References Bardoel, Jo; d’Haenens, Leen; Allerd, Peeters 2004. Defi ning Distinctiveness: In Search of Public Broadcasting Performance and Quality Criteria. S.l.: Ripe@2004. http://ripeat.org/2010/defining-distinctiveness-insearch-of-public-broadcasting-performance-andquality-criteria/. Croteau, David; Hoynes, William 2001. The Business of Media: Corporate Media and the Public Interest. Thousand Oaks: Pine Forge Press. Croteau, David; Hoynes, William; Milan, Stefania 2012. Media/Society: Industries, Images, and
This article explores whether a specifically regional quality can be identified in the following Finnish and Estonian multi-protagonist/network narrative films: Aku Louhimies’ Frozen Land (Paha maa, Finland, 2005) and Veiko Õunpuu’s Autumn Ball (Sügisball, Estonia, 2007). The article begins by providing an overview of the discussion regarding multi-protagonist films - a film form in which several lead characters are commonly connected via accidental encounters. Thereafter, an examination is made of how the form’s widely recognised generic qualities are represented in the Northern and Eastern European examples. As an overview of the discourse illustrates, multi-protagonist film is mainly interested in urban spatiality, contingency and human interconnectedness. It is also shown that these examples from the cinemas of small nations follow global trends rather closely. At the same time, Frozen Land and Autumn Ball can be seen as representing a specifically regional sensibility that is not only interesting in its own right, but which can also be understood as directly influencing the character-action.
The essay discusses Deleuze and Guattari’s notion of becoming-imperceptible and raises the question to what extent it can be interpreted in terms of feminist politics and seen as a specific strategy for new media arts. Although the notion of becoming-imperceptible was condemned by second wave feminists, recent post-feminists representing the third wave argue not for politics of visibility but for politics of invisibility. Examining the practices of Lithuanian feminist media artists, the essay argues that becoming-imperceptible in new media arts means not an escape from visibility or a drive toward annihilation but a new conceptual strategy: becoming-imperceptible creates the potential for social and political change. This new conceptual strategy can be related to the new quality of the image: in this regard there is a close affinity between Deleuze and Guattari’s notion of becoming-imperceptible and the notion of the crystalline image which appears in Deleuze’s film theory: both notions engender duration, temporality and qualitative change. Therefore the essay claims that the crystalline image does not represent the world but recreates this world through multiple, changing and virtual images.
Indrek Ibrus and Astra Merivee
’. - Indrek Ibrus, Carlos A. Scolari (eds.), Crossmedia Innovations: Texts, Markets, Institutions. Frankfurt: Peter Lang, 259-276. Huang, Edgar; Rademakers, Lisa; Moshood, A. Fayemiwo; Dunlop, Lillian 2004. ‘Converged Journalism and Quality: A Case Study of the Tampa Tribune News Stories’. - Convergence: The International Journal of Research into New Media Technologies, 10, 4, 73-91. Huntsberger, Michael 2008. ‘Create Once, Play Everywhere: Convergence Strategies for Public Radio in the U.S.’ Paper presented at the RIPE 2008, Mainz, Germany
@ the New Millennium. s.l.: A Kaiser Family Foundation Report. http://kaiserfamilyfoundation.files.wordpress.com/2013/01/kids-media-the-new-millennium-report.pdf (3 September 2013). Rothenberg, R. 1991. ‘Critics seek FTC action on products as movie stars’. - The New York Times, May 31. http://www.nytimes.com/1991/05/31/business/the-media-business-critics-seek-ftc-action-onproducts-as-movie-stars.html (3 September 2013). Rudd Center for Food Policy and Obesity 2009. Evaluating the Nutrition Quality and Marketing of Children’s Cereals. s