Dissertations / Theses: 'International animated film festival'

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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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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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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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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/.

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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.

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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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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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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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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 privilégiés 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

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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 continuité 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

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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 culturels 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

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Yoon, AhYoung. "Aging and Arts Policy: Interrogating Perceptions of Older People in South Korea." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1503016550067467.

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Jiang, Meng-Hsuan, and 江孟軒. "A Critique Essay on the Curation of Film Festival Fluid Sexuality International Film Festival." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/7e9r96.

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碩士 國立臺北藝術大學 電影創作學系碩士班 103 “2015 Fluid Sexuality International Film Festival” was held from March 13th to 15th, 2015 at SPOT Huashan. A total of 11 domestic and international films was screened in the film festival, which aimed to break the common misconceptions of the gender and sexual imaginations – to diminish the prejudice and boundary between races, to emphasize on the fluidity and uncertainty of sex/gender, to establish the communication on human emotions, and to emphasize the respect and embracement of the distinguished shapes of sex and gender in creating a “coolest” ideology among human interactions. Under my curation, the film festival was categorized into three subjects with different angles. “Not Only LGBT” conveyed the fluidity and unpredictability of the world of affection; Using “Cupid” who controls the love arrow as a symbol, in this program we screened wonderful and diverse stories about love/desire from various countries. The program “Sexual Diversity in Asia” was intended to explore the sexuality among the Chinese-speaking territories by collecting films from China, Taiwan, and Hong Kong. This program exhibited the multiple challenges and border-crossing on the emotion side. The program was expected to relocate “classicism” like those well-known wisdom idoms. “Country Focus: Israel” focused on films from Israel where the national recognition situation is similar to Taiwan, and to discover how the city of Tel-Aviv is viewed “gender-friendly,” and how the government uses the “friendliness to genders” as their marketing strategy. I structured the festival based on the “queer theory,” using its idea of how gender is built by society, and how the alternative angle of “obscurity, fluidity and uncertainty” of gender itself should be applied. By doing so, I was able to advocate the equality rights for the diversity of sex/gender. The film festival was honored with the sponsorship of our government and the Israeli Economic and Cultural Office, which allowed the festival to be held smoothly. This essay was written and organized with detailed description of the execution process and the self-examination of this author as the curator. On top of that, the film festival was curated what I’ve learned from the Department of Filmmaking and how I sincerely come out to express myself.

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Lam, Peter. "Heterotopia of Spectacles: Toronto International Film Festival in the Entertainment District." Thesis, 2010. http://hdl.handle.net/10012/4992.

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The Toronto International Film Festival Group (tiff.) is the latest addition to an existing array of spectacles offered in Entertainment District of Toronto. Spectacles remove us from reality, surprise us, connect us with others, and allow us to participate as a part of a community. However, their extraordinary nature can be so enticing that they put us into a trance that can leave us vulnerable to political and economic influences. This thesis uses Michel Foucault’s concept of heterotopias, or ‘other places’, to shed light on the values, characteristics and functions of spaces dedicated to these spectacles. These spaces exist in the grey zone between the political-public domain and the economic-private property. They are sanctuaries for events, activities and illusions that deviate from those of the commonplace. The Entertainment District is a heterotopia that reflects and fosters Toronto’s enjoyment and fascination with spectacles. This thesis looks at how the district can further its role as a heterotopia of spectacle by juxtaposing the existing experiences with a variety of contemporary experiences such as free play and film-related events introduced through John Street’s use of the concept of shared space and the introduction of a new home for tiff. Portions of John Street are transformed into continuous ground surfaces that encourage pedestrian circulation within the district, as well as the introduction of new spectacles. The new tiff. building situates itself along this continuous ground surface and extends up to the building’s edge and through laneways to an internal courtyard. The building reads as an incompatible cluster of skewed volumes with their own distinct function stacked on top of one another. The agitated and fragmented geometry of the building is developed through a series of governing lines and curves which sets themselves within the Cartesian grid of the city at irregular angles. These volumes are wrapped in a variety of opaque, transparent and translucent materials that frame views of events on the street, in the neighbourhood, and in the city. This thesis of discourse and design will be of interest to all those wishing to understand heterotopias or ‘other places’ dedicated to spectacles.

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Bossa, Roberto. "The Busan International Film Festival as a Field-Configuring Event: How a festival redefined Korea's film culture both locally and globally." Thesis, 2013. http://spectrum.library.concordia.ca/977189/1/Bossa_MA_S2013.pdf.

