This article looks at the factors that have influenced the Estonian adaptation of the Idols format, Eesti otsib superstaari. Based on existing literature, as well as on interviews with representatives of the local TV industry, this article suggests that the most influential factor is the small size of the Estonian TV market. Most changes to the original format have been made for practical reasons and not due to cultural considerations. Hence, this article argues that it is mostly market and industry logistics that influence programme imports and local adaptations and not so much the cultural shareability of such programmes.
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.
This article presents the results of a multi-method study carried out by the Tallinn University Centre of Excellence in Media Innovation and Digital Culture (MEDIT). The aim of this study was to investigate how international film professionals perceive the Estonian film industry; what image they have of Estonian film, and how they envision or have experienced Estonia as a destination for production and collaboration. The results of the study indicate that the skills of Estonian filmmakers are increasingly internationally renowned and valued among foreign professionals. At the same time, however, awareness of Estonian film and its nature remains ambiguous to most international film professionals. While seeing Estonia as a Baltic country rather than a Nordic one, the professionals suggested setting up a Baltic film fund and developing a Baltic brand in order to raise international recognition of local film production.