Baltic Screen Media Review最新文献_第8页

On the Links between Caricatures and Animated Films in Communist Eastern Europe 论共产主义东欧漫画与动画电影的联系

Baltic Screen Media Review Pub Date : 2017-12-20 DOI: 10.1515/bsmr-2017-0010

Ülo Pikkov

引用次数: 0

The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany 现场歌剧数字化电影传播的品牌潜力:爱沙尼亚和德国的国际比较

Baltic Screen Media Review Pub Date : 2017-12-20 DOI: 10.1515/bsmr-2017-0014

J. Roll, S. Horst

{"title":"The Branding Potential for the Digital Transmission of Live-Operas to the Cinema: An International Comparison of Estonia and Germany","authors":"J. Roll, S. Horst","doi":"10.1515/bsmr-2017-0014","DOIUrl":"https://doi.org/10.1515/bsmr-2017-0014","url":null,"abstract":"Abstract Today, opera houses are confronted by new (global) digital media offers that enable people to remain outside the opera house while attending a live-opera, e.g. via livestreamed opera performances in the cinema. This is a challenge for media managers in these fields because they need to find new ways to work with these new opportunities. Within a cultural marketing context, branding is highly relevant. Based on the brand image approach by Kevin Lane Keller (1993), we use a complex qualitative-quantitative study in order to investigate if, and how, the brand images of live-opera performances and live-streamed operas differ between countries and cultural contexts. By comparing Estonia and Germany, we found that the perception of live-opera is rather a global phenomenon with only slight differences. Furthermore, the ‘classical’ opera performance in an opera house is still preferred, with a corresponding willingness to pay, while the live-streamed opera offer may provide a modern touch. The study may help media managers in adapting their brand management to include new digital product offers and to find targeted differentiation strategies for increasingly competitive markets.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"65 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":"129843324","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: 4

‘All the Necessary Information is Provided by Russia’s Channels’. Russian-language Radio and TV in Latvia: Audiences and Content “所有必要的信息都是由俄罗斯的频道提供的”。拉脱维亚俄语广播和电视:受众和内容

Baltic Screen Media Review Pub Date : 2016-12-13 DOI: 10.1515/bsmr-2017-0006

Anda Rožukalne

引用次数: 7

Transcending ‘Cold Intimacies’ in Veiko Õunpuu’s Works 在Veiko Õunpuu的作品中超越“冰冷的亲密”

Baltic Screen Media Review Pub Date : 2016-12-01 DOI: 10.1515/bsmr-2017-0004

Eva Näripea, E. Mazierska

引用次数: 0

On the Topics and Style of Soviet Animated Films 论苏联动画电影的题材与风格

Baltic Screen Media Review Pub Date : 2016-12-01 DOI: 10.1515/bsmr-2017-0002

Ülo Pikkov

{"title":"On the Topics and Style of Soviet Animated Films","authors":"Ülo Pikkov","doi":"10.1515/bsmr-2017-0002","DOIUrl":"https://doi.org/10.1515/bsmr-2017-0002","url":null,"abstract":"Abstract This article provides a survey of Soviet animation and analyses the thematic and stylistic course of its development. Soviet animated film emerged and materialised in synch with the fluctuations of the region’s political climate and was directly shaped by it. A number of trends and currents of Soviet animation also pertain to other Eastern European countries. After all, Eastern Europe constituted an integrated cultural space that functioned as a single market for the films produced across it by filmmakers who interacted in a professional regional network of film education, events, festivals, publications etc. Initially experimental, post-revolutionary Russian animation soon fell under the sway of the Socialist Realist discourse, along with the rest of Soviet art, and quickly crystallised as a didactic genre for children. Disney’s paradigm became its major source of inspiration both in terms of visual style and thematic scope, despite the fact that Soviet Union was regarded as the ideological opposite of the Western way of life and mindset. The Soviet animation industry was spread across different studios and republics that adopted slightly varied production practices and tolerated different degrees of artistic freedom. Studios in the smaller republics, such as Estonia, Latvia and Lithuania in particular, stood out for making films that were more ideologically complicated than those produced in Moscow.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117049275","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: 8

Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa 全球化的替代网络:莱拉电影中的拉脱维亚新现实主义Pakalniņa

Baltic Screen Media Review Pub Date : 2016-12-01 DOI: 10.1515/bsmr-2017-0003

Klāra Brūveris

引用次数: 1

Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters 探索电影摄影如何影响观众对银幕人物的共情感知

Baltic Screen Media Review Pub Date : 2016-12-01 DOI: 10.1515/bsmr-2017-0005

Elen Lotman

{"title":"Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters","authors":"Elen Lotman","doi":"10.1515/bsmr-2017-0005","DOIUrl":"https://doi.org/10.1515/bsmr-2017-0005","url":null,"abstract":"Abstract In the history of cinematography there is a noticeable tradition to deliberately highlight the elements that accentuate space and spatiality in the shots. At the same time, there is also a contrary tradition, i.e. the conscious reduction of spatiality with the help of artistic tools in order to evoke a feeling of alienation. In this article I will argue that it is highly likely that the visual reinforcement of depth has become one of a cinematographer’s most frequently used tools, because it plays an important role in the audience’s perceived empathy towards onscreen characters. Since the practices of art-making – e.g. cinematography – represent a way that the empirical experience accumulated in professional practices reflects underlying neural processes, this article will first draw upon evidence from the common tenets of cinematography and reflect on how these correspond to the respective phenomena in human perception and cognition. The second part of the article examines the theory of the para-dramatic and eso-dramatic factors established by Gal Raz and Talma Hendler as it applies to cinematography; thereby suggesting possibilities for broadening the theoretical foundations of the twofold division of the causes for the viewers’ empathetic responses. The article will also introduce the results from a pilot experiment. However, I will not argue that the rendering of cinematographic space and drawing attention to certain areas are superior tools for creating filmic empathy. I will rather point out that they are often used by cinematographers when they want to create an immersive experience, and therefore, there is reason to believe that a connection exists between emotional empathy and the usage of these cinematographic tools.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2016-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126953703","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: 10

Dimitri Kirsanoff: The Elusive Estonian Dimitri Kirsanoff:难以捉摸的爱沙尼亚人

Baltic Screen Media Review Pub Date : 2016-12-01 DOI: 10.1515/bsmr-2017-0001

Dirk Hoyer

引用次数: 1

Constructing National Identity in Soviet Estonian Documentary Cinema: A Case Study of the Documentary Ruhnu (1965) by Andres Sööt 苏联爱沙尼亚纪录片电影的民族认同建构:以安德烈斯的纪录片《鲁赫努》(1965)为例Sööt

Baltic Screen Media Review Pub Date : 2015-11-01 DOI: 10.1515/bsmr-2015-0021

Riho Västrik

引用次数: 2

Women’s Experimental Filmmaking in Poland in the 1970s and Early 1980s 20世纪70年代和80年代初波兰的女性实验电影制作

Baltic Screen Media Review Pub Date : 2015-11-01 DOI: 10.1515/bsmr-2015-0022

Dagmara Rode

引用次数: 0