Baltic Screen Media Review最新文献_第9页

Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films 缓慢移动的身体:阿基Kaurismäki电影中画意主义的标志

Baltic Screen Media Review Pub Date : 2015-11-01 DOI: 10.1515/bsmr-2015-0023

Jarmo Valkola

{"title":"Slowly Moving Bodies: Signs of Pictorialism in Aki Kaurismäki’s Films","authors":"Jarmo Valkola","doi":"10.1515/bsmr-2015-0023","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0023","url":null,"abstract":"Abstract Aki Kaurismäki is arguably the best-known Finnish filmmaker, owing largely to his feature films such as Crime and Punishment (Rikos ja rangaistus, Finland, 1983), Calamari Union (Finland, 1985), Shadows in Paradise (Varjoja paratiisissa, Finland, 1986), Hamlet Goes Business (Hamlet liikemaailmassa, Finland, 1987), Ariel (Finland, 1988), The Match Factory Girl (Tulitikkutehtaan tyttö, Finland, 1990), I Hired a Contract Killer (Finland/ Sweden, 1990), La vie de bohéme (Finland/France/ Sweden/Germany, 1992), Take Care of Your Scarf, Tatiana (Pidä huivista kiinni, Tatjana, Finland/Germany, 1994), Drifting Clouds (Kauas pilvet karkaavat, Finland, 1996), Juha (Finland, 1999), The Man Without a Past (Mies vailla menneisyyttä, Finland, 2002), Lights in the Dusk (Laitakaupungin valot, Finland, 2006) and Le Havre (Finland/France, 2011). A large body of his work has been made in Finland, but also in countries like France and Great Britain. Besides feature films, he has also made documentaries and short films, as well as musical films with the group Leningrad Cowboys. In a broader context, Kaurismäki has a unique place in Finnish and international film history, as well as in media and communication culture. Kaurismäki’s cultural context includes elements that have been turned into national and transnational symbols of social communication and narrative interaction by his stylisation. The director’s cinematic strategy investigates and makes choices evoking a social understanding of characters that has special communicative value. Kaurismäki’s films have been scrutinised for over thirty years.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"29 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126415604","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

Audiovisual Policymaking in Estonia at Times of Convergence: An ‘Innovation System’ as a Policy Rationale 融合时期爱沙尼亚的视听政策制定:“创新系统”作为政策依据

Baltic Screen Media Review Pub Date : 2015-11-01 DOI: 10.1515/bsmr-2015-0026

Indrek Ibrus

引用次数: 7

Book Review. Jarmo Valkola, Filmi audiovisuaalne keel

Baltic Screen Media Review Pub Date : 2015-11-01 DOI: 10.1515/bsmr-2015-0029

Maarja Ojamaa

引用次数: 0

The Undercurrents of Estonian Broadcasting Regulation, 1992–2014 1992-2014年爱沙尼亚广播条例的暗流

Baltic Screen Media Review Pub Date : 2015-11-01 DOI: 10.1515/bsmr-2015-0025

Andres Jõesaar

引用次数: 3

Book Review. Transmediality and Cultural Semiotics 书评。跨媒介性与文化符号学

Baltic Screen Media Review Pub Date : 2015-11-01 DOI: 10.1515/bsmr-2015-0028

N. Dusi

{"title":"Book Review. Transmediality and Cultural Semiotics","authors":"N. Dusi","doi":"10.1515/bsmr-2015-0028","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0028","url":null,"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","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"28 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2015-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128099853","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

Strategic Management of Crossmedia Production at Estonian Public Broadcasting 爱沙尼亚公共广播跨媒体制作的战略管理

Baltic Screen Media Review Pub Date : 2014-11-22 DOI: 10.1515/bsmr-2015-0017

Indrek Ibrus, Astra Merivee

{"title":"Strategic Management of Crossmedia Production at Estonian Public Broadcasting","authors":"Indrek Ibrus, Astra Merivee","doi":"10.1515/bsmr-2015-0017","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0017","url":null,"abstract":"Abstract This article investigates the strategies behind the production of crossmedia content at Eesti Rahvusringhääling (ERR), Estonia’s public broadcaster. The empirical work that supports its analytic objectives consists of multiple methodologically varying sub-studies: a textual analysis of ERR’s existing online presence and crossmedia content; 32 semi-structured interviews with its various top- and mid-level managers; and a documentary analysis of its associated strategies, guidelines, and communications. The paper suggests that, despite ERR’s advanced presence on digital platforms, it notably lacks a more comprehensive strategy for crossmedia content production and for achieving better inter-organisational cooperation that would enable new production processes. Although a few more advanced crossmedia productions have taken place, these have tended to emerge ad hoc - out of initiatives from individual employees. The article, however, suggests that, despite the current lack of an organisational strategy, the experiences acquired by its employees are creating a timely momentum for using interpretative and adaptive approaches to developing its new crossmedia production strategies.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"166 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122575031","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

Darkness on Screen: Subjectivity-Inducing Mechanisms in Contemporary Estonian Art Film 银幕上的黑暗:当代爱沙尼亚艺术电影的主体性诱导机制

