Baltic Screen Media Review最新文献

{"title":"Small Market, Big Format: Idols in Estonia","authors":"Ulrike Rohn","doi":"10.1515/bsmr-2015-0018","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0018","url":null,"abstract":"Abstract This article looks at the factors that have influenced the Estonian adaptation of the Idols format, Eesti otsib superstaari. Based on existing literature, as well as on interviews with representatives of the local TV industry, this article suggests that the most influential factor is the small size of the Estonian TV market. Most changes to the original format have been made for practical reasons and not due to cultural considerations. Hence, this article argues that it is mostly market and industry logistics that influence programme imports and local adaptations and not so much the cultural shareability of such programmes.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124469209","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Rasa Smite, Creative Networks in the Rear-View Mirror of Eastern European History, Theory on Demand","authors":"Piibe Piirma","doi":"10.1515/bsmr-2015-0019","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0019","url":null,"abstract":"","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121902041","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Estonian Film Institute’s e-publication Estonian Film","authors":"Alessandro Nanì","doi":"10.1515/bsmr-2015-0020","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0020","url":null,"abstract":"","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126824131","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Deterritorialised Muslim Convert in Post-Communist Eastern European Cinema","authors":"E. Mazierska, Lars Kristensen, Eva Näripea","doi":"10.1515/bsmr-2015-0015","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0015","url":null,"abstract":"Abstract This article analyses the Muslim convert as portrayed in three post-communist Eastern European films: Vladimir Khotinenko’s A Moslem (Мусульманин, Russia, 1996), Jerzy Skolimowski’s Essential Killing (Poland/Norway/ Ireland/Hungary/France, 2010), and Sulev Keedus’s Letters to Angel (Kirjad Inglile, Estonia, 2011). Although set in different periods, the films have their origins in Afghanistan and then move to European countries. The conversion to Islam happens in connection to, or as a consequence of, different military conflicts that the country has seen. The authors examine the consequences the characters have on their environment, using Gilles Deleuze and Félix Guattari’s concept of deterritorialisation, understood as an opportunity to produce political and cultural change. Resettling from one religion and place into another means breaking up structures that need to be reassembled differently. However, these three films seem to desire deterritorialisation and resettlement for different reasons. In A Moslem, national structures need to be reset since foreign Western values have corrupted the post-communist Russian rural society. In Essential Killing, it is the Western military system of oppression that cannot uphold the convert and his values. Lastly, in Letters to Angel, the convert exposes the hollowness of post-communist capitalism. The Muslim converts in these films are subtle reminders that we can all reinvent ourselves.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125468360","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Politics of Imperceptibility: Philosophy, Post-Feminism and New Media Arts","authors":"A. Žukauskaitė","doi":"10.1515/bsmr-2015-0005","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0005","url":null,"abstract":"Abstract The essay discusses Deleuze and Guattari’s notion of becoming-imperceptible and raises the question to what extent it can be interpreted in terms of feminist politics and seen as a specific strategy for new media arts. Although the notion of becoming-imperceptible was condemned by second wave feminists, recent post-feminists representing the third wave argue not for politics of visibility but for politics of invisibility. Examining the practices of Lithuanian feminist media artists, the essay argues that becoming-imperceptible in new media arts means not an escape from visibility or a drive toward annihilation but a new conceptual strategy: becoming-imperceptible creates the potential for social and political change. This new conceptual strategy can be related to the new quality of the image: in this regard there is a close affinity between Deleuze and Guattari’s notion of becoming-imperceptible and the notion of the crystalline image which appears in Deleuze’s film theory: both notions engender duration, temporality and qualitative change. Therefore the essay claims that the crystalline image does not represent the world but recreates this world through multiple, changing and virtual images.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"82 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132755657","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Book Review: Eva Näripea, Estonian Cinescapes: Spaces, Places and Sites in Soviet Estonian Cinema (and Beyond)","authors":"Jarmo Valkola","doi":"10.1515/bsmr-2015-0009","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0009","url":null,"abstract":"","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"37 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117127488","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Television News in the 1950s: New Medium in the Service of Soviet Power and Society","authors":"Indrek Treufeldt","doi":"10.1515/bsmr-2015-0004","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0004","url":null,"abstract":"Abstract The article discusses the evolution of conventions for TV-journalism based on the early history of Estonian Television (ETV) news. ETV was launched in 1955, its founding was coordinated by the Soviet authorities in Moscow. Although one of the initial motivations for founding the station was to produce ideological programming directed to Finnish audience, the Estonian team within the institution used the new medium to develop a new nationally oriented media organization. Over time this new journalistic institution became increasingly established and standardized both in terms of its practices as well as its use of textual formats. As the authorities lacked a clear understanding of television’s specific journalistic means and affordances the governance of ETV became an object of a rather multilayered control system. The article analyses this complex system of institutional power distribution and discusses its effects on the evolution of “cognitive modalities” expressed in specific programming formats, especially in regard to mechanisms of representing time and space. Also the “interpretative modalities” or the various, often conflicting mechanisms of managing “collectively shared meaning-systems” are discussed. For instance, in response to ritualistic and non-dialogic elements of the program that were conditioned by the soviet ideological apparatus the local journalists also aimed at representing the quotidian experiences of the common men and at establishing relatively free and dialogic relationships with their audiences and with their sense of reality. As a result, the program evolved as a mixture both ideologically and modally different as well as, paradoxically, mutually conditioning elements.