Film Festival Research Theory and Evaluation Methods : Focus on film festivals supported by Seoul city government.

Film Studies ◽  
2012 ◽  
Vol null (54) ◽  
pp. 197-235
Author(s):  
Nakwon Song
Keyword(s):  
Evaluation Methods ◽  
City Government ◽  
Film Festival ◽  
Film Festivals

Elsewhere: The Last Circus

2020 ◽  
Vol 74 (1) ◽  
pp. 84-87
Author(s):  
Bilal Qureshi
Keyword(s):  
Social Order ◽  
Documentary Film ◽  
Small Scale ◽  
Film Festival ◽  
Film Festivals ◽  
Collective Experience ◽  
Regional Location ◽  
True False ◽  
Falling In Love

FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.

Absence, Ambiguity, and Deviating Pleasure Activism: The Tokyo Rainbow Film Festival

2019 ◽  
Vol 23 (1) ◽  
pp. 23-36
Author(s):  
Qin QIN
Keyword(s):  
Organizational Studies ◽  
Methodological Framework ◽  
Film Festival ◽  
Film Festivals ◽  
Two Factors ◽  
Diachronic Study ◽  
Historical Trajectory ◽  
A Site ◽  
Shed Light

Abstract Whereas several Japanese popular magazines have published reports and interviews on LGBT film festival curators, little scholarship has shed light on Japanese LGBT film festivals. This article serves as a case study of how the festival enables the festival community—cinephiles, LGBT audiences, organized groups of activists, and indie filmmakers—to share ideas and coordinate within and outside the metropolis. I conduct a synchronic and diachronic study to sketch the historical trajectory of the festivalgoers, material spaces, festival formation, curation, and programming. In utilizing a methodological framework which includes geopolitics, gender, film, and organizational studies, this article proposes an approach that juxtaposes the classic concept of ‘counterpublics’ with the theoretical reading of affective politics and pleasure activism. The findings suggest that the Tokyo Rainbow Reel Film Festival functions as a site of discursive political stances and affective disposition. The ambiguity of the film festival space correlates closely with two factors: Japanese homophobia, or ‘the absence of LGBT’, and an unorthodox pleasure activism that does not include suffering and oppression.

The rise of experimental film festivals in India

2019 ◽  
Vol 10 (1) ◽  
pp. 7-22
Author(s):  
Gauri Nori
Keyword(s):  
Case Studies ◽  
Experimental Film ◽  
Film Festival ◽  
Film Festivals ◽  
Moving Image ◽  
Cultural Organizations ◽  
Medium Section

Abstract This article will examine the emergence of independent platforms to screen radical and alternative cinema in India by tracing two case-studies: Experimenta, a biannual festival curated by Shai Heredia, and The New Medium section curated by Shaina Anand. While Experimenta has remained largely independent, relying on the support of established artists and cultural organizations, The New Medium section has managed to secure its place within the programme of the MAMI Mumbai Film Festival (MFF). Although their approach may differ, both curators are committed to promoting a culture of moving image experimentation in the country. Drawing on first-hand observations, interviews and scrutinizing festival ephemera, this article aims to identify the curatorial practices and strategies that have established these alternative film festivals both within the international film festival network and the larger film community in the country.

scholarly journals 1st Transylvanian International Film Festival in Cluj, Romania

2002 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Bram Stoker ◽  
Film Festival ◽  
Film Festivals ◽  
13Th Century ◽  
Ancient Times ◽  
The City ◽  
Musical Accompaniment

Other first film festivals should have it so good. Every guest arriving from abroad to attend the First Transylvanian International Film Festival (3-9 June 2002) in the Romanian city of Cluj (formerly Klausenburg) asked the same question: "Where's Dracula's castle, and how can I get there?" To which Tudor Giurgiu, the festival's founder-director, responded with an same amused grin: "Stay around until closing night: we're screening Murnau's Nosferatu to musical accompaniment!" Just another way of saying that no less than four castles lay claim to Dracula's hideout. "Probably Bram Stoker meant the castle in Sighisoara (formerly Schässburg)," said one informed source. "Schässburg is a 13th-century museum town, only an hour's drive away."Forget Dracula's castle on your first visit to Cluj-Napoca, inhabited by the Dacians in ancient times and founded by the Romans in the 2nd century. The city with the most moviegoers in Romania, Cluj (formerly part of Austria-Hungary) has academies...

scholarly journals Film festivals as cosmopolitan assemblages

2018 ◽  
pp. 111-125
Author(s):  
Monia Acciari
Keyword(s):  
Cultural Competency ◽  
Film Festival ◽  
Film Festivals ◽  
Deleuze And Guattari ◽  
Associate Director

