Book Review. Transmediality and Cultural Semiotics

N. Dusi
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引用次数: 0

Abstract

lishment of independence. The book ends by presenting visions for new fi lms and short ‘greeting cards’ from the Nordic countries. The cooperation between Baltic and Nordic countries might not be overwhelming, but certainly more common than between the Baltic countries themselves. The relations between the Nordic and Baltic region are not as special as 25 years ago when both sides were rediscovering their historical and cultural ties. However, Finland and Estonia have reached a new level of fi lm coproduction with works like Purge (Puhdistus/ Puhastus, directed by Antti J. Jokinen, Estonia/Finland, 2012) and Fencer (Miekkailija/Vehkleja/ ENDEL – Der Fechter, Finland/ Estonia/Germany, directed by Klaus Härö, 2015), both of them Finnish majority co-productions focusing on Estonian history. Stork Flying over Pinewood provides an insight into the Nordic dimension of the Baltic fi lm industries. It not only refl ects on, but also recreates, the concept of Baltic cinema. In the national languages there is hardly any discussion about the Baltic dimension of the national fi lm industries apart from the evident need for cooperation. Jan Erik Holst’s focused vision renders the deeper shared structures of Baltic cinemas visible, based on historical experiences as well as similar understandings of the concept of nationalism and culture. As probably the fi rst book on Baltic fi lm culture to be written in English, it serves its purpose well. The fragmented structure of the book, which constantly requires assistance, explanation and additional interpretation from the editor, refl ects the nature of Baltic cinema itself. The question of the meaning of ‘Baltic’ in the cinemas of Lithuania, Latvia and Estonia remains a question about shared identity. Perhaps this identity is as fragmented as the fi lm histories of the three countries – with friendly personal relations, clear similarities, evident gaps and few co-productions. This shared identity is like a boat that we have suddenly found ourselves in, but which we initially did not intend to board. Book Review
书评。跨媒介性与文化符号学
独立的废除。书的最后介绍了北欧国家的新电影和简短的“贺卡”。波罗的海国家和北欧国家之间的合作可能不会势不可挡,但肯定比波罗的海国家之间的合作更为普遍。北欧和波罗的海地区之间的关系不像25年前那样特殊,当时双方都在重新发现它们的历史和文化联系。然而,芬兰和爱沙尼亚已经达到了电影合作制作的新水平,如清洗(Puhdistus/ Puhastus,由Antti J. Jokinen执导,爱沙尼亚/芬兰,2012年)和击剑(Miekkailija/Vehkleja/ ENDEL - Der Fechter,芬兰/爱沙尼亚/德国,由Klaus导演Härö, 2015年),两者都是芬兰大多数合作制作,专注于爱沙尼亚的历史。《飞越松林的鹳》提供了对波罗的海电影工业的北欧维度的洞察。它不仅反映了波罗的海电影的概念,而且还重新创造了这一概念。在民族语言中,除了明显需要合作之外,几乎没有任何关于波罗的海国家电影工业方面的讨论。Jan Erik Holst基于历史经验以及对民族主义和文化概念的类似理解,将波罗的海电影院更深层次的共享结构呈现出来。它可能是第一本用英语写的关于波罗的海电影文化的书,很好地达到了它的目的。这本书的支离破碎的结构,不断需要编辑的帮助,解释和额外的解释,反映了波罗的海电影本身的本质。在立陶宛、拉脱维亚和爱沙尼亚的电影院中,“波罗的海”的意义问题仍然是一个关于共同身份的问题。也许这种认同就像这三个国家的电影史一样支离破碎——有着友好的个人关系、明显的相似之处、明显的差距和很少的合作作品。这种共同的身份就像一艘船,我们突然发现自己在船上,但我们最初并没有打算登上它。书评
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