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        <title>Baltic Screen Media Review Feed</title>
        <link>https://sciendo.com/journal/BSMR</link>
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            <title>Baltic Screen Media Review Feed</title>
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            <link>https://sciendo.com/journal/BSMR</link>
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        <copyright>All rights reserved 2026, Tallinn University Baltic Film, Media, Arts and Communication School</copyright>
        <item>
            <title><![CDATA[Erratum to: The Convergence of Animation and Heritage Communication: A Digital Practice Based on Leonardo da Vinci's Botanical Manuscripts]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0012</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0012</guid>
            <pubDate>Sat, 31 Jan 2026 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Juha Suonpää’s documentary “Lynx Man”: From Filmmaker to Active Witness]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0007</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0007</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This article focuses on the question of filmmakers’ intentions and what transcends them in the context of ecocritical filmmaking. While making his second feature-length documentary, Lynx Man, director Juha Suonpää installed more than thirty trail cameras in the forest near his main characters home. By installing the “camera with no authorship” (Farocki, 2001), was he indeed allowing this camera to capture “operational images that do not depict or represent, entertain or inform but rather track, navigate, activate, oversee, control, visualise, detect and identify?” (Parikka, 2023). When Suonpää left the cameras alone to the forest, they became witnesses to the forest life. Using Barad’s intra-action, Morton’s mesh, and Ivakhiv’s process view, I treat Lynx Man as a sequence of events that happen between bodies, places, and devices. I try to understand nature filmmaking as a cluster of intentions that creates wider possibilities for accessing the reality of nature. A selection of the cinematographic choices used in Lynx Man will broaden and challenge the concept of authorship, arriving at the notion of chance as a narrative tool.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Generative Montage: An Analysis of AI-based Video Editing Software Effects on Montage]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0006</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0006</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This chapter explores how AI-based video editing software is transforming the grammar of cinematic montage. As artificial intelligence becomes embedded in creative workflows, particularly through features such as automated scene detection, transcription, and generative extension and rhythm analysis, traditional notions of editing as a human-driven, but tech-led expressive practice are being redefined. The study addresses two questions: how do these tools alter foundational principles of montage, and what are their implications for the editor’s cognitive and creative agency?
The chapter employs a theoretical and critical approach, drawing on film theory, media studies, and software analysis. It makes an exploratory comparison between the early evolution of montage in Soviet film theory – primarily the work of Eisenstein, Kuleshov, Pudovkin, and Vertov – through the digital turn described by media and film theorists such as Manovich, Casetti, Pearlman and Furstenau, and the present-day incorporation of AI in editing software. It reflects how the aesthetics, temporality, and ontology of montage shift when decision-making is partially automated.
Attention is paid to the role of the software’s interface as a site of negotiation between human intention and algorithmic suggestion. Ultimately, the chapter argues that AI-enabled editing does not eliminate montage, but reconfigures it: from a dialectical grammar to a generative, semi-automated, hybridized form of media composition. The chapter contributes to a broader understanding of how cinema’s expressive and representational possibilities are being reshaped in this moment of algorithmic aesthetics.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Book Review]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0011</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0011</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Studying, Defining and Reaching the Audience in a Film Market: The Case of Estonia]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0001</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0001</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

