Abstract
focuses on the recent history of Latvian cinema – programme “Latvian Films for Centenary of Latvia” (LV100) –, within framework of which 16 full-length films were made. For the first time in the history of the independent Latvia the films made in 2018 have been watched by more than half a million spectators. The main characters in several films from this programme are children and they offer a chance to view various events
from the perceptual vantage point of a child. Author analyses numerous films of the
programme (“Bille”, “Paradise 89”, “The Mover”, “To Be Continued”) in the context
of representation of children’s experience in cinema and focuses on the different cinematic approaches used by the authors of the films to communicate stories about the
history of Latvia. Does the principle of choosing a child as the central image of the
film signal the desire of the Latvian film directors to observe historical processes with
a child’s eyes?
from the perceptual vantage point of a child. Author analyses numerous films of the
programme (“Bille”, “Paradise 89”, “The Mover”, “To Be Continued”) in the context
of representation of children’s experience in cinema and focuses on the different cinematic approaches used by the authors of the films to communicate stories about the
history of Latvia. Does the principle of choosing a child as the central image of the
film signal the desire of the Latvian film directors to observe historical processes with
a child’s eyes?
| Original language | English |
|---|---|
| Pages (from-to) | 6-13 |
| Journal | Culture Crossroads |
| Volume | 14 |
| Publication status | Published - 2019 |
Keywords*
- child
- Latvian cinema
Field of Science*
- 5.8 Media and Communication
Publication Type*
- 1.2. Scientific article included in INT1 or INT2 category journal of ERIH database