Baltic Screen Media Review Pub Date : 2014-11-22 DOI: 10.1515/bsmr-2015-0016

Martin Oja

引用次数: 0

Post-Soviet Trauma in the Nordic Imagination: Occupation and Sex Trafficking in Purge and Lilya 4-Ever 北欧想象中的后苏联创伤:《清洗》和《莉莉亚4-Ever》中的占领和性交易

Baltic Screen Media Review Pub Date : 2014-11-22 DOI: 10.1515/bsmr-2015-0013

Liina-Ly Roos

{"title":"Post-Soviet Trauma in the Nordic Imagination: Occupation and Sex Trafficking in Purge and Lilya 4-Ever","authors":"Liina-Ly Roos","doi":"10.1515/bsmr-2015-0013","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0013","url":null,"abstract":"Abstract The traumas of the twentieth century affected the development of trauma narrative in literature and cinema. Much of the trauma theory in different disciplines developed largely from the Holocaust literature as well as from gender-based violence. The criticism of many examples in contemporary trauma theory has been that they are applicable only to Western countries and do not take into account the difficult transitions between the non-Western and Western world. The countries that had gone through a brutal occupation of the Soviet Union also experienced the trauma of transformation, as whole societies turned into post-Soviet nations next to the developed Nordic/ Western states. This article will examine the representations of trauma in Sofi Oksanen’s fictional narrative Purge (Puhdistus, 2008) and Lukas Moodysson’s cinematic narrative Lilya 4-Ever (Lilja 4-ever, Sweden/Denmark, 2002) and off er an analysis of the trauma of transitions in the borderland between the post-Soviet and Nordic countries. Both Oksanen and Moodysson, as observers from the Nordic countries (Finland and Sweden respectively), have chosen to depict the post-Soviet trauma through a female body which is trapped in forced prostitution in Western Europe or Scandinavia and her emotions and reactions to her trauma. This article will argue that both authors contribute to the post-Cold War discourse that discusses the cultural borders between “East” and “West”, presenting a trauma of globalisation, drawing attention to unspoken subjects, but also contributing to the existing views of post- Soviet spaces as ruined and traumatising.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"53 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130978921","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: 1

What Happened to Andres Lapeteus? An Upper-Class Homo Sovieticus Caught in the Gears of Soviet Modernity 安德烈斯·拉佩特斯怎么了?苏联现代化进程中的上流社会苏维埃人

Baltic Screen Media Review Pub Date : 2014-11-22 DOI: 10.1515/bsmr-2015-0012

Liisa Kaljula

{"title":"What Happened to Andres Lapeteus? An Upper-Class Homo Sovieticus Caught in the Gears of Soviet Modernity","authors":"Liisa Kaljula","doi":"10.1515/bsmr-2015-0012","DOIUrl":"https://doi.org/10.1515/bsmr-2015-0012","url":null,"abstract":"Abstract This article looks at What Happened to Andres Lapeteus? (Mis juhtus Andres Lapeteusega, Estonia, 1966), a film that marked the directing debut of Russian-Estonian theatre and film director Grigori Kromanov, as a cinematographic narrative that follows the development of a homo sovieticus. The concept of homo sovieticus, initially simply an ironic reference to the “New Soviet Man” promoted in the official Soviet vocabulary, was elaborated in the 1980s and 1990s by several thinkers and writers from Eastern Europe into a concept allowing for a more analytical description of the bureaucratic human type that developed under the Soviet regime. The German- American philosopher Hannah Arendt in her renowned The Origins of Totalitarianism (1951) found that the juridical, the moral, and the individual in a man could most effectively be killed in concentration camps. The Russian philosopher Aleksandr Zinoviev and the Polish philosopher Józef Tischner, however, have seen the homo sovieticus syndrome as resulting from spiritual rather than physical imprisonment. Predisposed by the planned Soviet economy, which did not motivate Soviet people to make any creative, intellectual, or moral efforts, homo sovieticus soon started to represent a certain official ritualistic behaviour that maintained the symbolic legitimacy of power. What Happened to Andres Lapeteus? tells the story of an ambitious young Estonian official during Stalinist and post-Stalinist years, but does it in a novel way for its time, tackling the popular criticism of the cult of personality in the Thaw era from the viewpoint of individual responsibility. Offering a charismatic black-and-white version of the novel The Case of Andres Lapeteus (Andres Lapeteuse juhtum, 1963) by the Estonian writer Paul Kuusberg, Kromanov’s new wave film still makes us ponder the often avoided and delicate issue of the Sovietisation of the Baltic states from the inside.","PeriodicalId":253522,"journal":{"name":"Baltic Screen Media Review","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2014-11-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114257406","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: 1

Take Care of Your Scar(f), Lilya! De-stigmatizing the Image of the Post-Soviet Other in Nordic Cinema 照顾好你的伤疤，莉莉娅!北欧电影中后苏联他者形象的去污名化

Baltic Screen Media Review Pub Date : 2014-11-22 DOI: 10.1515/bsmr-2015-0014

T. Pauly

引用次数: 0