Bibliografías temáticas / Edinburgh International Festival (1950)

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Literatura académica sobre el tema "Edinburgh International Festival (1950)"

Autor: Grafiati
Publicado: 27 de julio de 2024
Última modificación: 31 de julio de 2025

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Artículos de revistas sobre el tema "Edinburgh International Festival (1950)"

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Sorgenfrei, Carol Fisher. "The Edinburgh International Festival, and: The Edinburgh Fringe Festival (review)." Theatre Journal 58, no. 2 (2006): 320–24. http://dx.doi.org/10.1353/tj.2006.0136.

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Weiss, Alfred. "The Edinburgh International Festival, 1990." Shakespeare Quarterly 42, no. 4 (1991): 462–71. http://dx.doi.org/10.2307/2870464.

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Baxter, Peter, and Eileen Miller. "The Edinburgh International Festival, 1947-1996." Notes 53, no. 4 (1997): 1172. http://dx.doi.org/10.2307/899480.

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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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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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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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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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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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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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Kowalska, Marta. "Edynburg jako przykład miasta literatury: Edinburgh International Book Festival." Studia o Książce i Informacji (dawniej: Bibliotekoznawstwo) 36 (July 5, 2018): 45–56. http://dx.doi.org/10.19195/2300-7729.36.3.

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Edinburgh as an example of a city of literature: Edinburgh International Book FestivalThe aim of the article is to introduce Edinburgh as a“city of literature”. Special attention was paid to the Edinburgh International Book Festival. The author analyses selected aspects of the famous book celebrations, highlighting their innovation and impact on the surrounding reality.
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Tesis sobre el tema "Edinburgh International Festival (1950)"

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Attala, Jennifer. "Performing the Festival : a study of the Edinburgh International Festival in the twenty-first century." Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3839/.

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In the global marketplace of the twenty-first century a proliferation of festivals, or festivalisation, has produced an increasingly pressurised and politicized environment for international arts festivals. Through a case study of the Edinburgh International Festival the thesis explores what strategies the Festival is adopting to maintain its lead position in this increasingly competitive international landscape. It examines recent cultural policy development in Scotland and the UK exploring how creative industry theory promotes the argument for ‘investment’ in cultural festivals as economic d
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Hsieh, Chia-che. "East meets West : the perception of Japanese and Chinese theatres in the context of Edinburgh International Festival programming policy." Thesis, Queen Margaret University, 2007. https://eresearch.qmu.ac.uk/handle/20.500.12289/7331.

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This thesis aims to explore the issues around intercultural translation and whether or not intercultural theatre can even truly represent non-domestic texts without distortion. In order to explore this in detail, this thesis uses as its research target an in-depth analysis of two productions produced at Edinburgh International Festival (EIF). Edinburgh International Festival was chosen as an appropriate cultural platform for this discussion due to its international recognition. In order to reveal the Eurocentric-oriented ideology within the Festival's policy and discuss the implications of thi
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Bragge, Brent Reuben. "Economic impact studies and methodological bias : the case of the National Arts Festival in South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002702.

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Over the course of the last three decades, it has become popular practice to evaluate tourism events like cultural festivals in financial terms, through the use of economic impact studies. This can be attributed at least in part to the notable growth in the number of festivals being held globally and, as such, a higher level of competition between festivals for the limited funding which is available. Economic impact studies, and the resultant findings, have thus become powerful tools for the lobbying of sponsorship, and it has become increasingly important that the impact calculations be as ac
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Tu, Ching-Heng, and 杜慶珩. "Cultural Policy and Urban Cultural Governance--A Case Study of "Edinburgh International Festival"." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/26263093439285403280.

