Contents:
Editorial:
Eva Näripea, Ewa Mazierska and Mari Laaniste: “Discovering Estonian Cinema”
Articles:
Lauri Kärk: “Estonian Film: From Bear Hunt to Autumn Ball. Notes on Estonian Film History”
Virve Sarapik: “Film Reception in Estonia in the Early 20th Century: From Fairground Shows and Conjurer Acts to Respectful Drawing-Room Entertainment”
Eva Näripea: “New Waves, New Spaces: Estonian Experimental Cinema of the 1970s”
Andreas Trossek: “Rhizome-Alphabet: Between Film and Art of Priit Pärn”
Mari Laaniste: “Conflicting Visions: Estonia and Estonians as Presented in the Cinema of 1990s and 2000s”
Ewa Mazierska: “Post-communist Estonian Cinema as Transnational Cinema”
Mari Laaniste and Leena Torim: “Apartment Blocks and Alienation: Tallinn’s Lasnamäe District in Autumn Ball”
Estonian-Polish Connections: The Case of Pirx
Ewa Mazierska: “My Great Estonian Adventure: An Interview with Marek Piestrak”
Eva Näripea: “Transnational Spaces of Science Fiction: An Estonian-Polish coproduction The Test of Pilot Pirx (Test pilota Pirxa / Navigaator Pirx, 1978)”
Reviews:
Kristiina Davidjants: Andres Sööt’s St. John’s Day (Jaanipäev, 1978)
Ellu Maar: Elmo Nüganen’s Names in Marble (Nimed marmortahvlil, 2002)
Elisabetta Girelli: Sulev Keedus’s Somnambulance (Somnambuul, 2003)
Andris Feldmanis: Jaak Kilmi and René Reinumägi’s Revolution of Pigs (Sigade revolutsioon, 2004)
Karlo Funk: Ilmar Raag’s The Class (Klass, 2007)
Margit Tõnson: Veiko Õunpuu’s The Temptations of St. Tony (Püha Tõnu kiusamine, 2009)