rss_2.0Baltic Screen Media Review FeedSciendo RSS Feed for Baltic Screen Media Reviewhttps://sciendo.com/journal/BSMRhttps://www.sciendo.comBaltic Screen Media Review 's Coverhttps://sciendo-parsed-data-feed.s3.eu-central-1.amazonaws.com/6005d80fe797941b18f290a5/cover-image.jpg?X-Amz-Algorithm=AWS4-HMAC-SHA256&X-Amz-Date=20211017T023458Z&X-Amz-SignedHeaders=host&X-Amz-Expires=604800&X-Amz-Credential=AKIA6AP2G7AKDOZOEZ7H%2F20211017%2Feu-central-1%2Fs3%2Faws4_request&X-Amz-Signature=ff9f13eff81e6499902359f3207186ca3a60f702ef8295c9ee57352b28b3075c200300Public Funding in a Time of Crisis: Film Funds and the Pandemichttps://sciendo.com/article/10.2478/bsmr-2020-0002<abstract><title style='display:none'>Abstract</title><p>This essay will examine the role of publicly-funded film funds in small nations during the pandemic. Organisation like Det Danske Filminstitut, Hrvatski Audiovizualni Centar, Screen Scotland and Screen Ireland exist to support filmmakers in the realisation of their creative vision, to aid the circulation of national cultural resources and to provide audiences with the opportunity to access a diverse array of films. In small nations they are often the primary source of funding to the sector and so play a key role in building the capacity and international visibility of the nation and its film output.</p><p>This contribution to the special issue will identify trends in the funding and support provided by these organisations during the crisis; for instance, in adjusting their funding strategies, but also in their advocacy efforts with those beyond the film sector to secure financial support measures for the sector. It identifies future roles for film funds including redistributing limited public funds, supporting creative labour markets that are sustainable and equitable, and communicating the message to international productions, potential co-producers and investors that the country and its sector is open for business. I conclude by also reflecting on the long-term threats that these bodies may themselves face in the coming years as a result of economic and political transformations that are occurring today.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00Is COVID-19 on the Covers of Socio-Political Magazines an Example of Media Polarisation? Case Study from Polandhttps://sciendo.com/article/10.2478/bsmr-2020-0005<abstract><title style='display:none'>Abstract</title><p>The main purpose of this paper was to explore the media image of the COVID-19 pandemic through the perspective of Polish media polarisation. In order to achieve this, a quantitative and qualitative analysis of the content of covers from 10 socio-political magazines, representing different ideological inclinations [left-wing, liberal, conservative, right-wing and Catholic] was conducted between January and June 2020. The study focused not only on the scale to which the coronavirus appeared on the covers, but also on the textual and visual representation of it. Additionally, the contexts in which COVID-19 appeared were analysed. As it turned out, apart from the medical context, the pandemic was mostly presented through political, social, economic and religious perspectives, of which the first was the most visibly connected with polarising media content, indicating clear links between the ideological bias of the magazines and the ways they described reality.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00Film and Television Production and Consumption in Times of the COVID-19 Pandemic – The Case of Germanyhttps://sciendo.com/article/10.2478/bsmr-2020-0004<abstract><title style='display:none'>Abstract</title><p>The article discusses some developments in the audio- visual media industry in Germany that became apparent during the pandemic. Tendencies in the production, distribution and consumption of film, television and streaming are examined. While streaming platforms and linear television are becoming more important, cinemas are facing some problems.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00The Changes that COVID-19 Catalysed for Audiovisual Industrieshttps://sciendo.com/article/10.2478/bsmr-2020-0001ARTICLE2020-12-21T00:00:00.000+00:00The Moral Economy of Micro-Transactions in Digital Gameshttps://sciendo.com/article/10.2478/bsmr-2020-0009<abstract><title style='display:none'>Abstract</title><p>In the digital game industry, micro-transactions (MTXs) have been introduced as a new vehicle for profit generation. MTXs are small sum payments for additional virtual content beyond the content players obtain through game-play and progression, which impose new structural limitations and opportunities for game participation on the players. This article explores the perspectives of players on corporate commodification strategies of gameplay. The empirical work consists of semi-structured focus group interviews of players and interviews of podcast hosts. All informants are players of various online games.</p><p>By adopting Sayer’s (2004, 2007, 2017) concept of moral economy and de Certeau’s (2011) concept of tactics in everyday life, this study draws two conclusions. First, virtual items and goods obtained through in-game activities or MTXs are a means to communicate skill level, taste, and experience between players as a fundamental part of the moral economy of establishing fair ground for competition. With regard to MTXs, players distinguish among three levels in which agency is maintained or limited. Second, players negotiate these models of commodification and agency limitation in ambivalent ways, both resisting and embracing economic values in the moral economy of play. Furthermore, because of this negotiation, players are generally concerned about the invasive nature of economic values taking priority over the values that guide the practices of play. In other words, there is a moral concern regarding how norms and values in play are compromised or overridden by outside economic pressures.