The first thing this article tries to do is discuss the Estonian audiovisual media and content production system in its entirety - i.e. to look at film, television and interactive audiovisual services as an increasingly integrated system. Secondly, it tries to understand the issues that this convergence process presents to these formerly distinct sub-fields of the audiovisual culture, as well as for the country’s cultural policy makers. Thirdly, it presents an alternative rationale for audiovisual policymaking - reconceptualising the policy in support of an ‘innovation system’. The aim of this policy would be to improve ‘innovation coordination’ - to make the system generate more innovative cultural forms and representations, which at the aggregate level would translate into increased cultural diversity. The article assesses the innovation coordination within the Estonian audiovisual media and content production system.
Cloud Opera or The Dido Problem (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.
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.
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.
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.