Academic literature on the topic 'Film festivals'
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Journal articles on the topic "Film festivals"
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Xie, Heshen. "Western-Centrism and the Global Queer Film Festival Circuit." Journal of Festive Studies 4, no. 1 (February 23, 2023): 83–100. http://dx.doi.org/10.33823/jfs.2022.4.1.105.
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Since they emerged in the late 1970s, queer film festivals have turned into a global cultural activity. A complex worldwide network of queer film festivals has also formed. This article establishes the framework of the global queer film festival circuit to examine the hegemonic relationships it produces. The global queer film festival circuit comprises top-tier film festivals and second-tier queer film festivals. As the first queer-themed film festival in Asia, the Hong Kong Lesbian and Gay Film Festival (HKLGFF) is situated in a subordinate and passive position. Aiming to emphasize the unbalanced relationship among queer film festivals on a global scale, this article argues that due to commercial considerations and the lack of festival resources, the HKLGFF’s programming is dominated by the choices of top-tier film festivals and thus reproduces Western-centrism. Through the analysis of the HKLGFF’s programming process and criteria, it also demonstrates how top-tier film festivals influence the programming of second-tier queer film festivals by dominating the global market of queer films. Overall, this article expands the concept of the queer film festival circuit, addressing the significance of small-scale queer film festivals in the global South to worldwide queer culture as well as the global circulation of queer films.
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Cheyroux, Emilie. "Small Film Festivals Surviving the COVID-19 Pandemic." Journal of Festive Studies 4, no. 1 (February 23, 2023): 47–65. http://dx.doi.org/10.33823/jfs.2022.4.1.132.
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The COVID-19 pandemic was a major challenge for film festival organizers, who had to resort to online platforms to showcase films they had selected. While virtual film festivals did not offer the same experience, being deprived of the opportunity to gather people in a festive atmosphere, they provided a fairly accessible solution that enabled audiences to watch films they would have missed otherwise. Even major and economically stable festivals, such as South by Southwest (SXSW), decided to cancel; and not all film festivals embraced the opportunities provided by online platforms. Responses to the pandemic were as diverse as the six thousand film festivals organized on average each year. Small nonprofit film festivals, however, tend to be more vulnerable than large-scale events. When the pandemic was at its climax in 2020, their economic sustainability was at stake. This article focuses on Cine Las Americas, a small community-based Latino and Indigenous film festival that takes place in Austin, Texas. Based on interviews of members of the executive and programming team, on research about the history of the festival, and on the experience of the 2020 “Virtual Showcase,” it shows that solidarity between the festival and a wide range of local organizations played a great role in its capacity to survive this critical time. To retrace the festival’s history, the article draws inspiration from organizational theory, illustrating that Cine Las Americas became a field-configuring event (FCE) in the city of Austin, to the point where the friendship that its successive organizers, who have showed crucial adaptation skills over the years, had secured with local partners contributed to its survival.
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Muylaert Mager, Juliana, and Ana Maria Mauad. "EM CARTAZ: festivais de cinema de arquivo – preservação e público." Revista Observatório 3, no. 2 (April 1, 2017): 283. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n2p283.
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Nas últimas décadas, observa-se o surgimento de festivais dedicados ao cinema de arquivo. No Brasil, foi criado em 2002, pelo Arquivo Nacional, o Recine – Festival Internacional de Cinema de Arquivo, evento que foi substituído pelo Arquivo em Cartaz em 2015. O fenômeno dos festivais se relaciona com o tratamento do patrimônio audiovisual ao longo do século XX e XXI, sendo inseparável da trajetória das instituições arquivísticas. Neste artigo, pretende-se, por meio da análise dos dois festivais, discutir como esses eventos trabalham a tensão entre exibir e preservar, duas das principais funções das cinematecas, colocando em diálogo questões sobre patrimônio/preservação e a relação entre os arquivos e seus públicos.
PALAVRAS-CHAVE: Arquivo; Patrimônio Audiovisual; Público(s); Festivais de cinema.
ABSTRACT
In the last decades, we observe an increase in the number of festivals dedicated to archival films. The Brazilian National Archive, for instance, hosted Recine – Festival Internacional de Cinema de Arquivo from 2002 to 2014, and, since 2015, its sucessor festival called Arquivo em Cartaz. This “festival phenomenon” can be related to how audiovisual heritage has been viewed in the 20th and 21st centuries, being, thus, closely linked to the developement of film archives. This article aims at analysing the aforementioned festivals, in order to discuss how these events coped with the tension between exhibiting and preserving – the two foremost goals of a cinematheque –, establishing dialogues over issues such as heritage/preservation and the relationship between archives and its viewing public.
KEYWORDS: Archive; Audiovisual Heritage; Public; Film festivals
RESUMEN
En las últimas décadas, se observa el surgimiento de festivales dedicados al cine de archivo. En Brasil, fue creado en 2002 por el Archivo Nacional, Recine – Festival Internacional de Cinema de Arquivo, evento que fue sustituido por el Arquivo em Cartaz en 2015. El fenómeno de los festivales se relaciona con el tratamiento del patrimonio audiovisual a lo largo del siglo XX y XXI, siendo inseparable de la trayectoria de las instituciones archivísticas. En este artículo, se pretende, por medio del análisis de los dos festivales, discutir cómo esos eventos trabajan la tensión entre exhibir y preservar, dos de las principales funciones de las cinetecas, colocando en diálogo cuestiones sobre patrimonio/preservación y la relación entre los archivos y sus públicos.
