Relevant bibliographies by topics / International animated film festival

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'International animated film festival'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'International animated film festival.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "International animated film festival"

1

Waldburger, Adia. "Sport on the Screen: A Look at Sport Films Featured at Sundance 2011." International Journal of Sport Communication 4, no. 2 (2011): 253–58. http://dx.doi.org/10.1123/ijsc.4.2.253.

Full text
Abstract:
Audiences had the opportunity to applaud for sport films at the 2011 Sundance Film Festival in Park City, UT. Two sport-themed documentary films won audience awards. The U.S. winner, Buck, follows the life of horse trainer Buck Brannaman, and Senna, a look at the life of Formula One hero Ayrton Senna, won in the international category. Other sport films screened this year included Win Win, in which Paul Giamatti stars as a volunteer high school wrestling coach; Benevides Born, about a teen female wrestler trying win a scholarship; and two short movie entries, Bike Race, an animated film about a race and a love triangle, and Skateistan: To Live and Skate Kabul, a documentary about skaters in war-torn Afghanistan. This review provides an examination of the sport films at this year’s festival and discusses the impact that this form of sport communication has on the entertainment industry.
APA, Harvard, Vancouver, ISO, and other styles
2

Fusong, Liu. "The Localization Style Design Analysis of Domestic Animation The case study of Scissor Seven." E3S Web of Conferences 236 (2021): 04060. http://dx.doi.org/10.1051/e3sconf/202123604060.

Full text
Abstract:
Scissors Seven as a GuangZhou native animation works has won a large number of fans on the Internet, network playback volume reached 260 million, and in 2018 became the only domestic animation in the Annecy international animation film festival, in 2019,in 2020 Magnolia Award for Best Animated Screenplay at the 26th Shanghai TV Festival became the only domestic animation work award in the past five years.Further more the film became Netflix online products, The Japanese and English versions can be seen in 29 countries and 190 regions .Most of the audiences love this work and gave a good comments. This paper will analyze the visual and auditory elements of the work around the localized style design of the film, so as to obtain the inspiration and thinking of domestic animation design.
APA, Harvard, Vancouver, ISO, and other styles
3

Husniyah, Nur Iftitahul. "Tantangan Globalisasi Pendidikan Islam (Study Komparasi Budaya Pop di Indonesia dan Malaysia)." AKADEMIKA 11, no. 1 (2017): 78–91. http://dx.doi.org/10.30736/akademika.v11i1.46.

Full text
Abstract:
Popular culture broadcast from electronic media in this paper is aimed at introdution children to the importance of good moral messages in addition to being a medium of Islamic religious education transfer in the matters of worship or moral and social values. Animated Upin Ipin film produced in Malaysia, the business management, creative ideas, and quality of the image could deliver the Upin & Ipin film in getting some awards. In 2008, Upin & Ipin was awarded International Achievement Appreciation Award, Best of Media Entertainment Category-Merit Award (MSC Malaysia APICTA 2008), and President's Award (Malaysia-Canada Business Council Business Excellence 2008). Meanwhile, in 2009, it was awarded Winner of MSC-Malaysia Management Game 2009, IT Frank 2009 (Global Emerging Innovative Enterpreneur), First 3D Animation Feature Film (Malaysia Book of Records), Viewer Choice Award (Kids Film Festival), Anugerah Khas Juri and Anugerah Box Office (Malaysia Film Festival), Best on Screen Chemistry Awards (Shout Awards), and Best Editing and Best Music (MSC Creative Digital Contents Conference). These awards have once again marked the high quality of Upin & Ipin series and Upin & Ipin technology innovation in Malaysia.
APA, Harvard, Vancouver, ISO, and other styles
4

Bradshaw, Julia. "FMX 2019: Conference on Animation, Effects, Games and Immersive Media; 26th Stuttgart International Festival of Animated Film." Afterimage 46, no. 3 (2019): 1–8. http://dx.doi.org/10.1525/aft.2019.463001.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Jelesijević, Nenad. "International Puppet Festival LUTKE 2014." Maska 31, no. 179 (2016): 138–53. http://dx.doi.org/10.1386/maska.31.179-180.138_1.

