Thematische Bibliographien / Sydney Film Festival

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Auswahl der wissenschaftlichen Literatur zum Thema „Sydney Film Festival“

Autor: Grafiati

Veröffentlicht am 4. Juni 2021

Zuletzt aktualisiert am 9. Februar 2022

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Zeitschriftenartikel zum Thema "Sydney Film Festival"

Popescu, Stefan. "Festival director's report: Sydney underground film festival – a community of cinema junkies." Studies in Australasian Cinema 9, no. 2 (May 4, 2015): 205–10. http://dx.doi.org/10.1080/17503175.2015.1058649.

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Myrda, Sønke. "“I Want to Ride My Bicycle”." Transfers 1, no. 3 (December 1, 2011): 122–28. http://dx.doi.org/10.3167/trans.2011.010309.

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The Bicycle Film Festival (BFF) has grown from a minor grassroots event to a global “Fest” staging urban cycling events in over two dozen cities worldwide. In its 11th year in New York City, the “BFF” New York (June 22–26, 2011) intends to provide its participants with a “weekend full of bike movies, music, art, street party and after parties,”1 before going on tour around the globe. Festival cities include Amsterdam, Athens, Lisbon, London, Los Angeles, Milan, Paris, Sao Paolo, Sydney, Taiwan, Tokyo, Vienna.

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Bennett, Jill, Lynn Froggett, and Lizzie Muller. "Psychosocial aesthetics and the art of lived experience." Journal of Psychosocial Studies 12, no. 1 (July 1, 2019): 185–201. http://dx.doi.org/10.1332/147867319x15608718111023.

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This article identifies the distinctive nature of arts-based psychosocial enquiry and practice in a public mental health context, focusing on two projects delivered as part of The Big Anxiety festival, in Sydney, Australia in 2017: ‘Awkward Conversations’, in which one-to-one conversations about anxiety and mental health were offered in experimental aesthetic formats; and ‘Parragirls Past, Present’, a reparative project, culminating in an immersive film production that explored the enduring effects of institutional abuse and trauma and the ways in which traumatic experiences can be refigured t

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Mayer, Sophie. "Pocahontas no more." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 113–28. http://dx.doi.org/10.33178/alpha.10.07.

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Sydney Freeland’s fiction feature Drunktown’s Finest (2014) represents the return of Indigenous women’s feature filmmaking after a hiatus caused by neoconservative politics post-9/11. In the two decades since Disney’s Pocahontas (1995), filmmakers such as Valerie Red-Horse have challenged erasure and appropriation, but without coherent distribution or scholarship. Indigenous film festivals and settler state funding have led to a reestablishment, creating a cohort that includes Drunktown’s Finest. Repudiating both the figure of Pocahontas, as analysed by Elise M. Marubbio, and the erasure of In

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Pratley, Gerald. "Melbourne 1995." Kinema: A Journal for Film and Audiovisual Media, November 20, 1995. http://dx.doi.org/10.15353/kinema.vi.771.

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WHAT A PLEASUR TO OPEN the catalogue of the 44th Melbourne International Film Festival to discover the absence of "welcoming messages" from the Prime Minister down to the local Mayor and introductions from the festival staff (complete with portraits) telling us how marvellous the program is and what great audiences we are! Melbourne runs at exactly the same time as Sydney's film festival. No one quite seemed to know why, or to think that this was odd; after all, no one in Melbourne expected moviegoers to come from Sydney and none from Melbourne was expected by Sydney to attend its festival. So

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Rangiwai, Byron. "The spectacle of the queer “Other”: Māori gay(zing) at the 41st Sydney Gay and Lesbian Mardi Gras 2019." Te Kaharoa 12, no. 1 (January 30, 2019). http://dx.doi.org/10.24135/tekaharoa.v12i1.267.

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This article will explore some of my observations of the 41st Sydney Gay and Lesbian Mardi Gras 2019. I travelled to Sydney on Thursday 28 February. Rather appropriately, I selected the 2018 biographical film, Bohemian Rhapsody, as inflight entertainment, all the while contemplating what sequin-encrusted experiences I might encounter during my stay in Sydney. I had booked accommodation at the Pullman Sydney Hyde Park Hotel months in advance. Like every other surface in and around Oxford Street, the hotel had been queered-up with rainbows and a life-sized bejewelled unicorn in the foyer. While

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Leishman, Kirsty. "And the Winner Is Fiction." M/C Journal 2, no. 1 (February 1, 1999). http://dx.doi.org/10.5204/mcj.1739.