In this article, I seek to explore the use and development of the notion of cosmopolitanism within the context of film festivals. I will examine the specific case study of the Leicester Asian Film Festival from the perspective of an insider—as a Film Programmer and Associate Director of the event. The questions that I intend to answer are: what happens to our understanding of film festivals when we frame it through discourses of cosmopolitanism and borders and, conversely, what happens to our understanding of cosmopolitanism when we frame it through film festival studies? Accordingly, I will place cosmopolitanism in conversation with the developing literature on film festival studies. The aim is to offer an idea of film festivals as “cosmopolitan assemblage”, within a frame of fluidity, exchangeability and multiple functionalities (Deleuze and Guattari). In developing this concept, I will draw on Ulf Hannerz’s use of the term cosmopolitanism that includes being open to and involved with otherness. The aim is to theorise the idea of festivals as borders, and inspire new forms of consciousness and cultural competency applied to film festival programming.

scholarly journals The National Science Film Festival of India-A tool for learning science film making

2017 ◽  
Vol 5 (01) ◽  
Author(s):  
Sachin C. Narwadiya
Keyword(s):  
Popular Science ◽  
Film Festival ◽  
Film Festivals ◽  
Visual Medium ◽  
Science And Art ◽  
Online Lectures ◽  
National Science ◽  
Film Making ◽  
The Impact ◽  
Day By Day

Films have been an effective medium of communication of the messages of science since many years. The impact of films can be marked well on the minds and thoughts of viewers. Now a days intervention of technology is increasing day by day and it has enhanced techniques of video conferencing and films on science. Moreover, online lectures have proved to be more useful to reach the students. Science based films are better collaboration of both science and art for learning. It requires only creative minds as well as scientific attitude since the language of films is different than that of books. Films are always capable to communicate its messages even in small dialogues along with attractive(catchy) titles. This audio-visual médium connects the viewers more than the text books. In “Vigyan Prasar” popular science film production was initiated(started) about two decades ago. To encourage making of science films in India, it came up with a “Science Film Festival” originally entitled “Rashtriya Vigyan Chalchitra Mela(RVCM)”. At present, it is celebrated every year in the name of National Science Film Festival(NSFF). A large number of films submitted by the National and International producers are classified in various categories and are shown to the viewers and members of jury on the screen during this festival and then decisión is taken by the members of jury regarding final list of films. The screening of films along with work shops provides an opportunity for learning and also provide a platform to delibrate on arising obstacles or difficulties on the way of making science-based films. This film festival event is always educational, entertaining and above all it encourages the scientific thinking among all the participants. In this study, an analysis has been presented rgarding those films which were included during film festival of 2015. At the same time, a comparative study has also been done between NSFF and other Indian Science Film Festivals as well as competitions.

scholarly journals Evolution of the Russian film festival movement: trends, forms, themes, and genres of children and adult amateur filmmaking in the XX – XXI centuries

2021 ◽  
pp. 34-48
Author(s):  
Maksim Vladimirovich Shumov
Keyword(s):  
Visual Image ◽  
Organizational Forms ◽  
Film Festival ◽  
Film Festivals ◽  
Value Perception ◽  
Modern Development ◽  
Russian Film ◽  
Soviet Legacy ◽  
Emotional Value ◽  
Amateur Film

The subject of this research of this article is the trends, forms, themes and genres of children and adult amateur filmmaking on the context of development of the national film festival movement. The author traces  the evolution of the Russian film festival movement, which is reflected in trends, organizational forms, themes and genres of children, mixed and adult amateur filmmaking in the XX – XXI centuries. Methodological framework of this research is comprised of the dynamics of formation of the experience of emotional-value perception of the visual image of reality (B. M. Nemensky), content analysis, comparative, genre-thematic, statistical, historical-culturological analysis of the themes and genres of works of amateur filmmaking of the Soviet and post-perestroika periods presented at film festivals. As a result of the conducted research, the author divides the traditional filmmaking into enthusiasts of cinemagorahic art and amateur videographers; outlines the organizational forms and development trends of the Russian film festival movement; highlights the thematic peculiarities of modern amateur filmmakers that consist in the successive, traditional, new and lost themes of children and adult amateur films. The traditional amateur film and modern amateur video genres of screen works are determined. The novelty of this research lies in nontraditional approach, as well as comprehensive analysis of the problem of modern development of the amateur film festival movement. The main conclusions are as follows: 1) the division of traditional amateur filmmaking into two groups: enthusiasts of traditional cinematographic art and amateur videographers – creation of the works of new and traditional themes is substantiated by sociocultural peculiarities of modern development of the amateur film festival movement; 2) It is noted that the lost thematic groups, such as the Soviet legacy, would be revived in the works of modern authors; 3) there is an important feature in the development of modern amateur videography in the context of film festival movement and establishment of the new genres.

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