns is “You guys This is a question posed by the museum director speak English? No?” The pharaoh himself, as a member McPhee in the movie. It represents an elitist, conserva- of the Egyptian culture, is a bit less ignorant than the tive worldview, that which designates popular culture Huns. When asked by Larry’s son: “How come you as “low”. Such attitude has been criticized by the ad- speak English?” he replies that he had spent some time vocates of new museology and it is clear that the inter- at Cambridge Egyptology Department. This fact reveals action of museums and popular culture is essential if logical fallacy within the movie narrative – if objects we want to affect wide audiences. Nevertheless, that can learn a certain language simply by being exposed doesn’t mean that we should strive to popularise mu- to it long enough, why then the Huns and the Maya seums and their artefacts at any cost. The only solu- remain ignorant? Eventually, Larry succeeds in his tion is via media, i.e. interacting with popular media attempts to communicate with Attila the Hun – after wisely and cautiously. The question is whether this yelling and babbling nonsense, he starts talking in interaction was wisely conducted in the particular case English and is apparently understood by Huns, so the of the AMNH. whole confusion and controversy about the spoken The AMNH officials have credited the film for in- languages appears futile and incoherent. Its only func- creasing the number of visitors and developed related tion actually is to separate the “barbarians” from the popular programmes such as Night at the Museum “civilized” ones. Sleepovers and Night at the Museum Tour. Film certain- This discrimination between represented cultures ly has been a commercial success, because a sequel fo- and explicit glorification of the ideology of progress llowed in 2009, entitled Night at the Museum: Battle of 6 and imperialism has further implications for analysis Smithsonian and a third movie is to be released in 2014.

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Film as a medium has subtle powers of persuasion, grammes are indicative of museum’s efforts to attract great ability to communicate different stories and per- and engage the youngest population. The fact that this petuate and alter cultural stereotypes. In the USA, film museum has a special appeal to children makes it a has had a very prominent role in the shaping of public very dangerous means of ideological manipulation and consciousness and self-image of the American nation. indoctrination. Also, the American popular culture has a global impact This specific interplay of museum discourse and and I would dare to say that in today’s globalized popular culture appears to be a compromise made by world it represents a dominant form of cultural impe- museum staff in order to attract more visitors and rialism and colonialism. children in particular. Nevertheless, the museum staff The American public has a great appetite for history, is clearly fully aware of the fact that visitors’ demonstrated in numerous ways and various media. worldviews are heavily affected and shaped by popu- Over the past few decades there has been a continuing lar culture and that some of the outdated scientific battle for control of the national memory. Advocates of narratives have become heavily entrenched in the the idea of ‘one people, one nation’ have gained a great minds of public (as M. Scott has shown). Thus their influence in broader public, in their efforts to discard decision to participate in the filming of this movie academic history, which shifted the emphasis from na- shows that they considered further promotion of those tion’s unity to a multicultural perspective on the past. narratives to be acceptable, which doesn’t speak in Exposed to significant public pressure, American muse- favour of their pursuit of critical project.8 ums seem to constrain themselves to presenting material that will not arouse controversy. (Launius, 2007: 13, 16- A. A PLACE WHERE WISDOM DWELLS 17, 22) This situation makes it very difficult to question To conclude: dichotomy primitive/civilized and stere- and expose inaccuracies and prejudices still present in otypes about other cultures widely dominate social reali- museum representations of the Others. 7 ty. Entertainment industry uses them in order to sell its The importance of history and the knowledge about products better and make them popular. Thus its prod- the past is stressed on numerous occasions in the mov- ucts usually represent another means of cultural coloni- ie itself, visually and verbally, clearly revealing educa- zation of the Others. Museums whose history is closely tional intentions and purpose of such remarks – their related with colonial encounters are in a difficult position aim is glorification and affirmation of ‘one people, one because of the urgent need for self-criticism, and are also nation’ ideology and values. unable to cope with attitudes of their visitors who are The AMNH is an institution which has always had an taking this dichotomy for granted. important role in the shaping of New York society’s The task museums should strive to fulfil today – cultural memory. From very early on, this museum communicating their work to as wide an audience as took the educational task seriously and developed possible and explaining the concepts and values im- special orientation towards children. (Bennett, 2004: 8) portant for the life of their community – requires the The film Night at the Museum and the following pro- use of a variety of strategies, and that certainly in-

