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- Kristensen, Lars, et al.
(författare)
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Painful Neutrality : Screening the Extradition of the Balts from Sweden
- 2018
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Ingår i: Baltic Screen Media Review. - : Sciendo. - 2346-5492 .- 2346-5522. ; 6:1, s. 72-92
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Tidskriftsartikel (refereegranskat)abstract
- The article deals with the extradition of Baltic soldiers from Sweden in 1946 as it is represented in P.O. Enquist’s novel The Legionnaires (1968) and in Johan Bergenstråhle’s film A Baltic Tragedy (1970). The theoretical framework is taken from trauma studies and its equivalent within film studies, where trauma is seen as a repeated occurrence of an event in the past. Literature and moving images become in this regard the means to reach the traumatic event, a way to relive it. What separates the extradition of the Baltic soldiers from other traumas, such as the Holocaust, is that it functions as a guilt complex for failing to prevent the tragedy, which is connected to Sweden’s position of neutrality during World War II and the appeasing all of the warring nations. It is argued that it is a collective trauma that is created by Enquist’s novel, which blows it into national proportions. However, Bergenstråhle’s film changes the focus of the trauma by downplaying the Swedish bad conscience. In this way, the film aims at creating new witnesses to the extradition affair. The analysis looks at reception of both novel and film in order to explain the two different approaches to the historical event as well as the two different time periods in which they are produced. The authors argue that the two years that separate the novel and film explain the political mood of the late 1960s swings towards a deflated revolution in the early 1970s when the film reaches national screens. However, in terms of creating witnesses to the traumatic event, the book and film manage to stir public opinion to the extent that the trauma changes from slowly effacing to collectively being ‘lived’ through remembrance. The paradox is that, while the novel remains a vivid reminder of a painful aftermath to Swedish neutrality during World War II, the film is now almost completely forgotten. The film’s mode of attacking the viewers with I-witness account, juxtaposition and misconduct leads to a rejection of the narrative by Swedish audiences.
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| 4. |
- Boyko, Kateryna, et al.
(författare)
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A Medium Is Born : Participatory Media and the Rise of Clubhouse in Russia and Ukraine During the Covid-19 Pandemic
- 2022
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Ingår i: Baltic Screen Media Review. - : Tallinn University. - 2346-5522. ; 10:1, s. 8-28
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Tidskriftsartikel (refereegranskat)abstract
- Clubhouse is a social network allowing only real-time oral communication. While its 2020 worldwide launch went largely unnoticed in Eastern Europe, it took countries such as Ukraine and Russia by storm in February 2021. Users were enticed by the platform’s exclusivity (invita-tion only and limited to IOS users), unusual format, and compatibility with post-covid social life. For some time, Clubhouse was the dominant theme of discussions on other social media, mainstream news media organizations started launching daily talk shows in the app, and early adopters engaged in a plethora of participatory activities ranging from propagandist broadcasts to 24/7 rooms where bots would recite Russian classical poetry, from fervently seek-ing ways to monetise their participation to creating the somewhat unexpected genre of audial fakes. In this article we intend to analyse the turbulent arrival of the new app in Russia and Ukraine from the perspec-tives of media ecology and media archaeology. Focusing on the app’s mediality and remediation, the social media discourse about it and particular content in some of the notable rooms, we highlight the conjunction of social envi-ronment, the already existing and novel technological affordances, as well as users’ perceptions and expectations in the emergence of a new niche in the ecology of participa-tory media. Based on this, we will also try to outline some possible scenarios for the new platform in Eastern Europe’s dense mediascapes. We argue that the prompt rise of Club-house’s popularity was not thanks to its special authenticity, as some suggest, but rather because of the normalization of group long-distance conversations (e.g., via Zoom), coupled with the intentional monomedia poverty of affordances and clearly delimited boundary between the roles of broadcast-ers and listeners, which was perceived as liberating in a produsage-saturated environment. This actually limits the participatory media potential of content creators and influ-encers, increasing their power and reviving monological models of communication that suggest a passive audience.
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| 5. |
- Gambarato, Renira R.
(författare)
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Transmedia Project Design : Theoretical and Analytical Considerations
- 2013
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Ingår i: Baltic Screen Media Review. - : Walter de Gruyter. - 2346-5522. ; 1:1, s. 80-100
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Tidskriftsartikel (refereegranskat)abstract
- Theoretical and analytical considerations around the development of transmedia projects are evolving, but are still widely open, probably because transmedia storytelling is a relatively new subject that does not yet have its own specific methods and methodology of analysis. Moreover, transmedia projects are complex phenomena involving multiple dimensions, such as narrative, cultural context, marketing, business models, and legal framework. Currently, the usual approach gives place to methodologically separate analytical perspectives related to some of these dimensions. This article first discusses the elusive concept of transmedia storytelling and later presents analytical considerations outlining relevant aspects that can contribute to perceive the process of developing transmedia projects. The significance of these discussions is to address essential features of the design process behind transmedia projects and contribute to support the analytic needs of transmedia designers and the applied research in the interest of the media industry.
