Thematische Bibliographien / Festivals Australia

Auswahl der wissenschaftlichen Literatur zum Thema „Festivals Australia“

Autor: Grafiati
Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 20. Februar 2023

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Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte
  6. Berichte der Organisationen

Zeitschriftenartikel zum Thema "Festivals Australia":

1

George, Jodie. „Examining the cultural value of festivals“. International Journal of Event and Festival Management 6, Nr. 2 (15.06.2015): 122–34. http://dx.doi.org/10.1108/ijefm-01-2015-0002.

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Purpose – Within Australia, cultural festivals focusing on music, food and art represent important social and economic opportunities for rural communities. However, tensions may also arise within communities where stakeholder ideologies are at odds regarding the place identity being presented for consumption by tourism practices. Thus, using Mitchell’s model of creative destruction/creative enhancement as a theoretical framework and through qualitative analysis, the purpose of this paper is to critically examine three South Australian festivals from multiple perspectives, to identify what relevant stakeholders consider festivals contribute to the community and how this may impact on the success of the festival itself. Design/methodology/approach – Using Mitchell’s model of creative destruction/creative enhancement as a theoretical framework and through qualitative analysis, this research critically examines three South Australian festivals from multiple perspectives, to identify what relevant stakeholders consider festivals contribute to the community and how this may impact on the success of the festival itself. Findings – Findings suggest that those communities who present a more complex understanding of the “rural idyll” through the integration of multiple local products will experience greater success, both for internal and external audiences. Originality/value – This research represents a unique contribution to the literature on festivals by combining the theoretical construct of cultural value with Mitchell’s model of creative destruction and creative enhancement, particularly within South Australia where little such work has been one, despite the fact that it presents itself as the “Festival State”.
2

Quintal, Vanessa, Michael Lwin, Ian Phau und Abhinav Sood. „Festival Personality and How It Influences Visitor Attitude and Intention“. Event Management 24, Nr. 6 (20.11.2020): 665–84. http://dx.doi.org/10.3727/152599519x15506259856543.

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This study explores festival personality for its impacts on visitor attitude and intention toward festivals. Two distinct and popular festivals held at a botanic park in Western Australia were selected for the research. A total of 481 local and international visitors participated in the self-administered, pen-and-paper and online surveys. The Excitement personality attribute was unique to the Chili Festival, whereas the Cheerfulness personality attribute was unique to the Tulip Festival. Both festivals embodied the Imagination personality attribute, suggesting the place in which a festival is held may embody its own attributes, which contribute to the holistic personality of the festival. For both festivals, the personality attributes had significant impact on favorable visitor attitude, resulting in their positive intention toward these festivals. The study paves the way for researchers to extend brand personality research to the event tourism domain, particularly in the niche sector of festivals. The enhanced understanding lends input into how festival organizers, brand managers, and marketers can manage the positioning, differentiation, and communication strategies of their festivals in this competitive sector.
3

SAUTER, WILLMAR. „Introduction: Festival Culture in Global Perspective“. Theatre Research International 30, Nr. 3 (Oktober 2005): 237–39. http://dx.doi.org/10.1017/s0307883305001483.

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According to the Australia Council, the 152 arts festivals held in that country during the season of 1993–4 had a combined operating expenditure of Australian $58.3 million and were attended by 2.2 million visitors. At the same time, these festivals provided 32,000 paid engagements for Australian artists. Considering this massive expansion of festivals in terms of artistic arena, national marketplace and international industry, the scholarly interest in this phenomenon has taken new directions. To study the productions seemed not to be enough, nor was it satisfactory to survey audience attendance or to investigate economic turnouts. Obviously festivals did something more than promote theatrical performances.
4

Hammond, Paula. „Festivals and holidays: Australia Day“. Child Care 5, Nr. 1 (Januar 2008): 18. http://dx.doi.org/10.12968/chca.2008.5.1.37633.

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5

Luther, Matt, Fergus Gardiner, Shane Lenson, David Caldicott, Ryan Harris, Ryan Sabet, Mark Malloy und Jo Perkins. „An Effective Risk Minimization Strategy Applied to an Outdoor Music Festival: A Multi-Agency Approach“. Prehospital and Disaster Medicine 33, Nr. 2 (21.03.2018): 220–24. http://dx.doi.org/10.1017/s1049023x18000195.