118 The Interplay of Museum… volves partnership with tourism and entertainment [6] http://www.amnh.org/plan-your-visit/amnh-sleepovers/, industry. What I have tried to show in this paper is http://www.amnh.org/plan-your-visit/popular-tours/night-at-the- museum-tour, http://www.imdb.com/title/tt2692250/ that such cooperation usually requires compromises [7] “For example, as a means of discussing the place of stereotypes which may be harmful as much as beneficial; useful, in how Western culture has portrayed other cultures, the but also dangerous and counter-productive in a variety Smithsonian’s National Museum of Natural History in 1990 of- of ways. Intellectuals and museum professionals are fered “dilemma labels” designed to highlight what its curators believed were inaccuracies and prejudices of the past in several responsible for making decisions, balancing risks and of its anthropological displays. This created such a furor on the evaluating multiple interests involved in the described part of critics who damned them as revisionist and “politically joining of forces. correct” that the museum closed some of its halls and has not Assuming that museology as mnemosophia9 must be replaced them with appropriate follow-on exhibits.” (Launius, 2007: 19-20) our guiding principle in the shaping of museum prac- [8] The museum rejected to participate in the film Relic (1997), tice, which presupposes creative responsibility in because the administration was worried that the monster mov- communicating heritage-based values and knowledge ie would scare kids away from the museum. http://en. wikipe- in order to preserve memory and elicit wisdom, there dia. org/wiki/The_Relic_(film) [9] A term coined by professor Tomislav Šola, to designate holistic is a quote for museum professionals to bear in mind: theory and philosophy of heritage. Read more online: “Caution is the eldest child of wisdom.” (Victor Hugo) http://mnemosophia.blogspot.com/2012/11/an-introduction- to-mnemosophy.html

ENDNOTES REFERENCES

[1] The name of the museum is abbreviated throughout the paper [1] M. Bal, “Telling, Showing, Showing off”, Double Exposures: the as the AMNH. Subject of Cultural Analysis, pp. 13-56, New York – London: [2] http://www.imdb.com/title/tt0477347/, Routledge, 1996. (first published in Critical Inquiry, vol. 18, No. http://en.wikipedia.org/wiki/Night_at_the_Museum 3, pp. 556-594, Spring 1992) [3] M. Trenc, The Night at the Museum, Woodbury, NY: Barron's [2] R. Barthes, Mythologies, New York: The Noonday Press – Farrar, Educational Series, 1993. Also, a book based on the movie story Straus & Giroux, 1991 (selected and translated by Annette La- has been published: L. Goldman, Night at the Museum: the Jun- vers, from R. Barthes, Mythologies, Paris: Editions du Seuil, 1957) ior Novelization, Woodbury, NY: Barron's Educational Series, [3] T. Bennett, Pasts Beyond Memory: Evolution, Museums, Colonial- 2006. ism, New York – London: Routledge, 2004. [4] The term fiction is used to indicate the fact that there is no [4] Companion Encyclopedia of Anthropology: Humanity, Culture museum display that is 100% accurate, that there is always a and Social Life, ed. T. Ingold, New York – London: Routledge, possibility of discovering new facts, developing new and dis- 1994. carding old theories and interpretations. Public is usually una- [5] J. Fabian, Time and the Other: How Anthropology Makes Its ware of this “fictional” part. Object, New York: Columbia University Press, 1983. [5] Many items that appear in the film have museum counterparts, [6] M. Fuko, Poredak diskursa. Pristupno predavanje na Kolež de but some of them have been invented to comply with scenario Fransu, održano 2. decembra 1970. godine, Loznica: Karpos, requirements, mostly human artefacts and characters, such as 2007. (M. Foucault, L'Ordre du discours. Leçon inaugurale au pharaoh, Attila, the Huns, the Romans, etc.

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Collège de France prononcée le 2 décembre 1970, Paris: Gal- [12] M. Scott, Rethinking Evolution in the Museum: Envisioning Afri- limard, 1971) can Origins, New York – London: Routledge, 2007. [7] D. Haraway, “Teddy Bear Patriarchy: Taxidermy in the Garden [13] A. A. Shelton, “Museums and Anthropologies: Practices and of Eden, New York City, 1908-1936”, Social Text, No. 11, pp. 20- Narratives”, A Companion to Museum Studies, S. Macdonald, Ed., 64, Winter 1984-1985. pp. 64-80, Blackwell Publishing, 2006. [8] D. Jenkins, „Object Lessons and Ethnographic Displays: Muse- [14] T. Šola, Marketing u muzejima ili o vrlini i kako je obznaniti, um Exhibitions and the Making of American Anthropology“, Beograd: Clio, 2002. (T. Šola, Marketing in Museums, or about Comparative Studies in Society and History, Vol. 36, No. 2, pp. the Virtue and How to Make it Known, Belgrade: Clio, 2002) 242-270, Cambridge University Press, Apr. 1994. [15] A. Witcomb, Re-imagining the Museum: Beyond the Mausoleum, [9] R. D. Launius, “American Memory, Culture Wars, and the Chal- New York – London: Routledge, 2003. lenge of Presenting Science and Technology in a National Mu- [16] (2013) The American Museum of Natural History website. seum”, The Public Historian, Vol. 29, No. 1, pp. 13-30, Winter [Online]. Available: http://www.amnh.org/ 2007. [17] (2013) Night at the museum on Wikipedia [Online]. Available: [10] J. D. Moore, Visions of Culture: an Introduction to Anthropologi- http://en.wikipedia.org/wiki/Night_at_the_Museum cal Theories and Theorists, Lanham – New York – Toronto – [18] (2013) Internet Movie Database [Online]. Available: http:// Plymouth UK: AltaMira Press, 2009, 3rd ed (1st ed. 1997). www.imdb.com/ [11] E. Moren, Duh vremena I: Neuroza, Beograd: Beogradski izda- vačko-grafički zavod, 1979. (E. Morin, L'Esprit du Temps: 1. Né- vrose, Paris: Editions Grasset et Fasquelle, 1962.)

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