Full text
Abstract:
The article considers fragments of performances from the Ljubljana International Puppet Festival, especially emphasizing Antigone and Georges Méliès’ Final Trick. It places at its centre the hybridisation of the bodies of puppet and puppeteer as a phenomenon that creates unexpected transitions of form and sensuality – that is, a trans-situation, in which sensual distribution occurs not only among living individuals but also among (animated) objects. A trans-situation allows for a wider space of sensual distribution within the temporary bounds of the performance.
APA, Harvard, Vancouver, ISO, and other styles
6

Żebrowski, Mateusz. "Educational Potential of Animated Films in Poland." Panoptikum, no. 18 (December 29, 2017): 106–19. http://dx.doi.org/10.26881/pan.2017.18.07.

Full text
Abstract:
The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).
APA, Harvard, Vancouver, ISO, and other styles
7

Wexman, Virginia Wright. "Toronto International Film Festival." Framework: The Journal of Cinema and Media 47, no. 2 (2006): 125–27. http://dx.doi.org/10.1353/frm.2006.0025.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Wexman, Virginia Wright. "Vancouver International Film Festival." Framework: The Journal of Cinema and Media 47, no. 2 (2006): 128–30. http://dx.doi.org/10.1353/frm.2006.0026.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Alawadhi, Hend F. "13th Dubai International Film Festival." Afterimage 44, no. 5 (2017): 4–5. http://dx.doi.org/10.1525/aft.2017.44.5.4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Grant, Barry Keith. "Toronto International Film Festival 2007." Film International 5, no. 6 (2007): 92–96. http://dx.doi.org/10.1386/fiin.5.6.92.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "International animated film festival"

1

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.

Full text
Abstract:
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.<br>Anthropology
APA, Harvard, Vancouver, ISO, and other styles
2

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
3

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ahn, SooJeong. "The Pusan International Film Festival 1996-2005 : South Korean cinema in local, regional, and global context." Thesis, University of Nottingham, 2008. http://eprints.nottingham.ac.uk/10513/.

Full text
Abstract:
Despite the growing academic attention to film festivals, there has been little critical discourse about such events staged outside the West. This thesis aims to address this gap by providing a social, political and cultural exploration of the Pusan International Film Festival (PIFF) in South Korea between 1996 and 2005. The thesis utilises empirical research to reveal how the festival staked out a unique and influential position within a rapidly changing global landscape. Particular attention is paid to the organisersors' use of an Asian regionalisation strategy to promote the festival locally and globally. This study claims that PIFF has gone further than any other film festival in constructing a regional identity and maintaining a strong and mutually beneficial link to its national film industry. Research into PIFF's special relationship with both the national and regional film industries uncovers the previously unexplored roles that film festivals play in film production, in addition to their traditional functions of exhibition and distribution. To place this analysis in context, the thesis examines the politico-economic factors that influenced the establishment of the festival, its programming, the project market (the Pusan Promotion Plan), and its tenth anniversary in 2005. The study argues that analysis of PIFF reveals tensions and negotiations between the "national" and the "transnational" in the wake of economic and cultural globalisation in East Asia. The thesis serves as a case study of how contemporary film festivals adjust their roles and identities to adapt to local, regional and global change.
APA, Harvard, Vancouver, ISO, and other styles
5

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

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.

Full text
Abstract:
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.
APA, Harvard, Vancouver, ISO, and other styles
7

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.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

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.

Full text
Abstract:
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 privilégiés<br>This 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
APA, Harvard, Vancouver, ISO, and other styles
9

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.

Full text
Abstract:
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 continuité<br>This 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
APA, Harvard, Vancouver, ISO, and other styles
10

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.

Full text
Abstract:
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 culturels<br>From 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
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "International animated film festival"

1

Créateurs & créatures: 50 ans de festival international du film d'animation d'Annecy = Creators & creatures : 50 years of the Annecy International Animation Film Festival. Glénat, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Poslanie k cheloveku: XV Mezhdunarodnyĭ kinofestivalʹ dokumentalʹnykh korotkometrazhnykh igrovykh i animat︠s︡ionnykh filʹmov, 15-22 ii︠u︡ni︠a︡ 2005 = Message to Man : XV International Documentary, Short, and Animated Films Festival, St. Petersburg, June 15-22, 2005. [s.n.], 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival, 2005. Pendragon, 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Future, Film Festival (9th 2007 Bologna Italy). Future Film Festival, 2007: Www.futurefilmfestival.org. Pendragon, 2007.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
5

Giulietta, Fara, and Cosulich Oscar, eds. Future Film Festival, 2006: Www.futurefilmfestival.org. Pendragon, 2006.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

Berlinale: Berlin International Film Festival. Argon, 1990.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Brown, Kimberley. Chamberlain Bros. International Student Film Festival. Chamberlain Bros., 2005.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

