Relevant bibliographies by topics / International Film Festival of Kerala

Contents

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

Academic literature on the topic 'International Film Festival of Kerala'

Author: Grafiati
Published: 24 February 2023
Last updated: 30 July 2024

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Journal articles on the topic "International Film Festival of Kerala"

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Krishnan, Vineetha. "Who Debarred "you‟?" Artha - Journal of Social Sciences 15, no. 3 (July 1, 2016): 81. http://dx.doi.org/10.12724/ajss.38.5.

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The paper examines the idea of „unqualified public‟ in International Film Festival of Kerala, IFFK. The general notions about the public in IFFK will be described by narrating incidents and tales of hindrances people faced while entering into the above-mentioned space. The criticisms leveled against cinema in the discussions, outside the space, always contributed to number of censures of the Film Festival too, spurring debates centering around who should watch a movie or who should participate in IFFK. A paper that aims to understand the notion of public, in an international festival on films in Kerala, cannot possibly neglect the typical perspectives and publicnotions about movies, especially among a select group of people in Kerala. While unpacking the notions of who these public individuals are and what their opinions on films are, the paper will also raise questions such as: Do films really imagine a homogeneous public, an idea of public without differences? What is the film‟s conception of public sphere? Do films create a new kind of public sphere? Then, what about cinema kottakas and film festivals? The paper takes note of one of the burning controversies in 2014 in the history of IFFK, that each delegate should submit a note on his/her ideas about cinema. Adoor Gopalakrishnan, Malayalam film director had suggested that only those who know English can enjoy all the movies as the Festival includes movies in other languages with subtitles (Ramnath 2014). So I here look at how specifically, language becomes a key factor to determine a „qualified public‟ in IFFK, among other factors that aid in the manufacturing of the „qualified public‟. For this study on IFFK the aim would be to focus on the description and analysis of (unqualified) public in IFFK in relation to the recent controversies, to reveal the multi-layered construction of the „qualified public‟.
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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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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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Allen, Richard. "Kerala International Festival of Theatre Schools (IFTS) 2023." Theatre and Performance Design 9, no. 1-2 (April 3, 2023): 112–19. http://dx.doi.org/10.1080/23322551.2023.2207964.

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

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Alawadhi, Hend F. "13th Dubai International Film Festival." Afterimage 44, no. 5 (March 1, 2017): 4–5. http://dx.doi.org/10.1525/aft.2017.44.5.4.

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Bechervaise, Jason. "The Busan International Film Festival." Film Quarterly 77, no. 3 (2024): 86–92. http://dx.doi.org/10.1525/fq.2024.77.3.86.

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Jason Bechervaise examines the latest edition of the Busan International Film Festival (BIFF) in the context of the external and internal problems that have plagued the festival over the past ten years, with a leadership crisis this spring once again putting the festival in the spotlight for the wrong reasons. This report explores BIFF’s curation of Korean cinema, with an emphasis on the festival’s importance as launch pad for young Korean filmmakers as well as how the festival’s programming, which now includes productions financed by streaming platforms, reflects the rapidly changing Korean film and media ecosystem.
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Saeed, Alan Ali. "History of The Slemani International Film Festival." Journal of Festive Studies 4, no. 1 (February 23, 2023): 135–43. http://dx.doi.org/10.33823/jfs.2022.4.1.125.

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This interview with Hemn Hussein presents a history of the Slemani International Festival from its inception to the present. The interview looks at the practical issues of funding and running the festival. Attention is focused on its particular context of being a Kurdish yet international festival and its significance within Kurdish cultural aspirations.
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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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Fihurnyi, Yurii. "Kyiv International Film Festival "Film Chronicles of War"." Ukrainian Studies, no. 1(86) (March 29, 2023): 274–79. http://dx.doi.org/10.30840/2413-7065.1(86).2023.275932.

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Dissertations / Theses on the topic "International Film Festival of Kerala"

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Carrozzo, Virginia <1991&gt. "Progettare e gestire un festival cinematografico: il caso del Salento International Film Festival." Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13056.

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Partendo dall'analisi di quelli che vengono definiti eventi culturali, con particolare attenzione ai festival cinematografici, si arriva a descrivere il processo di progettazione e gestione di un evento culturale. Viene analizzato, in seguito, il caso del Salento International Film Festival che, nel suo piccolo, come tutti i festival del cinema, determina una crescita sociale, culturale ed economica dei Paesi in cui esso si svolge.
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Van, Hemert Tess. "International acclaim : the role(s) of the international film festival in supporting emerging women’s cinema." Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63269/1/Tess_Van_Hemert_Thesis.pdf.