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Specific Event Identifiersa. Event type: Outdoor music festival.b. Event onset date: December 3, 2016.c. Location of event: Regatta Point, Commonwealth Park.d. Geographical coordinates: Canberra, Australian Capital Territory (ACT), Australia (-35.289002, 149.131957, 600m).e. Dates and times of observation in latitude, longitude, and elevation: December 3, 2016, 11:00-23:00.f. Response type: Event medical support.AbstractIntroductionYoung adult patrons are vulnerable to risk-taking behavior, including drug taking, at outdoor music festivals. Therefore, the aim of this field report is to discuss the on-site medical response during a music festival, and subsequently highlight observed strategies aimed at minimizing substance abuse harm.MethodThe observed outdoor music festival was held in Canberra (Australian Capital Territory [ACT], Australia) during the early summer of 2016, with an attendance of 23,008 patrons. First aid and on-site medical treatment data were gained from the relevant treatment area and service.ResultsThe integrated first aid service provided support to 292 patients. Final analysis consisted of 286 patients’ records, with 119 (41.6%) males and 167 (58.4%) females. Results from this report indicated that drug intoxication was an observed event issue, with 15 (5.1%) treated on site and 13 emergency department (ED) presentations, primarily related to trauma or medical conditions requiring further diagnostics.ConclusionThis report details an important public health need, which could be met by providing a coordinated approach, including a robust on-site medical service, accepting intrinsic risk-taking behavior. This may include on-site drug-checking, providing reliable information on drug content with associated education.LutherM, GardinerF, LensonS, CaldicottD, HarrisR, SabetR, MalloyM, PerkinsJ. An effective risk minimization strategy applied to an outdoor music festival: a multi-agency approach. Prehosp Disaster Med. 2018;33(2):220–224.
6

Holmes, Kirsten, und Jane Ali-Knight. „The event and festival life cycle – developing a new model for a new context“. International Journal of Contemporary Hospitality Management 29, Nr. 3 (20.03.2017): 986–1004. http://dx.doi.org/10.1108/ijchm-10-2015-0581.

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Purpose The events and festivals literature relies on theories and models borrowed from tourism studies which may insufficiently account for the unique characteristics of events and festivals. Using four case studies from Australia, United Arab Emirates and the UK, this paper aims to analyse events and festival life cycles using the Tourism Area Life Cycle (TALC) framework (Butler, 1980). Design/methodology/approach The paper is conceptual in that it theorises the range of event and festival life cycle trajectories; however, four event case studies are also used to illustrate this approach. Findings Findings facilitate an extension of Butler’s model to include additional trajectories and accompanying underpinning critical factors that better explain and predict the nature of events and festivals. Research limitations/implications The paper is based on four case studies from the cultural sector which is ideal for developing theory but limits the contexts examined in this paper. The findings are only applicable to recurring events and festivals. Practical implications In the new model, seven different pathways, ranging from continued growth to cancellation, suggest potential opportunities and risks for events and festivals. The results are of particular relevance for event managers, who can use the case studies and trajectories as reference points for event growth and consolidation. Social implications The case studies reveal that successful events are seen to have strong ties to their local communities and are rooted in the destination. Originality/value The paper’s originality is in both the context of utilising diverse international cultural festival and events as case studies and the proposal of seven alternative pathways for events and festivals, which extend Butler’s TALC to the unique context of these temporal phenomena.
7

Ryan, Robin, Jasmin Williams und Alison Simpson. „From the ground up: growing an Australian Aboriginal cultural festival into a live musical community“. Arts and the Market 11, Nr. 2 (16.08.2021): 92–108. http://dx.doi.org/10.1108/aam-09-2020-0038.