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| 6. |
- Lundälv, Jörgen, et al.
(författare)
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Covid-19 Pandemic Coping Strategies in a Complex Landscape of Crisis Communication : A Participatory Study with Disability Organisations in Sweden
- 2022
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Ingår i: Baltic Screen Media Review. - : Sciendo. - 2346-5522. ; 10:1, s. 140-161
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Tidskriftsartikel (refereegranskat)abstract
- The article challenges the notion that crisis communication is a matter of outreach of a single message communicated as “one voice” from official channels speaking to the public about how to prepare for and manage crisis situations. The Covid-19 pandemic has made it evident that the general public is accessing multiple channels for crisis information while the crisis situation, the rules and knowledge are constantly changing. An array of different voices, facts, (fake) news and recommendations are channeled via public service, social media, national and international media. Most of this content is accessed and shared via digital channels, but also via communities, workplaces, and between friends and families living in the same country or abroad. This article presents insights gained from a qualitative study addressing disabled people whose everyday lives have always been characterized by extraordinary circumstances, and continuously so also during the Covid-19 pandemic. The aim was to create an understanding of disabled people’s crisis-specific media practices and their ways of coping with situations caused by the pandemic. Through a national online survey study and workshops, it explores how disabled people experience the pandemic, and how crisis information flows affect trust between authorities and the disability movements. The study should be read in the light of the Swedish Covid-19 strategy, which put a strong emphasis on the individual’s responsibility and that every citizen is expected to follow the recommendations and take precautionary measures to limit the spread of the virus. This approach requires that both public agencies and citizens are capable of navigating the emerging complex crisis communication landscape and requires them to make responsible decisions and taking relevant measures.
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| 8. |
- Nanì, Alessandro, et al.
(författare)
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Exploring Cross-Media Audience Practices in Two Cases of Public Service Media in Estonia and Finland
- 2017
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Ingår i: Baltic Screen Media Review. - : De Gruyter Open. - 2346-5522. ; 5:1, s. 58-69
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Tidskriftsartikel (refereegranskat)abstract
- Stemming from the concept of active audiences and from Henry Jenkins’ (2006) idea of participatory culture as the driving force behind the transformation of public service broadcasting into agencies of public service media (Bardoel, Ferrell Lowe 2007), this empirical study explores the attitude and behaviour of the audiences of two crossmedia projects, produced by the public service media of Finland (YLE) and Estonia (ERR). This empirical study aims to explore the behaviour, wants and needs of the audiences of cross-media productions and to shed some light on the conditions that support the dynamic switching of the engagement with cross-media. The study’s results suggest that audiences are neither passive nor active, but switch from one mode to another. The findings demonstrate that audience dynamism is circumstantial and cannot be assumed. Thus, thinking about active audiences and participation as the lymph of public service media becomes problematic, especially when broadcasters seek generalised production practices. This work demonstrates how television networks in general cannot be participatory, and instead, how cross-media can work as a vehicle of micro participation through small acts of audience engagement (Kleut et al. 2017).
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| 9. |
- Taher, Hassan, et al.
(författare)
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Reuse and Appropriation: : Remediating Digital Museum Collections and Digital Tools for a Participatory Culture in Transition
- 2022
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Ingår i: Baltic Screen Media Review. - : Walter de Gruyter. - 2346-5522. ; 10:1, s. 122-138
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Tidskriftsartikel (refereegranskat)abstract
- Museums have always used different media to communicate, widen perspectives and bring new knowledge, but in the era of digital media, their various offerings are increasingly part of the media ecosystem. Our research interventions explored the possibility of reusing existing digitised material in a participatory setting. The aim was to explore the object-centred audience participatory method in digital settings. We held a series of digital and in-person workshops that invited the participants to “imagine” narratives about the provenance of the museum’s objects and journeys to Sweden in a playful and creative exploration. We could observe how the virtual workshop setting supported focused discussions, and allowed zooming, drawing and remixing of digital photographs to facilitate conversation. The workshop participants on-site worked with the museum objects on display to remediate them through photos, drawings, clay modelling, and writing down thoughts and questions about the objects on discussion postcards. The participants’ contributions were included in the virtual collection database (Carlotta), under the same collection as the other museum objects, making the remediation process circular. We argue that object-centred methods enable audience participation in digital media ecosystems both in museums and with other media makers. The audience’s expectations and experiences from using other media bring them to the digital museum platforms with a willingness to explore, remix and integrate.
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