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Since the 1990s, no film culture has reached a higher level of international as well as national success than the South Korean film industry. Shifting from an obscure national film culture to an Asian dynamo in a timespan of only 20 years, the expansion and development of the country’s film industry allowed Korea to develop into the top cultural hub in Asia. This shift was possible thanks to various state institutions who encouraged and supported new production practices through various legislation. In 1996, taking advantage of the resurgence and development of the Korean film industry, various film industry members, in participation with municipal, provincial and state organizations, organized the first international film festival in Korea’s history, held in the southern port-city of Busan. This event would eventually play a crucial role in the success of Korean films both locally and on the global level. As a ‘Field-Configuring Event’, the Busan International Film Festival would be dedicated to the promotion, support, funding and development of the Korean film industry. Since its inception in the mid-1990s, BIFF has played a pivotal role in the success of Korean motion pictures across the globe, most notably in various A-list international film festivals, and at home, where market shares have soared to over 80% in 2013.

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Chen, Tsuiping, and 陳翠萍. "A Reflection and Discussion on One Decade’s (2007-2016) Culinary Cinema in Berlin International Film Festival." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/88435226986971666546.

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碩士 國立高雄餐旅大學 飲食文化暨餐飲創新研究所 105 The study of food films and documentaries has, since the 1980s, begun to be noticed in the scholarship. According to some literature review, the scholarship on food films focused largely on analysis of food representations in individual films. This aspect of research usually explored the symbolic role or metaphoric role of food and food behaviors play in cinematic narratives and images. The results of the research indeed affirmed that “films’ narratives and images are a legitimate means of observing the changing structures of social interdependence and shifts in cultural identity” (Ferry, 2003, p. 2). However, the success of this aspect of research suggests that there is even more that could be done in this burgeoning area. The study intends to review a decade’s food films selected and demonstrated in Berlin International Film Festival from 2007 to 2016. In the literature review section, 171 food films including new and old food documentaries and short and feature food films from all over the world have been briefly introduced. Also the previous overarching frameworks used to analyze the food films have been reviewed. In order to find out the main themes demonstrated the real roles of food play in people’s life, the researcher have watched the 171 films and studied related reviews, journal articles, and book chapters on these documentaries and films. The researcher also conducted a systematic research synthesis on them. Using Glaser and Strauss’ Grounded Theory (1967) constant comparison method, the researcher did comparative reviews on these documentaries and films. Four main themes emerged from the synthesis are: (1) It is the time to disclose the desire and awakening of human beings for nature and healthy food and for fair and just food; (2) The eternity of human beings is built on the sustainable ecology and biological diversity; (3) The persistence, creativity and ideals of the cooks are the driving force for human food culture transmission and inheritance；(4) Food is the origin of emotional communication between human life and all things. It is anticipated the research results can provide Taiwanese scholars and educators of food culture with a general overview of the current global food culture issues, so that they would study and teach food culture in a broader perspective. It is also expected that the analysis on the 171 selected food films can inspire more Taiwanese film makers and producers to shoot profound and far-reaching dietary documentaries or dramas to spread the long history and plenty of Chinese food culture. By doing so, it is hoped that Taiwanese can sincerely look at the current global concern of the various food issues and its connection to Taiwan society.

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Godin-Hébert, Antoine. "Cinéma et modernité : le Festival international du film de Montréal de 1960 à 1967, du personnalisme au néonationalisme." Thèse, 2016. http://hdl.handle.net/1866/19097.

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En 1960, Fernand Cadieux et Pierre Juneau créent le premier Festival international du film de Montréal. Chaque année le Festival a lieu au mois d’août jusqu’à l’Expo 67, événement qui marque à la fois le point culminant et final de cette aventure culturelle. L’histoire de cette institution touche à la culture, au personnalisme, au nationalisme, à la cinéphilie ainsi qu’à l’institutionnalisation et à l’industrialisation du cinéma au Canada et au Québec pendant les années cinquante et soixante. Conçu sous le régime politique de Duplessis par d’anciens membres de la Jeunesse étudiante catholique qui deviendraient presque tous fédéralistes, le Festival constitue un objet idéal d’histoire culturelle propice à étendre la compréhension des origines catholiques de la Révolution tranquille. Au plan culturel, il permet aussi de comprendre plus finement la resynchronisation du Québec dans la trajectoire de la modernité, ainsi que les répercussions du choc entre nationalistes et gauchistes québécois contre libéraux fédéralistes. Ce mémoire permet aussi de découvrir le FIFM comme institution cinématographique québécoise, le réseau d’acteurs et d’établissements qui le soutiennent et l’objet de leur passion : les films. La présente analyse explore la manifestation dans ses dimensions à la fois cinématographique et politique, artistique et historique. In 1960, Fernand Cadieux and Pierre Juneau founded the first Montreal International Film Festival. This great cultural adventure was held each August, up until what became its culminating and final year: that of Expo ’67. The history of the festival is intrinsically linked to culture, personalism, nationalism, and cinephillia, as well as the institutionalization and industrialization of cinema in Canada and Quebec during the 1950s and 60s. Created under the political regime of Duplessis by former members of the Jeunesse étudiante catholique (Young Christian Students), who would almost all become federalists, it became apparent to me that the festival constituted a cultural-historic event conductive to expanding our understanding of the Catholic origins of the Quiet Revolution. It also allowed for a finer understanding of the resynchronization of Quebec with modernity and the shock waves that emanated from this change, in particular, between leftists Quebec nationalists against federal Liberals. Moreover, this paper allows us to discover the FIFM in its role as a Quebec cinemagraphic institution, as well as the community of actors and establishments that supported it and the object of their passion: film. The wager is therefore, to analyze in one hundred or so pages, the multiple facets of these issues: the cinemagraphic, political, artistic and historic.