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00Stakeholder Collaboration in Audience Research: from Why to Howhttps://sciendo.com/article/10.2478/bsmr-2020-00010ARTICLE2020-12-21T00:00:00.000+00:00The Resilience of Small Television Markets to COVID-19: the Case of https://sciendo.com/article/10.2478/bsmr-2020-0008<abstract><title style='display:none'>Abstract</title><p>This article presents a case study of <italic>Lockdown</italic>, an anthology series developed by two production companies under strict COVID restrictions in Flanders, centred on a prison visiting space. Every episode is written and directed by different screenwriters and directors. The case study clearly shows how a combination of creativity of Flemish independent producers, a felt need to counter the damaging effects of COVID on Flemish audio-visual industries, and the need to produce under strict hygienic and social distancing rules, resulted in a unique creative concept, that, ironically, might not have been achievable under normal circumstances. The analysis shows that the smallness of the Flemish market, which over the past decades resulted in an industry dynamism characterized by improvisation, voluntarism, high dependency on collaboration and short term financial planning, is precisely what might have provided the ideal backdrop for the production of this unique series.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00From Dusk till “DAU”: the Rise of Heterotopic Cinema in the Times of Pandemichttps://sciendo.com/article/10.2478/bsmr-2020-0007<abstract><title style='display:none'>Abstract</title><p>The release of Ilya Khrzhanovsky’s megalomaniacal cinematic project <italic>DAU</italic> coincided with the global Covid-19 pandemic. With festivals postponed and public screenings no longer possible, Khrzhanovsky moved his project online, integrating the unprecedented experience of the global lockdown and quarantine into the cinematic universe of <italic>DAU</italic>. Using the concept of heterotopia devised by French philosopher Michel Foucault, this paper examines the ways in which self-isolation altered the conditions of spatio-temporal engagement with <italic>DAU</italic>. Ultimately, the paper presents an original theoretical model of heterotopic cinema to demonstrate that confinement is precisely what allows Khrzhanovskiy’s artistic method to fully function.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00Pandemic and Public Service Media: Lessons from Finlandhttps://sciendo.com/article/10.2478/bsmr-2020-0003<abstract><title style='display:none'>Abstract</title><p>This essay discusses the global context of public communication during COVID-19, as well as some specific lessons learned from public service media (PSM), specifically from the Finnish Broadcasting Company (Yleisradio, Yle). We address the role of PSM as a national information channel during crises and as a sustainable element in the media system, points to the need to understand its role beyond news and to develop new interactive alternatives to global platforms, and calls for PSM organisations to address its audience – not as consumers – but as people with needs for information, entertainment, learning and meaningful interactions.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00Distributor Strategies in the Face of Closed Cinemas: Norwegian Responses to Covid-19https://sciendo.com/article/10.2478/bsmr-2020-0006<abstract><title style='display:none'>Abstract</title><p>This article examines the choices made by Norwegian distribution companies during three key phases of cinema lockdown and reopening in 2020. Though the article mainly aims to chronicle this particular moment in time I find that Norwegian and Scandinavian VOD-services acted differently than international services and that, while distributor companies used several different strategies in the face of sudden change, no one was close to recouping the losses from the lack of ordinary cinematic exhibition.</p></abstract>ARTICLE2020-12-21T00:00:00.000+00:00Book Review Renata Šukaityt (ed.), Baltic Cinemas after the 90s: Shifting (Hi)stories and (Id)entities, Acta Academia Artium Vilnensis, no. 56https://sciendo.com/article/10.1515/bsmr-2015-0011ARTICLE2015-12-05T00:00:00.000+00:00Surrealist Sources of Eastern European Animation Filmhttps://sciendo.com/article/10.1515/bsmr-2015-0003<abstract><title style='display:none'>Abstract</title><p> 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.</p></abstract>ARTICLE2015-12-05T00:00:00.000+00:00Filmipildi märksõnastamisest Eesti filmi andmebaasis. Rahvusfilmograafias / Meta-Description of Films in Estonian Film Database. National Filmographyhttps://sciendo.com/article/10.1515/bsmr-2015-0007<abstract><title style='display:none'>Summary</title><p> 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).</p><p>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.</p><p>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.