Baltic Screen Media Review最新文献_第7页

Representation and Ruination under a Soviet Shadow: Wajda, History, and Chris Marker’s Re-thinking of Tarkovsky’s ‘Zone’ 苏联阴影下的再现与毁灭:瓦伊达、历史与克里斯·马克对塔可夫斯基“地带”的重新思考

Baltic Screen Media Review Pub Date : 2018-12-01 DOI: 10.2478/bsmr-2018-0006

P. Coates

{"title":"Representation and Ruination under a Soviet Shadow: Wajda, History, and Chris Marker’s Re-thinking of Tarkovsky’s ‘Zone’","authors":"P. Coates","doi":"10.2478/bsmr-2018-0006","DOIUrl":"https://doi.org/10.2478/bsmr-2018-0006","url":null,"abstract":"Abstract Following the recent death of Andrzej Wajda, a reconsideration of his work is timely, and all the more so because he provides a reference point for many East Central European cinéastes. Thus this article uses his work as a main switching point between meditations on the issues his films raise. It theorises the status accorded History in them, and in Marxism in general, in relation to Walter Benjamin’s work on allegory and ruin, as well as to questions of characterisation. Also considered is the degree and nature of existentialism’s influence on this cinema, with blockages of choice foregrounded as necessarily entailing a thematics of doubling, contradiction and masking, and a reworking of the meaning of accusations of ‘treachery’ that have been a leitmotif of oppressed cultures, particularly when – as in cinema – access to the means of production depends on real or apparent collaboration with state authorities. The particular meaning of certain delays in production will also be considered, as will certain figures from the Polish culture (this writer’s primary specialisation) with an obvious ‘Baltic connection’, i.e. a Lithuanian origin, such as Tadeusz Konwicki and Czesław Miłosz. The thematics of doubling will finally be related to notions of ruination and of a filmic language adequate to it, which it will be argued may be seen prototypically in ‘the Zone’, Chris Marker’s name for a particular method of image-presentation, named in homage to that great Soviet film shot in Estonia, Andrei Tarkovsky’s Stalker (Сталкер, Russia, 1979). To revert to the title of Wajda’s final film Afterimage (Powidoki, Poland, 2016), and invoke Miłosz also, the Zone may be called the native realm, not only melancholic but also surprisingly utopian, of the after-image that is the ruin.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"16 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":"123404573","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}

引用次数: 0

War and Women in Jānis Streičs’ Films Jānis strei<e:1>电影中的战争与女性

Baltic Screen Media Review Pub Date : 2018-12-01 DOI: 10.2478/bsmr-2018-0004

Inga Pērkone

{"title":"War and Women in Jānis Streičs’ Films","authors":"Inga Pērkone","doi":"10.2478/bsmr-2018-0004","DOIUrl":"https://doi.org/10.2478/bsmr-2018-0004","url":null,"abstract":"Abstract This article is devoted to the theme of women and war in the films of Jānis Streičs, possibly the most influential Latvian film director. In the course of his career, which spanned nearly 50 years, Streičs made films that were popular in Latvia, as well as throughout the Soviet Union. He is one of the few Latvian film directors who managed to continue a comparatively stable career in the newly reindependent Republic of Latvia. Streičs skilfully used the canonised means of expression of classical cinema and superficially fulfilled the demands of socialist realism to provide appealing and life-asserting narratives for the audiences. Being a full-time film director at Riga Film Studio, and gradually becoming a master of the studio system, Jānis Streičs managed to subordinate the system to his own needs, outgrowing it and becoming an auteur with an idiosyncratic style and consistently developed topics.1 The most expressive elements of his visual style can be found in his war films, which are presented as women’s reflections on war. In this article, Streičs’ oeuvre in its entirety provides the background for an analysis of two of his innovative war films. Meetings on the Milky Way (Tikšanās uz Piena ceļa, Latvia, 1985) rejects the classical narrative structure, instead offering fragmentary war episodes that were united by two elements – the road and women. In Carmen Horrendum (Latvia, 1989) Streičs uses an even more complicated structure that combines reality, visions and dreams. After watching this film, the only conclusion we can come to with certainty is that war does not have a woman’s face and, in general, war has no traces of humanity. The aim of this article is to demonstrate how World War II, a theme stringently controlled by Soviet ideology, provided the impetus for a search for an innovative film language.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"6 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":"129741899","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}

引用次数: 0

Make Love at War? Representing Gender and Memory in the Soviet Estonian Film Dark Windows (Pimedad aknad, Tõnis Kask, 1968) 在战争中做爱?在苏维埃爱沙尼亚电影《黑暗之窗》中表现性别与记忆(Pimedad aknad, Tõnis Kask, 1968)

Baltic Screen Media Review Pub Date : 2018-12-01 DOI: 10.2478/bsmr-2018-0002

Liis Jõhvik

引用次数: 0

Benefits and Barriers of a Social Marketing Campaign Based on the Example of the Child Helpline 社会营销活动的利益与障碍——以儿童求助热线为例