In small European film markets reliant on public funding and artistic considerations, the audience question has been a constant source of ambiguity. This inherent challenge has significantly influenced the strategies employed by film industry professionals to understand, target, and engage their audiences. Through conducting in-depth interviews with film professionals, this article examines these practices within the Estonian film industry. By filling a significant research gap, this exploratory study will argue three key points. Firstly, despite limited institutional knowledge production on audiences, industry professionals, particularly in exhibition and distribution, actively engage in diverse research endeavours to tailor their approaches. Secondly, despite the constraints imposed by Estonia’s relatively small market size, industry professionals employ film-, production-, and audience-specific details to identify their target audiences. Lastly, this research demonstrates how these investigative and defining activities contribute to the formulation of audience-reaching strategies, thereby highlighting the complex role audiences play within the context of a small European film market.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Convergence of Animation and Heritage Communication: A Digital Practice Based on Leonardo da Vinci’s Botanical Manuscripts]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0009</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0009</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This paper reinterprets the botanical manuscripts of Leonardo da Vinci (1452–1519) through digital hand-drawn animation and AI-generated imagery. Against the backdrop of cultural heritage preservation, the project focuses on plant morphology, phyllotaxis (leaf arrangement), and branching structures, exploring how these elements can be visualised through both dynamic and generative media. Drawing on folio 33r of Manuscrit G and three botanical sketches from the Royal Collection Trust as primary visual sources, it compares frame-by-frame digital animation with text-driven AI-generated images and video, analysing how each responds to Leonardo da Vinci’s observational logic and visual aesthetics, and assessing their respective strengths and limitations in terms of control, accuracy, and creative expression. By integrating methods from botany, art history, and digital media, the project establishes a cross-disciplinary pathway for reactivating historical scientific imagery and articulates a practical framework for visual storytelling in cultural heritage, with potential applications in exhibition design, STEAM education, and digital heritage communication, thereby fostering broader public engagement with botanical knowledge. This study forms part of ongoing doctoral research in artistic practice, combining drawing and animation with interdisciplinary perspectives from botany and cultural heritage through the study of Leonardo da Vinci’s manuscripts. All videos were produced by the first author, and the outcomes are conceived for future application in exhibition and science communication.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Emerging Practices in LLM-integrated Game Writing]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0004</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0004</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This article examines emerging practices in large language model (LLM) integration within game writing, focusing on how these technologies reshape narrative design, creative workflows, and professional roles. Drawing on evolving industry experimentation and academic research, it outlines the relationship between traditional game writing and LLM-driven approaches, surveys new forms of interactive storytelling such as conversational NPCs, multi-agent simulations, adaptive commentators, and LLM-based text adventures, and identifies their narrative affordances and constraints. The article analyses core challenges, including hallucination, bias, narrative incoherence, and control, and discusses current strategies to address them, such as fine-tuning, prompt engineering, and new authoring tools that position writers as system-level narrative architects. It argues that LLM integration represents not automation but a reconfiguration of co-creative authorship between writers, machines, and players, and calls for further research into ethical design, player reception, and the evolving responsibilities of narrative professionals in LLM-augmented game development.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Reanimating the Archive: AI and the Afterlives of China’s Early Images on Digital Platforms]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0005</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0005</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This paper examines the complexities and ethical dilemmas of applying AI-assisted restoration in archival films. It analyses a highly popular AI-restored film on a Chinese video-sharing platform, featuring original footage from Albert Kahn’s Les Archives de la Planète. While praised for its ability to “bring history to life” through automated colorization, frame interpolation, and resolution enhancement, the project also raises fundamental questions about the authenticity of the restored version. When the very material traces of history, such as scratches, flickering, and grain, are erased, can the film still be considered the same historical document? In addition to providing an in-depth overview of the footage, drawn from early 20th-century travelogue documentaries and the Les Archives de la Planète project, this paper also explores the technical and ethical dilemmas of AI-assisted archival restoration. It compares these issues with classic restoration theories and considers the future role of generative AI in archival restoration.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Desire and Data: Metabolism of AI]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0002</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0002</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

Generative artificial intelligence (AI) is reshaping audio-visual media, yet its long-term creative sustainability remains uncertain. This article proposes a metabolic framework to explain how AI systems consume, transform, and renew cultural material, and how these cycles depend on human creativity. Drawing on cybernetics, general systems theory, and autopoiesis, the study situates AI within a coupled human-machine ecosystem. Human creativity is both a fuel that sustains AI and the antidote to its stagnation, providing unpredictable variation that prevents recursive degradation while remaining vulnerable to commodification that limits regeneration. A qualitative, practice-based approach combines conceptual analysis with case studies of independent and marginal AI art/research. Four thematic dynamics are examined: (1) aesthetic convergence, with synthetic folklore as algorithm-native form; (2) creative entropy, including Model Autophagy Disorder (MAD), with desire as a counterforce to homogenisation; (3) creative metabolism, a cycle of cultural input and transformation addressing erosion of desire under algorithmic optimisation; and (4) creative countercurrent practices resisting corporate logics and highlighting marginality’s role in sustaining diversity. Case studies – from CLIP-VQGAN and Aphantasia to ConceptLab, Active Divergence, and Roope Rainisto’s post-photography – show how low-resource, critical engagement with AI fosters cultural variation. Findings suggest that supporting marginal creative practices is essential not only for aesthetic diversity but for the viability of AI-mediated creative ecosystems. Future research considers emerging agentic AI systems and autonomous artists.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Negative Prompts and the Affective Economies of Failure in Visual Generative AI Systems]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0003</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0003</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