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PurposeThe purpose is to review the formation, event management, performance development and consumption of South East Australia’s inaugural 2018 Giiyong Festival with emphasis on the sociocultural imaginary and political positionings of its shared theatre of arts.Design/methodology/approachA trialogue between a musicologist, festival director and Indigenous stakeholder accrues qualitative ethnographic findings for discussion and analysis of the organic growth and productive functioning of the festival.FindingsAs an unprecedented moment of large-scale unity between First and non-First Nations Peoples in South East Australia, Giiyong Festival elevated the value of Indigenous business, culture and society in the regional marketplace. The performing arts, coupled with linguistic and visual idioms, worked to invigorate the Yuin cultural landscape.Research limitations/implicationsAdditional research was curtailed as COVID-19 shutdowns forced the cancellation of Giiyong Festival (2020). Opportunities for regional Indigenous arts to subsist as a source for live cultural expression are scoped.Practical implicationsMusic and dance are renewable cultural resources, and when performed live within festival contexts they work to sustain Indigenous identities. When aligned with Indigenous knowledge and languages, they impart central agency to First Nations Peoples in Australia.Social implicationsThe marketing of First Nations arts contributes broadly to high political stakes surrounding the overdue Constitutional Recognition of Australia's Indigenous Peoples.Originality/valueThe inclusive voices of a festival director and Indigenous manager augment a scholarly study of SE Australia's first large Aboriginal cultural festival that supplements pre-existing findings on Northern Australian festivals.
8

Alonso-Vazquez, Marisol, und Christina Ballico. „Eco-friendly practices and pro-environmental behaviours: the Australian folk and world music festival perspective“. Arts and the Market 11, Nr. 2 (02.07.2021): 76–91. http://dx.doi.org/10.1108/aam-10-2020-0046.

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PurposeThe coronavirus disease 2019 (COVID-19) pandemic has once again brought to our attention one of the three main pillars of sustainability–the environment. It has also brought into sharp relief the fragility of the live music festival sector, whose success hinges fundamentally on the capacity for both travel and mass gatherings to occur. Considering this intersection of environmental sustainability and the live music festival sector, this paper–which reports on events occurring long before the global pandemic took hold–examines the ways in which eight Australian folk and world music festivals successfully engage in eco-friendly and pro-environmental practices and educational activities at their events. Findings from this research will assist industry practitioners in being able to engage in similar practices at their events, as well as further academic understandings of the relationship between the environment and the live music sector, and the role of environmental communication practices within this.Design/methodology/approachThis study engaged an exploratory research design using interviews to gain an insight into the perceptions of eight live music festival promoters regarding their patrons' on-site eco-friendly behaviours and engagement with the eco-friendly initiatives at their events.FindingsSocial support within the on-site festival community (applied here through the notion of a sense of communitas), coupled with the provision of eco-friendly initiatives and effective environmental communication approaches, were key pivot drivers to support patrons' pro-environmental behaviours. Engagement with environmental authorities and experts during the festivals was found to validate their eco-friendly approaches.Originality/valueThis paper provides details of, as well as insights into, the success of the eco-friendly and pro-environmental education practices engaged at select world and folk music festivals in Australia. It broadens and builds upon existing understandings of environmental communication practices.
9

Bachman, Jarrett R. „Music Festivals and Regional Development in Australia“. Event Management 16, Nr. 3 (01.10.2012): 267–68. http://dx.doi.org/10.3727/152599512x13461660017475.

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10

Semple, Anne-Louise. „Music festivals and regional development in Australia“. Australian Geographer 44, Nr. 2 (Juni 2013): 220–21. http://dx.doi.org/10.1080/00049182.2013.799054.

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Zeitschriftenartikel Dissertationen Bücher

Dissertationen zum Thema "Festivals Australia":

1

Meekison, Lisa. „Playing the games : indigenous performance in Australia's Festival of the Dreaming“. Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.670221.

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Small, Katie E. „Understanding the social impacts of festivals on communities“. View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/37653.

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Thesis (Ph.D.) -- University of Western Sydney, 2007.
A thesis submitted to the University of Western Sydney, College of Business, School of Marketing, in partial fulfilment of requirements for the degree of Doctor of Philosophy. Includes bibliographical references.
3

St, John Graham 1968. „Alternative cultural heterotopia ConFest as Australia's marginal centre“. [Melbourne] : Confest Integrity Agency, 2000. http://nla.gov.au/nla.arc-41333.

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Title from title screen (viewed on 15 Apr. 2004) Text and graphics. Web site contains the complete thesis submitted in total fulfilment of the requirements for the Degree of Doctor of Philosophy, School of Sociology, Politics and Anthropology, Faculty of Humanities and Social Sciences, La Trobe University, Melbourne, Australia. Also includes photographs and links to related web sites. System requirements: Adobe Acrobat reader for viewing files in PDF format. Mode of access: Internet via World Wide Web. Available at: http://www.confest.org/thesis/index.html Selected for archivingANL
4

Small, Katie E. „Understanding the social impacts of festivals on communities“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/37653.

