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Journal articles on the topic 'International animated film festival'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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).

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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.

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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.

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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.

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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.

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11

Watson, David. "The 64th Edinburgh International Film Festival." British Journal of General Practice 60, no. 577 (2010): 628–29. http://dx.doi.org/10.3399/bjgp10x515278.

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12

Watson, David. "The 65th Edinburgh International Film Festival." British Journal of General Practice 61, no. 590 (2011): 572–73. http://dx.doi.org/10.3399/bjgp11x593956.

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13

Watson, David. "The 68th Edinburgh International Film Festival." British Journal of General Practice 64, no. 629 (2014): 640–41. http://dx.doi.org/10.3399/bjgp14x682957.

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14

Watson, David. "The 63rd Edinburgh International Film Festival." British Journal of General Practice 59, no. 565 (2009): 624–25. http://dx.doi.org/10.3399/bjgp09x453945.

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15

de Valck, Marijke, Fanny Baars, Molly Bower, et al. "Dossier: International Film Festival Rotterdam 2015." NECSUS. European Journal of Media Studies 4, no. 1 (2015): 235–47. http://dx.doi.org/10.5117/necsus2015.1.val1.

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16

Frank, Alison Elizabeth. "Berlin International Film Festival - Berlinale 2011." Film-Philosophy 15, no. 1 (2011): 234–39. http://dx.doi.org/10.3366/film.2011.0014.

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17

Eaton, Michael. "Third International Festival of Ethnographic Film." Anthropology Today 8, no. 6 (1992): 23. http://dx.doi.org/10.2307/2783269.

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18

Sperschneider, Werner. "Gottingen International Ethnographic Film Festival 1996." Anthropology Today 12, no. 6 (1996): 21. http://dx.doi.org/10.2307/2783405.

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19

Guido, Laurent. "Neuchâtel International Fantastic Film Festival 2006." Décadrages, no. 8-9 (October 10, 2006): 155–60. http://dx.doi.org/10.4000/decadrages.301.

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20

Watson, David. "The 66th Edinburgh International Film Festival." British Journal of General Practice 62, no. 601 (2012): 436–37. http://dx.doi.org/10.3399/bjgp12x653723.

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21

Watson, David. "The 67th Edinburgh International Film Festival." British Journal of General Practice 63, no. 614 (2013): 488–89. http://dx.doi.org/10.3399/bjgp13x671768.

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22

Ciecko, Anne. "Report: International Film Festival Rotterdam 2006." Quarterly Review of Film and Video 23, no. 3 (2006): 281–86. http://dx.doi.org/10.1080/10509200600791413.

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23

Gateward, Frances, and Joelle Collier. "Report on Pusan International Film Festival." Asian Cinema 14, no. 1 (2003): 196–206. http://dx.doi.org/10.1386/ac.14.1.196_7.

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24

Saunders, Jenny. "‘Brief Encounters’ International Short Film Festival." Journal of Media Practice 3, no. 3 (2003): 187–88. http://dx.doi.org/10.1386/jmpr.3.3.187.

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25

Ateşman, Özge Özdüzen. "33rd International Istanbul Film Festival (2014)." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 129–34. http://dx.doi.org/10.33178/alpha.7.10.

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26

Çağlayan, Emre. "45th International Film Festival Rotterdam (2016)." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 132–39. http://dx.doi.org/10.33178/alpha.11.12.

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27

Yuk, Jung-Hak. "A Plan for Revitalization of Local Cultural Festivals: Pusan International Film Festival and Jeonju International Film Festival." Journal of the Korea Contents Association 10, no. 1 (2010): 170–80. http://dx.doi.org/10.5392/jkca.2010.10.1.170.

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28

Kim, Darae, Dina Iordanova, and Chris Berry. "The Busan International Film Festival in Crisis or, What Should a Film Festival Be?" Film Quarterly 69, no. 1 (2015): 80–89. http://dx.doi.org/10.1525/fq.2015.69.1.80.

