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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.
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Ma, Ran, and 马然. "Chinese independent cinema and international film festival network at the age of global image consumption." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B46676314.
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Loist, Skadi [Verfasser], and Joan Kristin [Akademischer Betreuer] Bleicher. "Queer Film Culture : Performative Aspects of LGBT/Q Film Festivals / Skadi Loist. Betreuer: Joan Kristin Bleicher." Hamburg : Staats- und Universitätsbibliothek Hamburg, 2015. http://d-nb.info/1071948296/34.
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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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Killick, Anthony. "Film festivals and counter-hegemony : radical screening practices in the neoliberal city." Thesis, Edge Hill University, 2017. http://repository.edgehill.ac.uk/10391/.
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This research focuses on the counter‐hegemonic spatial and cultural reproduction of film festivals. Specifically, it investigates the extent to which film festivals produce spaces of resistance to neoliberalism‐ the current formation of capitalism‐ while operating within the spatial, temporal and ideological boundaries of the contemporary neoliberal city. Using a critical framework that combines the public sphere and colonisation theories of Jürgen Habermas with David Harvey’s analysis of neoliberal urbanisation, this research examines three film festivals in different localities throughout the western hemisphere: the Workers Unite Film Festival, New York; the Liverpool Radical Film Festival, UK; and the Subversive Film Festival in Zagreb, Croatia. Emerging in the wake of the 2007/8 financial crash, these festivals comprise a diverse range of localised practices that have sought to bring attention to some of the social, spatial, political and cultural problems arising from neoliberalism as such. The practices they have developed are in many ways forged through a relation with an unsympathetic, if not totally oppositional, urban environment that is increasingly profit‐oriented and privatised. Thus the research investigates the possibility of film festivals as sites of resistance, and aims to map these spheres onto neoliberal modernity. The purpose is not simply to provide a critique of neoliberalism or the film festivals under analysis, but to offer some insight on these forms of local assembly‐ wherein neoliberalism and capitalism are not a given necessity‐ in the hope of contributing to a praxis that facilitates their transgression.
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Nogueira, Julia C. "Film and Video Festivals in South America:A Contemporary Analysis of Flourishing Cultural Phenomena." Ohio University / OhioLINK, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1230612139.
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Weeks, Susan Jane, and Francesca Clotilde Scialdone. "Management of Uncertain Resources in Film Festival Organisations : a first European Picture." Thesis, Umeå universitet, Företagsekonomi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-130737.
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Purpose – The purpose of this thesis is to investigate how film festivals use project management techniques to manage uncertain resources. Design/methodology/approach – Fourteen case studies are used to explore the project management techniques used by film festivals across Europe. An extensive theoretical framework brings together a number of key fields for the first time and provides an informative background to the study. Based on this theoretical framework a conceptual model was developed, ‘the film festival ‘smoothie’ model’, which provides a guide for data collection and analysis. The research focuses on traditional and contemporary project management techniques, but also contextual factors that impact upon the project management of film festivals. Findings – The findings show that a creative, reactive and flexible approach to project management is vital within film festival organisations and supports earlier research calling for a rethinking of project management to consider the growing presence of ‘soft projects’ and contextual factors of projects. Furthermore, it highlights interesting characteristics and lessons that can be learnt from film festivals, warranting further investigation, since film festivals are ‘interesting repositories of knowledge that provide rich data for organisation and management researchers’ (Rüling and Strandgaard Pedersen, 2010, p. 322) and that cultural projects can be source of inspiration for refreshing project management techniques (Cwikla and Jalocha, 2015). Research limitations – The research gives an initial picture of the European panorama and presents studies of film festivals from Italy, Portugal, United Kingdom and Sweden. Originality/value – Our research contributes to a detailed understanding of the project management processes within film festivals and the way film festivals minimise the negative impact of uncertain resources, and exercise control without stifling creativity. Practical implications - This thesis intends to be descriptive, and therefore does not provide solid ground for practical recommendations of a recipe for success for project management within film festivals. The research does, however, provide evidence of the interesting project management approaches within film festival organisations and therefore advocates further research to be done in this field.
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Saccarola, Valentina <1992>. "Cinema e Film Festivals: nuove opportunità per la promozione del turismo culturale in Veneto." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10730.
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Questo progetto di tesi presenta come obiettivo principale l'analisi del panorama festivaliero in Italia, in modo particolare all'interno della Regione Veneto. Innanzitutto sarà analizzato il fenomeno del Cineturismo come cornice contestuale degli eventi cinematografici, passando poi ad indagare il rapporto tra il cinema ed il territorio geografico in cui si inserisce. Dopo aver fornito una esaustiva ricostruzione storica dei festival cinematografici ed aver evidenziato la loro importanza non solo come eventi dalla forte natura espositiva, ma anche come forma di turismo culturale e strumento di valorizzazione e promozione del territorio in cui si svolgono, si giungerà al nucleo centrale di questo lavoro: una sorta di "censimento" dei più rinomati festival cinematografici allestiti in Veneto, delle loro caratteristiche ed analogie e del contributo fornito dalle Film Commission locali alla loro organizzazione. L’analisi della presenza sul territorio veneto di queste realtà cinematografiche sarà utile per proporre al lettore un paragone con le altre regioni d’Italia, analizzando la diffusione e distribuzione dei festival cinematografici sul territorio nazionale.
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Rukwied, Annette [Verfasser]. "Protest -- Pitching -- Crossover Dreaming: Californian Latino/a Film Festivals and Their Promotion of Latinidad / Annette Rukwied." Bielefeld : Universitätsbibliothek Bielefeld, 2021. http://d-nb.info/1230984771/34.
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CHEUNG, Tit Leung. "Extending the local : documentary film festivals in East Asia as sites of connection and communication." Digital Commons @ Lingnan University, 2012. https://commons.ln.edu.hk/vs_etd/5.
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East Asian cinema is receiving increasing global attention. This attention is not focused merely on the fiction and feature films produced in the region, but also on the documentaries produced there; films such as Petition (2009) by Chinese director Zhao Liang which premiered at Cannes Film Festival in 2009. This attention to East Asian documentary can be traced to the documentary film festivals organised in the region, particularly those that devote their programming to independent documentary productions from the region. These festivals open a window that enables such works to be exhibited for the rest of the world.
But these festivals do not aim merely to exhibit and screen these works. They also pay attention to the filmmakers. The attendance of filmmakers at festivals has previously been assessed to be of low importance. By encouraging filmmakers to visit and participate the festivals examined here can be seen to represent shared concerns regarding the cultivation of documentary filmmaking in the Asian region. The four film festivals that serve to exemplify this are the Yamagata International Documentary Film Festival (YIDFF) in Yamagata, Japan; the Documentary Film Festival China (DOChina) in Beijing, China; the Taiwan International Documentary Festival (TIDF) in Taichung, Taiwan; and the Hong Kong’s Chinese Documentary Festival (CDF).
