<abstract xmlns="http://www.w3.org/1999/xhtml">This article investigates the contradictory information about the Estonian identity of the filmmaker Dimitri Kirsanoff (1899–1957) and examines the archival material that provides final confirmation of his birth and childhood in Tartu. In addition, Kirsanoff’s substantial contribution to silent cinema and his significance in the context of French avant-garde impressionism are discussed. Kirsanoff’s most acclaimed film <italic>Ménilmontant</italic> (France, 1926) was released 90 years ago. It is still frequently screened all over the world, due to its experimental montage techniques, the early use of handheld cameras, its innovative use of actual locations and the actors’ performances that still resonate with contemporary audiences. <italic>Ménilmontant</italic> is also influential because of its elliptical narrative style. However, with the advent of sound film, Kirsanoff’s career declined because the reorganisation of the film industry limited the creative freedom he enjoyed in the 1920s. This article attempts to contribute to a wider acknowledgement of Dimitri Kirsanoff’s Estonian origins, his films and his important place in the world cinema.</abstract>

Dimitri Kirsanoff: The Elusive Estonian

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

On the Topics and Style of Soviet Animated Films

<abstract xmlns="http://www.w3.org/1999/xhtml">This paper examines the development of neorealist tendencies in the oeuvre of contemporary Latvian filmmaker Laila Pakalnina. Her work is positioned within the global dissemination of cinematic neorealism, and its local manifestations, which, it is argued, develop in specific national contexts in reaction to dramatic societal and political changes. Pakalniņa’s films are examined as a documentation of the change from a communist satellite state to an independent democratic, capitalist country. Heavily influenced by the Riga School of Poetic Documentary, a movement in Latvian cinema that adhered to the conventions of poetic documentary filmmaking, the article analyses how her films replicate and further develop the stylistic and aesthetic devices of the Italian neorealists and the succeeding cinematic new waves. In doing so the argument is put forth that Pakalnina has developed neorealism Latvian style.</abstract>

Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa

<abstract xmlns="http://www.w3.org/1999/xhtml">This article examines five films by Veiko Õunpuu, Estonia’s most renowned contemporary director – <italic>Empty</italic> (<italic>Tühirand</italic>, Estonia, 2006), <italic>Autumn Ball</italic> (<italic>Sügisball</italic>, Estonia, 2007), <italic>Temptations of St Tony</italic> (<italic>Püha Tõnu kiusamine</italic>, Estonia/Finland/Sweden, 2009), <italic>Free Range: Ballad on Approving of the World</italic> (<italic>Free Range: ballaad maailma heakskiitmisest</italic>, Estonia, 2013) and <italic>Roukli</italic> (Estonia, 2015), focusing on his representations of neoliberalism and especially its effect on the emotional and intimate lives of the characters. We argue that the characters of his films typically reject the conventional romance promoted by neoliberal discourses, including Hollywood cinema, yet this does not make them happy, but disoriented and restless. The repudiation of ‘emotional capitalism’ also pertains to the way Õunpuu’s films are conceived and executed. Most importantly, he resists the conventions of Hollywood cinema, including a classical script and happy ending, and also sets and shoots his films in peripheral places. Our main theoretical framework is the concept of ‘emotional capitalism’ as elaborated by Eva Illouz.</abstract>

National Archives of Estonia, Estonian Academy of Arts

Transcending ‘Cold Intimacies’ in Veiko Õunpuu’s Works

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

Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters

<abstract xmlns="http://www.w3.org/1999/xhtml">After the Maidan events in Kiev and the annexation of Crimea in March 2014, discussions in Latvia expanded regarding the extent to which the Russian-speaking population in Latvia, whose daily information is obtained mainly from Russia’s TV channels, can get well-balanced and objective information. Opinion polls showed that a large proportion (41%) of the non-Latvians supported the annexation of Crimea and Russia’s President Vladimir Putin’s policy (<xref ref-type="bibr" rid="j_bsmr-2017-0006_ref_027_w2aab2b8c16b1b7b1ab1ac27Aa">SKDS 2014a</xref>). The aim of this article is to analyse the structure of the audiovisual media in the Russian language and media usage habits of the Russian-speaking audience using secondary and primary data. And thereby assess whether diversified information is available in the Russian language to this societal group. The research results show that the Russian-speaking population in Latvia does not feel a need for additional information channels, because they believe that the variety of information obtained from Russia’s TV and radio channels is sufficient.</abstract>

‘All the Necessary Information is Provided by Russia’s Channels’. Russian-language Radio and TV in Latvia: Audiences and Content

Book Review

AHEAD OF PRINT

Volume 11 (2023): Issue 1 (December 2023)

Volume 10 (2022): Issue 2 (December 2022)

Volume 10 (2022): Issue 1 (April 2022)

Volume 9 (2021): Issue 1 (December 2021)

Volume 8 (2020): Issue 1 (December 2020)

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

Volume 6 (2018): Issue 1 (December 2018)

Volume 5 (2017): Issue 1 (December 2017)

Volume 4 (2016): Issue 1 (December 2016)

Volume 3 (2015): Issue 1 (November 2015)

Volume 2 (2014): Issue 1 (November 2014)

Volume 1 (2013): Issue 1 (October 2013)

Baltic Screen Media Review

 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 4 (2016): Issue 1 (December 2016)

Dimitri Kirsanoff: The Elusive Estonian

On the Topics and Style of Soviet Animated Films

Alternative Networks of Globalisation: Latvian Neorealism in the Films of Laila Pakalniņa

Transcending ‘Cold Intimacies’ in Veiko Õunpuu’s Works

Exploring the Ways Cinematography Affects Viewers’ Perceived Empathy towards Onscreen Characters

‘All the Necessary Information is Provided by Russia’s Channels’. Russian-language Radio and TV in Latvia: Audiences and Content

Book Review

Book Review

Suche

Alle Bände und Hefte dieser Zeitschrift