Palabras Clave: Archivo; Patrimonio Audiovisual; Público(s); Festivales de Cine.
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Zemaityte, Vejune, Andres Karjus, Ulrike Rohn, Maximilian Schich, and Indrek Ibrus. "Quantifying the global film festival circuit: Networks, diversity, and public value creation." PLOS ONE 19, no. 3 (March 6, 2024): e0297404. http://dx.doi.org/10.1371/journal.pone.0297404.
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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables—which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009–2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.
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Qureshi, Bilal. "Elsewhere: The Last Circus." Film Quarterly 74, no. 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.
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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.
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López-Díez, Jaime, and Farshad Zahedi. "World cinema in the Spanish international festivals and movie theatres (2016-2021)." Comunicación y Sociedad 2024 (March 13, 2024): 1–28. http://dx.doi.org/10.32870/cys.v2024.8614.
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In this study, we analyze the films in the world cinema category that have been screened at the two most important international film festivals in Spain: The San Sebastian International Film Festival, and the Valladolid International Film Week in the period of 2016-2021. It is also studied the output of these festivals in terms of screenings in the Spanish cinemas during the same period. The results show that nearly a third of the films at these two festivals belong to world cinema, and about a third of these films screened at the festivals have been shown in cinemas.
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Lisiecka-Muniak, Małgorzata. "Educational Offer at Polish Film Festivals Directed at Film Industry Representatives." Panoptikum, no. 18 (December 29, 2017): 216–26. http://dx.doi.org/10.26881/pan.2017.18.13.
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The article considers industry workshops organised during film festivals and festivals dedicated to the film profession in Poland. It puts forward the fact that during film festivals not only screenings, contact between a filmmaker and a viewer are important, but also workshops and industry meetings dedicated to artists. This kind of education seems to be needed because after graduating from film school it is a possibility to develop one’s own skills and to update knowledge about the profession. The author also concentrates on Polish film festivals fully dedicated to the film profession, such as Camerimage International Film Festival in Bydgoszcz, Script Fiesta in Warsaw, Regiofun Film Festival in Katowice, Kamera Akcja Festival and Transatlantyk Film Festival both in Lodz. Even though there are not so many film festivals dedicated to one film profession, they are important because of their educational value for filmmakers and for audience.
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Vanhaelemeesch, Jasper. "The seeds multiply: the AcampaDOC International Documentary Film Festival." Comunicación y Medios, no. 42 (December 28, 2020): 120. http://dx.doi.org/10.5354/0719-1529.2020.57277.
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Contemporary Central American film cultures can be conceptualised as postconflict, and post-Third-Worldist (Shohat, 2004), small (Hjort & Petrie, 2007) cinemas that, in absence of strong state-regulated support structures, have come to rely heavily on their relations to national and regional film festivals (Ahn, 2012). This paper introduces findings gained through ethnographic fieldwork at film festivals in the Central American and Spanish Caribbean regions, with a focus on the ACAMPADOC International Documentary Film Festival in Panama, the only film festival in the region dedicated exclusively to the documentary film genre. The paper also briefly refers to data from on-going research that maps Central American films and filmmakers in a basic network analysis. The reported findings broadly cover what are identified as five areas of concentration in the study of film festivals, based on the understanding of festivals as nodal interfaces for film cultures (Iordanova, 2015).
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Shabana, Amin, Harmonis Harmonis, Zahwa Indira, and Mutia Andini. "Post-Reform Cinema Public Space on Detik.com News Portal." Komunikator 14, no. 1 (May 30, 2022): 30–41. http://dx.doi.org/10.18196/jkm.14398.
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Film festivals are public cultural spheres that arose quickly after the fall of the New Order. The rise of film festival activities was covered by the Indonesian mass media, particularly online media. Detik.com is an example of online media that is currently a public reference, including witnessing the development of film festivals in post-reformation Indonesia. The primary goal of this research is to examine the representation of the public sphere in a film festival article written by Detik.com. This study chose an explanatory qualitative approach based on media framing theory. From its inception until 2019, Detik.com was Indonesia’s first news portal, publishing 894 articles on film festivals. The analysis knife employs several major theories, including Public Space (Habermas), Film Festival (De Valck), and news framing (De Vreese). To strengthen the article, the sources cited are also the most comprehensive, consisting of government groups (e.g., Executive and DPR) and non-government groups (filmmakers, festival managers, academics, religious groups, and spectators). When comparing the scale of implementation, national film festivals are mostly covered, namely 28 film festivals and eight film festivals. During the post-reform era, the most news framing film festivals are generic issues (33 festivals) versus 14 festivals that fall into the category of specific issue framing.
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Lytvynenko, Alina. "The Impact of Force Majeure on the Development and Organisation of Film Festival Activities in Ukraine." Socio-Cultural Management Journal 6, no. 2 (November 22, 2023): 129–46. http://dx.doi.org/10.31866/2709-846x.2.2023.291331.
