According to Ivo Lille, the new director of Tallinn University’s Baltic Film, Media and Arts School (BFM), AI must be integrated in a way that preserves creativity and critical thinking. Curricula should be reviewed with that goal in mind in the near future.
You do not have a background in media or film. Why did you decide to apply for the position of director of BFM?
I do, however, have a background in management and experience leading a school focused on the creative arts (Lille previously served as director of the Georg Ots Tallinn Music School — ed.). That is one reason. The other is a deep respect for these fields and a desire to support them as much as I possibly can.
What is your main vision and where do you want BFM to be in five years?
The most important thing is to start with people and bring people together. More broadly, the ambition is for BFM to become a center of excellence not only in the Baltic states but also in the Nordic countries, bringing together activities from different creative fields.
I see tremendous potential in having these fields operate under one roof, including the entire pedagogical side that supports the cultural sector and cultural education more broadly. Those are the main priorities. I also think BFM’s reputation is an important issue. It is already very strong, but we want to reach a wider audience, attract outstanding students, graduate highly capable professionals and maintain a strong research component.
About 40 students begin studying journalism and communication at the University of Tartu each year, while BFM enrolls around 25. Given the size of Estonia’s media market, is it realistic to expect that all journalism graduates will find work in their field?
Let me broaden the question a bit. As I said when discussing my vision, the world does not end with Estonia. I imagine that the future for graduates of both BFM and the University of Tartu is certainly open internationally as well.
In fact, I have seen that there is strong demand for people with backgrounds in communication and journalism. The question is what exactly we mean by work in the field. Does it mean working as a journalist in a media organization, or something broader? I see it more broadly.
The university’s role is to support every student who walks through its doors and wants to build a long-term career in this field through its curricula, helping them remain in the sector. That means they do not necessarily have to do only the traditional, classic work of a journalist. With their background and knowledge, they can contribute to society in a much broader way.
How do the journalism programs at the University of Tartu and BFM complement each other in terms of their substantive approach and the skills they teach?
I have discussed this with a few people who have a background in journalism. It is a good thing that different programs and disciplines have different schools of thought, different perspectives and different instructors because different approaches, teaching styles and areas of emphasis ultimately strengthen Estonian journalism as a whole.
They complement each other simply by thinking, debating and teaching in slightly different ways. Through those differences, they reinforce one another. I believe both are necessary, absolutely.
What are the main differences between BFM’s and the University of Tartu’s journalism curricula?
I have heard people say that one university is more practical and the other more theoretical. At the same time, I recall that people at the University of Tartu have also said that its curriculum is very practical.
One of the key foundations of journalism education is ensuring that students acquire the practical skills they need to succeed in their future careers. More broadly, however, I would say that the ability to think critically and analyze remains important for both institutions.
I would not say that one school teaches only the practical side while the other teaches only theory. I also believe BFM has potential to focus specifically on developing the next generation. It is extremely important to think about who could become future faculty members, not just future employees in the field.
Since I will not begin until September 1, I have not yet had the opportunity to review either BFM’s curriculum in Tallinn or the University of Tartu’s curriculum line by line. But I believe we clearly need to understand not only how we differ from one another, but also how we can support each other’s curricula.
Just as with any organization, a curriculum is never a closed circle and never truly finished. It has to evolve alongside changes in society.
When developing curricula, it is important to think through how universities can cultivate the field’s future thinkers and instructors from within their own ranks.
Do you think the journalism programs at the University of Tartu and BFM should be more clearly differentiated?
We should have a clear understanding of the added value that BFM can offer. It seems to me that one of those strengths is the fact that all creative disciplines are brought together in one place. Journalism, film and media all ultimately begin with creativity.
In addition, the presence of the arts and pedagogy is certainly one aspect that distinguishes journalism education at BFM and provides added value to the program.
How competitive do you think Estonia’s media landscape is and how would you assess cooperation among media organizations?
Competition is important in every respect, especially when we talk about private media and public media and their respective roles in society (Estonia does not have state media; ERR is a public broadcaster — ed.).
Media organizations in journalism have, to some extent, each found their own niche. But perhaps the most important point is that BFM already has partnerships with all of the major media organizations. It is very important that students are exposed to these different approaches and editorial styles so they can find where their own strengths lie.
In the end, competition is a very positive thing and BFM keeps a close eye on developments in the field.
You have said that you want to lead BFM in a way that makes people feel included, heard and valued. How do you create that kind of atmosphere at a school?
What receives attention is what flourishes. In addition to focusing on processes, it is important to devote a great deal of time and attention to people because the school ultimately exists first and foremost for its students and their future.
On the one hand, that means ensuring students’ educational paths are thoughtfully designed, that they receive support and that their voices are heard. On the other hand, it means creating a collaborative environment for faculty members, one built on strong and open relationships where people know they are being listened to and where, as much as possible, what is heard is put into practice. That is very important.
From the conversations I have had with people at BFM so far, I would say I have not met a single person who is not proud to work there or who does not want the very best for the school. What matters is that we have a shared North Star — a common goal toward which we are moving. We also need to give people enough freedom to help shape the path toward that goal, encourage initiative and support it.
At the moment, BFM has motivated people who are proud of the institution, but cooperation among them can be improved.
How will artificial intelligence affect journalism and media education at BFM in the coming years? Are there plans for structural changes to the curriculum?
A curriculum must always be evolving and developing. It can never be considered finished and, with AI in mind, all curricula should be reviewed. In fact, it would be worthwhile to create a dedicated working group to discuss the issue across the school and across different disciplines. Looking at how AI is being integrated into curricula elsewhere in the world and at other universities, it is clear that there is no avoiding it.
There are certainly risks involved. Those risks have been clearly identified and discussed. At the same time, it is obvious that we cannot create a situation where, because of those risks, we simply ignore the arrival of AI.
The real question is how we can use AI while still preserving creativity and critical thinking. So, in short, yes, curricula should be reviewed through that lens in the near future. Whether that should be called a reform, I cannot say. AI needs to be integrated into teaching and we need to involve people who have deeper expertise in the area. I think that would be a worthwhile approach.
What skills do Estonian media organizations expect from today’s graduates that perhaps were not as important five to 10 years ago?
Some skills have always been important and likely will not change. These include the technical aspects of writing, the ability to identify newsworthy stories and the ability to build relationships. All of those remain very important.
However, one skill whose importance is growing, particularly with the rise of AI and the increasing volume of information and news, is critical thinking. That is a skill we will likely need to place greater emphasis on developing.
More broadly, adaptability and flexibility are becoming increasingly important because the world is changing so rapidly through technology and new possibilities. Since we do not know exactly where those changes will lead, the key qualities remain the ability to adapt, flexibility, critical thinking and, to some extent, technological literacy. Those are all becoming essential.
Conditions in the film industry have become critical. How can BFM ensure that its film graduates will be able to find work in their field in the future, rather than being forced to leave the industry?
BFM itself cannot guarantee employment. What a school can do is maintain a high standard of teaching and ensure that its curricula reflect contemporary needs. We can foster and build strong connections between students, Estonian film producers and international partners so that meaningful internship opportunities and first professional projects are available to graduates already during their studies.
Is artificial intelligence a threat to traditional film professions?
Artificial intelligence is changing the film industry — that much is clear. Historically, every new technology, whether sound recording, digital cameras or visual effects, has sparked fears that it would destroy traditional craftsmanship. In reality, these tools have always created new opportunities and new professions.
Our task at BFM is to ensure that future filmmakers know how to use these tools rather than fear them. Human creative judgment, the ability to choose and shape stories and emotional intelligence will remain qualities that technology cannot replace.
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