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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 (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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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 (April 3, 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 (December 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 (March 1, 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 film and media ecosystem.

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8

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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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 International Film Festival, the Pingyao Crouching Tiger Hidden Dragon International Film Festival, and the West Lake International Documentary Film Festival.

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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 (December 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 (December 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 (February 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 (August 1, 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 (August 1, 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 (September 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 (August 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 (September 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 (December 2014): 640–41. http://dx.doi.org/10.3399/bjgp14x682957.

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22

de Valck, Marijke, Fanny Baars, Molly Bower, Marina Butt, Aidan Celeste, Aleksas Gialitis, Frances Maciver, Anne Schumacher, Lenka Suchá, and Sarah Vandergeerde. "Dossier: International Film Festival Rotterdam 2015." NECSUS. European Journal of Media Studies 4, no. 1 (January 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 (July 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 (March 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 (January 1, 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 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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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

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 (January 28, 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 (December 31, 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 elements, and consider the relationship between sensory elements and brand identity. To this end, we analyzed the meaning, shape, and color elements, focusing on the film festival posters produced since 2000, and found out how their patterns express the film festival identity. As a result of the study, it was confirmed that each film festival showed a clear visual pattern, and through this, style, theme, and overall impression were formed.

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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 (February 28, 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 impact on the regional image. Second, the image of the Busan International Film Festival had a significant Among the factors of the international film festival image, event contents and event information have a significant impact on tourist destination evaluation. Third, regional image had a significant impact on tourists’ evaluation of touristdestinations. Regional image factors such as emotional image, cognitive image, and infrastructure all have a significant impact on tourist destination evaluation. As a tool to measure the experience of cultural tourists, the International Film Festival Image Scale has practical utility for successful festivals and stimulating the cultural desires of potential cultural tourists, and the influence relationship with regional image is significant as an attempt to understand the direction of regional economic revitalization through festivals.

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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 (December 20, 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 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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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 and 강지영. "Busan International Film Festival application 'BIFF花'." Journal of Digital Design 15, no. 3 (July 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 (August 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 (January 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 (January 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 (March 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 (September 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 (June 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 (July 15, 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 kepada publik internasional tentang suatu negara akan membentuk citra negara terkait. Indonesia merupakan negara yang menjadikan pariwisata salah satu kepentingan nasionalnya. Festival film internasional menjadi salah satu instrumen yang digunakan oleh Indonesia dalam melaksanakan aktivitas diplomasi publik. Penelitian ini membahas mengenai keberlangsungan diplomasi publik yang dilakukan oleh Balinale terhadap wisatawan mancanegara yang berkunjung ke Indonesia. Balinale sendiri merupakan lembaga non-pemerintah yang bergerak dalam bidang industri film, khususnya festival film internasional. Teori yang digunakan untuk membahas fenomena tersebut yaitu teori diplomasi publik yang dikembangkan oleh Mark Leonard dengan kualitatif deskriptif sebagai metode penelitiannya. Penelitian ini memperlihatkan jarak antara realita dan teori berkenaan dengan penggunaan festival film internasional sebagai instrumen dari aktivitas diplomasi publik. Dimana pada keberlangsungannya terdapat perbedaan kepentingan antara festival film sebagai sebuah kesenian dan sebagai instrumen untuk mencapai kepentingan negara. Perbedaan tersebut menjadikan peran Balinale sebagai instrumen diplomasi publik menjadi tidak maksimal. Sebuah upaya untuk membangun hubungan yang lebih terintegrasi antara Balinale dan pemerintah Indonesia dianggap perlu dalam rangka memaksimalkan peran Balinale baik sebagai sebuah lembaga kesenian maupun sebagai instrumen diplomasi publik. Kata Kunci: Diplomasi Publik, Festival Film Internasional, Balinale

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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 (January 30, 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 other hand, the SIFF has been reluctant to use one of its most precious cultural legacies – the cosmopolitanism of the Republican era – as a branding resource. The main argument is that the weakened connection between the SIFF and its locality/cultural memory is not only a result of the superficial understanding of guojihua, but also of the fact that the central and the local government often hold conflicting ideas regarding the social engineering of Shanghai’s image.

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