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Introduction. Organising film festivals is an important process for the country's film industry development. This process requires specific skills on the part of the organisers, as well as careful attention to the organisation as a whole. A study of the development of film festivals in the country is necessary as it helps to identify young talent. Film festivals have always played a crucial role in the film industry development in different countries. For the further development of the Ukrainian film industry, it is important to study the experience of organising festivals and understand the impact of unforeseen circumstances on them. Purpose and methods. The purpose of the article is to substantiate the theoretical foundations and develop practical recommendations for organising film festivals. The work was based on the abstract and logical method, the method of analysis and synthesis, and the critical analysis of scientific literature, which allowed us to summarise the theoretical and practical developments accumulated by the community in the context of film festival activities. Results. The essence, role, and significance of film festivals for the country's film industry development are revealed. The problems of organising film festivals in Ukraine are identified. Methods for improving the system of film festival organisation are formulated. The peculiarities of organising film festivals in Ukraine after 2020 are identified. Conclusions. The scientific novelty of the results obtained is to deepen the theoretical foundations of film festival organisation by summarising the best international experience in this segment of culture. The significance of the study is manifested in the expansion of knowledge in the field of film festival organisation and the impact of irresistible forces on it.
Dissertations / Theses on the topic "Film festivals"
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Lee, Hong Real. "Film festivals as public spaces : the transformation of the Busan and Berlin international film festivals." Thesis, Goldsmiths College (University of London), 2014. http://research.gold.ac.uk/10720/.
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This thesis analyses film festivals as public spaces. It asks how publicness configures both contemporary film festivals and the activities of those who participate in them. In order to investigate this mix of theories and the concomitant practices are employed, all of which are intertwined with the notion of public or publicness as the overriding conceptual framework of this research. Jürgen Habermas’s universal and rational notion of public sphere has been subjected to criticisms that have called for an understanding of publicness as more fragmented and multiple, and hence experiential. Here, publicness is defined as performative: it is constituted experientially as the degree of physical, perceptual and sensorial connectedness between film festivals and those present at them. In other words, film festivals are experiential public spaces. On the basis of ethnographic analysis of the Busan and Berlin International Film Festivals (BIFF and the Berlinale) utilising in-depth interviews, participant observation and archival analysis, the thesis argues that film festivals are socioculturally bound and perceptually elastic public spaces that enable their audiences or publics to experience the ambient and environmental sense of public accessibility engendered jointly by film festivals and their surrounding milieus. Three aspects are analysed in more detail. First, public spaces are being used as festival venues within contemporary gentrified urban environments. The thesis argues that the physical and structural expansion and transformation of national and international film festivals affects the changing perceptions local residents have of everyday urban public spaces. Second, question and answer (Q&A) sessions between ordinary festival audiences and filmmakers are examined as communicatively performative activities. The thesis argues that the film festival Q&A format functions as a discursive means of facilitating the active participation of festival audiences in its verbally and emotionally-engaging public atmosphere. Third, the roles of film festival media, specifically online, are examined in order to argue that festivals use new media to facilitate ordinary festival audiences’ or their publics’ engagement with the film festival experience as a whole.
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Diestro-Dópido, Mar. "Film festivals : cinema and cultural exchange." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8900.
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Historically the focus of journalistic reports, film festivals have recently started to attract the attention of academics, applying concepts from crossdisciplinary fields such as cultural studies and ethnography. As a result, film festivals are now gradually being institutionalised as a field of study within the wider discipline of Film Studies. This thesis adds to this growing body of literature by exploring film festivals as sites of cinematic, cultural, social, political and economic exchange, as well as the multiple ways in which these events produce cultural value. This thesis draws on three detailed case studies: the Buenos Aires Festival de Cine Independiente, known as BAFICI, in Argentina; the BFI London Film Festival in the UK; and the San Sebastián International Film Festival in Spain. Issues of national identity, history and memory inform and become crystallised in each festival. They acquire a particular resonance in the tensions between national and regional allegiances in San Sebastián, as well as the pressures between cinema as culture and entertainment in the case of London. The focus on BAFICI allows for a development of the argument beyond critics and academics’ habitual focus on Western film festivals. Transnational events by nature, all three festivals relate in complex ways to their own national cinemas and localities, as well as to other festivals within the international circuit. My personal experience as film critic and reporter at festivals is underpinned by academic research, giving this project a dual perspective. With findings based on extensive interviews (primary research) with the teams responsible for programming the three festivals, this thesis aims to bring into the public domain the views of those who have shaped these festivals, creating a new body of material that can be drawn on by future scholars working in this area.
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Nogueira, Julia C. "Film and video festivals in South America a contemporary analysis of flourishing cultural phenomena /." Ohio : Ohio University, 2009. http://www.ohiolink.edu/etd/view.cgi?ohiou1230612139.
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Nadavulakere, Shivasharan S. "International film festivals as field-configuring events." Thesis, City University London, 2008. http://openaccess.city.ac.uk/8591/.