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This thesis seeks to understand the social impacts that festivals have on their host communities. It focuses on community festivals as one type of event which have a particularly strong connection to their host community. Community festivals are traditionally organised by and for the local community, and often celebrate a theme that has developed from within the community itself. Community festivals provide members of a community with opportunities to engage in socialisation, entertainment and the establishment of social networks, which can contribute to the enhancement of community cohesion and the building of social capital within a community. Additionally, they can provide tourism benefits such as increased visitation and promotion of a destination’s image. However, there is the potential for negative social impacts to result from the hosting of a festival, including traffic congestion, overcrowding, vandalism and increased antisocial behaviour. This thesis seeks to understand the perceived social impacts of community festivals from the perspective of the resident population. Six important questions are addressed in this thesis: 1) what are the underlying dimensions of the social impacts of community festivals?; 2) what are a host community’s expectations and perceptions of the social impacts of a festival?; 3) are there distinct subgroups within a community who differ in their feelings towards a festival?; 4) do these subgroups hold differing perceptions of the social impacts of community festivals?; 5) can the Social Impact Perception (SIP) scale be used to measure residents’ perceptions of the social impacts of community festivals?; and 6) what are the implications of this research for the planning and management of future community festivals? In order to explore these issues, this study draws on literature from the areas of tourism and sociology. It is from the tourism literature, more specifically on events, that community festivals are introduced as the focus of this thesis. The sociological literature on communities reinforces the importance of the ‘community’ in community festivals, and examines the role that festivals can play in contributing to community development, community wellbeing and the enhancement of social capital. Two community festivals were studied, one in Western Australia and the other in Victoria, Australia. Data were collected from residents in each of these two communities at one point in time following the staging of their festival. Both qualitative and quantitative methods were used, including semi-structured interviews, focus groups, observational techniques, document analysis and a residents’ perceptions questionnaire. The results revealed that there are distinct subgroups within a community who choose to be involved with their festival in a range of ways and who perceive the social impacts resulting from the festival quite differently. These subgroups have been labelled the tolerators, economically connected, attendees, avoiders and volunteers. Whilst holding varied perceptions of the positive and negative nature of the impacts and levels at which they occur, residents perceive the social impacts of community festivals to occur within six impact dimensions: inconvenience, community identity and cohesion, personal frustration, entertainment and socialisation opportunities, community growth and development, and behavioural consequences. Those residents who participate in the festival, either as volunteers or attendees, tend to be those who are most positive about the festival and its impacts. This participation in the community provides opportunities for social transactions, relationship building and the development of social networks, which in turn have positive outcomes for community wellbeing and the development of social capital. This research has a number of implications for the management of future community festivals, in respect to providing a better understanding of residents’ perceptions of the social impacts a festival creates; towards better satisfying the diverse needs of distinct community subgroups; and related to how festivals can be used to contribute to community wellbeing and the enhancement of social capital.
5

Cummings, Joanne. „Sold out ! : an ethnographic study of Australian indie music festivals“. Thesis, View thesis, 2007. http://handle.uws.edu.au:8081/1959.7/35961.

