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Relevant bibliographies by topics / Canmore Festival of Photography

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Journal articles

Academic literature on the topic 'Canmore Festival of Photography'

Author: Grafiati

Published: 28 February 2023

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Journal articles on the topic "Canmore Festival of Photography"

1

Foo, Cynthia. "Scotiabank CONTACT Photography Festival." Afterimage 42, no. 2 (2014): 2–3. http://dx.doi.org/10.1525/aft.2014.42.2.2.

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2

Liu, Xiaoxia. "Pingyao international photography festival (2001-2020)." photographies 14, no. 1 (2021): 165–80. http://dx.doi.org/10.1080/17540763.2020.1847175.

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3

Nielipiński, Władysław. "Ireneusz Zjezdzalka Greater Poland Photography Festival." Prace Naukowe Akademii im. Jana Długosza w Częstochowie. Edukacja Plastyczna. Fotografia 9 (2014): 61–87. http://dx.doi.org/10.16926/ep.2014.09.03.

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4

MacDougall, David. "Humanities Research Centre Documentary Film Festival/Film and Photography Conference." Visual Anthropology Review 5, no. 2 (2010): 27–30. http://dx.doi.org/10.1525/var.1989.5.2.27.

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5

Hartono, Hendri, and Nunnun Bonafix. "Images Capturing in Photography of Chinese Cultural Festival in Indonesia." Advanced Science Letters 23, no. 1 (2017): 67–71. http://dx.doi.org/10.1166/asl.2017.7143.

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6

Lloreta Pané, Natàlia. "Eureka! Panoramic Festival or the creative relationship between photography and cinema." Barcelona Investigación Arte Creación 6, no. 3 (2018): 350. http://dx.doi.org/10.17583/brac.2018.3431.

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In our western collective imagination, we live on this romantic idea that the great inventions of humanity are a result of a moment of divine inspiration that makes the eureka echo throughout seas, mountains and valleys. And maybe it's not like that. That moment of putting into practice that longed invention, that ingenious idea, that moment in which everything works must be wonderful, almost magical, but above all the sensation must be like that of those who conquer the top of a mountain: yes, finally!

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7

Onipede, Kayode. "Festival, Identity and Social Integration." Fieldwork in Religion 12, no. 1 (2017): 78–102. http://dx.doi.org/10.1558/firn.28640.

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This study examines the “historical” role of the New Yam Festival in the social integration of Moba people over time, aiming to supplement the dearth of scholarly work on the festivals that had fostered inter-group relations through cultural identity among the Ekiti-Yoruba people of southwest Nigeria. Using a hybrid historical and anthropological research method, which includes oral interviews, participant observation, photography and video and tape recordings to document and elicit data, the study discusses the political and social interaction of the EkitiYoruba social group through the New Y

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8

Paul, John. "A Festival of Kinship, Defiance, and Ethnic Survival." Journal of Festive Studies 1, no. 1 (2019): 78–105. http://dx.doi.org/10.33823/jfs.2019.1.1.29.

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In the fall of 2016, I traveled to North Dakota as an invited guest of the Standing Rock Sioux Tribe to document the emergent encampment of American Indians and their allies who had gathered to protest the construction of the Dakota Access Pipeline. This work explores some of these lived protests and the festival-like realities (as well as the strengths and criticisms of the "festival” notion) that were produced in such protestive actions. Ultimately, this article has three goals. First, it seeks to document, via photographs and text, some of the mobilization efforts of protesters against a se

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9

Del Rosario, Peter Jerome B. "Hermeneutic analysis of the San Isidro Pahiyas Festival as a development communication medium in Lucban, Quezon, Philippines." Journal of Hospitality and Tourism Insights 2, no. 2 (2019): 203–20. http://dx.doi.org/10.1108/jhti-01-2019-0002.

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Purpose Only few festival studies in the Philippines attempted to examine the capability of festivals as folk media to communicate development. The purpose of this paper is to analyze the development-oriented activities and messages in the San Isidro Pahiyas Festival in Lucban, Quezon. Design/methodology/approach The researcher conducted participant observation, ethnographic photography, key informant interview and record review. A historical analysis of the festival’s background, thematic analysis of its list of programs, visual analysis of the photographs guided by Barthes’ (1964) semiology

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10

Bray, Anne. "The Community Is Watching, and Replying: Art in Public Places and Spaces." Leonardo 35, no. 1 (2002): 15–21. http://dx.doi.org/10.1162/002409402753689263.

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The author describes her public-art projects and installa-tions, in which she has em-ployed various combinations of video, photography, audio, sculpture and performance, often in collaboration with artist Molly Cleator. The pieces spectacularize unresolved conflicts between the artists regarding what is personally truthful as compared to what society dictates, especially concerning the “three deviants”: women, art and nature. The artists question who defines these related realities and how. The author has also offered hundreds of artists a forum called L.A. Freewaves, a media arts organization

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