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

Author: Grafiati

Published: 24 February 2023

Last updated: 30 July 2024

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1

Krishnan, Vineetha. "Who Debarred "you‟?" Artha - Journal of Social Sciences 15, no. 3 (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

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2

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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3

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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4

Allen, Richard. "Kerala International Festival of Theatre Schools (IFTS) 2023." Theatre and Performance Design 9, no. 1-2 (2023): 112–19. http://dx.doi.org/10.1080/23322551.2023.2207964.

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5

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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6

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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7

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 f

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8

Saeed, Alan Ali. "History of The Slemani International Film Festival." Journal of Festive Studies 4, no. 1 (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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9

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 Intern

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10

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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11

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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12

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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13

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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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

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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16

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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17

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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18

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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19

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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20

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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21

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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22

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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23

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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24

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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25

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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26

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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27

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

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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

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29

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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30

Um, Gi Jun. "A Study on Brand Identification through Poster of International Film Festival." Korea Institute of Design Research Society 8, no. 4 (2023): 181–92. http://dx.doi.org/10.46248/kidrs.2023.4.181.

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Brands that were used to identify products or services are gradually expanding their scope. In addition to companies and product brands, interest in brands is also increasing in the country, individuals, and local governments. International film festivals are also establishing their identity over time, and this appears in various forms. One of them, the poster, is appealing for the film festival by implicitly showing the identity of the film festival. In this study, we analyze what patterns are represented for posters of domestic and overseas international film festivals, focusing on sensory e

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31

Han, Subin, Subin Im, Gaeun Kim, and Juae Park. "The Impact of the Image of the International Film Festival on the Image of the Host City and Evaluation of Tourist Attractions." Global Association of Applied Liberal Arts Studies 2, no. 1 (2024): 113–43. http://dx.doi.org/10.58990/galas.2024.2.1.113.

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This study aims to confirm through the case of the Busan International Film Festival (BIFF) how the image of the international film festival affects the image of the host city and the evaluation of tourist destinations through prior research. And the results of this study will give the necessary implications for improving the image of Busan. The results of this study are as follows. First, the image of the Busan International Film Festival had a significant impact on the image of the host region. Among the image factors of an international film festival, the event contents has a significant im

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32

Grgic, Ana, Lydia Papadimitriou, and Constantin Parvulescu. "Balkan Film at the 2021 Thessaloniki International Film Festival." Studies in Eastern European Cinema 13, no. 2 (2021): 240–44. http://dx.doi.org/10.1080/2040350x.2021.2015679.

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33

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

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34

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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35

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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36

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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37

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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38

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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39

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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40

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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41

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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42

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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43

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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44

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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45

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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46

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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47

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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48

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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49

Habibullah, Ali Zahid, Chandra Purnama, and Teuku Rezasyah. "BALINALE PUBLIC DIPLOMACY THROUGH BALI INTERNATIONAL FILM FESTIVAL TOWARDS FOREIGN TOURISTS." Global Mind 4, no. 2 (2023): 1–14. http://dx.doi.org/10.53675/jgm.v4i2.474.

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Dalam aktivitas diplomasi publik informasi yang diperoleh oleh publik asing tentang suatu negara sering kali bersumber dari lembaga non-pemerintah. Misalnya, buku, film, program televisi, merek, festival, dan produk barang maupun jasa. Dalam bukunya Leonard (2002) menjelaskan bahwa hubungan antara lembaga pemerintah dan non-pemerintah menjadi penting dalam rangka menciptakan aktivitas diplomasi publik yang ideal. Apabila tidak terkendali, sumber informasi yang berasal dari lembaga non-pemerintah dapat menimbulkan masalah bagi kepentingan nasional suatu negara. Karena informasi yang tersebar ke

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50

Ran, Ma. "Celebrating the International, Disremembering Shanghai: The Curious Case of the Shanghai International Film Festival." Culture Unbound 4, no. 1 (2011): 147–68. http://dx.doi.org/10.3384/cu.2000.1525.124147.

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The state-sanctioned Shanghai International Film Festival (SIFF) is the only film festival accredited by the Fédération Internationale des Associations de Producteurs de Films (FIAPF) in the Greater China region. This paper intends to explore the perceived paradoxes of the SIFF by approaching its vaguely defined vision of “being international/internationalization” (or guojihua). The vision of guojihua has, at best, fuelled the persistent efforts of the SIFF to emulate the globally standardized festival framework and redirect the global capital flow into its newly installed film market. On the

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