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Lin, Chu-Fang, and 林竹方. "A Research of The Creative Process of Documentary Film Directors：By The Case of Taiwan International Documentary Festival (TIDF) Taiwanese Competition Winners." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/3sh4tn.

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碩士 國立臺北教育大學 文化創意產業經營學系 104 A Research of the Creative Process of Documentary Film Directors：By the case of Taiwan International Documentary Festival (TIDF) Taiwanese Competition Winners Abstract Taiwan, because of its special historical and political background, in the early days, the media in Taiwan became a tool of national political ideology for a long time. 1970s the citizenship in Taiwan had been elevated, documentary started to sprout. For example, "Green Team" was founded in 1986," Quan Jing Ying Xiang image studio" was set up in 1988. Documentary is not only a kind of film, but also a represent of independent media, that provides a multicultural perspective to the society. The creative process of independent documentary film directors are mutually influenced by various complicated factors. Several documentary filmmakers were invited in this study as research participants. They have won the Taiwan International Documentary Festival (TIDF) Taiwanese Competition. The study utilize creativity theory, summarizing four levels: the personal traits, learning experiences, create the course of problem solving and environments to be analyzed and discussed. The study was a narrative study in addition to the in-depth interviews of these documentary filmmakers themselves, in seeking the experiences of documentary, from the analysis of interview notes, their films and media reports etc. This study is to examine the sequence of the creation of documentary filmmakers, aiming to learn documentary filmmakers’ creative process.

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CAO, JIA-HUA, and 曹佳華. "An Analysis of the Production and Marketing Strategies of Independent Films in Mainland China——Taking FIRST International Film Festival as a case." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/694rwq.

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碩士 世新大學 傳播管理學研究所(含碩專班) 106 As far as the audience acceptance of the current film market in mainland China is concerned, the main motives of the general public watching movies behavior are still entertainment and socialization. Independent films without reputation and capital are hard to regain promotion in publicity. The box office is usually relatively miserable, and the market is not optimistic. In the movie industry environment, the right to slice is still held in the hands of the theaters, arranging the largest number of mainstream commercial movies, in order that it might minimize risks and achieve the highest return on investment. Since these purposes are the main logic of the commercial market, it is not an easy task to reverse the low box-office situation for independent movie listings. In addition, it is also difficulty for the independent film probably to face the content review during the entire production and distribution process. Under such a situation, the works of unknown and cutting-edge youth directors can hardly compete with the IP movies in the capitalist commercial market, and it is even difficult to obtain the investment or distribution rights of the film companies at the time of shooting. While young directors were in a difficult position alone, the FIRST International Film Festival became a frontline opportunity for independent films. The film festival was mainly directed at young filmmakers and team members, providing a series of support for excellent screenplays and film productions. It established a relatively complete independent film production and marketing channel, which contributed to the spread of independent films. This study uses the FIRST International Film Festival as a case study to try to sort out the difficulties and opportunities faced by independent films in mainland China in the production and marketing process. It explores how the independent films in a niche position are spread and nurtured in the mainstream market for commercial films. The independent film, thus, occupies its own place and promotes the development of production and marketing.

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Deraeve, Jeroen. "Le rôle des festivals de cinéma internationaux dans l'émergence du cinéma iranien." Thèse, 2015. http://hdl.handle.net/1866/12566.

