Baltic Screen Media Review最新文献

{"title":"Content marketing from the perspective of PR specialists: an Estonian case study","authors":"K. Abel, Tiina Hiob, Esta Kaal, Mart Soonik, Rain Veetõusme","doi":"10.2478/bsmr-2019-0002","DOIUrl":"https://doi.org/10.2478/bsmr-2019-0002","url":null,"abstract":"Abstract This paper is an exploratory study to understand the content marketing practices in Estonia, a current trend that ties together journalism, communications, and advertising. Estonia is a small market where the ‘guilds’ of journalists and PR professionals are rather intertwined. Trends occurring here may provide suggestions for larger markets and future developments. A qualitative study was conducted in Spring 2018. The objective of the study was to describe the problems and potential complications arising from the reorganization of traditional areas of activity of agents operating in the field of the communications industry – specifically in the context of content marketing, and from the viewpoint of representatives of PR agencies. The article begins with putting the phenomenon of content marketing into a wider societal context – and specifically that of the Estonian media ecosystem. The possible influences of content marketing on such important realms, and such defining factors as trust (Luhmann 2000), social capital (Bourdieu 1995) the integrity, independence, and the interactions between the different fields (ibid) are discussed. The results of the survey indicate that the field of public relations is changing as a result of the forces from the other neighbouring fields, that of journalism and advertising. The paper points out that the issue of trust and trustworthiness and the origins of ‘the media’ need to be addressed in order to provide integrity and transparency.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"113 44","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131942482","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":"Cloud Opera through the prism of artistic research: looking for media archaeological issues from the clouds","authors":"Liina Keevallik, Indrek Ibrus","doi":"10.2478/bsmr-2019-0005","DOIUrl":"https://doi.org/10.2478/bsmr-2019-0005","url":null,"abstract":"Abstract Cloud Opera or The Dido Problem (Vaba Lava, Tallinn, Feb-Mar 2019) is a theatrical performance investigating, through artistic means, the human condition in the datafied world. The play was created in collaboration between Vaba Lava theatre and Tallinn University’s Centre of Excellence in Media Innovation and Digital Culture (MEDIT). In terms of its representations, the play combined references to man-made data ‘clouds’ with knowledge on atmospheric clouds and suggested that the former are just as unpredictable and uncontrollable as the latter. In this article, Liina Keevallik, the author and the scenographer of the performance together with Indrek Ibrus, a media researcher, discuss the uses of the media archaeological approach both in artistic practice and in creating “Cloud Opera”. We also discuss what media archaeological “findings” we could glean from the scenic elements of the play.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133775258","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":"Is the Role of Public Service Media in Estonia Changing?","authors":"Andres Jõesaar, Ragne Kõuts-Klemm","doi":"10.2478/bsmr-2019-0006","DOIUrl":"https://doi.org/10.2478/bsmr-2019-0006","url":null,"abstract":"Abstract The need to re-structure established media systems needs to be acknowledged. In a situation where new services will be provided by different actors of the digital economy, the role of public service media (PSM) requires attention. If, generally, PSM are under pressure in Europe, the situation in small national markets is even more complicated. PSM are under pressure and also need to find ways to reformulate their role in society and culture. Broad discussions and new agreements between politicians, citizens and the media industry are necessary to change this situation. We will approach the question of whether a specific gap still exists in the media market that can be filled by PSM? The article will seek these answers based on various survey data and collected statistics in Estonia.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129111499","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":"Behind the scenes of the Estonian TV series The Bank: Ideas, practices, and stories. An interview with its creators","authors":"Alessandro Nanì, Ulrike Rohn, A. Kõnno","doi":"10.2478/bsmr-2019-0004","DOIUrl":"https://doi.org/10.2478/bsmr-2019-0004","url":null,"abstract":"","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134407251","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":"Film Branding: How the Estonia 100 umbrella brand influenced production, marketing and consumption of the Estonia 100 films","authors":"Ulrike Rohn, Karli Jaanson","doi":"10.2478/bsmr-2019-0003","DOIUrl":"https://doi.org/10.2478/bsmr-2019-0003","url":null,"abstract":"Abstract The Republic of Estonia celebrated the 100th anniversary of its independence on February 24, 2018. The celebration marked a significant milestone for Estonians and, as a way of recognizing this, the Estonian government implemented different marketing and participatory strategies for involving individuals and organizations to take part in the celebration. As such, individuals and organizations were invited to create special gifts for Estonia and its citizens. These gifts could be in the form of tangible presents or in the form of special events and cultural programs. The official gifts were marked by the official Estonia 100 (in the Estonian language: EV100) logo. One such gift to the Estonian population were a number of audiovisual productions that were enabled through special funding from the Estonian government, managed by the Estonian Film Institute. These productions included, besides 40 short documentaries about young Estonian inventors, one animation, six feature films, two documentaries and a TV drama series (EV100 2019a).1 This paper reports a study that explored the impact of the Estonia 100 brand on the production, marketing and consumption of these films and the TV series.