Every negative prompt is an algorithmic ‘thou shalt not,’ an act of negating and negotiating what “we do not wish to see” in a generative media output. This study identifies negative prompts in text-to-image generative systems as a crucial site where the digital error discourse becomes materially realised. Employing a multimodal digital ethnographic approach, this paper seeks to understand how these prompts extend beyond their instrumental use to see how they are entangled with the notions of failure and repair in AI systems. Through close consideration of this tool, the paper contends that generative systems sustain user engagement through an affective economy of failure: where errors are rendered ordinary and becomes the burden of users while a relentless update culture naturalises the logic of ‘versions-as-evolutions,’ ultimately cultivating a sort of cruel optimism among its users.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Does Research Soothe You? Audiovisual Experimentation, Traumatic Memory, and the Question of the Senses]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0008</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0008</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This article examines how audiovisual artistic research can generate sensorial, inter-relational forms of impact when dealing with trauma and vulnerable bodies. Drawing on the film series what it felt like to dream fire I–III and the co-creative exhibition over/exposed, it proposes touch and breath – as theorised by Butler, Irigaray, Quinlivan and Marks – as conceptual and methodological lenses for understanding how bodies engage with research processes. Through phenomenological analysis, the article shows how artistic research practices can unsettle traditional separations between researcher and researched, instead foregrounding intertwined bodily relations that emerge during creation, collaboration and exhibition. While not therapeutic in intent, these practices can produce moments of soothing, connection and shared vulnerability, particularly in contexts of trauma and queerness. The article argues that such sensorial, affective encounters expand prevailing notions of impact and reciprocity in artistic research, highlighting how research processes themselves may provide a ground for collectivity and shared affects between participants, researchers and viewers alike.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Can Voice-Responsive VR Art Experiences Improve Wellbeing?]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2025-0010</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2025-0010</guid>
            <pubDate>Tue, 23 Dec 2025 00:00:00 GMT</pubDate>
            <description><![CDATA[

This paper outlines the design journey of two VR artworks, AudioVirtualizer (2019) and VRoar (2023), to inform the development of future VR artwork. A central premise of the first two interfaces is that abstract graphics are manipulated by live sound in VR: the AudioVirtualizer uses pre-composed music and soundscapes or microphone input to move and deform graphics (van ’t Klooster &amp; Collins, 2021) and VRoar is fully voice-responsive (van ’t Klooster, &amp; Collins, 2024). From informally observing people interact with these interfaces, we suspected through participant reflections that there had been an increase in positive emotions obtained from the VR art experience. To validate this, we evaluated both interfaces using a questionnaire before and after the experience, during an exhibition in the Holden Gallery in Manchester and across various venues in the Northeast of England. Forty-one participants experienced VRoar and fifty people experienced the AudioVirtualizer. From the evaluation we learned that a short-term increase in positive emotions is achievable from designed VR art experiences. The AudioVirtualizer achieved this for the group of non-trained singers and the VRoar interface achieved it for trained singers. Singers and non-singers engaged differently, suggesting a tailored design is required. This paper presents qualitative and quantitative findings to highlight the impact on participants’ wellbeing as well as how feedback will inform the design of the next interface.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Silences of Skåne: Sonic Representations of Space and Place in the Wallander Novels and Films]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2024-0005</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2024-0005</guid>
            <pubDate>Sat, 21 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The depiction of regional surroundings and natural conditions have often been seen as providing a sense of melancholy in Nordic noir, the distinctive form of crime fiction from the Nordic region, but also as a means to reflect the psychology of the characters and the socially critical themes of the narratives. In this regard, the Wallander novels, written by Henning Mankell (1948–2015), and also films and television series based on Mankell’s literature have often been given as prime examples. Thus far, how­ever, sounds have not been taken into consideration in the matter. Sounds are an important factor in creating spatial experience and a sense of place in film, television, and lit­erature. This article takes a comparative look at Wallander films and literature to examine sounds in the representa­tion of Skåne, the main location of Wallander. It finds that characteristic regional sounds – especially silence, considered here a soundscape and a subjective spatial experience – play an important role in the Wallander novels but less so in the films, which leads to notable differences regarding the representation of Skåne and the characterisa­tion of the main protagonist, Kurt Wallander, but also affects the narrative structure of the films.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Estonian filmmaker demes: A network analysis within the Estonian Film Database]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2024-0002</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2024-0002</guid>
            <pubDate>Sat, 21 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