Each festival forms the basis of a case study in the hope that the context of documentary film festivals in the East Asia can be delineated. Particular aspects of the festivals are discussed in relation to a significant underlying dimension that is identified in each of the festivals in question: the emphasis on communication in YIDFF that enhances the sense of connectedness in the participating festival community; the independent and underground status of DOChina that is embedded in the festival as a form of resistance to the state government; the relocation of TIDF to a government-supported museum contextualises the festival and draws on the general functions and purposes of a museum: exhibition, education and collection. The fourth case study examines the multi-faceted nature of CDF through the previously examined concepts to demonstrate the generalisability of the concepts to, and the inherent complexity of film festivals.
A common theme underlies all of these concepts: a sense of the local, of ‘local-ness’. The ‘local’ here is a relative term that depends largely on where it is that these events regard as home. So, it is not merely the immediate locale of the festival that can be regarded as ‘local’; the ‘local’ can be extended to encompass the nation or the entire region if that is where ‘home’ has been identified. Such an extensive and fluid understanding of ‘local-ness’ not only defines those areas to which the festivals pay specific attention, it also furthers understanding of the festivals’ shared ambitions; ambitions rooted in the cultivation of a ‘local’ documentary filmmaking milieu.
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Zielinski, Gerald James. "Furtive, steady glances: on the emergence and cultural politics of lesbian & gay film festivals." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=32388.
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This dissertation charts the emergence of lesbian and gay film festivals in the United States and Canada, their meanings and politics, through the specific discursive contexts in which the festivals are embedded. I argue that while general international film festivals operate within a very well defined network, the added categories of minority sexuality and community crucially and fundamentally change the relationship of the films screened to the festival, films and festival to audience, and the festival to any network of distribution. The aim is then to explore those changes and differences through a comparative analysis of selected film festivals organized around categories of minority sexual identities. I argue that the lesbian and gay film festival poses a unique set of histories and structures that differ significantly from the general international film festival. The main case studies include festivals in Montreal, New York City, San Francisco and Toronto.Cette thèse décrit l'émergence des festivals du cinéma lesbien et gai aux États-Unis et au Canada, leurs significations et leurs dimensions politiques, à travers les contextes discursifs particuliers dans lesquels les festivals sont intégrés. Je propose que, si les festivals internationaux à caractère général opèrent dans des réseaux très bien définis, dans le cas des festivals organisés sur la base des catégories de sexualités minoritaires et de leurs communautés, la relation des films projetés au festival, les films du festival et aux spectateurs et aux spectatrices, et le festival à n'importe quel réseau de distribution de films, changent fondamentalement. Le but de la thèse est alors d'explorer ces changements et ces différences à travers une analyse comparative de certains festivals de cinéma organisés autour de catégories d'identités sexuelles minoritaires. Je propose que les festivals du cinéma gai et lesbien offrent un ensemble unique d'histoires et de structures qui diffèrent fondamentalement de celles des grands festivals de film internationaux. Les cas principaux étudiés ici sont des festivals à Montréal, New York, San Francisco et Toronto.
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Hey, Jessica L. "A New Queer Trinity: A Semiotic, Genre Theory, and Auto-Ethnographic Examination of Reeling: The Chicago LGBTQ+ International Film Festival." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1493984077068621.
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Muhlberger, Patrick J. "Redefining the Independent Filmmaker's American Dream from 1990 to 2010." Ohio University Honors Tutorial College / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1284911380.
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Salvatore, Andrea Maria. "Entertaining the global consumer the role of the festivals in marketing West African film and music /." Connect to Electronic Thesis (CONTENTdm), 2009. http://worldcat.org/oclc/457045398/viewonline.
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Lee, Toby Kim. "Public Culture and Cultural Citizenship at the Thessaloniki International Film Festival." Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11165.
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This dissertation explores the relationship between state, citizen and public culture through an ethnographic and historical examination of the Thessaloniki International Film Festival in northern Greece. In the two-year period leading up to and following its fiftieth anniversary in 2009, the festival was caught up in the larger economic, political and social crises that have overtaken Greece in the last five years - a painful period of rapid transformation and neoliberalization for one of Europe's staunchest social-welfare states. As the Greek state faces bankruptcy - both economic and political - it is being forced to revisit the terms of its social contract with its citizens. In a country where "culture" was once touted as a national "heavy industry," the relationship between the state and cultural production is also being restructured. Public culture is one of the areas of social life in which people are now struggling with these changes and attempting to redefine what it means to be a citizen of the Greek state - utilizing and revising local, national and transnational identities in the process.Anthropology
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Jelenkovic, Dunja. "Une histoire culturelle et politique du Festival yougoslave du film documentaire et du court-métrage, 1954-2004. : Du socialisme yougoslave au nationalisme serbe." Thesis, Université Paris-Saclay (ComUE), 2017. http://www.theses.fr/2017SACLV064.
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Dans cette thèse, nous analysons le Festival yougoslave du film documentaire et du court-métrage, dans le but de questionner la manière dont celui-ci a participé au processus de création d'une identité (nationale) commune dans deux contextes distincts et successifs – celui de la Yougoslavie socialiste multinationale (1943) et celui de la Yougoslavie postsocialiste, État serbe mono-national (1992). Parce qu’il montre des images de véritables personnes, des vrais lieux et des vraies situations, le documentaire, au lieu d'être perçu comme la vision artistique de la réalité, peut être confondu par le public avec la réalité elle-même. Dans cette optique, l'objectif de ce travail est de questionner à travers l'analyse des programmes du festival, le type de « réalité » qui était présenté aux différents publics à une époque marquée par la succession de deux régimes autoritaires, mais opposés sur le plan idéologique. L’analyse débute par la création du festival en 1954 et se conclue par son internationalisation en 2004. Il s’agit pour le festival, d’un adieu officiel à son passé yougoslave, plus d’une décennie après sa sortie effective du cadre yougoslaveThis thesis analyses the programs of the Yugoslav Documentary and Short Film Festival in order to examine how the festival participated in the creation of common (national) identities of two of its host-states – firstly, the multi-national socialist Yugoslavia (created in 1943) and secondly, the post-socialist Yugoslavia as a mono-national Serbian state (created in 1992). Due to its particular form, completely relying on the images ‘from the reality’ (real people, places and situations), the general audiences might tend to understand documentary cinema as a truthful representation of reality, instead of critically analyzing it as an artistic vision of reality. Bearing in mind the previous assessment, the study examines what kind of ‘reality’ was presented to the festival audiences in two distinct political periods, corresponding to the establishment of two different states, both born in wars, and both defined by authoritarian, but mutually opposing political regimes. The analysis starts with the creation of the festival in 1954 and ends with its internationalisation in 2004
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Hrisafinas, Maria. "FOG09: A counterpublic and transnational film movement during the Greek crisis." Thesis, Queensland University of Technology, 2022. https://eprints.qut.edu.au/235727/1/Maria%2BHrisafinas%2BThesis%286%29.pdf.
