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Audiovisual Policymaking in Estonia at Times of Convergence: An ‘Innovation System’ as a Policy Rationale

October 2015). Hartley, John; Potts, Jason 2014. Cultural Science: A Natural History of Stories, Demes, Knowledge and Innovation. London: Bloomsbury. Ibrus , Indrek 2012. ‘The AV Industry’s Microcompanies Encounter Multiplatform Production’. - Indrek Ibrus, Carlos A. Scolari (eds.), Crossmedia Innovations: Texts, Markets, Institutions. Frankfurt: Peter Lang, 219-242. Ibrus , Indrek 2015a. ‘Kultuur visualiseerub ja rikastub’. - Raivo Vetik (ed.), Eesti inimarengu aruanne 2014/2015. Tallinn: Eesti Koostöö Kogu, 222

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Euripides – Dramatic Concept, Innovation and Style

Abstract

We can say that the Europidian Greek tragedy situated at the outset man to extreme limits, on the border where the divine begins. Any tragedy signifies and stimulates the energy of the hero to surpass himself through an incredible act of courage, to give a new measure of his greatness in the face of obstacles, to the unknown he meets in the world and in the society of his time. The tragedy shows us that in the very fact of human existence there is a challenge, or a paradox, it tells us that sometimes the aspirations of man come into conflict with the forces of the unexplained and destructive, which is beyond and yet very close to us. The poet and philosopher Euripides turns out to be a great humanist, he loves and sympathizes with the people, suggesting that by birth we are all equal.

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Artistic Creativity and Creative Imagination - Original Components in the Contemporary Performing Arts. Interferences and New Approaches

Abstract

The contemporary human is in an eternal transformation, in an unending metamorphosis, he or she projects his/her life and his/her own image in countless fictitious games, plays roles in imagined situations. He/she, though using false conscious representations, will obtain the right results because he/she operates with his/her creations or fictions as if they were real realities. This is social creativity. If all these are real-life defence elements, fireworks that help the individual to anticipate certain situations, to figure the effects of certain volitional impulses, to communicate and to act freely within the scenic arts, the artistic creativity involves a paradoxical relationship between creative freedom and rigorous laws. Artistic creativity is part of the artist/actor’s ability to produce ideas, new and original solutions, appropriate to the given problems and circumstances, being a first step in the innovation process. Thus, both creative imagination and artistic creativity become original components in the creation process and implicitly in the contemporary performing arts.

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From Dramatic Text to Visual Dramaturgy

. Steiner, George, După Babel. Aspecte ale limbii şi traducerii, Univers, Bucharest, 1983. Steiner, George, După Babel. Théâtralité(s). Tradition et innovation , collective edition, Editions Philippe Picquier, Strasbourg, 2015. Webography: http://www.alepreuve.org https://www.uniter.ro/radu-afrim-nu-am-nostalgia-anilor-de-inceput/ https://www.persee.fr/doc/comm

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The Metamorphosis of Performing Arts

Review , 20:2, 185-196, 2010. Bota, Aura şi Cristina Lăutaru, Tendințe contemporane în coregrafie , Future Academy, 5 th International Congress of Physical Education, Sports and Kinetotherapy, 2015. Faludi, Julianna, “Open innovation in the performing arts”, in Corvinus Journal of Sociology , 2015. Lisovetc I.M., Education in the Context of the Performative Trends in Modern Culture , Conference paper, Facets of Culture in the Age of Social Transition Proceedings of the All-Russian Research Conference with International Participation Volume, 2018

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Making Sense of the International Reputation of a Small Film Industry: The Estonian Case

REFERENCES Elmer, Greg; Gasher, Mike 2005. Contracting Out Hollywood: Runaway Productions and Foreign Location Shooting . Lanham: Rowman & Littlefield. Ibrus, Indrek 2015. ‘Audiovisual Policymaking in Estonia at Times of Convergence: An “Innovation System” as a Policy Rationale’. – Baltic Screen Media Review 3, 102–115.

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Benefits and Barriers of a Social Marketing Campaign Based on the Example of the Child Helpline

REFERENCES Anonymous s.a. ‘Diffusion of Innovation Theory’. – Behavioral Change Models . http://sphweb.bumc.bu.edu/otlt/MPH-Modules/SB/BehavioralChangeTheories/BehavioralChangeTheories4.html (12 November 2018). Cohen, Don; Prusak, Laurence 2001. In Good Company: How Social Capital Makes Organizations Work . Boston: Harvard Business School Press. Fu, Qianhong 2004. Trust, Social Capital, and Organizational Effectiveness . MA thesis. Virginia Tech. Blacksburg. Kotler, Philip; Roberto, Ned; Lee, Nancy 1989. Social Marketing

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Strategic Management of Crossmedia Production at Estonian Public Broadcasting

://dx.doi.org/10.1080/1369118X.2012.680483. Bennett, James; Strange, Niki; Kerr, Paul; Medrado, Andrea 2012. Multiplatforming Public Service Broadcasting: The Economic and Cultural Role of UK Digital and TV Independents. London: Royal Holloway, University of Sussex, London Metropolitan University. Boczkowski, Pablo 2004. Digitizing the News: Innovation in Online Newspapers. Cambridge: MIT Press. Born, Giorgina 2004. Uncertain Vision: Birt, Dyke and the Reinvention of the BBC. London: Secker & Warberg. van den Bulck

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Tallinn Film Cluster: Realities, Expectations and Alternatives

, ERSA, Barcelona. Burmeister, K.; Neef, A.; Albert, B.; Glockner, H. 2002. Zukunftsforschung und Unternehmen. Praxis, Methoden, Perspektiven. Essen: Z punkt GmbH Büro für Zukunftsgestaltung. Castells, M. 1996. The Rise of the Network Society: The Information Age: Economy, Society, and Culture. Oxford: Blackwell. Davis, C. H.; Creutzberg, T.; Arthurs D. 2009. ‘Applying an innovation cluster framework to a creative industry: The case of screen-based media in Ontario.’ - Innovation: Management, Policy & Practice, 11, 201

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