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Former Busan International Film Festival curator Darae Kim, and film scholars Dina Iordanova and Chris Berry engage in a discussion of the Busan International Film Festival. BIFF’s nineteenth edition was held in October 2014 and screened 312 films from 79 countries to 226,473 audience members. Despite such outward signs of success and continued growth, the festival is now undergoing a crisis that is threatening its future, on the eve of its twentieth anniversary. Are such difficulties specific to Busan, or do they indicate a more general trend that results from new configurations in the public space of cinema and new managerial approaches to culture at large? This dossier combines a report on the Busan International Film Festival crisis with larger questions regarding film festivals. Three short essays consider the Busan festival situation from different perspectives, followed by a conversational exchange that aims to spur further thinking.

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29

Ostrowska, Dorota. "Cosmopolitan spaces of international film festivals." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 94–110. http://dx.doi.org/10.33178/alpha.14.05.

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Since its inception, the Cannes Film Festival was envisioned as a continuation, expansion and enhancement of the Riviera’s long-established cosmopolitan, carnivalesque and exclusive space. The Riviera’s cosmopolitanism was shaped by travel and the mobility of its international visitors, making it into a non-place; some of them, in addition, transformed the Riviera through their horticultural activity, thus literally rooting themselves in the Riviera. The particular version of the Riviera’s cosmopolitanism was mirrored in the internal architecture of the festival, in terms of its audiences and programming, which was international, elitist and characterised by the interplay of place and non-place. In this article, I argue that the origins of the festival as a cosmopolitan event are found in the nineteenth- and early-twentieth-century cultural history of the French Riviera—as it was rendered on the pages of the diarists who travelled to the region, and realised in the activities of the visual artists living and working there. I contend that the Cannes Film Festival replicates the dynamics and tensions inherent to the space in which it is settled—that of the French Riviera—and thus, it is not only rooted in the Riviera’s culture, but it is also a fascinating extension of the myth of the Riviera.

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30

Gilbert, Ana Cristina Bohrer. "Brazil’s International Disability Film Festival Assim Vivemos." NECSUS. European Journal of Media Studies 3, no. 1 (2014): 359–64. http://dx.doi.org/10.5117/necsus2014.1.gilb.

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31

Papadimitriou, Lydia. "Celebrating independence: 54th Thessaloniki International Film Festival." NECSUS. European Journal of Media Studies 3, no. 1 (2014): 364–71. http://dx.doi.org/10.5117/necsus2014.1.papa.

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32

Fauchier Delavigne, Hortense. "Le Festival international du film documentaire océanien." Hermès 65, no. 1 (2013): 206. http://dx.doi.org/10.4267/2042/51522.

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33

손지현 та 강지영. "Busan International Film Festival application 'BIFF花'". Journal of Digital Design 15, № 3 (2015): 297–304. http://dx.doi.org/10.17280/jdd.2015.15.3.028.

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34

Walther, Alexandra. "Festival International du Film de Fribourg 2006." Décadrages, no. 8-9 (October 10, 2006): 149–54. http://dx.doi.org/10.4000/decadrages.297.

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35

Pink, Sarah. "Gottingen International Ethnographic Film Festival, IWF, Germany." Anthropology Today 14, no. 4 (1998): 23. http://dx.doi.org/10.2307/2783354.

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36

Gateward, Frances. "Report on the International Film Festival - Mumbai." Asian Cinema 15, no. 1 (2004): 273–75. http://dx.doi.org/10.1386/ac.15.1.273_5.

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37

Escolan, T. "8e Cinérail: Festival international du film ferroviaire." Revue Générale des Chemins de Fer 1999, no. 9 (1999): 54–57. http://dx.doi.org/10.1016/s0035-3183(99)80163-2.

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38

West, Joan M. "Seattle Sightings: The Seattle International Film Festival." French Review 92, no. 3 (2019): 205–7. http://dx.doi.org/10.1353/tfr.2019.0204.

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39

West, Joan M. "Seattle Sightings: The Seattle International Film Festival." French Review 88, no. 3 (2015): 296–99. http://dx.doi.org/10.1353/tfr.2015.0440.

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40

West, Joan M. "Seattle Sightings: The Seattle International Film Festival." French Review 86, no. 4 (2013): 814–15. http://dx.doi.org/10.1353/tfr.2013.0354.