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"86 2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131959202","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"How Movies Influence Our Dietary Behaviour?","authors":"Harro Rannamets","doi":"10.1515/bsmr-2015-0008","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0008","url":null,"abstract":"Abstract Movies include a shockingly high number of products - it is almost impossible to have a movie with no brand exposure at all. As entertainment fills a large part of our lives, product placements have invaded our social sphere more than we can imagine. Just as for the tobacco industry, until something is done to reduce and eliminate the images of unhealthy dietary behaviour on film, movies will remain one of the most powerful forces in the world promoting unhealthy sugary diets and serving the industry’s financial interests. The unhealthy lifestyle that is portrayed on the screens through extensive consumption of food items especially high in sugars, and how this can influence people’s dietary behaviour, is the main concern and discussion for this article. Thus, this article tries to give an overview of the current situation and how exactly it is possible for movies to influence the things we eat. Just as the tobacco industry has had a long history of working to influence Hollywood, the sugar industry will most probably face the same future. And this is not what films should be about.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"2014 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128297869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Filmipildi märksõnastamisest Eesti filmi andmebaasis. Rahvusfilmograafias / Meta-Description of Films in Estonian Film Database. National Filmography","authors":"Hagi Šein","doi":"10.1515/bsmr-2015-0007","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0007","url":null,"abstract":"Summary 2012 was the year of film in Estonia, when the 100th anniversary of Estonian film was celebrated. One of the most significant undertakings planned for this occasion was the creation of the Estonian film database (electronic national filmography). Performing this large-scale task was undertaken by the NPO Estonian Film Database, launched in 2007. The main objective of the undertaking was to form a complete Estonian national filmography within ten years (2007-2018) and make it available in a web environment to everyone interested, both in Estonia and abroad. The access to the database was opened in late fall, 2012 (www.efis.ee). Together with newsreels, the number of produced items reaches over 12 000. Feature films, documentaries and popular films, anima, television, educational programmes, advertising films and newsreels form a rich collection of the life, history, culture and people of Estonia. Nearly 3 000 filmmakers and most Estonian actors and actresses have participated in creating the Estonian film heritage. Several thousand people, events, places, buildings, offices and institutions in Estonia participate in or are mentioned in the films. In addition, the films are adressing several thousand people shown or talking in films. The electronic database opens the film treasury in a summarised way, employing a variety of possibilities offered by modern electronic databases. A metadata system and coding instructions were prepared for each film, person and institution in the extensive space of attributes with search options, which combines the interactive features of a film directory and bibliographical, biographical databases. Each film is described as thoroughly as possible. The attributes of films contain data about the subject, genre, authors, cast, production team, locations, producers, copyrights and distributors of films and about the technical parameters of films, as well as the bibliography of films, references to the reviews, articles, books published about films and the makers of films, digitised frames and pictures from films, trailers and promotional clips, scripts, memories of the makers and other interesting details. The subject content of films is indexed in 12 categories and related sub-groups and enables the search of films by plot/subject content, physical items, themes of newsreels and feature films, people, time, events, locations, building sites and institutions. In addition, films are indexed by a film-adapted UDC. As a result, more than 50 000 keywords enable thorough multi-layered content and subject search. All filmmakers are given their personal websites, which provides an overview of their creative careers and filmographies. The electronic film database is interfaced with other similar databases at the Estonian Public Broadcasting, film archive of the National Archives, National Library and the Baltic Film and Media School of the Tallinn University. The web interface offers the possibility to enter with an ID-ca","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"61 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127233856","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Surrealist Sources of Eastern European Animation Film","authors":"Ülo Pikkov","doi":"10.1515/bsmr-2015-0003","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0003","url":null,"abstract":"Abstract This article investigates the relationship between surrealism and animation film, attempting to establish the characteristic features of surrealist animation film and to determine an approach for identifying them. Drawing on the interviews conducted during the research, I will also strive to chart the terrain of contemporary surrealist animation film and its authors, most of who work in Eastern Europe. My principal aim is to establish why surrealism enjoyed such relevance and vitality in post-World War II Eastern Europe. I will conclude that the popularity of surrealist animation film in Eastern Europe can be seen as a continuation of a tradition (Prague was an important centre of surrealism during the interwar period), as well as an act of protest against the socialist realist paradigm of the Soviet period.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2013-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122279436","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}