Baltic Screen Media Review Pub Date : 2018-12-01 DOI: 10.2478/bsmr-2018-0008

Tiina Hiob, Mart Soonik

{"title":"Benefits and Barriers of a Social Marketing Campaign Based on the Example of the Child Helpline","authors":"Tiina Hiob, Mart Soonik","doi":"10.2478/bsmr-2018-0008","DOIUrl":"https://doi.org/10.2478/bsmr-2018-0008","url":null,"abstract":"Abstract The Estonian child helpline service launched in 2009 uses a free nationwide 24h Child Helpline phone number. The purpose of the service is to enable everyone to report on children in need, forward the information to specialists and, if necessary, get primary social counselling and crisis counselling for children and other people. The service is provided in accordance with the Estonian Child Protection Act that prescribes that all citizens are required to immediately notify the social services, police or other assistanceproviding authorities about children in need of protection or assistance. This article is based on studies conducted between 2013 and 2015. In the course of the research, data were collected for increasing the effectiveness of the hotline’s communication campaigns. In addition to the general objective of the article, the data collected includes quantitative research mixed with qualitative data that helps to understand the factors that encourage and inhibit the use of the hotline service. The focus is on indicators that illustrate the effectiveness of the diffusion of innovation, and special attention is paid to the results that highlight risk, the existence of mental barriers and trust. Finally, the study analyses the weaknesses of past hotline campaigns and makes some suggestions for future.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"74 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":"123982108","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}

引用次数: 0

Facing the Foreign: The Aftermath of World War II and Estonian as Otherness in Two Films by Ingmar Bergman 面对外国:英格玛·伯格曼两部电影中的二战余波和爱沙尼亚的异类

Baltic Screen Media Review Pub Date : 2018-12-01 DOI: 10.2478/bsmr-2018-0001

C. Burman

引用次数: 0

Intellectual and Barbarian Figures in Film: The Bear and the Devil 电影中的知识分子和野蛮人:熊和魔鬼

Baltic Screen Media Review Pub Date : 2017-12-28 DOI: 10.1515/bsmr-2017-0015

Liina Keevallik

引用次数: 0

Heroes and Social Criticism in the Works of Valeria Anderson 瓦莱里娅·安德森作品中的英雄与社会批判

Baltic Screen Media Review Pub Date : 2017-12-28 DOI: 10.1515/bsmr-2017-0009

Riho Västrik

引用次数: 0

Exploring Cross-Media Audience Practices in Two Cases of Public Service Media in Estonia and Finland 爱沙尼亚和芬兰公共服务媒体跨媒体受众实践探析

Baltic Screen Media Review Pub Date : 2017-12-20 DOI: 10.1515/bsmr-2017-0012

Alessandro Nanì, P. Pruulmann-Vengerfeldt

{"title":"Exploring Cross-Media Audience Practices in Two Cases of Public Service Media in Estonia and Finland","authors":"Alessandro Nanì, P. Pruulmann-Vengerfeldt","doi":"10.1515/bsmr-2017-0012","DOIUrl":"https://doi.org/10.1515/bsmr-2017-0012","url":null,"abstract":"Abstract Stemming from the concept of active audiences and from Henry Jenkins’ (2006) idea of participatory culture as the driving force behind the transformation of public service broadcasting into agencies of public service media (Bardoel, Ferrell Lowe 2007), this empirical study explores the attitude and behaviour of the audiences of two crossmedia projects, produced by the public service media of Finland (YLE) and Estonia (ERR). This empirical study aims to explore the behaviour, wants and needs of the audiences of cross-media productions and to shed some light on the conditions that support the dynamic switching of the engagement with cross-media. The study’s results suggest that audiences are neither passive nor active, but switch from one mode to another. The findings demonstrate that audience dynamism is circumstantial and cannot be assumed. Thus, thinking about active audiences and participation as the lymph of public service media becomes problematic, especially when broadcasters seek generalised production practices. This work demonstrates how television networks in general cannot be participatory, and instead, how cross-media can work as a vehicle of micro participation through small acts of audience engagement (Kleut et al. 2017).","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"27 5","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114033274","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}

引用次数: 2

Preference Dimensions of the Estonian Opera-Consumer: A Comparison of the Audiences at Opera Houses and Mediated Opera Performances 爱沙尼亚歌剧消费者的偏好维度:歌剧院和中介歌剧表演的观众比较

Baltic Screen Media Review Pub Date : 2017-12-20 DOI: 10.1515/bsmr-2017-0013

S. Lani

{"title":"Preference Dimensions of the Estonian Opera-Consumer: A Comparison of the Audiences at Opera Houses and Mediated Opera Performances","authors":"S. Lani","doi":"10.1515/bsmr-2017-0013","DOIUrl":"https://doi.org/10.1515/bsmr-2017-0013","url":null,"abstract":"Abstract This article presents the results of a study in which the Estonian audiences of various stage versions of the same opera (live opera theatre performance and live-in-HD, which were shown at cinemas) during the same season were compared in a social constructivist paradigm to underline whether, and to what extent, audiences’ membership, cultural consumption preferences, attitudes, expectations, values and perceptions differ or coincide, thereby revealing what audiences distinguish as the differences or similarities between live and mediated opera performances. It presents the preference dimensions of the Estonian opera audience and provides an opportunity to discuss the issue of whether a technologically mediated cultural event offers any new opportunities for traditional opera to expand its audience, or whether it captures the audiences and creates competition for the theatres whose performances are not mediated. The survey was carried out among audiences attending performances of Carmen (Georges Bizet, 1875) in the 2014/2015 season at five different venues in Estonia. The findings revealed that, due to the fact that the hierarchy of motivators for the target groups of live and live-in-HD opera differs, it does not support the idea that opera theatre will gain new audiences from cinema or vice versa.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2017-12-20","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126892506","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}

引用次数: 0

Global Multi-Protagonist Trends in a Local Setting: The Case of Frozen Land and Autumn Ball 局部背景下的全球多主角趋势:以《冰原》和《秋球》为例

Baltic Screen Media Review Pub Date : 2017-12-20 DOI: 10.1515/bsmr-2017-0011

Teet Teinemaa

引用次数: 1