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The focus of this sociological research is on the five most popular and commercially successful Australian indie music festivals: Livid, Big Day Out, the Falls festival, Homebake, and Splendour in the Grass. The three key features of Australian indie music festivals are, firstly, that they are multi-staged ticketed outdoor events, with clearly defined yet temporal boundaries. Secondly, the festivals have a youth-orientated focus yet are open to all ages. Finally, the festivals are primarily dominated by indie-guitar culture and music. My aim is to investigate how these music festivals are able to strike an apparently paradoxical balance between the creation of a temporal community, or network of festivalgoers, and the commodity of the festivals themselves. My research methodology utilises a postmodern approach to ethnography, which has allowed me to investigate the festivalgoers as an ‘insider researcher.’ Data was collected through a series of participant observations at Australian indie music festivals which included the use of photographs and field notes. In addition I conducted nineteen semi-structured interviews and two focus groups with festivalgoers and festival organisers. The thesis adopts a post-subcultural approach to investigating the festivalgoers as an ideal type of a neo-tribal grouping. Post-subculture theory deals with the dynamic, heterogeneous and fickle nature of contemporary alliances and individuals’ feelings of group ‘in-betweeness’ in late capitalist/ global consumer society. I argue that Maffesoli’s theory of neo-tribalism can shine new light on the relationships between youth, music and style. Music festivals are anchoring places for neo-tribal groupings like the festivalgoers as well as a commercialised event. An analysis of the festivalgoers’ ritual clothing (t-shirts as commodities), leads to the conclusion that the festivalgoers use t-shirts to engage in a process of identification. T-shirts, I argue, are an example of a linking image which creates both a sense of individualism as well as a connection to a collective identity or sociality. Through a case study of moshing and audience behaviour it is discovered that the festivalgoers develop neo-tribal sociality and identification with each other through their participation in indie music festivals. Although pleasure seems to be the foremost significant dimension of participating in these festivals, the festivalgoers nevertheless appear to have developed an innate sense of togetherness and neo-tribal sociality. The intensity and demanding experience of attending a festival fosters the opportunity for a sense of connectedness and belonging to develop among festivalgoers.
6

Grigg, Jodie. „A mixed methods study of drug use at outdoor music festivals in Western Australia and Victoria“. Thesis, Curtin University, 2020. http://hdl.handle.net/20.500.11937/79426.

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This study investigated the nature and extent of drug use associated with Australian music festivals, assessed current and potential future policy and practice strategies aimed at reducing the risk of drug-related harm at festivals, and developed evidence-based recommendations aimed at improving current strategies. Key recommendations included: expanding drug-checking services; ceasing the use of drug detection dogs; removing barriers to seeking medical attention; shifting to a harm reduction policy; and creating more enabling environments for harm reduction.
7

Ross, Jane Elizabeth. „Regional Victorian arts festivals : from community arts to an industry based model /“. Connect to thesis, 1999. http://eprints.unimelb.edu.au/archive/00000957.

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Peach, Ricardo. „Queer cinema as a fifth cinema in South Africa and Australia“. University of Technology, Sydney. Faculty of Humanities and Social Sciences, 2005. http://hdl.handle.net/2100/425.

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Australia had the world’s first gay film festival at the Sydney Filmmakers Co-op in June 1976, part of a larger commemoration of the Stonewall Riots in New York City of 1969. In 1994, South Africa became the first country in the world to prohibit discrimination in its constitution on the basis of sexual orientation, whilst allowing for positive discrimination to benefit persons disadvantaged by unfair discrimination. South Africa and Australia, both ex-British colonies, are used in this analysis to explore the way local Queer Cinematic Cultures have negotiated and continue to negotiate dominant social forces in post-colonial settings. It is rare to have analyses of Queer Cinematic Cultures and even rarer to have texts dealing with cultures outside those of Euro-America. This study offers a unique window into the formations of Queer Cinematic Cultures of two nations of the ‘South’. It reveals important new information on how sexual minorities from nations outside the Euro-American sphere have dealt with and continue to deal with longstanding Queer cinematic oppressions. A pro-active relationship between Queer representation in film and social-political action is considered by academics such as Dennis Altman to be essential for significant social and judicial change. The existence of Queer and other independent films in Sydney from the 1960s onward, impacted directly on sexuality, race and gender activism. In South Africa, the first major Queer film festival, The Out In Africa Gay and Lesbian Film Festival in 1994, was instrumental in developing and maintaining a post-Apartheid Queer public sphere which fostered further legal change. Given the significant histories of activism through Queer Cinematic Cultures in both Australia and South Africa, I propose in this thesis the existence of a new genus of cinema, which I term Fifth Cinema. Fifth Cinema includes Feminist Cinema, Queer Cinema and Immigrant/Multicultural Cinema and deals with the oppressions which cultures engage with within their own cultural boundaries. It can be informed by First Cinema (classical, Hollywood), Second Cinema (Art House or dual national cinemas), Third and Fourth Cinema (cinemas dealing with the decolonisation of Third World and Fourth World people), but it develops its unique characteristics by countering internal cultural colonisation. Fifth Cinema functions as a heterognosis, where multi-dimensional representations around sexuality, race and gender are used to assist in broader cultural liberation.
9

Hope, Cathy, und 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.
10

Morris, Brian John. „Journeys in extraordinary everyday culture : walking in the contemporary city /“. Connect to thesis, 2001. http://eprints.unimelb.edu.au/archive/00002256.