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41

West, Joan M. "Seattle Sightings: The Seattle International Film Festival." French Review 85, no. 4 (2012): 739–41. http://dx.doi.org/10.1353/tfr.2012.0308.

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42

Wood, David M. J. "Reflections on Modernity: The Third Mexico City International Contemporary Film Festival and the 21st Guadalajara International Film Festival." Framework: The Journal of Cinema and Media 47, no. 2 (2006): 120–24. http://dx.doi.org/10.1353/frm.2006.0024.

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43

하윤정 and WII JOO YHANG. "The application of The International Film Festival Assessment Index on the Assessment of Pusan International Film Festival Management." Journal of North-east Asian Cultures 1, no. 27 (2011): 301–12. http://dx.doi.org/10.17949/jneac.1.27.201106.016.

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44

Martinelli, Lucas. "Women's Time: The Mar del Plata International Film Festival." Film Quarterly 73, no. 3 (2020): 89–92. http://dx.doi.org/10.1525/fq.2020.73.3.89.

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Lucas Martinelli reports from the 34th edition of Argentina's Mar del Plata International Film Festival, the only FIAPF-accredited film festival in Latin America. Noting that this year's festival marked the sophomore effort of Cecilia Barrionuevo, the first female director in the festival's history, Martinelli focuses attention on the notable uptick in discussion space and festival slots awarded to women in the industry. The festival's second Forum of Cinema and Gender Perspective brought female speakers from fields across the industry—actresses, directors, researchers, and journalists. In his discussion of films directed by women, Martinelli notes an interest in challenging the historical archive to create a new feminist historiography.

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45

Nornes, Markus. "Filmless Festivals and Dragon Seals: Independent Cinema in China." Film Quarterly 72, no. 3 (2019): 78–86. http://dx.doi.org/10.1525/fq.2019.72.3.78.

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Markus Nornes, who documented the Chinese independent film festival scene for Film Quarterly in 2009, returns with a report on the changes this sector has experienced in the intervening decade. Borrowing a metaphor from Beijing Film Academy professor Zhang Xianmin, he offers an “update from the ruins,” as government censorship and an absence of institutional support has taken a toll on what had been a thriving festival scene. Nornes reviews the challenges faced by the Beijing International Film Festival, and its innovative responses to them, and finds hope for the future at the Shanghai International Film Festival, the Pingyao Crouching Tiger Hidden Dragon International Film Festival, and the West Lake International Documentary Film Festival.

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46

Berger, Sally. "Yamagata International Documentary Film Festival: Blending Tradition with Modernity." Film Quarterly 71, no. 3 (2018): 87–93. http://dx.doi.org/10.1525/fq.2018.71.3.87.

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Every two years since 1989, the Yamagata International Documentary Film Festival takes place in Yamagata City, three hours by bullet train north of Tokyo. It is the longest running Asian documentary film festival and retains its status as a key locus point for showcasing Asian nonfiction film along with an international roster. This report examines the festival's history, relationship to Ogawa and other masters of Japanese documentary, and report on its contemporary Japanese, Asian and International programming. What is the stature of the festival today and whom does it serve?

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47

Shu-Yeng Chung, Simone. "Projecting Presence - The 20th Busan International Film Festival." Localities 5 (November 30, 2015): 141. http://dx.doi.org/10.15299/local.2015.11.5.141.

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48

Watson, David. "Cannes Castoffs? The 62nd Edinburgh International Film Festival." British Journal of General Practice 58, no. 553 (2008): 588–89. http://dx.doi.org/10.3399/bjgp08x319855.

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49

Raimanova, Dasa. "The International Documentary Film Festival Amsterdam (IDFA) 2019." Alphaville: Journal of Film and Screen Media, no. 19 (July 23, 2020): 303–6. http://dx.doi.org/10.33178/alpha.19.34.

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50

Lydall, Jean. "Migration story: Second Taiwan International Ethnographic Film Festival." Anthropology Today 20, no. 4 (2004): 26–27. http://dx.doi.org/10.1111/j.0268-540x.2004.00287.x.

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