This article discusses ways to use link analysis and network analysis to study the evolution of film culture –how filmmakers have collaborated with each other and what kinds of films have resulted from their collaborations. The study is motivated by the concept of a “deme”, a con­cept developed by John Hartley and Jason Potts to refer to communities of creators that produce similar, thematically related work. This paper discusses our attempts to study the evolution of the demes within the broad networks of Estonian filmmakers based on data from the Estonian Film Database (EFD). The article discusses our method development for such a study and applies the method to explore the evolution of the demes of Estonian films and their maker communities from the 1950s until the 2010s.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Methodological reflections on the use of memories and oral sources in media-historical research in the Nordic/Baltic region: A case study on cinemagoing in Sweden]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2024-0001</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2024-0001</guid>
            <pubDate>Sat, 21 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

In this article, we discuss oral history interviews and memories as a method for media-historical research in the Baltic and Nordic regions from theoretical and practical points of view. We present an overview of relevant theoretical work in film studies (New Cinema History, Oral History, Cultural Memory, Cinema Memory). Further­more, we demonstrate how we have designed and applied oral history in the Swedish Cinema and Everyday Life project: A study of cinema-going in its peak and decline, financed by the Swedish National Research Council, 2019–2022, and reflect on what we have learned from this example. We also disclose how we adjusted the methodology to comply with the social restrictions enforced due to the COVID19 pandemic.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The West in the Soviet “Kingdom of Mirrors”: Entertainment of the Soviet Lithuanian Television in the Brezhnev era]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2024-0004</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2024-0004</guid>
            <pubDate>Sat, 21 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

A considerable part of Soviet television consisted of propaganda and ideology. However, when the new media emerged in then-occupied Lithuania, its development was limited by the Communist party on the one hand and influenced by Western radio broadcasts, Polish television production, and Western movies. This paper analyzes two unusual cases in Soviet Lithuanian television, which borrowed from and were indirectly yet highly influenced by their Western counterparts. The humourous TV series Petraičių šeimoje (1965–1972) and the four-part adventure movie Tadas Blinda (1972) were, and still are, some of the most popular TV productions from the Soviet period. Based on these examples, this study analyzes the influence of TV productions, as well as their popularity and relations with the ruling regime. Were they really considered Western in form and socialist in content or were they more a socialist form of national content? These questions are key in trying to determine the real purpose of these productions and their influence on Soviet Lithuanian society.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[The Extradition of the Balts from Sweden to the USSR –Baltutlämningen – retold]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2024-0007</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2024-0007</guid>
            <pubDate>Sat, 21 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