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In 2007, the economic crisis erupted in Greece, resulting in strict austerity measures and an ardent neoliberal trajectory. Concurrently, a filmmaking group began to produce ‘weird’ films, gaining momentum as a film movement. This thesis takes another approach to understanding the cinematic activity of this group. It casts aside the prevalent frameworks of economic crisis and national cinema. Instead, the thesis’s lenses of the counterpublic and transnational reveal that the new generation of filmmakers revise art cinema conventions and their position as creators – in the state and in the world – to meaningfully intervene in the Greek economic crisis.
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Irvine, Elizabeth J. "Continuity in intermittent organisations : the organising practices of festival and community of a UK film festival." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6901.
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This thesis considers the relationship between practices, communities and continuity in intermittent organisational arrangements. Cultural festivals are argued to offer one such particularly rich and nuanced research context; within this study their potential to transcend intermittent enactment emerged as a significant avenue of enquiry. The engagement of organisation studies with theories of practice has produced a rich practice-based corpus, diverse in both theoretical concerns and empirical approaches to the study of practice. Nevertheless, continuity presents an, as yet, under-theorised aspect of this field. Thus, the central questions of this thesis concern: the practices that underpin the enactment of festivals; the themes emerging from these practices for further consideration; and relationships between festivals and the wider context within which they are enacted. These issues were explored empirically through a qualitative study of the enactment of a community-centred film festival. Following from the adoption of a ‘practice-lens approach', this study yielded forty-eight practices, through which to explore five themes emerging from analysis: Safeguarding, Legitimising, Gatekeeping, Connecting and Negotiating Boundaries. This study revealed an aspect of the wider field of practice that has not yet been fully examined by practice-based studies: the cementing or anchoring mechanisms that contribute to temporal continuity in intermittent, temporary or project-based organisations. The findings of this thesis suggest a processual model, which collectively reinforces an organisational memory that survives periods of latency and facilitates the re-emergence of practice, thus potentially enabling organisations to endure across intermittent enactment and, ultimately, transcend temporality and ephemerality. The themes examined and insights offered in this thesis seek to contribute to: practice-based studies and film-festival studies; forging a new path linking these two disciplines; and generating both theoretical and practical insights of interest to festival organisers and stakeholders of project-based, temporary or intermittent organisational arrangements.
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Theurel, François. "Le spectateur en mouvement : perspectives et impacts de la diffusion cinématographique numérique sur les pratiques spectatorielles en milieu festivalier." Thesis, Avignon, 2011. http://www.theses.fr/2011AVIG1116/document.
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Cette recherche, réalisée en partenariat avec le Marché du Film de Cannes, s’attache à appréhender l’impact qu’exercent les évolutions des outils numériques de diffusion sur les spectateurs de cinéma dans un contexte festivalier. A l’envers des rhétoriques fonctionnant sur l'idée d’une rupture positiviste dans les pratiques des individus, particulièrement dans un contexte où un grand nombre de représentations médiatiques présentent les évolutions numériques comme «révolutionnaires», nous nous sommes efforcé de saisir ce qui constitue la complexité des pratiques et représentations des spectateurs, tant dans leurs aspects évolutifs que dans leurs aspects de continuité, dans le contexte de ce que nous avons nommé le régime numérique. Nos deux principaux terrains d’étude, le Marché du Film de Cannes et le Festival de Kinotayo, nous ont permis de considérer notre questionnement sous deux angles : celui de l’impact direct des relais numériques sur les pratiques et représentations des spectateurs en situation collective, mais également celui de l’impact des technologies numériques de diffusion sur la forme de l’entité festivalière elle‐même.La problématique du mouvement spectatoriel permis par les usages des relais numériques de diffusion débouche ainsi, dans le contexte éminemment sédentaire de l’activité cinématographique, sur de multiples enjeux d’importance : questionnant à la fois la portée de l’hypothétique individualisation d’une pratique collective, les perspectives renouvelées d’interaction des individus avec la chaine cinématographique mais également les limites évolutives de ce qui constitue la forme «festival». C’est ainsi une dynamique de reconfiguration multidimensionnelle de l’expérience collective cinématographique et festivalière qui apparaît dans cette recherche. Entre sphère collective et sphère privée, entre imaginaires«traditionnels» et pratiques évolutives, elle ancre l’évolution des pratiques et représentations en régime numérique non dans une optique de rupture, mais bien dans une optique de continuitéThis research, conducted in partnership with the Cannes Film Market, seeks tounderstand the impact exerted by digital diffusion technologies on the movie goers in the collective context of festivals.Unlike theories associating the practices of individuals to the idea of a positivist break, particularly in a context where a large number of medias describe digital evolutions as"revolutionary", we have tried to grasp the complexity of the practices and representations of spectators, both in the irevolutionary and continuity aspects, in the context of what we have called the digitalera.Our two main studyfields,the Cannes Film Market and the Kinotayo Festival, have allowed ustotackle our questions from two perspectives : that of the direct impact of digital tools on the practices and representations of spectators in a collective situation,but also that of the impact of digital diffusion technologies on the festival entity itself. The question of the spectators ’movement allowed by the uses of digital diffusion tools leads us, in the context of the highlys edentary cinematographic activity, to several issues of importance : questioning the potential individualization of a collective practice, questioning the renewed possibilities of interaction between the spectators and the cinematographicchain,but also questioning the evolving limits of what is known as "festivals". Thus appears, in this research, a multidimensional dynamic of reconfiguration of the collective festival and cinema expériences. Between the collective and private spheres, between "traditional" representations and evolving practices, this study shows us that the evolution of practices and représentations in a digital context is not about the idea of a break, but about the idea of continuity
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Araújo, Milena Moreira de. "Motivação da audiência de Festivais de Cinema : estudo exploratório em Portugal." Master's thesis, Instituto Superior de Economia e Gestão, 2013. http://hdl.handle.net/10400.5/11422.