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International Film Festivals act as important sites for the exhibition of contemporary world cinema. Film festivals represent an increasingly transnational film culture, where audiences, filmmakers, distributors, press, critics and academics come together from all over the world to discover new films, network with one another and debate about the past, present and future of cinema. This research project investigates the role that international film festivals play within the wider international film industry, with a specific focus on emerging women filmmakers. It therefore explores the arena of contemporary women.s cinema at its intersection with the international film festival industry. The significance and original contribution of the research is its intervention in the growing field of film festival studies through a specific investigation of how international film festivals support emerging women filmmakers. The positioning of the research at the intersection of feminist film theory and festival research within the broader context of transnational cinema allows the examination of each festival, the attending filmmakers and their films to be addressed within a more refined and nuanced lens. A core method for the thesis is the close textual analysis of particular emerging women filmmakers. films which are screened at the respective festivals. The research also utilises the qualitative research strategies of the case study and the interview to ¡°seek to understand the context or setting of the participants through visiting this context and gathering information personally¡± (Creswell 2003, 9). The textual analysis is used in dialogue with the interviews and the participant observational data gathering to provide a related context for understanding these films and their cultural meanings, both personally for the filmmaker and transnationally across the festival circuit. The focus of the case studies is the Brisbane International Film Festival, the International Film Festival Rotterdam and the Toronto International Film Festival. These three festivals were chosen for their distinct geographical locations in the Asia Pacific, Europe and North America, as well as for their varying size and influence on the international film festival circuit. Specifically, I investigate the reasons behind why the organisers of a particular festival have chosen a certain woman.s film, how it is then packaged or displayed within the programme, and how all of this impacts on the filmmaker herself. The focus of my research is to investigate film festivals and their .real-life. applications and benefits for the filmmakers being supported, both through the exhibition of their films and through their attendance as festival guests. The research finds that the current generation of emerging women filmmakers has varying levels of experience and success at negotiating the international film festival circuit. Each of the three festivals examined include and promote the films of emerging women filmmakers through a range of strategies, such as specific programming strands dedicated to showcasing emerging talent, financial support through festival funds, providing visibility within the programme, exposure to international audiences and networking opportunities with industry professionals and other filmmakers. Furthermore, the films produced by the emerging women filmmakers revealed a strong focus on women.s perspectives and experiences, which were explored through the interweaving of particular aesthetic and cinematographic conventions.
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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.
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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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Books on the topic "International Film Festival of Kerala"

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International Film Festival of Kerala, ed. Souvenir, IFFK-20 editions, 1994-2015. Thiruvananthapuram, Kerala, India: Kerala State Chalachitra Academy, 2015.

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Kerala (India). Department of Cultural Affairs and Kerala State Chalachitra Academy, eds. 18th International Film Festival of Kerala, 2013: 6-13 December, Thiruvananthapuram, Kerala, India. Thiruvananthapuram: Kerala State Chalachitra Academy, 2013.

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India) International Film Festival of Kerala (19th 2014 Trivandrum. 19th International Film Festival of Kerala: 12-19 December, 2014, Thiruvananthapuram, Kerala, India. Thiruvananthapuram: Department of Cultural Affairs, Kerala State Chalachitra Academy, 2014.

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International Film Festival of Kerala (7th 2002 Trivandrum, India). 7th International Film Festival of Kerala, March 29-April 5, 2002, Thiruvananthapuram, Kerala: IFFK 2002. Thiruvananthapuram: Kerala State Chalachitra Academy, 2002.

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Academy, Kerala State Chalachitra, and Kerala (India). Dept. of Cultural Affairs., eds. 11th International Film Festival of Kerala: 8-15 December 2006 : festival book. Thiruvananthapuram: Kerala State Chalchithra Academy, 2007.

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India) International Film Festival of Kerala (20th 2015 Trivandrum. 20th International Film Festival of Kerala: Dec 04-11, 2015, Thiruvananthapuram. Thiruvananthapuram: Kerala State Chalachitra Academy, Department of Cultural Affairs, Government of Kerala, 2015.

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S, Sreekumar K., and Kerala State Chalachitra Academy, eds. 3rd International Documentary & Short Film Festival of Kerala: 11-15 June, 2010, Thiruvananthapuram : festival book. Thiruvananthapuram: Kerala State Chalachithra Academy, 2010.

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Academy, Kerala State Chalachitra, and Kerala (India). Dept. of Culture., eds. 5th International Film Festival of Kerala, March 31-April 7, 2000, Calicut, Kerala, India: Official festival book. Trivandrum: Kerala State Chalachitra Academy, 2000.

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Academy, Kerala State Chalachitra, and Kerala (India). Dept. of Cultural Affairs., eds. Festival book. Thiruvananthapuram: Kerala State Chalachitra Academy, 2007.

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editor, Sreekumar K. S., Kerala State Chalachitra Academy, and Kerala (India). Department of Cultural Affairs, eds. 4th International documentary and short film festival of Kerala: 31st July-4th August 2011, Thiruvananthapuram. Thiruvananthapuram: Kerala State Chalachitra Academy, 2011.

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Book chapters on the topic "International Film Festival of Kerala"

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Finney, Angus. "The festival circuit." In The International Film Business, 67–77. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-8.

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Finney, Angus. "The festival circuit." In The International Film Business, 67–77. 3rd ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-8.