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Studies examining the issue of organizational field evolution, especially on cultural field's, have found that some events shape the process by acting as 'purveyors of legitimacy' (Anand and Peterson, 2000). However, no research is forthcoming on events such as international film festivals that serve a similar function. A new theoretical framework - field-configuring events (FCEs) by Lampel' and Meyer (2008) seeks to rectify the lack of attention paid to 'events' by organization scientists. . Adopting their framework, my research explicates one such event in cultural industries, particularly the global film in9ustry - international filin festival. Towards that end, my PhD thesis spawns four papers - one conceptual and three empirical papers. First, I articulate international film festivals as field-configuring events, and identify some of their key characteristics: spatial embededness, temporal recurrence, programming, premiership, juried competition, film markets, side bars, and accreditation. Second, I examine the organization, strategy, and performance of international film festivals. I propose that a prototypical international film festival is a competition of 'films, and its perfonnance is dependent on two resource streams: reputation of nominated films/film makers, and reputation of members of the jury panel. Third, I explicate the macro linkages between an FCE and national film institutions such as BFI through a process known as retrospective consecration. I propose that international film festivals such as Cannes, Venice, and Berlin directly impact BFI's efforts of anointing the best British films of the 20th century or 'BFI Top Ido'. Finally, I focus on the micro linkages between international film festivals and BFI choices, particularly focusing on how the. choices emerge from a voting college. The BFI's 'Top 100' voting college consists of three groups of respondents or 'cultural hierarchies' - experts, peers, and the public, and I propose that international film festivals represent a fonn of critical recognition and shape expert choices.
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Kwon, Hyun Jin. "The impact of cultural events on the cinema and tourism in a community, Busan Busan's alternative industry to the cinema and tourism industry after the Pusan International Film Festival (PIFF) /." Online version, 2002. http://www.uwstout.edu/lib/thesis/2002/2002kwonh.pdf.
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Ozduzen, Ozge. "Film festivals and social movements intertwined : the spatial activism of the Istanbul Film Festival audience during the Gezi protests." Thesis, Edge Hill University, 2016. http://repository.edgehill.ac.uk/8294/.
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This thesis focuses on the relationship between film festivals and political activism by taking the International Istanbul Film Festival (IIFF) audience as a case study during the Gezi uprising. It is a study of a community’s political action hand in hand with their cosmopolitan imagination and nostalgic feelings in their engagement with the IIFF, when Turkey increasingly lurched towards authoritarianism in the 2010s. Through the increasing number of festival films and events that went against the dominant ideology in Turkey, this audience community embraced an activist cosmopolitanism which set the ground for political action. It scrutinises their formation of nostalgic feelings for the historical spaces in Beyoğlu, developed jointly by their anti-neoliberal discourses while also displaying their political action against the top-down urban regeneration programmes. In order to account for their political activism, revolving initially around festival spaces and then occupied parks, I conducted an ethnographic research at the festival and the Gezi uprising from 2013 to 2014. Employing participant observation, life histories and in-depth interviews, this research examines the intricacies of human relations with spaces, social movements and cultural events at an increasingly authoritarian regime. The rise of authoritarianism also implied a transformation in my methodology. This thesis offers a timely contribution to the relationship between neoliberalism and Islamic fundamentalism while pointing to people’s political use of cultural spaces. It also offers new insights on the phenomenon of film festivals by relating them to urban cultures and social movements in their hosting cities. It expands our knowledge on non-Western audiences’ engagement with a film festival, whilst providing an interpretation of social movement development attached to cultural spaces such as film festivals. More broadly, it gives new insights on the film and protest culture of a secular group within a predominantly Muslim culture in showing the ways in which they oppose Islamic fundamentalism and neoliberalism. It situates the Emek movement and the Gezi uprising, not only in their close affinity with Istanbul’s cityscape and Turkey’s political situation but also in their organic relationship with global social movements particularly the Occupy movements and the Arab Spring. Thus, this thesis makes a unique interdisciplinary contribution to II the existing literature on film festivals as well as urban research and social movements.
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Batik, Ebru. "International Film Festivals And Local Forms Of Colonialism." Master's thesis, METU, 2008. http://etd.lib.metu.edu.tr/upload/12609936/index.pdf.
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This study is an attempt to understand the politics of international film festivals and how it translates into local forms of colonialism. Theroretical review of this study focuses around the politics of festivals particularly through Iranian Cinema in the international frame. Inclusionary/exclusionary mechanisms of film festivals, the notion of national geographic effect and how they formed the canonization of Iranian cinema will be discussed. The thesis has also analyzed an Iranian film Kandahar as a case study with the notion of Orientalism to demonstrate how colonizing gaze organized in festival circuit has been internalized by a national filmmaker.
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Ferreira, Thaís Arruda 1985. "Reflexões sobre cinema ambiental = uma abordagem multidisciplinar = Environmental film: a multidisciplinary approach." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/267759.