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Bücher zum Thema "Festivals Australia":

1

Wyeth, Chris. Festivals & offbeat events: Australia. Kenthurst: Kangaroo Press, 1992.

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Gibson, Chris. Music festivals and regional development in Australia. Burlington, VT: Ashgate, 2011.

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Griffiths, Diana. Australia. Milwaukee: Gareth Stevens Pub., 1999.

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4

Tōkyō Kokuritsu Kindai Bijutsukan. Firumu Sentā. Ōsutoraria eigasai: Nichi-Gō kōryūnen 2006 = Australian film festival : 2006 Australia-Japan year of exchange. Tōkyō: Kokuritsu Bijutsukan, 2006.

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Denmark), Visionlines (1998 Aarhus. Visionlines: Cultural festivals, new music theatre, comtemporary music : an international conference Denmark-Australia, Aarhus, September 1-3, 1998 : report. Copenhagen K: Danish Music Information Centre, 1999.

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Aloian, Molly. Cultural traditions in Australia. New York: Crabtree Pub., 2013.

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7

Estonian, World Festival ESTO (5th 1988 Melbourne Australia). Esto '88: V Estonian World Festival. Baltimore: Esto, Inc., 1989.

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Stevens, Kirsten. Australian Film Festivals. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3.

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Smith, Susan Bradley, Marele Day und Fay Knight. Making waves: 10 years of the Byron Bay Writers Festival. St. Lucia, Qld: University of Queensland Press, 2006.

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(2012), Adelaide Biennial of Australian Art. Parallel collisions: 2012 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide Festival. Adelaide, S. Aust: Art Gallery of South Australia, 2012.

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Buchteile zum Thema "Festivals Australia":

1

Holmes, Kirsten, und Judith Mair. „Events, Festivals, and Sustainability: The Woodford Folk Festival, Australia“. In The Palgrave Handbook of Sustainability, 583–97. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71389-2_31.

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McCarthy, Breda. „The Landscape of Music Festivals in Australia“. In Music Business and the Experience Economy, 119–34. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-27898-3_8.

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Darian-Smith, K. „Chapter 2. Histories of Agricultural Shows and Rural Festivals in Australia“. In Festival Places, herausgegeben von Chris Gibson und John Connell, 25–43. Bristol, Blue Ridge Summit: Multilingual Matters, 2011. http://dx.doi.org/10.21832/9781845411688-005.

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de Valck, Marijke. „Sites of Initiation: Film Training Programs at Film Festivals“. In The Education of the Filmmaker in Europe, Australia, and Asia, 127–45. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137070388_7.

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Stevens, Kirsten. „Introduction“. In Australian Film Festivals, 1–16. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_1.

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Stevens, Kirsten. „Enthusiastic Amateurs: Origins of Australia’s Film Festival Movement“. In Australian Film Festivals, 17–46. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_2.

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Stevens, Kirsten. „Growth and Change: Curator-Led Festivals, Fragmenting Audiences, and Shifting Film Exhibition Cultures“. In Australian Film Festivals, 47–77. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_3.

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Stevens, Kirsten. „From Film Weeks to Festivals: The Spread of the Urban Film Festival After 1980“. In Australian Film Festivals, 79–104. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_4.

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9

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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10

Stevens, Kirsten. „Programming Perceptions: Film Festivals and the Construction of Taste“. In Australian Film Festivals, 137–69. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-58130-3_6.

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Konferenzberichte zum Thema "Festivals Australia":

1

Hildebrandt, Anna. „Foster's Australia "Big Ad"“. In ACM SIGGRAPH 2006 Computer animation festival. New York, New York, USA: ACM Press, 2006. http://dx.doi.org/10.1145/1179196.1179226.

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Berichte der Organisationen zum Thema "Festivals Australia":

1

Kerrigan, Susan, Phillip McIntyre und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.

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Annotation:
Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.
2

Ryan, Mark David, Greg Hearn, Marion McCutcheon, Stuart Cunningham und Katherine Kirkwood. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Busselton. Queensland University of Technology, Januar 2021. http://dx.doi.org/10.5204/rep.eprints.207597.