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碩士<br>國立臺灣大學<br>國家發展研究所<br>96<br>Today, in the globalization age, many cities in the world show their cultural characters and promote the international image. Those festivals that hold in Edinburgh every year in summer, have been kept for a long time but never failed, and created their own brand and famousness. And we could see country and local government present the advantage and lights to the world through the way of cultural governance. Not only helpful to rise local economics, but also can raise the efficiency of governance. Besides the government, it must be accommodated by local industr
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Libros sobre el tema "Edinburgh International Festival (1950)"

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McBey, James. James McBey 1883-1959: [catalogue] Edinburgh Festival 1990. Fine Art Society, 1990.

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Matthew, Lloyd. How the movie brats took over Edinburgh: The impact of cinéphilia on the Edinburgh International Film Festival, 1968-1980. St Andrews Film Studies, 2011.

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Gallery, Gagosian, Royal Botanic Garden Edinburgh, and Edinburgh International Festival (2002), eds. Cy Twombly: Inverleith House, Royal Botanic Garden Edinburgh, Edinburgh International Festival 2002. Gagosian Gallery, 2002.

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Royal Incorporation of Architects in Scotland. and Edinburgh International Festival, eds. The architecture of the Scottish Renaissance: RIAS Edinburgh International Festival exhibition 1990. RIAS, 1990.

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Crawford, Iain. Edinburgh International Festival 1989. Edinburgh International Festival Society Ltd, 1989.

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(Firm), McAlister Matheson Music. 2002 Edinburgh International Festival: [brochure]. McAlister Matheson Music, 2002.

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Society, Edinburgh Festival Fringe. Edinburgh Festival Fringe: Programme. Edinburgh Festival Fringe Society, 1993.

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Miller, Eileen. The Edinburgh International Festival, 1947-1996. Scolar Press, 1996.

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Jack, Robbie. The Edinburgh Festival: A pictorial celebration. Canongate, 1990.

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Jack, Robbi. The Edinburgh Festival: A pictorial celebration. Canongate, 1990.

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Capítulos de libros sobre el tema "Edinburgh International Festival (1950)"

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Gage, S. "Edinburgh International Science Festival." In Science Communication in Theory and Practice. Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0620-0_14.

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Jarman, David. "The Strength of Festival Ties: Social Network Analysis and the 2014 Edinburgh International Science Festival." In Critical Event Studies. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-52386-0_14.

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"Appendix 1 List of Lord Provosts/Chairs of the Edinburgh Festival Society and Artistic Directors of the Edinburgh International Festival, 1947–1970." In The Edinburgh Festivals. Edinburgh University Press, 2013. http://dx.doi.org/10.1515/9780748670314-012.

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Horvat, Ksenija. "The Theatre Scene VII." In The Oxford Handbook of Scottish Theatre. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780192857385.013.20.

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Abstract This chapter builds on the research by Ian Brown, Bill Findlay, David Hutchison, and Donald Smith in looking at Scottish companies establishing identities and building audiences in the period between 1950 and 2000. It looks at the establishment of the Edinburgh International Festival and Fringe and their influence since 1947–8; the development of professional theatre companies in Glasgow, Dundee, St Andrews, and Edinburgh; and the role of the Committee for the Encouragement of Music and Arts (CEMA), the Scottish Arts Council (SAC), and local authorities in shaping modern repertoire. T
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Vallejo, Aida. "Documentary Filmmakers on the Circuit: A Festival Career from Czech Dream to Czech Peace." In Post-1990 Documentary. Edinburgh University Press, 2015. http://dx.doi.org/10.3366/edinburgh/9780748694136.003.0012.

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This chapter reflects on the role of film festivals as nodal points for the development of the documentary, in order to identify which powers influence and challenge its independent character. Taking the professional trajectory of Czech filmmakers Vít Klusák and Filip Remunda as a case study, it focuses on the different production and distribution strategies they developed for their feature-length documentaries Czech Dream/Česk ý Sen (2004) and Czech Peace/Český Mír (2010). These films can be considered paradigmatic examples of both highly creative approaches to documentary language and activi
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McAteer, Michael. "Yeats and Wagner: The Countess Cathleen and Other Plays." In The Edinburgh Companion to W. B. Yeats and the Arts. Edinburgh University Press, 2024. https://doi.org/10.3366/edinburgh/9781474499668.003.0021.