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Mestrado em MarketingO número de festivais de cinema tem crescido um pouco por todo o mundo, chegando mesmo às pequenas cidades. Portugal conta, actualmente, com 20 festivais de cinema espalhados de norte a sul do país, mas concentrados particularmente em Lisboa. O objectivo principal desta investigação foi averiguar a motivação dos espectadores de festivais de cinema, inferindo sobre as razões que os levam a frequentar estes eventos. Foi feito um estudo qualitativo, com recurso a entrevistas em profundidade junto de uma amostra não probabilística de frequentadores regulares de festivais de cinema. Os resultados indicam que os principais motivos de ida a estes festivais prendem-se com a vontade de ver estreias de filmes e ter contacto com longas-metragens totalmente diferentes, uma oferta artística que só os festivais conseguem oferecer. Verificou-se que as interacções sociais despoletadas pela ida ao festival de cinema também constituem um motivo relevante.
The number of film festivals has been increasing worldwide, even in smallest towns. In Portugal, there are currently 20 film festivals taking place from the north to the south of the country but they are far more concentrated in Lisbon. The main goal of this investigation was to study the motivation among the audience of film festivals, getting to know the reason why they go to this type of events on a regular basis. A qualitative research has been conducted, using in-depth interviews to a non-probabilistic sample of common attendees of film festivals. Results shown that the main cause for going to a film festival is to watch movies premières and to get in touch with a sort of film that only these festivals can offer. The data collected also reflected that social interactions play an important role as motives to visit these cinematic events.
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García, Bardón Xavier. "Exprmntl. Une histoire du Festival du film expérimental de Knokke/Bruxelles (1949-1974)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA149.
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EXPRMNTL fut probablement la plus importante manifestation jamais consacrée au cinéma expérimental. Conçu et organisé par Jacques Ledoux et la Cinémathèque royale de Belgique, le festival de Knokke / Bruxelles, qui ne connut que cinq éditions (1949, 1958, 1963, 1967, 1974) jouit aujourd'hui d'un statut mythique. Cette initiative singulière et inclassable fut bien davantage qu'un simple festival de cinéma : un point de rencontre pour la création d'avant-garde et la pensée contemporaine, un événement placé sous le signe de l'imprévu, du désir et de la contestation, y compris celle du festival même. En somme : une manifestation à ce point cohérente avec son objet qu'elle fut en elle-même une expérience. Cette recherche retrace l'histoire des cinq éditions du festival, de sa naissance à sa disparition. Elle se fonde sur les archives de la manifestation, jusqu'ici inexplorées, sur les comptes-rendus parus dans la presse de l'époque et sur de nombreux entretiens avec des acteurs et témoinsEXPRMNTL was probably the most important event ever devoted to experimental cinema. Designed and organized by Jacques Ledoux and the Royal Belgian Film Archives, the festival of Knokke / Brussels, which only had five editions (1949, 1958, 1963, 1967, 1974) now enjoys a mythical status. This unique and unclassifiable initiative was more than just a film festival: a meeting point for avant-garde culture and contemporary thinking, an event placed under the sign of the unexpected, desire and protest, including that of the festival itself. In short: an event so consistent with its object that it was in itself an experience. This research traces the history of the five editions of the festival. It is based on the hitherto unexplored archives of the event, the reports published in the press at the time and many interviews with protagonists and witnesses
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Fleck, João Pedro dos Santos. "Consumo fanático : uma análise exploratória nos festivais de cinema fantástico." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/77758.
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Esta tese é uma análise exploratória do consumo fanático e se enquadra no âmbito da Consumer Culture Theory (CCT), analisando outras temáticas pertinentes, tais como o consumo de experiências, distinções simbólicas e a formação de identidades e comunidades. Como lócus de estudo, foi escolhido o ambiente dos festivais de cinema fantástico, buscando investigar indivíduos altamente envolvidos com o objeto de consumo, através do ponto de vista dos próprios pesquisados. O objetivo principal desta tese é analisar se estes festivais exercem influência sobre a(s) identidade(s) dos espectadores e se são responsáveis pela geração de comunidades de consumo. O estudo empírico realizado consistiu na incursão em dois campos de pesquisa (Fantastic Fest, em Austin, Estados Unidos, em 2010 e Fantaspoa, em Porto Alegre, Brasil, em 2012), na realização das duas etapas de observação participante e na realização de uma série de 60 entrevistas filmadas nos dois eventos. As entrevistas foram utilizadas para gerar uma videografia e também foram transcritas para a análise dos resultados. O conteúdo transcrito das entrevistas foi codificado e dividido em itens e esta codificação gerou conceitos a partir dos dados, a fim de analisar o seu conteúdo com rigor acadêmico. O enquadramento desta tese no paradigma interpretativista visou compreender a complexidade dos fenômenos sociais de maneira integrada, a partir dos significados atribuídos pelas pessoas, partindo das relações sociais e culturais estabelecidas no campo de estudo. Constatou-se que, durante os festivais, a parcela dos espectadores mais assíduos desenvolve o que poderia ser denominado de “identidade-para-o-festival”. Tais eventos não apenas influenciam no desenvolvimento da identidade dos seus consumidores, mas também propiciam fortes vínculos emocionais com eles. Pode-se confirmar que a maioria dos espectadores pode ser considerada fã, por transformar o ato de ir ao festival em uma atividade cultural, dividindo sentimentos e pensamentos e tornando-se membro de uma comunidade de indivíduos, na qual há um forte sentimento de aceitação e valorização. Verificou-se que esta interação gera contatos que aumentam o interesse e o conhecimento dos espectadores, desenvolvendo relações que podem gerar comunidades de consumo.This dissertation is an exploratory analysis of fanatic consumption. This is set within the framework of Consumer Culture Theory (CCT), analyzing other relevant themes, such as experience consumption, symbolic distinction and the development of identities and communities. As a locus of study, the environment of genre film festival was chosen, aiming at studying individuals that have a high involvement with their consumption object, through their own point of view. The main goal of this dissertation is to analyze if these festivals exert influence on the identity(ies) of their attendees and if they are responsible for the development of communities of consumption. The empirical study consisted in the incursion in two research fields (Fantastic Fest, Austin, USA, on 2010 and Fantaspoa, Porto Alegre, Brasil, on 2012). Two participant observations were made, as well as 60 filmed interviews in the two events. The interviews were used to create a videography and they were also transcribed for the analysis of results. The transcribed content was codified and separated in items. The coding techniques were used to generate concepts based on the data, aiming at analyzing their content with academic rigor. The framing of this dissertation on the interpretativist paradigm aimed at understanding the complexity of the social phenomenon in a integrated way, being based on the meanings attributed by the festival’s attendees and their social and cultural relationships established on the field of research. It is noteworthy that the most assiduous attendees create what might be called of “identity-for-the-festival”. Such events not only cause influence on the development of the identities of its consumers, but also assist on the development of strong emotional bonds among them. It was confirmed that the majority of the attendees might be considered a fan, because they transform their festival attendance in a cultural activity, sharing thoughts and feelings and becoming a member of a community, in which there is a strong feeling of acceptance and belongingness. It was verified that this interaction, within time, generate contacts that enhance the interest and the knowledge of the attendees, developing relationships that might become communities of consumption.