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Orientador: Sandro TonsoDissertação (mestrado) - Universidade Estadual de Campinas, Faculdade de Tecnologia
Made available in DSpace on 2018-08-22T10:46:00Z (GMT). No. of bitstreams: 1 Ferreira_ThaisArruda_M.pdf: 4590667 bytes, checksum: be7e1a1870f900c94459890c0fdd1c5c (MD5) Previous issue date: 2013
Resumo: Com a expansão do debate da crise ambiental na sociedade, surgem na década de 1980, como novos espaços de veiculação das questões ambientais, os festivais de cinema ambiental. O debate, aparentemente homogêneo, é divergente, múltiplo e conflituoso, sendo necessário problematizar as representações relacionadas à temática ambiental e explicitar os conflitos socioambientais, com o intuito de identificar onde estão às brechas, os germes para a emancipação e para o equilíbrio socioambiental. Nessa perspectiva, essa pesquisa apresenta uma discussão teórica reflexiva multidisciplinar sobre o cinema ambiental, inter-relacionando-o com a crise socioambiental, com concepções de meio ambiente, com festivais de cinema ambiental, com Educação Ambiental e com potencial educador do filme. Para isso, foi realizado um breve ensaio com algumas discussões que dão embasamento teórico à pesquisa, uma investigação do uso do termo "cinema ambiental", uma investigação e reflexão sobre as concepções de Cinema Ambiental e um levantamento histórico e de dados numéricos sobre o FICA (Festival Internacional de Cinema Ambiental), festival escolhido para examinarmos alguns filmes. As conclusões apontam que o termo "cinema ambiental" é utilizado em diversos contextos, suscitando interesses atinentes a grupos diversos, e que as concepções de Cinema Ambiental dependem das concepções ambientais dos sujeitos que a denominam, sendo que, nos festivais, outros critérios também estão presentes. Além dessas contribuições, essa pesquisa também contribui com algumas reflexões em relação ao FICA e com apontamentos sobre o potencial educador dos filmes ambientais, na perspectiva de uma Educação Ambiental Crítica
Abstract: With the expansion of the environmental crisis debate in society, emerge in the 1980s, as new spaces for placement of environmental issues, the environmental film festivals. The debate apparently homogeneous, is divergent, multiple and conflicting, being necessary to question the representations related to environmental issues and clarify the environmental conflicts, in order to identify where the gaps are, germs for emancipation and the environmental balance. In this perspective, this research presents a theoretical discussion about the film reflexive multidisciplinary environment, inter-relating it with the environmental crisis, with conceptions of environment, with environmental film festivals, with Environmental Education and educator with potential movie. For this, we conducted a brief test with some discussions that give theoretical research, an investigation of the use of the term "environmental theater", a research and reflection on the concepts of Environmental Film and a historical survey and numerical data on FICA (Environmental International Film Festival), chosen to examine some festival films the findings suggest that the term "environmental theater" is used in several contexts, raising concerns relating to different groups, and that the conceptions of environmental Cinema depend on environmental subjects' conceptions the call, and, at festivals, other criteria are also present. In addition to these contributions, this research also contributes some thoughts regarding the FICA and notes about the potential environmental educator of the films from the perspective of a Critical Environmental Education
Mestrado
Tecnologia e Inovação
Mestre em Tecnologia
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Isaza, Laura Rodriguez. "Branding Latin America : film festivals and the international circulation of Latin American films." Thesis, University of Leeds, 2012. http://etheses.whiterose.ac.uk/3408/.
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Despite receiving little academic attention throughout most of their history, film festivals have become the ‘natural’ background were most world cinema films are assessed both in terms of their artistic value and their potential for international consumption. Based on their cultural prestige, their crowd-gathering ability and hierarchical dynamics festivals create a multilayered filtering system that determines the varying artistic reputations of films and filmmakers as they travel from one event to another. However, the economic interests and geopolitical biases embedded in the Euro-American dominated system raise challenging questions about festivals’ criteria of artistic quality and supposedly objective ability to map world cinema. While festivals have become strategic regulators of world cinema traffic they affect both the commercial possibilities of individual Latin American films in global markets and the interpretive frameworks through which world cinema is assessed and understood. Using a theoretical framework drawn from the discipline of sociology of art, this research uses the concept of the ‘film festival world’ to analyse the international reception of Latin American cinemas as part of a cultural and industrial process of selection of the ‘best’ films from the region. First, it examines the film festival phenomenon in terms of its interaction with the global film industry and the marketing of film products for foreign audiences. Second, it analyses the international historical reception of key Latin American films from the expansion of the film festival circuit in the 1940s. Thirdly, it studies how contemporary films from the region continue to be assessed and interpreted across the film festival world in accordance with contingent notions of quality and well-established auteurist models. Thus, this thesis argues that the ‘Latin American cinema’ brand has been defined in close connection with the contingent ideas and practices of the film festival world, becoming an interpretive framework that enables the international positioning of cinemas from the region both as cultural artefacts and commercial products.
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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. The thesis then examines the establishment in the early 1950s of the Sydney and Melbourne Festivals as small, amateur events, run by and for film enthusiasts. It then traces the Festivals� historical development until 1972, by which time both Festivals had achieved an important status as social and cultural organisations within Australia. The main themes dealt with throughout this period of development include the Festivals� difficult negotiations with both the international and domestic film trade, their ongoing internal debates over their role and purpose as cultural organisations, their responses to the appearance of other international film festivals in Australia, their relation to the Australian film industry, and their fight to liberalise Australia�s film censorship regulations.
Books on the topic "Film festivals"
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Berry, Chris, and Luke Robinson, eds. Chinese Film Festivals. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3.
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Stevens, Kirsten. Australian Film Festivals. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3.
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Roy, Carole. Documentary Film Festivals. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-480-0.
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Schobert, Walter, and Willi Bär. Fischer-Film-Almanach ...: Filme, Festivals, Tendenzen. Frankfurt am Main: Fischer-Taschenbuch-Verl., 1992.
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Schobert, Walter, and Willi Bar. Fischer-Film-Almanach ...: Filme, Festivals, Tendenzen. Frankfurt am Main: Fischer-Taschenbuch-Verl., 1986.
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Lee, Hyunseon. Korean Film and Festivals. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429327841.
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Tascón, Sonia M. Human Rights Film Festivals. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137454249.