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The Gesamtkunstwerk arguably provided the most celebrated international ideal of bringing together diverse arts in a unified expression. This chapter looks at how Yeats’s ideas on voice and music in performance relate to the main exponent of this idea, Richard Wagner. It shows how this relationship develops, spanning from the impact of Wagner’s thought and practice on Yeats’s early plays such as The Countess Cathleen, On Baile’s Strand and The Shadowy Waters, through to the use of screens and music in the later drama. The chapter concludes with an account of an opera by the controversial compo
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Billington, Michael. "Afterword." In The Oxford Handbook of Scottish Theatre. Oxford University Press, 2025. https://doi.org/10.1093/oxfordhb/9780192857385.013.40.

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Abstract In this Afterword Michael Billington reflects upon his experience of the Scottish theatre scene from the time of his first visit to Edinburgh in 1960 to the present day, and chiefly upon his near half-century (1971–2019) of service as the principal theatre critic for The Guardian newspaper. He discusses Scottish theatre’s relationship with European drama and with the English—particularly the London—stage; the crucial importance of the Edinburgh International Festival and its Fringe; the Glasgow Citizens Theatre; and the National Theatre of Scotland, charting the consolidation of a dis
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Ulfsdotter, Boel, and Mats Björkin. "The Gothenburg International Exile Film Festival in Context." In Nordic Film Cultures and Cinemas of Elsewhere. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474438056.003.0008.

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This chapter explores how in 1993 two Iranian immigrants to Sweden, Hossein Mahini and Hassan Mahini, launched a film festival in Sweden’s second largest city Gothenburg for films related to exile and refugee experiences, the Exile Film Festival. The programming of the festival represents the large range of exilic, diasporic, ethnic, immigrant, and refugee communities that are part of the contemporary public sphere. The festival also constitutes an overlooked elsewhere of cinematic programming outside of the main commercial, art house, or mainstream film festivals. It is also part of local, na
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Barradas Jorge, Nuno. "Critical Reception and the International Film Festival." In ReFocus: The Films of Pedro Costa. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474444538.003.0005.

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This chapter investigates symbolic and economic value formations surrounding Pedro Costa and his films Where Does Your Hidden Smile Lie? (2001) and Colossal Youth (2005). It assesses nuanced and, at times, dissonant statuses of artistic consecration taking place on the international film festival circuit, and conferred through film criticism. Such analysis considers various forms of prestige generated at the reception level, particularly with regard to the role of film criticism in situating Costa’s work under particular filmic and cinephile-related taste and cultural categories. This chapter
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Antchak, Vladimir, Vassilios Ziakas, and Donald Getz. "Edinburgh, a Festival City." In Event Portfolio Management. Goodfellow Publishers, 2019. http://dx.doi.org/10.23912/978-1-911396-91-8-4201.

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Edinburgh has long been recognized as a global model for “festival cities”, and is often cited as a leader in the planning and evaluation of events. In 2010 Edinburgh won the World Festival and Event City award from the International Festival and Event Association (IFEA) and was declared the most outstanding global entry. According to Visit Scotland’s 2015 visitor survey (cited in BOP Consulting 2018, p. 8), “Edinburgh’s Festivals each year deliver over 3,000 events, reaching audiences of more than 4.5 million and creating the equivalent of approximately 6,000 full time jobs. 32% of the 14 mil
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Actas de conferencias sobre el tema "Edinburgh International Festival (1950)"

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Gibb, Andrew, Sam Nicholson, and Graham Thomas. "Edinburgh Festival Explorer Demo." In TVX '17: ACM International Conference on Interactive Experiences for TV and Online Video. ACM, 2017. http://dx.doi.org/10.1145/3084289.3089911.

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