| Technique | Description | Example | |-----------|-------------|---------| | | Distorted features, dark lighting, animalistic traits | The capitalist in Soviet films | | Repetitive association | Linking a group/idea with negative symbols | Cutting from immigrant to crime scene | | Narrative occlusion | The threat is seen but never understood | The monster in The Bogeyman (2023) | | Authoritative voiceover | A trusted narrator frames the fear as justified | Newsreel segments in propaganda films | | Climactic ritual | The scarecrow is destroyed publicly, reaffirming norms | Burning of the witch figure |
Since regaining independence in 1990, Lithuanian filmmakers have engaged in a complex dialogue with the baidykle concept. Films like The Ghost (2019, Arūnas Matelis) and Nova Lituania (2019, Karolis Kaupinis) explore how fear of Russia, fear of the West, and fear of national extinction have been weaponized by various political forces. These are meta-baidykle films: they show the scarecrow being built on screen, inviting audiences to recognize similar mechanisms in real life. baidykle filmas
Šis filmas iki šiol išlieka viena stipriausių kinematografinių pamokų apie empatiją, asmenybės stuburą ir gebėjimą atleisti. Arūnas Matelis) and Nova Lituania (2019
Her grandfather, an art collector seen as an outcast by the town, provides a backdrop of historical and cultural depth, suggesting that true value is often hidden from the masses. Why It Matters Today fear of the West