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Located a two-and-a-half hour drive south of Perth, Busselton is one of the largest and fastest growing regional centres in WA, a lifestyle services hub and the gateway to the internationally renowned wine region and popular tourist destination of Margaret River. Promoted by the City of Busselton council as the ‘Events Capital of WA’, Busselton has a strong festival and events economy that fuels local creative and arts production, supported by demographic shifts and population growth that is resulting in more creatives living and working in the city.
3

Kerrigan, Susan, Phillip McIntyre und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Ballarat. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206963.

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Description Ballarat sits on Wathaurong land and is located at the crossroads of four main Victorian highways. A number of State agencies are located here to support and build entrepreneurial activity in the region. The Ballarat Technology Park, located some way out of the heart of the city at the Mount Helen campus of Federation University, is an attempt to expand and diversify the technology and innovation sector in the region. This university also has a high profile presence in the city occupying part of a historically endowed precinct in the city centre. Because of the wise preservation and maintenance of its heritage listed buildings by the local council, Ballarat has been used as the location for a significant set of feature films, documentaries and television series bringing work to local crews and suppliers. With numerous festivals playing to the cities strengths many creative embeddeds and performing artists take advantage of employment in facilities such as the Museum of Australian Democracy at Eureka. The city has its share of start-ups, as well as advertising, design and architectural firms. The city is noted for its museums, its many theatres and art galleries. All major national networks service the TV and radio sector here while community radio is strong and growing.
4

McIntyre, Phillip, Susan Kerrigan und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Albury-Wodonga. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206966.

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Albury-Wodonga, situated in Wiradjuri country, sits astride the Murray River and has benefitted in many ways from its almost equidistance from Sydney and Melbourne. It has found strength in the earlier push for decentralisation begun in early 1970s. A number of State and Federal agencies have ensured middle class professionals now call this region home. Light industry is a feature of Wodonga while Albury maintains the traditions and culture of its former life as part of the agricultural squattocracy. Both Local Councils are keen to work cooperatively to ensure the region is an attractive place to live signing an historical partnership agreement. The region’s road, rail, increasing air links and now digital infrastructure, keep it closely connected to events elsewhere. At the same time its distance from the metropolitan centres has meant it has had to ensure that its creative and cultural life has been taken into its own hands. The establishment of the sophisticated Murray Art Museum Albury (MAMA) as well as the presence of the LibraryMuseum, Hothouse Theatre, Fruit Fly Circus, The Cube, Arts Space and the development of Gateway Island on the Murray River as a cultural hub, as well as the high profile activities of its energetic, entrepreneurial and internationally savvy locals running many small businesses, events and festivals, ensures Albury Wodonga has a creative heart to add to its rural and regional activities.
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McIntyre, Phillip, Susan Kerrigan und Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Coffs Harbour. Queensland University of Technology, 2021. http://dx.doi.org/10.5204/rep.eprints.208028.

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Coffs Harbour on the north coast of NSW is a highway city sandwiched between the Great Dividing Range and the Pacific Ocean. For thousands of years it was the traditional land of the numerous Gumbaynggirr peoples. Tourism now appears to be the major industry, supplanting agriculture and timber getting, while a large service sector has grown up around a sizable retirement community. It is major holiday destination. Located further away from the coast in the midst of a dairy farming community, Bellingen has become a centre of alternative culture which relies heavily on a variety of festivals activated by energetic tree changers and numerous professionals who have relocated from Sydney. Both communities rely on the visitor economy and there have been considerable changes to how local government in this region approach strategic planning for arts and culture. The newly built Coffs Harbour Education Campus (CHEC) is an experiment in encouraging cross pollination between innovative businesses and education and incorporates TAFE NSW, Coffs Harbour Senior College and Southern Cross University as well as the Coffs Harbour Technology Park and Coffs Harbour Innovation Centre all on one site. The 250 seat Jetty Memorial Theatre is the main theatre in Coffs Harbour for local and touring productions while local halls and converted theatres are the mainstay of smaller communities in the region. As peak body Arts Mid North Coast reports, there is a good record of successful arts related events which range across all genres of music, art, sculpture, Aboriginal culture, street art, literature and even busking and opera. These are mainly managed by passionate local volunteers.

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