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Balkanima, Evropski festival animiranog filma. Balkanima '11: 8. evropski festival animiranog filma, Beograd 4-08.2011 : katalog festivala. Novi Beograd: Dom kulture Studentski grad, 2011.
Find full textBook chapters on the topic "Film festivals"
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de Valck, Marijke, and Ger Zielinski. "Greening Film Festivals." In Rethinking Film Festivals in the Pandemic Era and After, 307–28. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_16.
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AbstractIn this chapter we seize the momentum of the pandemic crisis and its disruption of the film festival world to consider festivals’ stake in the climate and ecological crisis. We will delineate three layers of concern that need to be considered holistically when taking on the challenge of greening film festivals. The first layer tackles the context of festival operations, namely, all arrangements and preparations required to organize festival events. The second layer addresses the emergent discourse of environmentalist media studies, which urges festival scholars to consider critically the consequences of the virtualization of film festivals. The third layer puts the “eco” back into “ecosystem.” The phrase “festival ecosystem” itself is becoming popular in the discourse on film festivals. We think that the time is right to bring what we are calling the festival ecosystem back into a more literal relationship with “environmental media,” media infrastructure and its material relations to the biological environment. This will entail a rethinking of how that ecosystem can be made to work in balance with our planetary needs regarding its natural resources and include acknowledging there are the limits to widespread festival mechanisms that are rooted in logics of growth and abundance.
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Lee, Hyunseon. "From Festival Films to Film Festivals." In Korean Film and Festivals, 15–40. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429327841-3.
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Eagan, Owen. "Film Festivals." In Oscar Buzz and the Influence of Word of Mouth on Movie Success, 25–39. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-41180-0_4.
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LaRue, Nicholas. "Film Festivals." In Behind the Scenes of Indie Film Marketing, 143–59. New York: Focal Press, 2024. http://dx.doi.org/10.4324/9781003399643-11.
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Dramani-Issifou, Farah Clémentine. "Curating as Care: La Semaine de la Critique and the Marrakech International Film Festival in the Age of Covid-19." In Rethinking Film Festivals in the Pandemic Era and After, 255–66. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_13.
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AbstractThe health crisis caused by Covid-19 has changed the organization of film festivals around the world. Some festivals have chosen to maintain their event by creating online platforms for the distribution of films and professional meetings; others have simply canceled their physical editions. Although they were canceled, Cannes Critics’ Week and the Marrakech International Film Festival made specific arrangements to support the local, regional, and international film industry. The pandemic fundamentally impacted festivals’ programming strategies. As such, Covid-19 redefined the work of selection committees: it created what I call “flexi-programmers.” What strategies have been adopted by Cannes Critics’ Week and Marrakech International Film Festival to deal with this crisis? How could film curating be the future of film programming?
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Tsai, Beth. "Film Festivals in Taiwan: Lurking on the Periphery." In Rethinking Film Festivals in the Pandemic Era and After, 211–30. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_11.
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AbstractThis chapter investigates an ongoing geopolitical shift concerning the status of festivals in Taiwan—exemplified by the Taipei Film Festival and the Taipei Golden Horse Film Festival and Awards—and their future challenges instigated by the global pandemic. I consider film festivals in Taiwan to be lurking on the “periphery” and argue they should not be prescribed as secondary and unnoticed (in terms of prestige and influences). Instead, we need to identify the center (Western Europe and wealthy North America) versus the periphery paradigm in which the global festival circuit continued to reinforce power relations where mid- or lower-ranking film festivals had to wrestle with the hierarchy of status. This chapter begins by tracing how the pandemic preparedness in Taiwan allowed most Taiwanese film festivals to conduct business as usual. Yet this local advantage—abetted by the country’s history and political dissension with the People’s Republic of China (PRC)—is impeded by the collateral implications from disrupted festivals worldwide. The impacts of Covid-19 continue to further expose the unequal power relations within the globalized festival network, despite the survival and strife for the success of mid-level and regional film festivals.
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Cubero, Carlo. "Ethnographic Film Festivals." In The Routledge International Handbook of Ethnographic Film and Video, 313–22. Other titles: International handbook of ethnographic film and video Description: Abingdon, Oxon; New York, NY: Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429196997-35.
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Burgess, Diane, and Kirsten Stevens. "Locating Buzz and Liveness: The Role of Geoblocking and Co-presence in Virtual Film Festivals." In Rethinking Film Festivals in the Pandemic Era and After, 59–80. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_4.
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AbstractThe sudden and near-complete move of festivals into the online space in 2020 complicated our understanding of the “there” and “then” involved in film festival participation. Experiencing festivals in lockdown (often from domestic spaces), “taking part” in these virtual events had the potential to dramatically expand the points of access. Although this approach was taken early with the YouTube-based We Are One global film festival, for the vast majority of single-festival-run online events access was limited to specific geographic areas through geoblocking technology. This chapter examines the function of geofenced access in virtual and hybrid virtual/real-world film festivals. It poses the question: what are the benefits for festivals in enforcing territoriality and place-boundedness in the de-territorialized world of online media? Looking to the importance of embodied co-presence and networked publics in existing understandings of liveness, buzz, and value creation at festivals, we interrogate the role of “place” in defining festival prestige and influence. We ask, if the mechanisms of value creation linked to the physical spectacle and viral spread of buzz at festivals are disrupted, will the film festival experience still be seen as valuable? And what might that mean for the future of festivals and their study?