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Castro, Jennifer de. "Le Festival de Cannes et la promotion du cinéma (1946-1972) : le 7ème art, un objet culturel protéiforme au service du prestige national." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA015.
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Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiésThis thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections
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Peach, Ricardo. "Queer cinema as a fifth cinema in South Africa and Australia." University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.
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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
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Roth, Raphaël. "Bande originale de film, bande originale de vie : pour une sémiologie tripartite de l'emblème musical : le cas de l'univers Disney." Phd thesis, Université d'Avignon, 2013. http://tel.archives-ouvertes.fr/tel-00987167.
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Cette thèse présente les résultats d'une recherche sur la musique au cinéma et la prolongation de l'expérience cinématographique en dehors de l'espace et du temps du dispositif cinématographique par l'écoute de la bande originale du film. Plus particulièrement elle aborde la bande originale du film en tant que musique emblématique de l'univers filmique. Elle instruit une réflexion sur la place de la musique dans nos vies et sa capacité à créer et recréer des expériences esthétiques du quotidien. A partir de la tripartition sémiologique développée par Jean Molino, nous proposons d'appréhender la bande originale de l'univers Disney depuis les conditions et le contexte de sa production d'abord, c'est-à-dire au niveau "poïétique ". Nous procédons à l'analyse de l'univers filmique et musical ensuite en nous plaçant au niveau " neutre " de l'œuvre. Enfin, par le biais d'une enquête par questionnaire dans le cadre d'un protocole de recherche expérimental nous analysons la réception de la bande originale de film à son niveau " esthésique ". Le mickeymousing, technique cinématographique définissant la ponctuation narrative des mouvements par la musique, est appréhendé comme une forme d'esthétisation du réel. Entre synchronisation, emblème et réel esthétisé cette recherche porte, in fine, sur l'esthétisation cinématographique du quotidien par la musique. De la bande originale de film à la bande originale de vie, les fonctions emblématiques de la musique sont décrites par une ethnographie de la musique au quotidien (festivals, trains, Disneyland, rayons des disquaires).
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Richards, Evan E. "The 33rd Alaska Folk Festival : a short documentary /." Fogler Library, University of Maine, 2008. http://www.library.umaine.edu/theses/pdf/RichardsEE2008.pdf.
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Tsakiri, Maria. "What are you looking at? : representations of disability in documentary films." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/24517.
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This study sets out to explore the representations of disability in documentary films. Its starting point is that when such representations of disability films are under examination, one needs to take into consideration a level of complexities that come with disability, the construction and functionalities of representations, and more particularly the impact of documentary films on understanding disability. In order to address this issue, I draw upon disability theory and disability aesthetics, crip theory and crip willfulness, as well as practices of good looking, synthesising in this way a theoretical framework that responds to matters of intersectionality and criticality in relation to the analysis of representations of disability. To this end, I employ a mixed method design, which is based on participant observation, the methods of the written festival and a critical disability studies (crip) analysis for examining selected documentary films alongside a thematic analysis of semi-structured interviews that were conducted with disabled viewers who attended the Emotion Pictures – Documentary and Disability Film Festival in Athens, Greece. Its findings indicate that representations of documentary films familiarise viewers with disability. This familiarisation and the development of political engagement by depicting crip killjoys are the key elements that create representations of a different context and meaning in comparison to those produced by media and fiction films. My analysis reveals that depictions of crip killjoys who are conscious of their political identity, speak out and take action are depictions that ask for political engagement. As such, they can produce good staring. Visibility and social dialogue are two of the benefits of disability film festivals that are highlighted by disabled viewers.
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Šilarová, Hana. "Industry program Mezinárodního festivalu dokumentárních filmů Ji.hlava a jeho přínos pro producenta." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2016. http://www.nusl.cz/ntk/nusl-262708.
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The present thesis explores the industry programme of the Jihlava International Documentary Film Festival, as well as the ways producers benefit from it. This festival has a long-term tradition organizing programmes for film professionals. The individual components of the programme are conceived, respectively, for participants of various professions, for instance festival directors or film directors, with its main section, Emerging Producers, aimed at starting European producers.
The first part of the present work describes the history of Jihlava IDFF and the individual sections of its industry programme, while the second part compares the festival to two other ones of similar size, namely CPH:DOX and Visions du Réel Nyon, whose conceptions differ to a significant extent from Jihlava’s. The last section of the thesis, drawing in part on online questionnaires administered to Emerging Producers participants and to the producers of films competing at the festivals in question between the years 2012 and 2016, examines the contribution industry programmes bring to producers.
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Farine, Anaïs. "Imaginaire cinématographique du « dialogue euro-méditerranéen » (1995 - 2017) ˸ formes festivalières, formes institutionnelles, formes alternatives." Thesis, Sorbonne Paris Cité, 2019. http://www.theses.fr/2019USPCA006.