The tragic event when Sweden extradited the Balts to the Soviet Union (USSR) in 1946 has been discussed in numerous publications in scientific literature, belles-lettres, and fiction (P. O. Enquist: Legionärerna. En roman om baltutlämningen, 1968), and on the screen (J. Bergen-stråhle: Baltutlämningen, 1970). Sometimes, when historic events are described, deviations from facts, omissions and errors are introduced. The present aim is to summarise some of these and show their possible effects on the overall description of a historical event. Examples were obtained from a review by Kristensen and Burman (2018). The results show that while care should be taken to avoid deviations, omissions and errors, if sufficiently numerous, they may lead to a skewed interpretation of the historical event. Furthermore, the authors “argue that Enquist established a Swedish war trauma that was not self-evident in the social imagination before his novel”, and that the film “changes the focus of the trauma by downplaying the bad conscience of the Swedes”. However, these lines of thought were not followed up, and the authors did not take the opportunity to discuss what could have been a logical continuation. Namely, the possible post-factum application by Enquist of a rhetorical strategy known as playing the victim. This is when an aggressor pretends to be a victim to justify his or her own aggression. In conclusion, the present results suggest that deviations from facts, omissions, and errors may seriously distort the description of the actual event and lead to conclusions not supported by evidence.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Overview, immediacy, control and knowing the audiences –value propositions and their failure in Google Analytics Dashboard]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2024-0003</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2024-0003</guid>
            <pubDate>Sat, 21 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

This study scrutinises web analytics, specifically Google Analytics, in its capacity to support content creators in understanding user behaviour and improving digital communication. Google, with its different versions of web analytics software, is dominating the market in collecting and analysing web traffic statistics, and has thus become a central part of how digital environments can know their users. We use the concepts of transcoding culture and social imaginaries to show the importance of scrutinising the value propositions ingrained within the web analytics dashboard. Despite the excitement and fear related to Google knowing too much about the people behind the screens, the analysis shows that Google Analytics 4 strug­gles to provide a comprehensive understanding of audi­ences. Focusing on the four value propositions – overview, immediacy, control, and knowing the audience – we argue that Google Analytics overstates its understanding of audiences. It is in the interest of Google to hyperbolise knowledge about the audience, even with potential privacy concerns, as it supports the social imaginary of an all-knowing digital platform. Thus, a critical and nuanced approach to web analytics, considering their impact on society and privacy concerns, is needed to balance the discussions.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Perspectives on the future of film education in Europe]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2024-0006</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2024-0006</guid>
            <pubDate>Sat, 21 Dec 2024 00:00:00 GMT</pubDate>
            <description><![CDATA[

This paper explores potential avenues for the future development of film education in Europe, emphasizing how ongoing technological, social, and institutional trans­formations affect both the medium of film in itself but also the pedagogical approaches implemented within film schools. Acknowledging rapid advancements like virtual and augmented reality, artificial intelligence, and shifting audience behaviors, the paper argues for a paradigm shift toward educating through film, rather than merely about it. The authors present FilmEU – one of the new “European Universities” Alliance – as a model for the future develop­ment of film education, highlighting its interdisciplinary and trans-European approach to creative arts. Additionally, the “Samsara” pedagogical framework is introduced. This is a pedagogical framework designed to foster a holistic learning experience that balances technical training with a broader media literacy and critical thinking focus. The paper advocates for innovative, project-driven approaches that enable film schools to remain relevant and impactful in the cultural and creative industries in the midst of the profound ongoing transformations.
]]></description>
            <category>ARTICLE</category>
        </item>
        <item>
            <title><![CDATA[Shaping Films from the Inside Out: Embodied Mental Schemas in Filmmaking and Viewing]]></title>
            <link>https://sciendo.com/article/10.2478/bsmr-2023-0008</link>
            <guid>https://sciendo.com/article/10.2478/bsmr-2023-0008</guid>
            <pubDate>Thu, 21 Dec 2023 00:00:00 GMT</pubDate>
            <description><![CDATA[

This article aims to highlight the role of embodied mental representations or embodied schemas in both perception and filmmaking/viewing by foregrounding three premises: (1) perception is inferential and relies on prior embodied schemas; (2) filmmakers (authors) do not merely reproduce reality but equally impose body-based schemas onto the parts of a film in order to convey meanings; and (3) these schemas, as presented by the formal design of the work, may enrich the viewers’ experience by allowing them a privileged look into the embodied creative-thinking processes of filmmakers. It will be argued that viewers are prompted to peek into these processes because the representational embodied concepts, as cued by the films, are grounded in shared sensory-motor capacities that scaffold all abstract thinking and reasoning.
]]></description>
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