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Roy, Carole. "Three Documentary Film Festivals." In Documentary Film Festivals, 15–29. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-480-0_2.
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Roy, Carole. "Politics, Media, and Documentary Film Festivals." In Documentary Film Festivals, 1–13. Rotterdam: SensePublishers, 2016. http://dx.doi.org/10.1007/978-94-6300-480-0_1.
Full textConference papers on the topic "Film festivals"
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Fischer, Andre. "New transmedia design for traditional film festivals." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.121.
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The disruptive transformations process in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, thus restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. Streaming has become the main way in which image and sound content are distributed. Entertainment became multiplatform and interactive, changing the way in which narratives are structured, and these contents are produced and consumed. The convergence of media made porous the boundaries between what are conventionally called video, cinema, theater and performance. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. To understand the potential of transformations, the study investigates in depth the experience of MixBrasil Festival, largest LGBTQIA+ cultural event in Latin America, created in 1993, showcasing multiple formats and techniques (cinema, theater, music, literature). With digital content being programmed since 2018, in 2020 it expanded its online exhibition to four different digital platforms. The study is carried out concurrently with the monitoring of MixBrasil and other film festivals held in Brazil, considering what strategies are being adopted and how they will stand out as innovative - or just replications of the traditional movie theater model. It also aims to identify processes, paths and perspectives for the sector considering that the old template for launching films used since the 1950´s might no longer be applicable to the current state of the industry. Facts and trends that are forcing these events to face a crisis of identity and questioning the viability of a (still) prestigious circuit. Platformization implies the adoption of online functionalities integrated at economic and infrastructure levels which fully affects the organization strategies of festivals. Therefore, a change in the way of thinking the place of film festivals in the industry chain is in progress: as a possible space for capturing data from the public to support future curatorships and permanent actions which would make them more dynamic and relevant. Associated with this process is the notion of attention economy and the reorientation of users as active producers of culture, in the way they can affect the hybrid future of festivals. Metrics recurrently used like engagement, geolocation, retention and abandon rates are necessary to identify obstacles and potentialities that the new scenario presents. The research is raising additional questions about the behavior and expectations of different age groups, the motivations of audiences for attending festivals. It also investigates why although movie theaters are closing, distributors keep restrictions on festival theatrical screenings. This is a unique opportunity to reflect on perspectives for audiovisual festivals in order to capture viewers' attention, reposition their relevance to society, get the (re)cognition of different audiences and forge new experiences.
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Peláez-Barceló, Antonio. "Cultural Diversity in Film Festivals – A Case Study: Glocal in Progress, San Sebastián International Film Festival." In The European Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2188-9643.2020.1.
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Matrosov, Maksim Yurevich. "Cheboksary film festivals in historic retrospective." In VIII International applied research conference, chair Oleg Nikolaevich Shirokov. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-111725.
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Genova, Nina. "THE EFFECT OF ETHNIC FESTIVALS ON THE DEVELOPMENT OF AMATEUR FILM, PHOTO AND VIDEO." In 6th SWS International Scientific Conference on Social Sciences ISCSS 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscss.2019.5/s26.012.
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Simeng, Zhu, Zeng Yizhou, and Valliappan Raj. "Explore the Improvement of the Management of China's International Film Festivals Based on Artificial Intelligence." In AICSconf '20: 2020 Artificial Intelligence and Complex Systems Conference. New York, NY, USA: ACM, 2020. http://dx.doi.org/10.1145/3407703.3407716.
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Raghu, Dinesh, Surag Nair, and Mausam . "Inferring Temporal Knowledge for Near-Periodic Recurrent Events." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/598.
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We define the novel problem of extracting and predicting occurrence dates for a class of recurrent events -- events that are held periodically as per a near-regular schedule (e.g., conferences, film festivals, sport championships). Knowledge-bases such as Freebase contain a large number of such recurring events, but they also miss substantial information regarding specific event instances and their occurrence dates. We develop a temporal extraction and inference engine to fill in the missing dates as well as to predict their future occurrences. Our engine performs joint inference over several knowledge sources -- (1) information about an event instance and its date extracted from text by our temporal extractor, (2) information about the typical schedule (e.g., ``every second week of June") for a recurrent event extracted by our schedule extractor, and (3) known dates for other instances of the same event. The output of our system is a representation for the event schedule and an occurrence date for each event instance. We find that our system beats humans in predicting future occurrences of recurrent events by significant margins. We release our code and system output for further research.
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Najafi, Hossein. "Festival ao vivo: Streaming on-line de projetos de imagens em movimento dos alunos, na era da COVID." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.154.g286.