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Consacrée à l'imaginaire du « dialogue euro-méditerranéen » tel qu'il se manifeste depuis le milieu des années 1990 en particulier (après la Déclaration de Barcelone en 1995 puis la mise en place de la Politique Européenne de Voisinage), cette thèse se penche sur trois cas d'étude qu'elle se propose d'analyser par le biais d'une approche transdisciplinaire. La première partie cherche à comprendre comment se construit et circule un « cinéma méditerranéen » et le savoir sur cette possible cinématographie régionale en analysant quatre festivals qui lui sont consacrés à Alger, Bruxelles, Montpellier et Tétouan. La deuxième partie s'intéresse aux enjeux que soulèvent des programmes sélectionnés par l'Union européenne (Euromed Audiovisuel et Marseille-Provence Capitale européenne de la culture) en procédant notamment à une analyse de discours portés par ces programmes et de films qu'ils ont soutenus. La troisième et dernière partie propose une analyse de Révolution Zendj (Thawra Zanj, Tariq Teguia, Algérie/France/Liban/Qatar, 2013) et, par extension, de la manière dont les questions informant ce film du point de vue de la mise en langue, du sous-titrage et du montage se présentent dans d'autres œuvres cinématographiques. L'étude conjointe des festivals, des programmes institutionnels dédiés au champ des productions culturelles et des films, permet de mettre au jour les implications esthétiques et politiques d'un imaginaire dominant du « dialogue » et du « cinéma méditerranéen ». Elle rend également compte de formes et de pratiques d'articulation des voix, des langues, des points de vue et des récits, qui permettent d'imaginer autrement la Méditerranée et les rapports entre les personnes qui se trouvent vivre dans cet espace et leurs histoiresThis thesis seeks to question the imaginary around the "Euro-Mediterranean dialogue", a topos inspired by - and unfolding since - the 1995 Barcelona Declaration and the ensuing Neighborhood Policies. It focuses on three case studies that it analyses according to an interdisciplinary approach. The first part examines both the construction and circulation of a so-called "Mediterranean cinema", and the knowledge around this supposed regional production in the context of four festivals dedicated to it and taking place in Algiers, Brussels, Montpellier and Tetouan. The second part examines the concerns raised by programs selected for support by the European Union through Euromed Audiovisuel and Marseille-Provence Capitale européenne de la culture (Marseille-Provence, European Capital of Culture). These concerns are addressed through an analysis of the discourse produced by these programs and the films funded by them. The third and last part proposes an analysis of the film Zanj Revolution (Thawra Zanj, Tariq Teguia, Algeria/France/Lebanon/Qatar, 2013) and, by extension, examines the way in which questions related to the mise-en-langue, subtitling and editing that inform this film are present in other films. The intertwined study of festivals, of institutional programs dedicated to cultural productions and of films sheds light on the aesthetic and political implications of a dominant imaginary of "dialogue" and "Mediterranean cinema". The thesis also explores forms and practices that articulate voices, languages, points of view and narratives that are capable of weaving an alternative imaginary of the Mediterranean and of the histories and the relations between the people who happen to live in this space
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Cheyroux, Emilie. "Le festival comme événement reconfigurateur de stéréotypes. Cine Las Americas et les Latinos (Austin, Texas, 1998-2017)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA079.
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Depuis ses débuts, l’industrie hollywoodienne utilise des stéréotypes dépréciatifs des Latinos pour construire une série de personnages menaçants qui cristallisent les peurs de la société américaine. Cette recherche se concentre sur le festival de cinéma latino Cine Las Americas (Austin, Texas) et questionne les stratégies explicites et sous-jacentes mises en œuvre pour déconstruire ces stéréotypes. Dans un premier temps, il s’agit de faire émerger les phases qui ont permis à Cine Las Americas de s’institutionnaliser entre 1998 et 2017. En se concentrant sur une année type (2012), la recherche met également en lumière la synergie avec Austin, ville créative « excentrique » (weird) de façon à montrer en quoi elle est un terrain fertile pour le festival. Elle place également Cine las Americas dans le contexte historique des festivals de films latinos pour en comprendre l’émergence au tournant du millénaire et les spécificités. Dans un deuxième temps, après avoir fait un état des lieux des stéréotypes latinos véhiculés par Hollywood et des stratégies cognitives utilisées pour les construire, le contenu des films des quinze premiers festivals (1998-2012) est analysé dans le but de mettre en évidence les contre-stéréotypes correspondants, notamment à travers l’image du migrant, figure centrale d’un groupe de films sur la frontière. L’analyse fait émerger les thèmes fédérateurs, les contre-récits et questionne l’héritage Chicano de Cine Las Americas. Dans un dernier temps, la thèse s’intéresse à la place de Cine Las Americas dans les réseaux transnationaux et locaux de ses débuts à 2017. Il s’agit de déterminer comment les films « des Amériques » sont utilisés pour articuler la mission anti-stéréotype et faire émerger la figure collective des Indigènes, démontrant ainsi comment Cine Las Americas est devenu un « événement configurateur de champ » (Field-Configuring Event). Cette stratégie confirme le rôle moteur d’Austin et permet de voir les organisateurs comme des diplomates culturelsFrom the beginning, Hollywood has used disparaging stereotypes about Latinos to create a series of threatening characters that give shape to the fears of the American society. This research focuses on the Latino film festival Cine Las Americas (Austin, Texas) and questions the explicit and underlying strategies used to deconstruct such stereotypes. First, the study analyzes the different phases that have allowed Cine Las Americas to become an institution between 1998 and 2017. The research also highlights the synergy with the city of Austin, « weird » Creative City, to show how it represents a fertile ground for the festival. It also situates Cine Las Americas in the historical context of Latino film festivals in order to understand their emergence at the turn of the millenium and their specificities.Second, after going over the Hollywood stereotypes about Latinos, the content of the movies from the first fifteen festivals (1998-2012) is analyzed to shed light on the corresponding counter-stereotypes, especially through the image of the migrant, the central figure of the movies about the border. The analysis sheds light on the unifying themes and the counter-narratives and questions Cine Las Americas’s Chicano heritage. Last, the research seeks to consider Cine Las Americas’s position in international and local networks from the beginning to 2017. It seeks to determine how the movies from « the Americas » are used to implement the anti-stereotype mission and to bring forth the collective figure of the Indigenous people, thus demonstrating how Cine Las Americas has become a Field-Configuring Event (FCE). This strategy confirms Austin’s driving force and portrays the organizors as cultural diplomats
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Kullengård, Josef. "Brokiga nätverk och föreställda gemenskaper : En studie av Göteborg International Film Festival och Malmö Arab Film Festival med utgångspunkt i två teoretiska perspektiv på filmfestivalen." Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-31556.
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Syftet med denna uppsats är att undersöka två samtida svenska filmfestivaler, Göteborg International Film Festival och Malmö Arab Film Festival, utifrån två teoretiska perspektiv på filmfestivalen med den mer övergripande målsättningen att bidra till ett spirande och stadigt växande forskningsfält kring filmfestivalen i den nationella kontexten. De aktuella festivalerna inringar i förhållandevis god mån den svenska filmfestivalflorans allsidighet; en omfångsrik historisk publik festival respektive en smalare tematisk nykomling. De teoretiska perspektiven innefattar festivalen betraktad som en del av ett internationellt nätverk utifrån Thomas Elsaessers och Marijke de Valcks definition, samt som en kulturell yttring av föreställda gemenskaper. Med utgångspunkt i dessa teoretiska positioner kommer festivalerna granskas med fokus på dess uppkomst, visioner och agenda, filmprogram, publik, ekonomisk beskaffenhet och liknande kontextualiserade förhållanden. För Göteborg International Film Festival utgör spridningen av filmkultur, de huvudsakliga fundamenten i dess målsättningar och agenda, i synnerhet med fokus på nordisk film, medan tematiken, den arabiska kulturen, utgör det bärande för Malmö Arab Film Festival. Göteborg International Film Festival uppvisar i samstämmighet med de nätverksteoretiska perspektiven på festivalen en mångfacetterad beskaffenhet av filmceremoni, marknadsplats, internationell plattform och tävlingsmästerskap, i kontrast till Malmö Arab Film Festival där festivalens textur är mer komplex än föreliggande bestämningar. Båda festivalerna har uppstått i den post-industriella staden och dess återskapande som centrum för kreativitet, kultur och kunskap. Malmö Arab Film Festival adresserar en uppenbar arabisk (föreställd) gemenskap i sitt tematiska fokus. Denna föreställda gemenskap kan emellertid även appliceras på Göteborg International Film Festival och dess bestämning som en internationell publik festival, med hänsyn till dess faktiska demografi med övervägande del lokala besökare.
