ABSTRACT
From 1945 to the end of the 1950s, the media policy in Yugoslavia developed in accordance with the politically and ideologically ambiguous course between the extreme dynamics of the East and the West. Only a few years after Yugoslavia was excluded from the Cominform, Tito and his ideologists adopted the term “third way” as a keyword to designate the Yugoslav politics during the Cold War, which maneuvered between two global powers. Originally, the term had been coined by the Soviets to denigrate the Yugoslav deviation from the Soviet “straight line.” During the 1950s, however, Tito and his ideologists incorporated the term into their political vocabulary and turned it into a positive slogan. Later, after the huge conference of the Non-Aligned Movement in Belgrade in 1961, diverse ideologies of the “third way,” or even of a “third world,” followed one another in fast succession to underscore Yugoslavia’s distinction from both the East and the West. Diverse artistic canons were adapted to the image of the “new” Yugoslavia and were integrated into it in a syncretistic way.
