<abstract xmlns="http://www.w3.org/1999/xhtml">Researchers and practitioners have long been intrigued by the role of stars in the film industry (McDonald 2005). Actors with star status can enhance the economic prospects of a film (Wallace <italic>et al</italic>. 1993). For instance, replacing average stars with top stars has been shown to increase revenue (Nelson, Glotfelty 2012). A meta-analysis of 61 studies collating data from 1545 films has shown the significant effect of commercial star power on Hollywood films’ revenues (Hofmann, <italic>et al</italic>. 2017). The Hollywood movie industry can be viewed as a system that maintains and regulates the popularity of existing and emerging stars through agents, producers and award systems (McDonald 2013).</abstract>

What’s the value of a star? Actor familiarity and likeability effects on emotional mimicry of cinematic displays

<abstract xmlns="http://www.w3.org/1999/xhtml">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 (<italic>ibid</italic>) 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.</abstract>

Content marketing from the perspective of PR specialists: an Estonian case study

<abstract xmlns="http://www.w3.org/1999/xhtml">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.</abstract>

Film Branding: How the Estonia 100 umbrella brand influenced production, marketing and consumption of the Estonia 100 films

Behind the scenes of the Estonian TV series <italic>The Bank</italic>: Ideas, practices, and stories. An interview with its creators

<abstract xmlns="http://www.w3.org/1999/xhtml"><italic>Cloud Opera</italic> or <italic>The Dido Problem</italic> (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.</abstract>

<italic>Cloud Opera</italic> through the prism of artistic research: looking for media archaeological issues from the clouds

<abstract xmlns="http://www.w3.org/1999/xhtml">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.</abstract>

Is the Role of Public Service Media in Estonia Changing?

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 Why subscribe and read   Only journal in the Baltic Sea Region that focuses on all forms of audiovisual culture emerging from the region and approaches these from a fiercely interdisciplinary angle – incorporating conceptual and methodological insights deriving from film and media studies, new media studies, culture studies, media innovation and management studies, political economy of media and cultural industries, media policy studies, etc.   Why submit      Quick, fair and constructive double-blind peer review   Good visibility in the scholarly target community      Rejection Rate    40%      The core mission of Baltic Screen Media Review is to publish original and critical research articles on a variety of screen media forms and phenomena that are either produced in or represent the cultures and realities of the Baltic region. Therein we define the Baltic region flexibly – it may not only refer to the three Baltic countries (Estonia, Latvia and Lithuania), but include all the countries and cultures around the Baltic Sea, a region typically neglected in film and media studies. Our specific interest is to discuss and critically analyze the interconnections and exchanges between the countries of the region and their audiovisual cultures. The term ‘screen media’ indicates that the journal’s focus is ‘convergent’ – we publish articles on film, television, interactive media, video art, video games, mobile augmented reality, etc. Manuscripts scrutinizing the co-evolution of these various screen media forms are given a priority. We also invite articles on the full spectrum of audiovisual culture and different methodological takes on it – including textual analyses, accounts on education, production, exhibition, distribution and reception, as well as reflections on relevant theories and frames of references.   The journal is currently published twice a year and is a blind peer-reviewed journal addressed to the international scholarly community.   Archiving   Sciendo archives the contents of this journal in Portico - digital long-term preservation service of scholarly books, journals and collections.   Plagiarism Policy   The editorial board is participating in a growing community of Similarity Check System's users in order to ensure that the content published is original and trustworthy. Similarity Check is a medium that allows for comprehensive manuscripts screening, aimed to eliminate plagiarism and provide a high standard and quality peer-review process. 

Baltic Screen Media Review

Volume 7 (2019): Issue 1 (December 2019)

Article

What’s the value of a star? Actor familiarity and likeability effects on emotional mimicry of cinematic displays

Content marketing from the perspective of PR specialists: an Estonian case study

Commentary

Film Branding: How the Estonia 100 umbrella brand influenced production, marketing and consumption of the Estonia 100 films

Behind the scenes of the Estonian TV series The Bank: Ideas, practices, and stories. An interview with its creators

Cloud Opera through the prism of artistic research: looking for media archaeological issues from the clouds

Is the Role of Public Service Media in Estonia Changing?

Book review

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