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Tesáček, Roman. "Manipulácia matérie animácie." Master's thesis, Akademie múzických umění v Praze.Filmová a televizní fakulta. Knihovna, 2015. http://www.nusl.cz/ntk/nusl-202791.
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Thesis analyzes the current international competition of animated films Anifilm 2015. The aim of this study is to describe the fundamental nature of the animation. Identify rules and artistic means used in the films. The focus of the thesis is to the potential elimination or possible elimination of film defects by manipulating the individual images or scenes.
The work is divided into two main parts. The first describes theoretical and schematic knowledge of the animated film focusing on dramaturgy and editing. In doing so, it identifies artistic tools that are at the heart of matter animation. Mentioned are also differences in approaches to short and feature animated films. The practical part consists of a set of analyzes of short and feature-length animated films in competition Anifilm 2015 with regard to the places and scenes in the film that contribute to unclear testify or otherwise distorts theme of the film. Thesis does not omit cinematographic works with clear and precise nature.
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Brunelli, Alessia <1994>. "UMBRIA FILM FESTIVAL: Analisi dell’evento culturale." Master's Degree Thesis, Università Ca' Foscari Venezia, 2021. http://hdl.handle.net/10579/19183.
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Con questo elaborato si ha lo scopo di analizzare l’evento culturale dell’Umbria Film Festival, sotto l’aspetto storico, tecnico-amministrativo e socio-economico. Partendo dal primo capitolo si propone una panoramica dei film festival italiani, focalizzandosi successivamente sul contesto umbro e l’origine del festival. Dal secondo si analizza l’evento sotto il profilo tecnico organizzativo e successivamente sull’aspetto economico amministrativo, delineando i punti salienti che permettono la realizzazione del festival e della sua programmazione, e di come questo influisca sul territorio di appartenenza. Nato nel 1989 ad Umbertide (PG) l’Umbria Film Festival non nasce come un festival a concorso ma come una rassegna annuale di anteprime cinematografiche internazionali di film e cortometraggi, diventando un momento di incontro e condivisione attraverso il cinema.
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Ceotto, Elisa <1988>. "Organizzazione di un festival cinematografico: il caso Far East Film Festival." Master's Degree Thesis, Università Ca' Foscari Venezia, 2013. http://hdl.handle.net/10579/3337.
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Questa tesi analizza il Far East Film Festival di Udine, festival del cinema asiatico popolare, che a partire dal 1998 è diventato punto di riferimento per la cultura cinematografica asiatica in Europa. Nella prima parte viene fatta un’analisi dei festival cinematografi: un breve cenno storico, la loro organizzazione, l’ambiente in cui operano e il loro ruolo nella creazione del valore. La seconda parte è dedicata al Far East Film Festival: la sua organizzazione, il suo impatto sul territorio e il suo pubblico.
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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.
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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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Mirabile, Igea. "La pratica del sottotitolaggio nei film festival." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021.
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Questo elaborato ha lo scopo di analizzare la pratica del sottotitolaggio nello specifico ambito dei film festival. Al fine di ciò, il primo capitolo tratta brevemente della traduzione audiovisiva, che, grazie ai fenomeni di globalizzazione e digitalizzazione, è oggi in forte ascesa. Il secondo capitolo analizza la tecnica traduttiva del sottotitolaggio e le sue caratteristiche. Il terzo capitolo apre una finestra sul mondo dei film festival con particolare attenzione all’Italia. Il quarto capitolo esamina la pratica del sottotitolaggio all’interno di questo peculiare circuito, che spesso adotta proprie politiche traduttive, dettate dalle singolarità del settore. Il quinto e ultimo capitolo mette in evidenza alcune delle problematiche tipiche del sottotitolaggio per questo settore, attraverso un’analisi della mia esperienza traduttiva durante il periodo di tirocinio a La Guarimba Film Festival.
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Vitali, Giulia <1995>. "Crowdfunding for film festival: a Colombian case." Master's Degree Thesis, Università Ca' Foscari Venezia, 2019. http://hdl.handle.net/10579/14897.
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The work focuses on the analysis of crowdfunding applied to the Colombian case. The first chapter deals with the financial situation of the Latin American region for the creative industries in general, and then descends in detail to the selected country, analyzing problems and opportunites. Crowdfunding was analyzed closely, related to all the problems related to the Colombian socio-economic situation. Furthermore, the most important film festivals in the country were analyzed closely, focusing on a particular case of crowdfunding application, CineIsla.
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Cavaleri, Giuseppe. "Le cinéma italien en France : histoire, société et diffusion : étudiées à travers les œuvres de Emanuele Crialese, Matteo Garrone et Paolo Sorrentino." Thesis, Paris 10, 2017. http://www.theses.fr/2017PA100096/document.