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Chon, Woohyung. "Beyond the International Film Festival." In Korean Film and Festivals, 81–97. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429327841-7.

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Ma, Ran. "Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival." In Chinese Film Festivals, 237–57. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_12.

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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, 35–55. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_3.

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Stevens, Kirsten. "Between Success and Failure: Crisis and Recovery at the Melbourne International Film Festival." In Australian Film Festivals, 105–36. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_5.

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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, 171–89. London: Palgrave Macmillan UK, 2018. http://dx.doi.org/10.1057/978-1-349-95822-1_9.

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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, 161–74. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-46291-8_11.

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Wong, Cindy Hing-yuk. "Creative Cinematic Geographies Through the Hong Kong International Film Festival." In A Companion to Hong Kong Cinema, 185–206. Hoboken, NJ: John Wiley & Sons, Inc, 2015. http://dx.doi.org/10.1002/9781118883594.ch9.

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Jilani, Sarah. "Civic Interaction, Urban Memory, and the Istanbul International Film Festival." In The Palgrave Handbook of Digital and Public Humanities, 441–57. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-11886-9_23.

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Conference papers on the topic "International Film Festival of Kerala"

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

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

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

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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.

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Houldberg, Harry, Roshni Lahiri, Maheen Shahbazi, Simona Vrabcova, Alice Walder, Dave Musson, Emma Taylor, Will Thomas, and Mairi Macintyre. "WARWICK FILM FESTIVAL, BELONGING, AND LESSONS LEARNED." In 16th annual International Conference of Education, Research and Innovation. IATED, 2023. http://dx.doi.org/10.21125/iceri.2023.1576.

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"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.

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Sufa, Siska Armawati, Rusli Kustaman, Henri Subiakto, Ipit Zulfan, and Teguh Dwi Putranto. "Sidoarjo Film Festival 2019 as an Effort to Generate the Indonesian Film Industry." In 2nd International Media Conference 2019 (IMC 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200325.032.

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"The 14th Annual Animation and Digital Effects Film Festival." In 2017 14th International Conference on Computer Graphics, Imaging and Visualization (CGiV). IEEE, 2017. http://dx.doi.org/10.1109/cgiv.2017.8.

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Nakabasami, Chieko, and Miho Masuko. "Tourism Education on Sustainability Through an International Short Film Festival." In 14th International Multi-Conference on Complexity, Informatics and Cybernetics. Winter Garden, Florida, United States: International Institute of Informatics and Cybernetics, 2023. http://dx.doi.org/10.54808/imcic2023.01.221.

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Peláez-Barceló, Antonio. "Cultural Diversity in Film Festivals – A Case Study: Glocal in Progress, San Sebastián International Film Festival." In The European Conference on Media, Communication & Film 2020. The International Academic Forum(IAFOR), 2020. http://dx.doi.org/10.22492/issn.2188-9643.2020.1.

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Reports on the topic "International Film Festival of Kerala"

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5me Biennale Interamericaine d'art video. Inter-American Development Bank, November 2009. http://dx.doi.org/10.18235/0008195.

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Le Centre culturel de la Banque interaméricaine de développement annonce que les candidatures sont ouvertes pour la Vème Biennale interaméricaine d¿art vidéo qui se tiendra en décembre 2010 à la Galerie d¿art du Centre culturel de la BID à Washington, D.C. L¿exposition sera présentée en 2011 à l¿Istituto Italo-Latino Americano à Rome, au Festival international du film à Santa Fé de Bogotá, au Festival Loop à Barcelone, au Centre Eduardo León Jimenes en République dominicaine, etc.
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IDB 2nd Inter-American Biennial of Video Art. Information Bulletin No. 78. Inter-American Development Bank, December 2004. http://dx.doi.org/10.18235/0008213.

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Presents the inauguration of the Inter-American Biennial? II video art? Exhibited at the Italian-Latin American Institute (IILA) in Rome, Italy, in June 2005, and the International Film Festival of Santa Fe de Bogota in October 2005. During the exhibition in Washington, D. C., distributed a color catalog with the list of the selected films. For display in Rome and Latin America also printed in Spanish and Italian a color catalog with other materials.
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4th Inter-American Biennial of Video Art. Inter-American Development Bank, December 2008. http://dx.doi.org/10.18235/0005923.

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The country with most entries was Colombia, totaling 70 coming from all parts of the country, and surpassing Argentina (in second place with 24), and others that have traditionally dominated the event, at least numerically, such as Mexico and Brazil (this year with 15 and 11 respectively). The explanation for this phenomenon may be found in the fact that Colombia is the country that in the last two years has shown the most interest in the Biennial¿s exhibit circuit, adding fi ve more venues in cities such as Santa Marta, Cali, and Medellin, in addition to Bogota where the Biennial is part of the International Film Festival, and Cartagena. It also has to do with the accessibility of technology, and the commercial possibilities of the creative technologies developed in that nation in recent years.
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