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"79 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134308310","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 Map to Estonian Stars: Interviews with the Masters of Estonian Film, Theatre and Life","authors":"Teet Teinemaa","doi":"10.2478/BSMR-2018-0009","DOIUrl":"https://doi.org/10.2478/BSMR-2018-0009","url":null,"abstract":"","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134464601","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":"Painful Neutrality: Screening the Extradition of the Balts from Sweden","authors":"Lars Kristensen, C. Burman","doi":"10.2478/bsmr-2018-0005","DOIUrl":"https://doi.org/10.2478/bsmr-2018-0005","url":null,"abstract":"Abstract The article deals with the extradition of Baltic soldiers from Sweden in 1946 as represented in Per Olov Enquist’s novel The Legionnaires: A Documentary Novel (Legionärerna. En roman om baltutlämningen, 1968) and Johan Bergenstråhle’s film A Baltic Tragedy (Baltutlämningen. En film om ett politiskt beslut Sverige 1945, Sweden, 1970). The theoretical framework is taken from trauma studies and its equivalent within film studies, where trauma is seen as a repeated occurrence of a past event. In this regard, literature and moving images become the means of reaching the traumatic event, a way to relive it. What separates the extradition of the Baltic soldiers from other traumas, such as the Holocaust, is that it functions as a guilt complex related to the failure to prevent the tragedy, which is connected to Sweden’s position of neutrality during World War II and the appeasement of all the warring nations. It is argued that this is a collective trauma created by Enquist’s novel, which blew it into national proportions. However, Bergenstråhle’s film changes the focus of the trauma by downplaying the bad conscience of the Swedes. In this way, the film aims to create new witnesses to the extradition affair. The analysis looks at the reception of both the novel and film in order to explain the two different approaches to the historical event, as well as the two different time periods in which they were produced. The authors argue that the two years that separate the appearance of the novel and the film explain the swing undergone by the political mood of the late 1960s towards a deflated revolution of the early 1970s, when the film arrived on screens nationwide. However, in terms of creating witnesses to the traumatic event, the book and film manage to stir public opinion to the extent that the trauma changes from being slowly effacing to being collectively ‘experienced’ through remembrance. The paradox is that, while the novel still functions as a vivid reminder of the painful aftermath caused by Swedish neutrality during World War II, the film is almost completely forgotten today. The film’s mode of attacking the viewers with an I-witness account, the juxtaposition and misconduct led to a rejection of the narrative by Swedish audiences.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115683652","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":"Bodily Violence and Resistance in Wojtek Smarzowski’s Rose (Róża, 2011)","authors":"E. Ostrowska","doi":"10.2478/bsmr-2018-0003","DOIUrl":"https://doi.org/10.2478/bsmr-2018-0003","url":null,"abstract":"Abstract The article argues that Wojtek Smarzowski’s film Rose (Róża, Poland, 2011) undermines the dominant bigendered logic of screen death and suffering in the Polish films depicting the experience of World War II. In these films, there is a significant absence of images of female suffering and death, which is striking when compared to the abundant images of wounded and dying male bodies, usually represented as a lavish visual spectacle. This unrepresented female death serves as a ‘structuring absence’ that governs the systematic signifying practices of Polish cinema. Most importantly, it expels the female experience of World War II from the realm of history to the realm of the mythical. This representational regime has been established in the Polish national cinema during the 1950s, especially in Andrzej Wajda’s films, and is still proving its longevity. As the author argues, Smarzowski’s Rose is perhaps the most significant attempt to undermine this gendered cinematic discourse. Specifically, the essay explores the ways in which Smarzowski’s Rose departs from previous dominant modes of representation of the World War II experience in Polish cinema, especially its gendered aspect.1 Firstly, it examines how Rose abandons the generic conventions of both war film and historical drama and instead, utilises selected conventions of melodrama to open up the textual space in which to represent the female experience of historical events. Then the author looks more closely at this experience and discusses the film’s representation of the suffering female body to argue that it subverts the national narrative of the war experience that privileges male suffering. A close analysis of the relationship between sound and image in the scenes of bodily violence reveals how the film reclaims the female body from the abstract domain of national allegory and returns it to the realm of individual embodied experience. The article concludes that Rose presents the female body as resisting the singular ideological inscription, and instead, portrays it as simultaneously submitting to and resisting the gendered violence of war.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116690507","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":"Making Sense of the International Reputation of a Small Film Industry: The Estonian Case","authors":"Madis Järvekülg, Ulrike Rohn, Indrek Ibrus","doi":"10.2478/BSMR-2018-0007","DOIUrl":"https://doi.org/10.2478/BSMR-2018-0007","url":null,"abstract":"Abstract This article presents the results of a multi-method study carried out by the Tallinn University Centre of Excellence in Media Innovation and Digital Culture (MEDIT). The aim of this study was to investigate how international film professionals perceive the Estonian film industry; what image they have of Estonian film, and how they envision or have experienced Estonia as a destination for production and collaboration. The results of the study indicate that the skills of Estonian filmmakers are increasingly internationally renowned and valued among foreign professionals. At the same time, however, awareness of Estonian film and its nature remains ambiguous to most international film professionals. While seeing Estonia as a Baltic country rather than a Nordic one, the professionals suggested setting up a Baltic film fund and developing a Baltic brand in order to raise international recognition of local film production.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"40 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117154227","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":"Beyond Eastern Noir: Reimagining Russia and Eastern Europe in Nordic Cinemas","authors":"Dirk Hoyer","doi":"10.2478/bsmr-2018-0010","DOIUrl":"https://doi.org/10.2478/bsmr-2018-0010","url":null,"abstract":"","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133773236","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}