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Nous pouvons appréhender le Cinéma comme un vecteur culturel capable de cristalliser les us et coutumes d’une société, ou comme un outil susceptible d’en manifester les aspirations. L’industrie cinématographique italienne demeure parmi celles qui ont su imposer dans l'imaginaire des publics des œuvres venues aussitôt enrichir le patrimoine culturel mondial. De nos jours, sa présence internationale est plus modérée, et le rayonnement de ses œuvres ne dépasse que rarement les limites nationales. Les quelques auteurs tels que Emanuele Crialese, Matteo Garrone et Paolo Sorrentino ont su gagner une visibilité désormais incontestable, leur permettant de devenir le symbole d’un cinéma italien contemporain renaissant. Les contenus de leurs filmographies sont le résultat de formes cinématographiques tout aussi riches que variées, et leur influence semble capable de modifier et de mettre à jour l’imaginaire des passionnés de culture italienne. Nos travaux veulent étudier et comprendre l’impact de leurs œuvres au sein d’un pays comme la France. À travers une étude qui se veut historique, sociologique et économique, nous analysons la représentation du réel dans l’histoire du cinéma transalpin, un idéal intellectuel qui semble intéresser particulièrement les publics français. Puis nous nous consacrons aux contenus de nos trois filmographies de référence, pour en extrapoler les données socio-politico-économiques. L’étude de l’impact de ces œuvres sur les critiques cinématographiques français conclut ces travaux, qui se penchent également sur la distribution et l’exploitation de ce cinéma, présent non seulement dans les salles de l'Hexagone, mais diffusé parallèlement au sein de nombreux festivalsOne may approach cinema as a cultural vector which can either give shape to the habits and customs of a given society or reflect its yearnings. The Italian film industry is one among those which have produced movies which entered the global cultural imaginary. Nowadays, its international presence has been reshaped and Italian films do not easily shine beyond the national frame. Artists such as Emanuele Crialese, Matteo Garrone or Paolo Sorrentino have managed to achieve an undeniable visibility, and have become the symbol of a reborn contemporary Italian cinema. The content of their filmographies are the result of film shapes that are as rich as they are diverse, and their influence seems able to alter and to update the imaginary of italian culture connoisseurs. The purpose of our work is to study and understand the impact of their masterpieces on the French audience. Through a historical, sociological and economical study, we will analyse the representation of reality in the history of Italian cinema : an intellectual ideal which seems to have been of interest especially to the French spectators. Then we will focus on the content of these three specific directors’ lifework in order to examine social, political and economical data. Finally, we will conclude by observing the impact these films have had on French experts such as film critics. This study also deals with the distribution and the running of these specific directors’ films not only in the cinemas but also when aired in various film festivals
È possibile concepire il Cinema come un vettore culturale capace di materializzare gli usi e i costumi di una società, o suscettibile di manifestarne le aspirazioni. L'industria cinematografica italiana dimora tra quelle che hanno saputo imporre delle opere entrate istantaneamente nell'immaginario collettivo, e ciò su scala mondiale. Oggi, la sua presenza a livello internazionale è stata ridimensionata e la diffusione delle sue opere oltrepassa raramente i confini nazionali. I rari autori del calibro di Emanuele Crialese, Matteo Garrone e Paolo Sorrentino hanno saputo acquisire una visibilità oramai indiscussa, permettendo loro di diventare il simbolo d'un cinema italiano contemporaneo rinascente. I contenuti delle loro filmografie sono il risultato di forme cinematografiche tanto ricche quanto varie, e la loro influenza sembra capace di modificare e aggiornare l'immaginario degli appassionati di cultura italiana. Queste ricerche vogliono analizzare e comprendere l'impatto delle loro opere in un paese come la Francia. Attraverso degli studi storici, sociologici ed economici, queste ricerche analizzano le forme rappresentative legate al reale presenti nella storia del cinema italiano, un ideale intellettuale che sembra interessare in particolar modo i pubblici francesi. Inoltre, esse si consacrano all'estrapolazione dei dati socio-politico-economici contenuti nelle tre filmografie a cui facciamo riferimento. L'analisi dell'impatto di queste opere sui critici cinematografici francesi scelti come pubblici, concludono queste ricerche che si dedicano in egual modo alla distribuzione e alla commercializzazione di queste opere, presenti non solo in sala, ma diffuse inoltre in molti festival
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Cordero-Goytizolo, Claudio-Michael. "La experiencia de dirigir el FIACID – Festival Iberoamericano de Cine Digital (2012-2014)." Bachelor's thesis, Universidad de Lima, 2017. http://repositorio.ulima.edu.pe/handle/ulima/4651.
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Esta investigación pretende recopilar las experiencias del FIACID a modo de guía de consulta a disposición de cualquier gestor cultural que pretenda producir o dirigir un festival de cine en el Perú. A consecuencia de lo anterior es importante señalar que la presente investigación es heurística, es por esto que se ha desarrollado por medio de la observación y de la exploración de campo, los cuales incluyen un análisis preliminar que no pretende ser exhaustivo, sino más bien cumple con una descripción por un lado histórica, sobre las diferentes etapas en que se desarrolló el FIACID, y por otro lado comparativa, respecto a otros festivales de cine que le sirvieron de modelo. Asimismo, se revelarán circunstancias ocurridas en el festival, como requerimientos, responsabilidades, dificultades, logros y algunas otras lecciones relevantes, que contribuyan al acompañamiento para resolver las dudas internas que suelen presentarse en la organización de este tipo de proyectos.Trabajo de suficiencia profesional
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Niero, Elena <1992>. "I festival cinematografici come catalizzatori turistici. Il caso dell'International Film Festival di Rotterdam." Master's Degree Thesis, Università Ca' Foscari Venezia, 2017. http://hdl.handle.net/10579/10520.
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Questa tesi presenterà i festival cinematografici come veri e propri promotori turistici di una località e si focalizzerà su un caso di particolare successo quale l’International Film Festival di Rotterdam.
La prima parte della tesi illustrerà una panoramica delle diverse tipologie di festival cinematografici esistenti. Verranno elencate le caratteristiche necessarie per l’organizzazione di un festival cinematografico, le motivazioni di base che spingono alla creazione di un film festival, le modalità di progettazione (in particolare gli aspetti organizzativi, economici e sociali), i processi decisionali di scelta delle località e delle date di svolgimento dell’evento (legacy e allungamento della stagionalità turistica) ed infine i profili socio-culturali dei partecipanti.
Nella seconda parte invece, verrà presentato l’International Film Festival di Rotterdam. Dopo un’introduzione sulla nascita del festival, la tesi illustrerà le caratteristiche dell’evento, la programmazione ufficiale (stagionalità ed eventi) e l’assegnazione dei premi. Verranno poi elencate le strategie impiegate per la comunicazione ed il marketing, il merchandising, il budget ed i finanziamenti.
Una particolare attenzione verrà rivolta alla scelta della località, Rotterdam, come chiave del successo di questo festival.
Lo scopo della tesi è dimostrare come un evento cinematografico come l’IFFR, possa avviare una serie di effetti a cascata a beneficio dell’intero sistema su cui si fonda.
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Carrozzo, Virginia <1991>. "Progettare e gestire un festival cinematografico: il caso del Salento International Film Festival." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13056.
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Partendo dall'analisi di quelli che vengono definiti eventi culturali, con particolare attenzione ai festival cinematografici, si arriva a descrivere il processo di progettazione e gestione di un evento culturale. Viene analizzato, in seguito, il caso del Salento International Film Festival che, nel suo piccolo, come tutti i festival del cinema, determina una crescita sociale, culturale ed economica dei Paesi in cui esso si svolge.