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The chapter discusses the characteristics of audiovisual (AV) media sectors in the Baltic Sea region. Therein it focuses on the specifics of media industries in small countries in the region as they are challenged in ways notably different from large countries with large domestic markets for media content. It discusses the differences between the AV media industries in the Nordic and Baltic countries and suggests that while in the first case long-term welfare society policies and conscious policy-driven system building have conditioned growth and international success then also in the second case innovation policy rationales have facilitated recent growth and dynamics. It then discusses the specific challenges, especially platformisation to small media industries in contemporary globalising media markets, and suggests that opportunities to resist these challenges may be in local inter-sectoral cooperation, that is, in building cross-innovation systems.

In retrospectives on Brunei’s first feature film Gema Dari Menara (1968), commentators have tended to focus on either its historical representation of Brunei’s booming post-curfew years in the late 1960s as ‘a time capsule of Brunei’s lost pop history’, or the film’s propagandistic nature for Da’wah (religious propagation). In this paper, however, I will concentrate my observations on the aesthetic values of the film itself, including the narrative structure, plot design, camerawork, characterisation and character relationships, as well as the resulting artistic effects manifested by these production elements as a whole.

Putting all the propagandistic elements aside, I would like to argue that Gema Dari Menara, as a family melodrama, is carefully constructed and propelled by the above-mentioned filmmaking techniques. The drama not only tells the story of an intense familial conflict revolving around the theme of faith rooted in the Bruneian tradition, it also implies the necessity of an internal negotiation between the predominant Islamic ideology and the increasingly secularised Bruneian civil society at the time. While the implied negotiation may have been unintended or subconscious in the original making of the film, it is well-balanced and reflective of the political and social reality of Brunei as a British Protectorate in the late 1960s, foreshadowing the current coexistent status quo of the dominance and sacredness of MIB and the secular popular culture in Brunei.

Drawing on the discursive properties of placemaking theory, this paper discusses the development of film tourism in Crete from the release of the award-winning Zorba the Greek (dir. Michael Cacoyannis, ZG) to date. The approach is “genealogical,” seeking to explain how ZG-inspired tourism on Crete ended up being more than about the film itself owing to historical contingency.

Acting entrepreneurially in nascent industries is a complex endeavor characterized by uncertainty and ambiguity. Nevertheless, entirely new industries do emerge, often as a direct result of entrepreneurial behavior. We extend and apply discovery and creation approaches to study entrepreneurial behavior during industry emergence by means of qualitative analysis of a film about the personal computer (PC) industry℉s formative years. We find that discovery and creation behavior are fundamentally interrelated and share a common element: bricolage. Moreover, ideological activism is a major component of entrepreneurial behavior in a new industry℉s formative years during both creation and discovery processes. Implications for research and practice are discussed.