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Jusqu’à la fin du vingtième siècle, les études sur le cinéma iranien ont tendance à aborder ce cinéma par rapport à la Révolution islamique de 1979, c’est-à-dire à le diviser en deux époques, prérévolutionnaire et postrévolutionnaire. Cette recherche s’inscrit dans une pensée récente qui étudie l’émergence de ce cinéma national en tant que cheminement continu et dominé par des politiques culturelles contradictoires et ambiguës. Dans cette étude, nous ferons au premier chapitre un survol de l’histoire du cinéma iranien, avec un intérêt particulier pour la culture des festivals. Il s’agira de décrypter les enjeux politiques et culturels qui dirigent les décisions du gouvernement et des professionnels de l’industrie. Le deuxième chapitre proposera un questionnement sur la notion de cinéma national, et appliquera cette notion au cinéma iranien. Une attention particulière sera portée à la Fondation du cinéma Farabi, une institution clé dans la promotion du cinéma national et dans l’émergence des films iraniens dans les festivals de films internationaux. Finalement, le troisième chapitre présentera le rôle des festivals dans l’industrie cinématographique ainsi qu’une analyse de l’évolution des films iraniens présentés au Festival des films du monde de Montréal afin de démontrer l’influence des politiques culturelles iraniennes floues sur la présence des films iraniens dans les festivals occidentaux. Until the end of the twentieth century, studies on Iranian cinema consider the Islamic Revolution of 1979 as a turning point in the history of this cinema, i.e. they divide its history in two eras, pre-revolutionary and post-revolutionary. This research joins the recent idea that this national cinema emerged as a continuous progression dominated by contradictory and ambiguous cultural policies. In the first chapter of this essay, we will paint a general picture of the history of Iranian cinema, and its festival culture in particular. We will clarify the political and cultural incentives that orchestrate the decisions of the authorities and the industry’s professionals. The second chapter will question the notion of national cinema, and will apply this notion to Iranian cinema. Special attention will be paid to the Farabi Cinema Foundation, a key institution in the promotion of Iranian national cinema and in the emergence of Iranian films in international film festivals. Thereafter, the third chapter will present the role of festivals in the film industry and an analysis of the evolution of Iranian films presented at the Montreal World Film Festival in order to demonstrate the influence of vague Iranian cultural policies on the presence of Iranian films in Western films festivals.

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Wermeille, Anaïs. "Le "Festivable" ou conceptualisation de l'expérience des festivals de cinéma : exemple du Festival du Nouveau Cinéma de Montréal." Thèse, 2008. http://hdl.handle.net/1866/7149.

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Simões, Marta Teixeira Pascoal. "Do Real ao Possível: Utopias do Documentário Contemporâneo." Master's thesis, 2015. http://hdl.handle.net/10362/19876.

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A presente proposta tem como objectivo principal identificar e analisar a relação que o documentário contemporâneo, na sua forma mais livre e pessoal, tem vindo a estabelecer com uma representação utópica da realidade. O ponto de partida é um estágio de seis meses realizado no Copenhagen International Documentary Film Festival, cuja programação se caracteriza precisamente pelo cruzamento do documentário com uma visão mais subjectiva, artística e pessoal. A minha análise baseia-se na concepção dos diferentes modos de documentário desenvolvida pelo teórico de cinema americano Bill Nichols e na definição de art film elaborada pelo historiador de cinema americano David Bordwell. A delimitação e concretização da ideia de utopia é feita através do filósofo alemão Ernst Bloch e do teórico político e crítico literário Fredric Jameson. Os conceitos teóricos aqui apresentados são posteriormente aplicados a três filmes programados pelo festival com a finalidade de mostrar como estas obras se situam entre os dois géneros (documentário e art film) e como desta tendência resulta uma revitalização do próprio documentário enquanto objecto que promove reflexão. Ao longo da minha análise argumento ainda que a presença de traços utópicos nestas obras é símbolo de um cinema de possibilidades, capaz de apresentar uma visão crítica e comprometida da sociedade. This proposal aims to identify and analyze the relationship between contemporary documentary, in it’s most personal and loose approach, and utopic representations of reality. My starting point is a six month internship at the Copenhagen International Documentary Film Festival, whose program choices are characterized precisely by a more subjective, personal and above all artistic view on documentary. My analysis departs from the american film theorist Bill Nichols’ understanding of documentary modes of representation and the american film historian David Bordwell’s definition of ‘art cinema’. The theoretical concepts presented herein are subsequently applied to three films programmed by the festival in order to show how these film works can be placed somewhere between the two genres and how this leads to a revitalization of the documentary genre itself as a thought provoking practice. In this analysis is furthermore argued that the utopian traits that can be found in these works represent an idea of a cinema of infinite possibilities, where a critical and committed vision of society can be found.

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

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