</p><p>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-card and allows advance into several digital storages, where it is possible to view the films produced and purchase them for streaming. The filmography is interfaced with social networks (Facebook, Twitter) and is aiming the possibility to interlink it with the European Film Gateway in the future, thus offering access to a digitised film treasury through Europeana. The database is aimed at film professionals, teachers, students, researchers and the general public as the target audience.</p><p>Among others, the key issues of cultural databases draw on the approaches and solutions for information retrieval and are relying in particular on the principles of conceptual (intellectual) subject indexing of audiovisual artefacts. Inspired by classical works of Panofsky, Shatford, Turner and others regarding image description, analysis and interpretation the article covers some main issues regarding options for a multifunctional film indexing metadata. The text tackles different aspects of the description of moving images for public needs in general and also describes the specific details of the system, developed for deep keywording of Estonian films. The rationale, limits and disputable issues as well as our experience and basic suggestions for professional indexers who are undertaking these kind of tasks are also revealed.</p></abstract>ARTICLE2015-12-05T00:00:00.000+00:00Transmedia Project Design: Theoretical and Analytical Considerationshttps://sciendo.com/article/10.1515/bsmr-2015-0006<abstract><title style='display:none'>Abstract</title><p> Theoretical and analytical considerations around the development of transmedia projects are evolving, but are still widely open, probably because transmedia storytelling is a relatively new subject that does not yet have its own specific methods and methodology of analysis. Moreover, transmedia projects are complex phenomena involving multiple dimensions, such as narrative, cultural context, marketing, business models, and legal framework. Currently, the usual approach gives place to methodologically separate analytical perspectives related to some of these dimensions. This article first discusses the elusive concept of transmedia storytelling and later presents analytical considerations outlining relevant aspects that can contribute to perceive the process of developing transmedia projects. The significance of these discussions is to address essential features of the design process behind transmedia projects and contribute to support the analytic needs of transmedia designers and the applied research in the interest of the media industry.</p></abstract>ARTICLE2015-12-05T00:00:00.000+00:00Television News in the 1950s: New Medium in the Service of Soviet Power and Societyhttps://sciendo.com/article/10.1515/bsmr-2015-0004<abstract><title style='display:none'>Abstract</title><p> 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.</p></abstract>ARTICLE2015-12-05T00:00:00.000+00:00Politics of Imperceptibility: Philosophy, Post-Feminism and New Media Artshttps://sciendo.com/article/10.1515/bsmr-2015-0005<abstract><title style='display:none'>Abstract</title><p> 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.</p></abstract>ARTICLE2015-12-05T00:00:00.000+00:00Book Review: Anikó Imre (ed.), A Companion to Eastern European Cinemas, Maldenhttps://sciendo.com/article/10.1515/bsmr-2015-0010ARTICLE2015-12-05T00:00:00.000+00:00Book Review: Eva Näripea, Estonian Cinescapes: Spaces, Places and Sites in Soviet Estonian Cinema (and Beyond)https://sciendo.com/article/10.1515/bsmr-2015-0009ARTICLE2015-12-05T00:00:00.000+00:00Tallinn Film Cluster: Realities, Expectations and Alternativeshttps://sciendo.com/article/10.1515/bsmr-2015-0002<abstract><title style='display:none'>Abstract</title><p> The article takes a close look at the entrepreneurial practices of the Estonian film industry and at how these particular practices may be understood to influence the evolution of the film production cluster in Tallinn. It asks how these processes of institutional evolution of the local film industry may be understood to influence the specific nature of audiovisual culture in contemporary Estonia. The article is based on a study that was conducted in mid 2012. The study consisted of interviews with the representatives of the local film industry, including respondents from production companies (“studios”), post-production companies and distributors. The second phase of the study was a confirmative roundtable with the select group that included the previously interviewed filmmakers and a few additional industry insiders. The key research questions were: (1) what are the existing co-operation practices between companies like and (2) considering the further evolution of the industry cluster in Tallinn, what are the companies’ specific expectations and needs. The current status of the cluster’s competitiveness was evaluated by using Michael Porter’s model for analyzing conditions of competition (Porter’s diamond). Also, development perspectives of the cluster were evaluated, considering the needs and expectations of entrepreneurs. Key results of the research were divided into two basic categories: (1) current state of clustering of AV enterprises and (2) perspectives and alternatives of further development of the AV cluster.</p></abstract>ARTICLE2015-12-05T00:00:00.000+00:00Introductionhttps://sciendo.com/article/10.1515/bsmr-2015-0001ARTICLE2015-12-05T00:00:00.000+00:00en-us-1