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In Australia, we are more prepared for the year 2000 than many. With regard to the technical difficulties that might be experienced, we have the honour of being the 12th most prepared nation in the event of worst predictions. In addition to the usual effects the impending millennium is wreaking however, Australia is also anticipating the year we will be hosting the Olympic games. The fervour that has seen religious cult members invest in matching pairs of Nike trainers (and coincidentally, buy plane tickets to Australia) has also infected this nation's official image-makers, who have been busy

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Petzke, Ingo. "Alternative Entrances: Phillip Noyce and Sydney’s Counterculture." M/C Journal 17, no. 6 (August 7, 2014). http://dx.doi.org/10.5204/mcj.863.

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Phillip Noyce is one of Australia’s most prominent film makers—a successful feature film director with both iconic Australian narratives and many a Hollywood blockbuster under his belt. Still, his beginnings were quite humble and far from his role today when he grew up in the midst of the counterculture of the late sixties. Millions of young people his age joined the various ‘movements’ of the day after experiences that changed their lives—mostly music but also drugs or fashion. The counterculture was a turbulent time in Sydney artistic circles as elsewhere. Everything looked possible, you sim

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Ryan, Robin, and Uncle Ossie Cruse. "Welcome to the Peoples of the Mountains and the Sea: Evaluating an Inaugural Indigenous Cultural Festival." M/C Journal 22, no. 3 (June 19, 2019). http://dx.doi.org/10.5204/mcj.1535.

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IntroductionFestivals, according to Chris Gibson and John Connell, are like “glue”, temporarily sticking together various stakeholders, economic transactions, and networks (9). Australia’s First Nations peoples see festivals as an opportunity to display cultural vitality (Henry 586), and to challenge a history which has rendered them absent (587). The 2017 Australia Council for the Arts Showcasing Creativity report indicates that performing arts by First Nations peoples are under-represented in Australia’s mainstream venues and festivals (1). Large Aboriginal cultural festivals have long thriv

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Goggin, Gerard. "Conurban." M/C Journal 5, no. 2 (May 1, 2002). http://dx.doi.org/10.5204/mcj.1946.

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Conurbation [f. CON- + L. urb- and urbs city + -ation] An aggregation of urban areas. (OED) Beyond the urban, further and lower even than the suburban, lies the con-urban. The conurban: with the urban, partaking of the urbane, lying against but also perhaps pushing against or being contra the urban. Conurbations stretch littorally from Australian cities, along coastlines to other cities, joining cities through the passage of previously outlying rural areas. Joining the dots between cities, towns, and villages. Providing corridors between the city and what lies outside. The conurban is an accre

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Dissertationen zum Thema "Sydney Film Festival"

Hope, Cathy, and n/a. "A History of the Sydney and Melbourne Film Festivals, 1945-1972: negotiating between culture and industry." University of Canberra. Creative Communication, 2004. http://erl.canberra.edu.au./public/adt-AUC20050630.130907.

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This thesis is a history of the Sydney and Melbourne International Film Festivals, and covers the years from 1945 to 1972. Based primarily on archival material, it is an organisational history dealing with the attempts by the two Film Festivals to negotiate between the demands of �culture� and �industry� throughout this period. The thesis begins with a consideration of the origins of the Festivals in the post-war period �with the attempts by non-Hollywood producers to break into the cinema market, the collapse of the �mass audience�, and the growth of the film society movement in Australia. Th

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Hope, Cathy. "A history of the Sydney and Melbourne Film Festivals, 1945-1972 negotiating between culture and industry /." Connect to this title online Connect to this title online (alternate address), 2004. http://cicada.canberra.edu.au/public/adt-AUC20050630.130907/.

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"History of the Sydney Film Festival 1954-1983." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/252.

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This study is intended to provide a record of the founding and development of one of Australia's oldest and longest surviving film festivals and to determine the nature and impact of the Festival in its engagement with other cultural, social, and political institutions over the thirty years from 1954 to 1983. I have taken my research from a variety of sources, primarily the archive of Sydney Film Festival papers and ephemera lodged at Mitchell Library, Sydney. I have utilized a number of publications from the period, including daily newspapers, trade papers and specialist film and art journals

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Bücher zum Thema "Sydney Film Festival"

Australian Film, Television & Radio School., National Film and Sound Archive (Australia), and Sydney Film Festival (50th : 2003), eds. Bright Sparks. [Sydney]: Australian Film Television and Radio School, 2003.

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Cinema: A selection of Italian publications, 1995-1999 : published on the occasion of the first edition of The goat island film festival of the City of Sydney, Australia, 5-12 November 1999. Fiesole (Firenze): Casalini libri, 1999.

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Cinema: A selection of Italian publications, 1995-1999 : published on the occasion of the first edition of the Goat Island Film Festival of the City of Sydney, Australia, 5-12 November 1999. Fiesole (Firenze): Casalini libri, 1999.

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Buchteile zum Thema "Sydney Film Festival"

Peñaloza, Fernanda. "Screening Latin America: The Sydney Latin American Film Festival." In Mapping South-South Connections, 223–39. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-319-78577-6_9.

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