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A pandemia de COVID-19 interrompeu a maioria das atividades sociais, incluindo a educação e, inesperadamente, estudar e trabalhar em casa tornou-se uma nova normalidade (Dockery e Bawa, 2020). No entanto, isto apresentou desafios, incluindo questões sobre como os educadores podem fazer a curadoria de exposições, apresentações e exibições de fim de ano, que se tornaram parte integrante da prática da escola de arte. Estes eventos constituem mais do que um “final comemorativo” para as escolas de arte. Hauan e Kolstø, (2014) sugerem que eles também podem funcionar como ambientes importantes de aprendizagem. Esses tipos de eventos geralmente são formatados como festivais de cinema. À sombra da COVID-19, muitos festivais de cinema em todo o mundo ficaram on-line. Tradicionalmente, os alunos de efeitos visuais (VFX) da Universidade de Tecnologia de Auckland (AUT) exibem seus curtas-metragens baseados em efeitos visuais, no final de cada semestre, em um evento popular chamado Screening Night (Figura 1). Este festival não é apenas um momento de orgulho para os alunos, onde podem mostrar o resultado final para seus amigos, familiares e potenciais colaboradores e empregadores, mas também apoia processos de networking. Todos os anos, um painel de potenciais empregadores e artistas da Nova Zelândia é convidado para esses festivais, e um diálogo construtivo ocorre durante e após o evento. Quando a COVID-19 ocorreu, a cidade de Auckland passou por um grande bloqueio — todas as reuniões sociais, incluindo a noite de exibição do AUT, foram canceladas. Este estudo de caso oferece uma consideração pedagógica de como um método alternativo para a exibição de eventos, usando festivais com transmissão ao vivo por meio de serviços on-line, pode ser projetado e facilitado. A transmissão ao vivo on-line tem sido um meio proeminente para emissoras pessoais e individuais tão diversas quanto jogadores de vídeo, revisores de gadgets, chefs domésticos e creches, por meio das quais monetizam as atividades de criação de conteúdo para criar fontes significativas de receita (Kaytoue et al., 2012). Assim, tais métodos são familiares aos alunos e se propõem como potenciais para aplicação, design e desenvolvimento educacional. Este estudo de caso demonstra como a estrutura de um festival migrou e foi reformatada para um festival com transmissão ao vivo, onde os alunos: apresentaram seus trabalhos com um discurso autorreflexivo; apresentaram seus filmes e os problemas da produção de VFX; receberam feedback e comentários de convidados; receberam apoio positivo do curador; estabeleceram, em rede, um “espaço de pavilhão” e envolveram-se em discussões sobre empregabilidade. Por meio de um planejamento vigoroso, o ethos do evento noturno de exibição física foi traduzido em um evento de festival com transmissão ao vivo. Os alunos apresentaram suas obras de arte em seus discursos autorreflexivos on-line, as pessoas foram convidadas a comentar e revisar as obras de arte junto com os apresentadores. O evento do festival com transmissão ao vivo apresentou novas funções, incluindo comentários interativos. Além disso, muitos alunos estavam assistindo ao evento do festival com transmissão ao vivo com suas famílias em suas casas, dentro de suas “bolhas” — o espectro para a comunidade pareceu ficar mais amplo. O estudo demonstra que a exibição com transmissão ao vivo como um método pedagógico pode se constituir uma alternativa eficaz aos eventos tradicionais de exibição física, não apenas na era das restrições da COVID-19, mas como uma abordagem adaptável para futuros festivais on-line, apresentações e iniciativas de rede.
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Hanson, Mark. "Minneapolis underground film festival." In ACM SIGGRAPH 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634001.
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Bobrowska, Olga. "Stoptrik international film festival." In ACM SIGGRAPH 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634010.
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Quirk, Shawn. "Rhode Island international film festival." In ACM SIGGRAPH 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634007.
Full textReports on the topic "Film festivals"
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
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Ruff, Morgen. Instant Canons: Film Festivals, Film Criticism, and the Internet in the Early Twenty-First Century. Portland State University Library, January 2012. http://dx.doi.org/10.15760/honors.13.
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.
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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
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IDB 2nd Inter-American Biennial of Video Art. Information Bulletin No. 78. Inter-American Development Bank, December 2004. http://dx.doi.org/10.18235/0008213.
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Presents the inauguration of the Inter-American Biennial? II video art? Exhibited at the Italian-Latin American Institute (IILA) in Rome, Italy, in June 2005, and the International Film Festival of Santa Fe de Bogota in October 2005. During the exhibition in Washington, D. C., distributed a color catalog with the list of the selected films. For display in Rome and Latin America also printed in Spanish and Italian a color catalog with other materials.
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5me Biennale Interamericaine d'art video. Inter-American Development Bank, November 2009. http://dx.doi.org/10.18235/0008195.
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Le Centre culturel de la Banque interaméricaine de développement annonce que les candidatures sont ouvertes pour la Vème Biennale interaméricaine d¿art vidéo qui se tiendra en décembre 2010 à la Galerie d¿art du Centre culturel de la BID à Washington, D.C. L¿exposition sera présentée en 2011 à l¿Istituto Italo-Latino Americano à Rome, au Festival international du film à Santa Fé de Bogotá, au Festival Loop à Barcelone, au Centre Eduardo León Jimenes en République dominicaine, etc.
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4th Inter-American Biennial of Video Art. Inter-American Development Bank, December 2008. http://dx.doi.org/10.18235/0005923.
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The country with most entries was Colombia, totaling 70 coming from all parts of the country, and surpassing Argentina (in second place with 24), and others that have traditionally dominated the event, at least numerically, such as Mexico and Brazil (this year with 15 and 11 respectively). The explanation for this phenomenon may be found in the fact that Colombia is the country that in the last two years has shown the most interest in the Biennial¿s exhibit circuit, adding fi ve more venues in cities such as Santa Marta, Cali, and Medellin, in addition to Bogota where the Biennial is part of the International Film Festival, and Cartagena. It also has to do with the accessibility of technology, and the commercial possibilities of the creative technologies developed in that nation in recent years.