World Animated Film Festival (5th 1987 Varna, Bulgaria). Varna '87: Peti Svetoven festival na animat͡s︡ionnii͡a︡ film, 3-7 oktomvri = Varna '87 : Fifth World Animated Film Festival, October 3-7. Prest͡s︡entŭrŭt na Petii͡a︡ svetoven festival na animat͡s︡ionnii͡a︡ film, 1987.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Newstead, Anya. Visions94, the festival of international animated theatre: Documentation and evaluation report. University of Brighton, 1995.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

editor, Popović Milena, and Dom kulture "Studentski grad.", eds. Balkanima '10: 7. evropski festival animiranog filma, Beograd. Dom kulturi Studentski grad, 2010.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "International animated film festival"

1

Ma, Ran. "Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Pollacchi, Elena. "“Mature at Birth”: The Beijing International Film Festival Between the National Film Industry and the Global Film Festival Circuit." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_3.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Stevens, Kirsten. "Between Success and Failure: Crisis and Recovery at the Melbourne International Film Festival." In Australian Film Festivals. Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_5.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Ma, Ran. "Asian Documentary Connections and “The International Film Festival Short Circuit”: Yamagata International Documentary Film Festival (YIDFF) as a Case Study." In The Palgrave Handbook of Asian Cinema. Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95822-1_9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Xiao, Jian, and Lin Jin. "The Role of an Urban Festival: Case Study of the Pingyao International Film Festival." In Re-Imagining Creative Cities in Twenty-First Century Asia. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46291-8_11.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wong, Cindy Hing-yuk. "Creative Cinematic Geographies Through the Hong Kong International Film Festival." In A Companion to Hong Kong Cinema. John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118883594.ch9.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Iglesias, Eulàlia. "Positioning Documentaries at the Cannes International Film Festival: Fahrenheit 9/11 and Beyond." In Documentary Film Festivals Vol. 2. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-17324-1_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Wäfler, John. "The Surveillance of Film Festivals in Switzerland: The Case of Locarno International Film Festival." In Cultural Transfer and Political Conflicts. V&R unipress, 2017. http://dx.doi.org/10.14220/9783737005883.141.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Dovey, Lindiwe. "“Where is Africa?” at the 2010 International Film Festival of Rotterdam." In Curating Africa in the Age of Film Festivals. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137404145_4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Marchetti, Gina. "Clara Law’s Red Earth: The Hong Kong International Film Festival and the Cultural Politics of the Sponsored Short." In Chinese Film Festivals. Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_13.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "International animated film festival"

1

Bobrowska, Olga. "Stoptrik international film festival." In ACM SIGGRAPH 2014 Computer Animation Festival. ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634010.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Quirk, Shawn. "Rhode Island international film festival." In ACM SIGGRAPH 2014 Computer Animation Festival. ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634007.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Kusumawardhani, Mega Iranti, and Muhammad Cahy Daulay. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imov-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

KUSUMAWARDHANI, MEGA IRANTI, and MUHAMMAD CAHYA DAULAY. "Indonesian Traditional Story Content in Animated Short Film: Case Study Students’ Animated Short Film Final Project." In International Moving Image Cultures Conference. Film Department Universitas Multimedia Nusantara, 2019. http://dx.doi.org/10.31937/imoviccon-18.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Duncan, Keltie. "Ottawa international animation festival short film samplers." In ACM SIGGRAPH 2014 Computer Animation Festival. ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634003.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Inoue, Masashi, and Sakie Sakuma. "Analysis of the Film Selection Process for a Film Festival." In 2014 28th International Conference on Advanced Information Networking and Applications Workshops (WAINA). IEEE, 2014. http://dx.doi.org/10.1109/waina.2014.96.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

"14th Annual Animation and Digital Effects Film Festival." In 2017 21st International Conference Information Visualisation (IV). IEEE, 2017. http://dx.doi.org/10.1109/iv.2017.88.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Wang, Hongwei. "Analysis of the Anti War Thought from Animated Film." In 2014 International Conference on Education, Management and Computing Technology (ICEMCT-14). Atlantis Press, 2014. http://dx.doi.org/10.2991/icemct-14.2014.90.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Chen, Chuang. "Research on Character shaping in Animated film Monkey King." In 2016 2nd International Conference on Economics, Management Engineering and Education Technology (ICEMEET 2016). Atlantis Press, 2017. http://dx.doi.org/10.2991/icemeet-16.2017.85.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Qin, Jianbo. "The Music Aesthetic Analysis of the Animated Film “Coco”." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.76.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'International animated film festival' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography