Dissertations / Theses on the topic 'Film exhibition'
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Skiada, Anastasia. "Exhibition in the British film business 1939-1945." Thesis, University of Leicester, 2014. http://hdl.handle.net/2381/28794.
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This thesis concentrates on the exhibition sector of the cinema industry and argues that the cinema industry was very successful during the war, despite bombing, rising costs, and wartime shortage. The success of the cinema business is understood not only via the analysis of the financial statements of the companies, but also as a business phenomenon which relates to government manipulation, and cinema goers' expectations. Given the important position played by the combines in the evolution of the cinema industry, and the lack of any available data about independently owned cinemas it concentrates on the financial performance of the combines, in order to demonstrate the success of the cinema industry. The evolution of the cinema industry during the war years is also demonstrated by the further development of industrial concentration. This happened through merger and added to the increase in the industry's profits and its further strengthening. It is argued that the success of the circuits was due to the prevailing conditions in cinema exhibition during the war: the barring system, rise of film hire, and conditional booking, due to the government's 'inertia', and most of all due to the state's policy and actions. These were directed towards the strengthening of the cinema industry, since the state used it as means of propaganda and for morale boosting purposes. The unique role played by the cinema in wartime was its social function. The cinema emerged as the main focal point of the community's social life through the organisation of events which helped the community, from charity concerts to recruiting drives. A visit to the local cinema offered a much wider experience than film consumption; it gave a feeling of security, provided a cheery and friendly atmosphere, and a sense of solidarity. This is how its patrons experienced the cinema was experienced and this thesis demonstrates how publicity and marketing helped establish its central place in the community.
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Hanson, Stuart. "Contemporary developments in cinema exhibition." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/11105.
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The work offered for this PhD by Published Works charts the history of cinema exhibition in Britain from the late 1950s to the present. At the start of this period, cinemagoing as a form of public entertainment entered a long period of decline that was only arrested with the development and growth of multiplex cinemas in the 1980s and 1990s. Despite these changes, the feature film itself remained a culturally and commercially valuable artefact, though increasingly this meant the Hollywood film. Whilst due consideration is afforded to the technological changes in cinemas and the cinema apparatus, my work places the development of cinemagoing in a broad social, economic, cultural and political context, and explains how these issues impact upon on-going developments. In the late 1950s, cinemagoing declined partly in response to changing leisure habits, demographic shifts, the growth of consumer culture, television, and the widespread adoption of new broadcast technologies like home video and satellite. The multiplex returned feature films to cinemas, but was a definitively American commercial form closely associated with new forms of leisure and out-of-town retailing. There are also parallels between the context for development of the multiplex in the USA – suburbanisation, shopping malls and reliance on the motorcar – and developments in Britain in the last 30 years. To this end there is a specific emphasis on the development of the multiplex cinema as part of a wider narrative about the re-positioning of cinemagoing as a collective, public form of visual entertainment, in the period from the mid-1980s, in the context of some dramatic changes in the transient nature of capitalism and urban planning. From the early 1990s onwards there was a growing anxiety about the impact of out-of-town developments on Britain’s urban centres, and a concomitant and renewed emphasis on the importance of the urban core rather than the edge. Thus, the key to understanding the evolution of cinema exhibition today is to pay particular attention to urban planning as inherently ideological, shifting and changing in line with broader political, economic and social considerations.
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Peng, Kan. "A political economy of online film exhibition in China." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/23.
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As one of the most revolutionary technologies in human history, the Internet has dramatically transformed the media industry, including the film exhibition industry. In China, new online exhibition networks have continuously been established to exploit the lucrative markets of Internet users' online viewing and sharing habits. The destinies of different types of films in the Chinese market have been greatly changed due to the increasing connections and contradictions between China's Internet and film exhibition industry which are influenced by many political economy factors, such as the conflicting interests among different government departments. Therefore, this paper examines the Internet's impact on film exhibition in China from a political economy perspective. The thesis first traces the history of two online exhibition networks related to China's film market. One is the online video websites that accumulated their early capital by piracy content, but which were then progressively legalized under the forces of venture capital and government administration. The other is the online piracy network, which has become a problem for film industries worldwide , due to its transnational, decentralized and limitless network. However, this network also functions as a democratic tool to combat with the ideological controls of the government. This thesis argues that these two online exhibition networks are fated to conflict with each other since they operate under two conflicting logics. The former operates in the logic of capital gains, while the latter celebrates the logic of ommunal sharing and exchange. Based on the analysis of the dynamic between these two online exhibition networks, this thesis further investigates how, in the context of China's particular political economy, three different types of film are influenced by the two networks. The first is Chinese commercial films, which are making more and more profits from online video websites, while facing the challenge of online piracy. The second are foreigll'films, which are expanding their influence and bypassing the entry barriers into the Chinese market through the online video websites and piracy networks. The third are so-called Chinese independent films. As these films cannot be distributed through state-controlled channels, Chinese independent film 's domestic circulation was once quite confined. For independent films, the Internet has become an important exhibition channel that extends their influence to a wider domestic audience and even a bargaining chip with which to negotiate with the state's rigorous censorship system
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Wu, Dan. "Minjian film exhibition culture in contemporary China : sustainability and legitimisation." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3637.
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This thesis focuses on China’s Minjian film exhibition culture, which arose in the 1990s and has proliferated across China throughout the 2000s, to examine in detail two main issues - its sustainability and legitimisation. Minjian film exhibition is defined as including grassroots film festivals, organisations and cineclubs, which are dedicated to showcasing Chinese independent films. The thesis aims to examine conflicts between Minjian film exhibition and the state against a backdrop of the forced closure of a number of grassroots film festivals at the hands of local governments and state intervention in grassroots level exhibition activities since 2012. Empirical data obtained through a ten month ethnographic study evidences that the sustainability and legitimisation of Minjian film exhibition culture largely rely on its interaction and negotiation with the state, society and global networks of NGOs and cultural institutions. This finding challenges the assumption that Minjian film exhibition culture is a local film exhibition culture and exists in an antagonistic relationship with the state. The networking of China’s grassroots film festivals with global networks of NGOs and cultural institutions also challenges the neoliberal structure of the international film festival circuit. This thesis is critical of accounts of the static nature of this cultural movement. In analysing the dynamic nature of this exhibition culture, this thesis draws on the concept of reterritorialization connected to Actant Rhizome Ontology, which provides a non-dichotomous approach and insights into the relational ties of Minjian film exhibition culture, the state, society and global networks. It argues that no inherent qualities and static identities can be attached to Minjian film exhibition culture as it constantly gains meanings and qualities through contact with the state, society and global networks which ensure its sustainability and legitimisation.
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Lewis, Sian. "Local government and film censorship : the control of film exhibition in England and Wales, 1909-1939." Thesis, University of Bristol, 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.251038.
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Cook, Patricia. "Slade's electro-photo marvel : touring film exhibition in late Victorian Britain." Thesis, Birkbeck (University of London), 2016. http://bbktheses.da.ulcc.ac.uk/211/.
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This thesis explores a little known period of early film exhibition in late Victorian Britain. Employing an historiographic approach to material not previously researched, principally the archive of William D. Slade a successful Cheltenham business man, a largely chronological study of Slade‟s activities has been undertaken. Beginning with his presentations of optical lantern exhibitions in the 1880s and 90s in Cheltenham and Worcester, Slade‟s experience as an amateur in magic lantern exhibition is explored as the background to the paradigm shift he made in December 1896. Immediately after purchasing a Demenÿ -Chronophotographe and films from the recently established Gaumont Company in Paris, Slade, accompanied by his daughter Mary, embarked on a new career as Slade‟s Kinematographical and Optical Entertainments and Concerts. During the first six months of 1897, he put on a series of entertainments in the south-west of England and Derbyshire. Investigating what was taking place in Cheltenham in 1897 revealed that the Borough Council commissioned Robert Paul to take film of the official visit of the Prince of Wales to the town in May 1897. The correspondence between Slade and Gaumont et Cie further disclosed that Léon Gaumont, in company with John Le Couteur of the Photographic Association in London, also came to Cheltenham to film this visit. This explained how Slade was able to exhibit film of the Prince of Wales‟ visit as part of the Cheltenham Diamond Jubilee celebrations in June 1897. Slade subsequently made these films a central feature of his nationwide touring entertainments. In August 1897, Slade entered into a contract with a theatrical agent, Edward Baring, which led to 28 weeks of touring as Slade‟s Electro-Photo Marvel six nights a week throughout England and Scotland, ending in March 1898. An in-depth study of the many exhibitions he presented revealed the wide variety of localities he visited, and furnished new understanding of the importance of the Diamond Jubilee films in attracting a diverse audience in many thriving towns of this period. William Slade, previously unknown, emerges as a significant figure in the diffusion of moving pictures beyond the cities and the music hall, into many different localities of provincial Britain and significantly extends the knowledge of exhibition practices in the two years immediately after the first exhibitions in London.
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Dickson, Lesley-Ann. "Film festival and cinema audiences : a study of exhibition practice and audience reception at Glasgow Film Festival." Thesis, University of Glasgow, 2014. http://theses.gla.ac.uk/5693/.
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This thesis takes the view that film festivals are ‘social constructions’ and therefore need social subjects (people/audiences) to function. Nevertheless, Film Festival Studies, with its preoccupation with global economics and/or the political nature of these events, has arguably omitted the ‘audience voice’ meaning much of the empirical work on offer derives from market research by festivals themselves. As such, there is little conceptual contribution on what makes festivals culturally important to audiences or the ways in which festival practice differs from, or synergises with, broader cinematic practice. This thesis investigates exhibition practice and audience reception at Glasgow Film Festival (GFF) over three years (2011-13). The originality of the work is found in its contribution to the burgeoning field of Film Festival Studies and its methodological intervention as one of the earliest studies on film festival audiences. Using qualitative audience research methods, elite interviews and ethnography, it approaches film festival analysis through a nuanced lens. Furthermore, the positioning of the research within the interdisciplinary landscape of Film Festival Studies, Film Studies and Cultural Studies offers a broad context for understanding the appeal of ‘audience film festivals’ and the exhibition practices that exist within this often neglected type of film festival. The thesis argues that Glasgow Film Festival continuously negotiates its position as an event that is both populist and distinct, and local and international. Through its diverse programme (mainstream and experimental films, conventional and unconventional venues) and its discursive positioning of programmed films, it manages its position as both a local and inclusive event and a prestigious festival with aspirations of international recognition. More broadly, the thesis argues that festival exhibition is a multi-layered operation that strives to create a ‘total experience’ for audiences and in this respect it differs greatly from standard cinematic exhibition. Furthermore, I propose that – despite the fact that the raison d'être of film festivals is to present films – audiences privilege the contextual conditions of the event in their experiential accounts, articulating festival experiences (pleasures and displeasures) in spatial and corporeal terms. As such, the thesis serves to problematise Film Studies’ conventions of immersion and disembodiment by proposing that film festivals are predominantly sites of heightened participation, active spectatorship, and spatial and embodied pleasure.
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Wilson, Gavin. "Cell/ular cinema : individuated production, public sharing and mobile phone film exhibition." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8475/.
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This thesis investigates the articulation between filmmaking using the cameras of personal mobile phones, and the distribution and exhibition of filmmaking at film festivals devised to support and promote its development. Covering a research period between 2010 and 2013, I analyse an emergent phenomenon using a mixed methodology over five major chapters. Following a discussion of the ontology of phone filmmaking and its historical situatedness, I establish terminology for each major element of cell cinema. Bridging features of contemporary digital filmmaking with the entertainment spectacles of early cinema history, the phone film privileges visual immediacy, urging genred and experimental presentations of limited narrative complexity. Notably, the thesis indicates that phone films incorporate technologically innovative aspects of autobiography by filmmakers. What are characterised as the ambulatory and movie selfie categories evidence contemporary representations of movement within phone filmmaking. By updating Walter Benjamin’s (1936) ideas of the flâneur, and Michel de Certeau’s (1984) writing about the physicality of walking, the thesis draws on the socio-cultural use of mobile technologies and physical, participatory engagement with the filmmaking process. Incorporating an ethnographic study of international cell cinema film festivals, the thesis interrogates phenomenological aspects of interrelated phenomena. I discuss how phone filmmakers, spectators and others experience their participation in the construction and dissemination of intercultural, shared discourse. Cell cinema’s cultural signifiers cross or subvert perceived geographical and economic boundaries, urging a reassessment of Western or Euro-centric philosophical traditions. The thesis investigates how cell cinema enables expressions of the self, delineates notions of identity, and communicates various aspects of socially determined meaning. Therefore, cell cinema engagement incorporates the sharing of gifts of phone films that foreground bodily movement and the ‘everyday aesthetic’ of the cell cinema gaze, involving the engagement with ‘knowledge communities’, and ‘culturalising events’ within festival environments.
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Birkinbine, Benjamin J. "Continuity in Technological Change: A Political Economic Analysis of Digital Film Exhibition." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/252.
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This thesis analyzes the current transition to digital cinema projection technologies within the film exhibition business. I begin by discussing two historical cases of technological change in film exhibition technology, and I identify the corporations that successfully controlled periods of technological change in order to solidify their position atop the film industry. In drawing from these historical case studies, I examine the current transition to digital cinema projection technologies by discussing the structure of the film exhibition business and identifying those exhibitors that are controlling the transition to digital cinema. I find that the top three exhibitors - Regal Cinemas, AMC Entertainment, and Cinemark - are controlling digital cinema through two joint ventures: Digital Cinema Implementation Partners (DCIP), and National CineMedia (NCM).
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Aveyard, Karina. "Rural Cinema: Film Exhibition and Consumption in Australia and the United Kingdom." Thesis, Griffith University, 2012. http://hdl.handle.net/10072/367864.
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This thesis investigates the contexts of film exhibition and consumption in contemporary rural Australia and the United Kingdom (UK). As the site of most detailed fieldwork, Australia forms the primary focus of the investigation, while information gathered in the UK provides material for contextualisation and comparative analysis.
The public screening of films takes place in a wide variety of settings in rural areas of Australia and the UK. These range from modern multi-screen venues operating in large regional centres, through to older-style twin and single screen cinemas found in smaller places. In very small and remote settlements, where film exhibition is generally not viable on a commercial basis, screenings are held in purpose-built and make-shift facilities by local councils, community cooperatives, film societies and a few small-scale entrepreneurs.
As a commercial enterprise, the fortunes of film exhibitors are closely tied to wider economic and demographic trends. Over recent decades there has been a significant increase in the overall number of multiplexes in rural areas. However, this growth has taken place almost exclusively in large settlements, where it has been underpinned by broader increases in industrial activity, employment and population, as well as the rise in cinema-going frequency since the mid 1980s. In smaller, relatively stable towns, scaled-down single and twin screen cinemas are regularly able to survive and sometimes prosper. But in areas of social and economic decline film enterprises can be highly marginal concerns. For smaller operators adaptation and innovation are often key skill requirements. Initiatives such as in-house movie clubs, low ticket prices, and efforts to personalise patrons’ film-going experiences all form an important part of their marketing strategies. For other cinemas the secret to longevity can centre around creating a sub-commercial operating structure, one which allows the enterprise to utilise financial support mechanisms such as government funding and volunteer labour.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Humanities
Arts, Education and Law
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Hammond, Michael. "The big show : cinema exhibition and reception in Britain in the Great War." Thesis, Southampton Solent University, 2001. http://ssudl.solent.ac.uk/1226/.
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Overpeck, Deron. "Out of the dark American film exhibition : political action and industrial change, 1966-1986 /." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1459904671&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Heuman, Mary Jac. "Royalty Free: An Exhibition of User-Made Objects from The Sims." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1091.
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"Royalty Free" is a video game that looks like a gallery, containing a curated selection of custom plant objects made by fans of The Sims franchise. By exploring the visual style and social-technical activities of players outside the game, it both appreciates and speculates about the potential future of 3D computer graphics as an expressive medium.
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OLSON, PHILIP. "An Examination of the Effects of Broadband and Digital Technologies on the Distribution and Exhibition of Motion Picture and Television Content." Ohio University Honors Tutorial College / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1449960177.
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O'Brien, Margaret. "The rise of art cinema in postwar film culture : the exhibition, distribution, and reception of foreign language films in Britain 1945–1968." Thesis, Birkbeck (University of London), 2018. http://bbktheses.da.ulcc.ac.uk/346/.
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This institutional and cultural history seeks to restore the foreign language art film to its influential position in postwar British film culture. Its central argument is that the elevation of a group of mainly European directors and films to the newly autonomous field of cinematic art reached its heights in the 1950s and 1960s. Three main factors which drove this process are explored: firstly, changes in society related to education and social mobility that created new audiences; secondly, changing economic and cultural contexts, especially the film festival, whereby European productions were able to challenge Hollywood; and thirdly the construction of new institutional frameworks through publications, distribution companies, cinemas, and film societies. A further argument is that film critics, who were increasingly promoting the ideas of personal authorship inflected by national histories, provided audiences with analytical tools for their readings of art films, thus becoming key agents in the construction of intellectual discourses which separated the art film from Hollywood studio production. The period also saw the combination of sexual explicitness in the ‘serious’ art film with an increasing number of continental X films being sold on their sexual titillation. This study investigates how and why these two trends sometimes met in the same spaces of distribution and exhibition, and how the overlapping identities of ‘sex’ and ‘art’ were negotiated by censors, critics, and audiences. The thesis presents a national picture through new research on local case studies across the UK, mapping the impact of art films outside, as well as within, London and exploring how the particularities of place shaped audiences and programmes. Finally, an analysis of the findings from Cinema Memories, a project conducted for this thesis, provides fresh insights into the reception of foreign language films.
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Groskopf, Jeremy W. "Profit Margins: The American Silent Cinema and the Marginalization of Advertising." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/communication_diss/47.
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In the early years of the twentieth century, the unique new medium of motion pictures was the focus of significant theorization and experimentation at the fringes of the American advertising industry. Alongside the growth of the nickelodeon, and the multiple shifts in the American cinema's business model in the 'transitional era,' various individuals at the margins of the advertising industry attempted, and most often failed, to integrate direct consumer-goods advertising regularly into motion picture theaters. Via techniques as diverse as the glass slide, the commercial trailer, and the advertising wall-clock, cinema patrons of the 1910s witnessed various attempts by merchants and manufacturers to intrude upon their attention in the cinema space. Through research in the trade presses of the cinema, advertising, and various consumer-goods industries, along with archival ephemera from the advertising companies themselves, this dissertation explores these various on and off-screen tactics for direct advertising attempted in silent cinemas, and their eventual minimization in the American cinema experience. Despite the appeal of the new, popular visual medium of cinema to advertisers, concerns over ticket prices, advertising circulation, audience irritation, and the potential for theatrical 'suicide-by-advertising,' resulted, over a mere fifteen years, in the near abandonment of the cinema as an advertising medium. As a transitional medium between the 19th century forms of print and billboarding, and 20th century broadcasting, the silent cinema was an important element in the development of modern advertising theories.
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Kozak, Ivanna. "Marketing filmů - rozdíly v propagaci mainstreamových a arthousových snímků v USA a v Evropě." Master's thesis, Vysoká škola ekonomická v Praze, 2011. http://www.nusl.cz/ntk/nusl-113204.
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Film marketing is gaining new features every day and is underlying a dynamic development. This work is devoted to two categories of films - art house and mainstream films in European and American markets. Film is a very complex and unique product and therefore requires specific distribution and communication strategies. This thesis analyses the differences in marketing and promotion between art house and mainstream films. The aim of this paper is to explore contemporary means of marketing art house and mainstream films as well as the differences in the perception of these film categories by the viewers. The theoretical part is devoted to set light upon the differences in expectations of the viewer and the various marketing strategies with regard to these film categories. The practical part is dedicated to the analysis of the qualitative research, which was carried out for the purposes of this thesis. The research is based on personal interviews as well as on a questionnaire survey. The conclusion resulting from this research is applied on the hypotheses stated in the beginning of the thesis and discusses the advantages and disadvantages of different marketing tools used by these two film categories as well as their anticipated future development.
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Gunckel, Colin. ""A theater worthy of our race" the exhibition and reception of Spanish language film in Los Angeles, 1911-1942 /." Diss., Restricted to subscribing institutions, 2009. http://proquest.umi.com/pqdweb?did=1997008061&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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Poos, Francoise. "The making of a national audio-visual archive : the CNA and the 'Hidden Images' exhibition." Thesis, De Montfort University, 2016. http://hdl.handle.net/2086/12429.
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This thesis explores the agency and practices of visual material in the construction of collective memory and national identity. It is grounded in the case study of one particular institution, the Centre national de l’audiovisuel (CNA) in Luxembourg, and in the institutional life and transformations of a specific body of images, Luxembourg’s Amateur Film Collection and the exhibition Hidden Images mounted in 2007. The CNA is Luxembourg’s central repository for film, photography and sound documents brought together under the rubric of ‘national heritage’. The amateur film archive comprises today about 10.000 objects from the 1920s to the mid 1970s. Made in Luxembourg or by people from Luxembourg, the movies, and even more so the film stills as a condensed version of the archive, represent the nation, yet as an ensemble they remain contained, making a close examination possible. I consider in this context that images are not however only indexical referents, but also, and especially, bundled objects existing materially in the world, entangled in a complex tissue of social interactions and practices, tensioned between document and art work and interwoven with shifting institutional aspirations. Drawing on the work of Ingold, I characterize this as a meshwork, in which everything is connected and visual objects evolve organically, subject to internal and external influences. Thus, this thesis observes the private family films as they meet and mesh with the public institution CNA where they develop new agency as historical documents, as works of art or triggers of collective memory. It explores the filmed material in relation to the national and institutional politics of the CNA’s emergence, the shifting culture of curatorial intention and ambition for the collection, the hierarchies of information within CNA. By making visible the lines, the connections and the nodes of this meshwork, as well as its patterns of disruption and fracture, this study highlights the varying interactions with Luxembourg’s Amateur Film Collection in particular, and, more generally, the performative nature of family photographs and films as they are used to construct images of nationality. The small scale of Luxembourg as a nation-state presents a demonstrable case study of the ecology of images in national identity building and makes an unusually grounded contribution to the wider debate about the ways in which images strengthen a sense of belonging, and how archives and museums use photography and film to construct and articulate visions of nationhood.
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Wielgus, Alison Lynn. "You had to have been there : experimental film and video, sound, and liveness in the New York underground." Diss., University of Iowa, 2014. https://ir.uiowa.edu/etd/4794.
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You Had to Have Been There challenges the role of fetishistic materiality throughout Film Studies using the history of New York underground film and video production from 1965 to 1985. It focuses on four situations of underground film and video production and exhibition: the relationship between Andy Warhol and the Velvet Underground's Exploding Plastic Inevitable and the Film-makers' Cinematheque, the screening of Michael Snow's Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen at Anthology Film Archives, the production of work by Ed Emshwiller, Nam June Paik, Steina and Woody Vasulka, Bill Viola, and other artists at WNET's Television Laboratory, and the exhibition of No Wave Cinema by Beth and Scott B, Lizzie Borden, Vivienne Dick, John Lurie, James Nares, and others at Max's Kansas City, the Mudd Club, and the New Cinema.
This project uses the above exhibition sites to argue for the importance of liveness and presence in recording media, considering the affect of liveness not only on our definitions of cinema, but also on the relationship between cinema and historiography. While a canon of experimental film has emerged within Film Studies, determined by the alignment of experimental filmmakers and the academy, this dissertation carves out an alternate corpus of works screened in non-traditional environments. It finds an affinity between such spaces and the project of post-classical apparatus theory, both of which challenge the regimented space of traditional film spectatorship.
The films and videos of this project are connected by two crucial elements: their location in New York City and their attention to sound. The personnel involved in the creation and reception of these films and videos constitute a network forum, or a group of artists who use the spaces of reception and production to reconfigure assumptions about film and video. Some of these spaces share direct links and touchstones, while others are tied together by shared concerns. One shared concern is a critical approach to the relationship between sound and image within cinema. Michael Snow and the filmmakers of the No Wave use pre-existing ideologies of sound to challenge cinematic presence and absorptive spectatorship while embracing the limits of subcultural spectatorship. The Exploding Plastic Inevitable and the Television Laboratory embrace sound's power as present, reorienting our perspective on the relationship between technology and the body. Taken together, these exhibition sites argue for the importance of sound and liveness in understanding experimental film history. They also suggest alternative modes of spectatorship that might hold productive power in our current media environment of hyper-reproduction and communicative capitalism.
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García, Bardón Xavier. "Exprmntl. Une histoire du Festival du film expérimental de Knokke/Bruxelles (1949-1974)." Thesis, Sorbonne Paris Cité, 2017. http://www.theses.fr/2017USPCA149.
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EXPRMNTL fut probablement la plus importante manifestation jamais consacrée au cinéma expérimental. Conçu et organisé par Jacques Ledoux et la Cinémathèque royale de Belgique, le festival de Knokke / Bruxelles, qui ne connut que cinq éditions (1949, 1958, 1963, 1967, 1974) jouit aujourd'hui d'un statut mythique. Cette initiative singulière et inclassable fut bien davantage qu'un simple festival de cinéma : un point de rencontre pour la création d'avant-garde et la pensée contemporaine, un événement placé sous le signe de l'imprévu, du désir et de la contestation, y compris celle du festival même. En somme : une manifestation à ce point cohérente avec son objet qu'elle fut en elle-même une expérience. Cette recherche retrace l'histoire des cinq éditions du festival, de sa naissance à sa disparition. Elle se fonde sur les archives de la manifestation, jusqu'ici inexplorées, sur les comptes-rendus parus dans la presse de l'époque et sur de nombreux entretiens avec des acteurs et témoinsEXPRMNTL was probably the most important event ever devoted to experimental cinema. Designed and organized by Jacques Ledoux and the Royal Belgian Film Archives, the festival of Knokke / Brussels, which only had five editions (1949, 1958, 1963, 1967, 1974) now enjoys a mythical status. This unique and unclassifiable initiative was more than just a film festival: a meeting point for avant-garde culture and contemporary thinking, an event placed under the sign of the unexpected, desire and protest, including that of the festival itself. In short: an event so consistent with its object that it was in itself an experience. This research traces the history of the five editions of the festival. It is based on the hitherto unexplored archives of the event, the reports published in the press at the time and many interviews with protagonists and witnesses
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Neiva, Humberto Carneiro. "Muito além de uma realização cinematográfica: a importância do Espaço Unibanco de Cinema no cenário cinematográfico nacional e sua resistência na exibição de filmes independentes brasileiros e estrangeiros no Brasil." Universidade de São Paulo, 2010. http://www.teses.usp.br/teses/disponiveis/27/27161/tde-19082015-094959/.
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O presente estudo aborda a trajetória da sala exibidora intitulada Espaço Unibanco de Cinema, assim como sua importância no mercado cinematográfico brasileiro. Contando a sua história e detalhando as características de seu funcionamento, a pesquisa aprofunda os métodos utilizados pela sala exibidora para permanecer no cenário exibidor brasileiro como um ponto de referência e resistência da exibição dos filmes brasileiros e filmes independentes estrangeiros. Em adição a isso, o trabalho apresenta um panorama do mercado de cinema no Brasil, colocando as modificações do parque exibidor nacional e as transformações do setor audiovisual caseiro. Por fim, a pesquisa apresenta a proliferação de complexos de exibição estrangeiros no mercado cinematográfico e a expansão do Circuito Espaço de Cinema no território nacional.This study discusses the trajectory of theatre named Espaço Unibanco de Cinema, as well as its importance in Brazilian cinema market. By telling your story and detailing its operation characteristics, this research deepens the methods used by the theatre to remain in the Brazilian Exhibition Scenario as a point of reference and resistance of exhibition Brazilian and independent foreign films. In addition to this, the paper presents an overview of the film market in Brazil, pointing the changes of Brazilian Exhibition Park and audiovisual sector transformations. Finally, the research presents the proliferation of foreigner exhibition multiplexes and the growing of Circuito Espaço de Cinema all over Brazilian territory.
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Winston, Susan. "Great Exhibitions : representing the world at the Great Exhibition, the Crystal Palace at Sydenham and early British films shows." Thesis, University of East Anglia, 1995. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.309960.
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Karadzha, Ksenia. "La politique de l'Etat russe en matière d'exploitation cinématographique. Analyses à partir du cas de Saint-Pétersbourg [1995-2005]." Thesis, Paris 3, 2009. http://www.theses.fr/2009PA030190.
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Comment penser les problèmes d'accessibilité relatifs aux prix et la politique de répertoire des cinémas contemporains ? Quels sont les déterminants de la fréquentation des salles de cinéma et les conditions de son augmentation ? Quelles formes pourrait prendre un système d’exploitation cinématographique alternatif ? Tels sont les questionnements qui sous-tendent la recherche doctorale présentée dans cette thèse. Ce travail vise à définir et élaborer des bases théoriques et méthodologiques afin d’augmenter l'efficacité de la gestion du système de distribution des films en Russie, en s’appuyant sur l'utilisation de l'expérience russe et française en matière de préservation de l'identité nationale de la culture cinématographique dans un contexte de mondialisation culturelle. Cette thèse a permis d’élaborer un projet de système de gestion de la structure intergouvernementale portant sur l'exploitation cinématographique dans ses dimensions d’économie politique, d'organisation et de marketing dans la perspective d’une efficacité accrue pour résoudre les problèmes d’ordres économique et socio-culturel. Les résultats de l'étude peuvent être utilisés pour contribuer à définir la politique de l’État dans la sphère de l'exploitation cinématographique aux niveaux fédéraux, régionaux et locaux ; dans le processus de réforme et d'amélioration de l'efficacité de la gestion du système d'exploitation cinématographique ; pour la détermination des orientations à long terme de l'activité de marketing dans le domaine de l'exploitation cinématographiqueWhat is the solution of the problems with the price accessibility and repertoire policy for the modern cinemas ? What are the determinants of cinemas attendance and how to increase the target audience of cinemas ? What is the suitable form for the "system of alternative film exhibition" ? These were the questions to answer with the recent thesis. The purpose of the research is consisted in the determination and elaboration of theoretical and methodological bases for increasing the efficiency of Russian film exhibition management using the accumulated Russian and French experience of maintaining the national identity of cinematograph culture in the conditions of cultural globalization. As a result of the conducted research the international structure of film exhibition was elaborated and presented widely in the organizational, economical and marketing aspects with the aim of increase the efficiency of the solution of economical and socio-cultural problems. The results of this scientific work can be used while defining the state policy in the film exhibition field on the federal, regional and local levels ; in the process of reforming and increasing the efficiency of film exhibition management ; during the practice of foundation the perspective directions of marketing activities in the film exhibition field
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Brown, James, and katsuben@internode on net. "South Korean Film Since 1986: The Domestic and Regional Formulation of East Asias Most Recent Commercial Entertainment Cinema." Flinders University. School of Humanities (Screen Studies), 2006. http://catalogue.flinders.edu.au./local/adt/public/adt-SFU20071122.143238.
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This thesis investigates the historically composed political and economic contexts that contributed to the late 1990s commercial renaissance of Korean national cinema and that have sustained the popularity of Korean films among local and regional audiences ever since. Unlike existing approaches to the topic, which emphasise the textual characteristics of national film production, this thesis considers relations between film production, distribution, exhibition, and ancillary markets, as well as Korean cinemas engagement with international cinemas such as Hollywood, Hong Kong, China and Japan. I argue that following the relaxation of restrictive film policy towards the importation and distribution of foreign films between 1986 and 1988, the subsequent failure of the domestic film industry to compete against international competition precipitated a remarkable shift in consensus regarding the industrys structure and functions. Due to the loss of distribution rights to foreign films and the rapid decline in ticket sales for Korean films, the continued economic viability of local film companies was under enormous threat by the early 1990s. The government reacted by permitting conglomerates to seize control of the industry and pursue vertical and horizontal integration. During the rest of the decade, Korean cinema was transformed from an art cinema to a commercial entertainment cinema. The 1997/98 economic crisis led to the exit of conglomerate finance, but streamlined film companies were able to withstand the monetary meltdown, continue the domestic revitalisation, and, since the late 1990s, build media empires based on the expansion of Korean cinema throughout the Asian region.
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Vilallonga, Montañá Francesc Xavier. "El sector de l'exhibició cinematogràfica a Catalunya en l'era de la digitalització (2000-2013). Evolució i anàlisi. Formes d'exhibició alternatives als cinemes independents. El cas del Cinema Truffaut de Girona." Doctoral thesis, Universitat Ramon Llull, 2015. http://hdl.handle.net/10803/336985.
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El procés de digitalització de la indústria cinematogràfica ha afectat de forma profunda les dinàmiques professionals dels àmbits de la producció, la distribució i l’exhibició. La investigació analitza els orígens del cinema digital i la implementació de la reconversió digital en el sector de l’exhibició. Es fa un recorregut per les diverses fases d’implementació de la tecnologia digital als cinemes: des de la definició d’uns protocols tècnics universals, fins a les vies de finançament que han fet possible portar a terme el procés. També s’analitza com s’han transformat els mecanismes de la distribució i l’exhibició cinematogràfica en aquest nou context de convergència digital. Es posa un èmfasi especial en les polítiques públiques de suport a la digitalització i en la implicació i responsabilitat de les administracions per fomentar i finançar aquests canvis en el sector cinematogràfic. A més s’analitza la rellevància que les projeccions en 3D i els continguts alternatius tenen en el futur de l’exhibició, i com aquests canvis afecten els cinemes independents, especialment en el context europeu.
L’estudi fa una anàlisi de l’evolució de l’exhibició cinematogràfica a Catalunya entre els anys 2000 i 2013. A partir de dades oficials de l’Institut Català de les Empreses Culturals de la Generalitat de Catalunya (ICEC), s’analitzen tots els aspectes essencials que permeten fer una radiografia del sector de l’exhibició durant el segle XXI. Així, s’estudia l’evolució del número de cinemes i pantalles, el model de sala i la seva capacitat, les oscil·lacions en el volum d’espectadors de cinema o l’evolució dels preus i les recaptacions. A més, es fa una anàlisi del cinema en versió original, de la distribució territorial de les sales, de la presència de les diverses llengues al cinema així com de les projeccions en 3D i de la situació del procés de digitalització a Catalunya.
L’última part de la investigació es centra en un estudi de cas, el Cinema Truffaut de Girona. Es fa una síntesi de la seva evolució històrica i la seva singularitat de ser l’única sala d’exhibició cinematogràfica en versió original que hi ha a Catalunya fora de Barcelona i la seva àrea metropolitana. S’analitza el model d’exhibició alternativa amb suport públic que suposa el Cinema Truffaut i es fa un anàlisi de dades per valorar els seus resultats, viabilitat i impacte en el panorama cinematogràfic de la ciutat de Girona.El proceso de digitalización de la industria cinematográfica ha afectado de forma profunda las dinámicas profesionales de los ámbitos de la producción, la distribución y la exhibición. La investigación analiza los orígenes y evolución del cine digital así como la implantación de la reconversión digital en el sector de la exhibición. Se realiza un recorrido por las diversas fases de desarrollo de la tecnología digital en los cines: desde la definición de unos protocolos técnicos universales, hasta las vías de financiación que han hecho posible el proceso. También se analiza como se han transformado los mecanismos de la distribución y la exhibición cinematográfica en este nuevo contexto de convergencia digital. La investigación se focaliza especialmente en las políticas públicas de apoyo a la digitalización y en la implicación y responsabilidad de las administraciones en fomentar y financiar estos cambios en el sector cinematográfico. Además, se estudia la relevancia que las proyecciones en 3D y los llamados contenidos alternativos tienen en el futuro de la exhibición, y de qué forma estos cambios afectan a los cines independientes, sobretodo en el contexto europeo. El estudio analiza la evolución de la exhibición cinematográfica en Cataluña entre los años 2000 y 2013. A partir de datos oficiales del Institut Català de les Empreses Culturals de la Generalitat de Catalunya (ICEC), se recogen sistemáticamente todos los aspectos esenciales que permiten realizar una radiografía del sector de la exhibición durante el s.XXI. De esta forma, se estudia la evolución del número de cines y pantallas, el modelo de sala cinematográfica y su capacidad, las oscilaciones en el volumen de espectadores de cine o la evolución de los precios y las recaudaciones. Además, se analiza el cine en versión original, la distribución territorial de las salas, la presencia de las distintas lenguas oficiales en el cine así como las proyecciones tridimensionales y la situación del proceso de digitalización en Cataluña. La última parte de la investigación se centra en un estudio de caso, el Cine Truffaut de Girona. Se realiza una síntesis de su evolución histórica y su singularidad al ser la única sala de exhibición cinematográfica en versión original que hay en Cataluña fuera de Barcelona y su área metropolitana. Se estudia el modelo de exhibición alternativa con apoyo público que supone el Cine Truffaut y se realiza un análisis de datos para valorar sus resultados, viabilidad e impacto en el panorama cinematográfico de la ciudad de Girona.
The process of digitization of film industry has deeply affected professional dynamics in the areas of production, distribution and exhibition. The research analyzes the origins and evolution of the digital cinema as well as the implementation of the digital conversion in the exhibition sector. It explains the different phases of the development of digital technology in cinemas: from the definition of universal technical protocols, to avenues of funding that made possible the process. And it also analyzes how the mechanisms of distribution and the film exhibition are transformed in this new context of digital convergence. The research focuses especially on public policies to support digitization and the involvement and responsibility of the authorities to promote and finance these changes in the film industry. In addition, explores the relevance that projections in 3D and alternative content will have in the future of the exhibition, and in what form these changes affect the independent cinemas, especially in the European context. The study analyzes the evolution of the film exhibition in Catalonia between 2000 and 2013. Based on official data from the Institut Català de les Empreses Culturals of the Generalitat de Catalunya (ICEC), systematically collects all the essential aspects that allow to perform an accurate display of the sector during the 21st century. In this way, it explores the evolution of the number of cinemas and screens, movie theatre models and capacity fluctuations in the volume of viewers of film or the evolution of prices and revenues. In addition, discusses cinemas in original version, the territorial distribution of the screens, the presence of the different official languages as well as three-dimensional projections and the situation of the process of digitization in Catalonia. The last part of the investigation focuses on a case study, the Cinema Truffaut of Girona. It explains a synthesis of his historical evolution and its uniqueness as the only cinema with exhibition in original version that exists in Catalonia outside Barcelona and its metropolitan area. The research focuses in the model of alternative exhibition with public support that Cinema Truffaut means. A data analysis is carried out to assess their results, feasibility and impact on the cinematic panorama of the city of Girona.
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Steele, Jamie Nicholas. "The 'transnational regional' in Francophone Belgian cinema." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15434.
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This thesis explores the films produced in the francophone Belgian region of Wallonia as a case study for the configuration of what will be termed a ‘transnational regional’ cinema. The first section of this dynamic is considered in relation to film and cultural policy, which problematizes the possible formation of a clearly delineated regional or ‘national’ cinema. This presupposes a reconfiguring of the transnational along the lines of the regional and the linguistic communities of Belgium, which, in essence, pertains to how production, distribution and exhibition mechanisms function within the devolved region of Wallonia. This section therefore focuses on film policy as well as a macro- and micro- economic analysis of the industry in order to consider the perceived imbalance between Belgian and French cinema. In the second half, the thesis develops a textual analysis of a series of case study films to consider how cultural film policy and francophone Belgian identity is imagined and then imaged on screen. The interplay between the transnational and the regional is then nuanced by the approaches to the ‘transnational regional’ aesthetic. This aesthetic includes the visualization of the rural and urban Walloon landscape in Eldorado (Bouli Lanners, 2008) and Ultranova (Lanners, 2006) and the ‘marked’ regional landscape in Cages (Olivier Masset-Depasse, 2006). The shift in location across the conterminous border with France due to the logic of film funding engenders the approach to the ‘marked’ regional space in Masset-Depasse’s film. The final chapter tracks this aesthetic through to the works of the Dardenne brothers and in particular Le gamin au vélo (Dardenne brothers, 2011) in order to approach the construction of a peripheral spatial formation through corporeal movements. This therefore necessitates a consideration of how the Dardenne brothers’ film chimes with waves of European filmmaking, thereby revealing a regional space that is conceptualized as de-centred.
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Silva, Dafne Reis Pedroso da. "Hoje tem cinema: a recepção de mostras itinerantes organizadas pelo Cineclube Lanterninha Aurélio." Universidade do Vale do Rio do Sinos, 2009. http://www.repositorio.jesuita.org.br/handle/UNISINOS/2641.
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O objetivo geral desta pesquisa foi investigar o processo de recepção das mostras itinerantes de cinema organizadas pelo cineclube Lanterninha Aurélio, buscando compreender os sentidos, usos e apropriações que os receptores realizam das exibições e as mediações que as configuram. Para dar conta das especificidades do problema/objeto investigado, trabalhei os conceitos de midiatização e midiatização cinematográfica, e o desenvolvimento desses processos no contexto brasileiro, considerando as atividades cineclubista e as práticas das sessões itinerantes de cinema. Articulei perspectivas teóricas para a compreensão da recepção, desenvolvendo conceitos sobre recepção, mediações, consumo, apropriação e recepção de cinema. Acerca das estratégias metodológicas, realizei pesquisa sistemática com seis receptores das sessões itinerantes e cinco cineclubistas. Desde uma perspectiva multimetodológica, articulei um conjunto de procedimentos que incluíram questionários fechados, entrevistas estruturadas de aplicação flexí
The general aim of this research was to investigate the process of receiving the itinerant film exhibitions organized by Lanterninha Aurélio film club and to understand the meanings, uses and appropriations that the audience apprehended about the exhibition and the mediations that establish them. Thinking about the investigation of this specific problem/object, I worked with the concepts of midiatization and film midiatization and with the development of these processes in Brazilian context, considering the film clubs activities and the itinerant film sessions practices. For that purpose, I articulate some theoretical perspectives for understanding the reception using some concepts as reception, mediation, consumption, media appropriation and film reception. About my methodological strategies, I conducted systematic interviews with six persons of itinerant film sessions and with five members of film clubs. From a multi-methodological point of view, I prepare a set of methodological procedures that included cl
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Goodall, Mark D. "An Exhibition of Atrocities." 2012. http://hdl.handle.net/10454/6704.
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Miranda, Marta Maria Araújo. "Public Policies for Cinema in Portugal: the Non-commercial Film Exhibition Sector." Master's thesis, 2020. https://hdl.handle.net/10216/129647.
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Miranda, Marta Maria Araújo. "Public Policies for Cinema in Portugal: the Non-commercial Film Exhibition Sector." Dissertação, 2020. https://hdl.handle.net/10216/129647.
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陳庭舜. "A study of management strategy for nonprofit film exhibition institutions in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/07384317461473348767.
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Lester, Peter. "Cultural continuity and technological indeterminacy: itinerant 16mm film exhibition in Canada, 1918-1949." Thesis, 2008. http://spectrum.library.concordia.ca/975219/1/NR45670.pdf.
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This thesis charts the parallel historical trajectories of itinerant, non-theatrical forms of film exhibition practice and of 16mm projection technology, throughout the interwar years in Canada and into the post-World War II context. I argue that these two entities - a technology and a practice - developed in symbiosis with one another, and subsequently need to be understood in terms of this relationship. The cultural practice of traveling exhibition has often been considered a relic of the "early cinema" era, the first decade of the medium's development. It is a practice that was generally assumed to have long since perished in Canada, only to have been resuscitated in 1942 by the National Film Board. This thesis argues instead that itinerant film exhibition never actually ceased to exist in Canada, and that it in fact persisted, with varying degrees of frequency, throughout the interwar period, effectively demonstrating a continuity of screen practice that is generally not widely acknowledged. Concurrent to this, I argue that 16mm technology, although introduced as a medium for amateur employment and for exhibition in the domestic space, quickly charted an additional evolutionary tract, which in turn facilitated these numerous and varied traveling cinema operations. This thesis demonstrates that this was not an historical development that was by any means predetermined, nor was it met with enthusiasm by all sectors of the film industry. Discursive practices circulated within the industry and regulatory actions implemented by various levels of government attempted to both frame and contain the technology and its employment in non-theatrical arenas, but due to this involvement, they also served to legitimize and normalize them. The resulting narrative is at heart, therefore, essentially one of both technological indeterminacy but also of cultural continuity.
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Carmichael, Deborah A. "The Griffith brothers circuits of Oklahoma film exhibition success outside the Hollywood studio system /." 2007. http://digital.library.okstate.edu/etd/umi-okstate-2304.pdf.
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Po, Sung-ling, and 柏松齡. "Framing in Discourse: How Male and Female Frame the Event of Pornographic Film Exhibition." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/22138447728567496612.
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Wang, Weng-fang, and 王文芳. "Cinema for All: Envisioning Film Exhibition Policy for Cinema-going Practice of Cultural Citizens in Taiwan." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/90019082335852328356.
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碩士國立中正大學
電訊傳播研究所
97
This thesis focuses on the analysis of the distribution-exhibition sector of Taiwan’s film industry, especially movie theaters. It identifies movie theaters as a field realizing cultural citizenship, and examines the role government could play in terms of funding movie theaters to create a niche for alternative genres of films, including the national cinema. Through interviews and secondary data analysis, the project demonstrates the pros and cons of the current government funding policies. Based on the concept of cluster of cultural strategies argued by Vitali& Willemen(2006) , the thesis proposes three policy suggestions as alternatives: 1. The government should revoke the current policy of rewarding theaters for exhibiting national cinema through box-office reward. 2. The government should consider raising film levy from exhibitors or distributors of the mainstream Hollywood films or distributors. 3. The government should establish People’s Cinema Organization, using film levy as the main source of financing. Finally, the thesis proposes the creation of “Cinema for all-People’s Cinema Organization” to counter-balance the mainstream commercial interests. A new cinema for all should be a space where the cultural citizenship could be carried out, and fair access and diversity of choice could be realized for cinema-goers.
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Hughes, Stephen Putnam. "Is there anyone out there? exhibition and the formation of silent film audiences in South India /." 1996. http://catalog.hathitrust.org/api/volumes/oclc/45227443.html.
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WANG, SZU-TING, and 王思婷. "The Use of Film Narrative in Exhibition Design: A Study on an exhibition of the Museum of New Zealand Te Papa Tongarewa “Gallipoli: The Scale of Our War”." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/qqnb8j.
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碩士國立臺灣藝術大學
藝術管理與文化政策研究所
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Walking into the museum is like entering a unique space that is frozen in time. From the selection and sequencing of the objects, to the design of the exhibition hall, every detail is a deliberate, careful decision on the part of the museum, which gives new context and value to the objects; The museum itself has also transformed into an institution that needs to interact with society, a condition that will inevitably affect the museum's collection concept and strategy. Therefore, exhibition design needs to have a new method of communication that is well-developed and keeps pace with the times. With the aforementioned context in mind, this study will discuss the issue of war, a difficult topic to manage for a museum, and also how the case in this study brought about changes in historical interpretation by presenting a new look in their exhibition design. Move time backwards by a hundred years, and there one would find a turbulent period in modern history. The First World War was sparked by long-term disputes in Europe. The Allies, led by Britain and France, wanted to control passage through the Dardanelles and to cut off the Ottoman Empire’s supply line and capture Istanbul. Australia and New Zealand became needlessly entangled in the cruel and ruthless war, even though they were far away in the South Pacific. The Australian and New Zealand Army Corps (ANZAC) were ordered to join what was the largest landing operation at the time — the Battle of Gallipoli. In 2015, Museum of New Zealand Te Papa Tongarewa planned and implemented a strategy for collaborative creation with external parties. It joined forces with the famous Weta Workshop for the exhibition — Gallipoli: The Scale of Our War. It has become the most popular exhibition in the history of the museum. This study will use this special exhibition as an example, through the research methods of display observation and analysis, written data and archive research, semi-structured interview and E-mail interview, to explore how the Gallipoli campaign influenced New Zealand in such a significant way that the government of New Zealand was willing to sponsor the special exhibition. Then it will explore the influence on the museum exhibition of the collaborative mode between a museum and a movie workshop as well as how the narrative text of exhibitions and the movie narrative were used in the exhibition design. Finally, the study will focus on how a new-style exhibition allowed the visitors to accept the serious topic of war while raising resonance. The study brings forth 3 research findings: 1. The sense of identity of the people of New Zealand exudes from the war experiences of many soldiers. Numerous battles cost a price of high casualties while raising the patriot awareness of the people. This viewpoint was recognized by the general public at the end of the 20th century. The society of New Zealand today has been shaped by the experiences of the Gallipoli campaign. 2. The exhibition design incorporated the movie production methods, such as actor auditioning, character dubbing, specific incidental music, and vivid large-scale and miniature sculptures. A large amount of images and music served as important design elements. The exhibition title texts were written in the first-person viewpoint, aiming to bring sentimental power through the personal narrative. 3. In order to clearly state the standpoint of the museum, the exhibition avoided using the typical war commemorative emblems and beautifying war excessively so that the reality of the Gallipoli campaign and the New Zealand family history may be truthfully presented.
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Shu-Han, Yang, and 楊叔翰. "A Preliminary Study Of Audio-Visual Goods on Cultural Reproduction Based On Documentary Film Exhibition In Taiwan." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/66143064768135379585.
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碩士國立臺南藝術大學
音像藝術管理研究所
94
The dissertation studies the current trend of film festivals and documentaries in Taiwan. This dissertation observes that governmental culture policies have been in transit, form “cultural government” to “cultural governance”. In view of such transition, the dissertation describes the environments and atmosphere of Taiwanese cultural curator-organization (organizations in charge of film festival planning). The methodology of this dissertation is based on Pierre Bourdieu the French sociologist’s cultural reproduction theory, and hence the dissertation considers film festivals as a “cultural field”. In the cultural field, this dissertation observes that curator organizations, as a medium, fulfill their functions to reproduce the meaning of audiovisual productions. That is to say, in the field of film festivals, the social effects of film texts, which are reproductions in the nature, are constructed. The dissertation views documentaries as “cultural goods”, and describes the features of which from two perspectives. The first perspective is from the local development of Taiwanese realistic media. Taiwanese realistic media include literature, painting, photography and films. This dissertation depicts the diachronic connection between documentaries and these Taiwanese realistic media and the vantages of documentaries when synchronically coexist with Taiwanese realistic media. The other perspective is to analyze documentaries aesthetically. The dissertation refers to Euro-American styles and formats of documentary developments as well as critical realism proposed by Georg Lukacs the Marxist to evaluate the aesthetic values of documentaries. The dissertation pays attention to the media and carriers of documentaries as Taiwanese local cultural achievements, and how governmental and private cultural groups present documentaries in film festivals. This dissertation concludes that documentaries are highly realistic and aesthetic, if the display mechanism of cultural goods can be integrated and configured, by excluding the commercial pursuit of profits and the screening of political correctness, realizing ideals of community culture construction and community integrity, documentaries, as a medium of culture reproduction, will contribute much to the cultural prospects and provide motive power for social reform and democratization. Keywords: film festival, documentary, event organizers, cultural government, cultural governance, cultural reproduction theory, realism, critical realism, reproduction
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Huang, Chun-kai, and 黃俊凱. "Mapping out the History of Cinematic Exhibition: A Genealogy of The Taipei Golden Horse Film Festival（1980-2012）." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/33671618510289216729.
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Yang, Jing. "Tango with the global, national, and local : new multi-functional organizations in the Chinese independent documentary ecosystem." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-08-4345.
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Compared to the early days of China’s New Documentary Movement in the 1990s, Chinese independent documentary in the past decade has become more diverse in topic and style, thanks to technologies such as digital video cameras and the internet. Independent documentaries capture a fast-changing China in progress, and have thus drawn scholarly attention from cultural or social studies perspectives. However, industrial development in the past decade has often been neglected in favor of textual analysis of films. Since the marketization of independent documentaries in the 1990s was mainly through international film festivals, and a domestic industry has been lacking, it is easy to assume that Chinese independent documentarians today still have to follow the same path as their counterparts in the 1990s. However, my research on the Chinese independent documentary scene in Beijing in 2009 showed me a picture of a burgeoning domestic industry for independent documentaries, with a handful of newly emerged multi-functional independent film organizations practicing production, distribution and exhibition. Since a real industry has not yet formed, I use “ecosystem” instead of “industry” in the context of Chinese independent documentary. This study compares three representative organizations which are different from each other in nature and emphases, from their birth and evolution to their work and strategies. I argue that these organizations have created new possibilities and opportunities for today’s Chinese independent documentaries, through their different strategies in balancing themselves in a three-legged system of the global, national and local forces and resources.text
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Cain, Bailey Knickerbocker. "The new curators : bloggers, fans and classic cinema on Tumblr." Thesis, 2014. http://hdl.handle.net/2152/26536.
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This study examines the role of social media in maintaining interest in classic cinema in today’s media culture. Ethnographic analyses and case studies were performed within a robust classic cinema fan network on the social media blogging site Tumblr. The practices of these bloggers and their online platform are framed against the traditional structure of the curator and museum, indicating that they serve many of the cultural functions attributed to these institutions. This study further demonstrates that these Tumblr networks serve as a resource for young people to discover, share, and create communities relating to classic cinema. Due to the networking capabilities of Tumblr’s youth-oriented platform, these fan activities reach a broad range of individuals, exposing them to scenes and actors from classic cinema, stimulating interest in and acceptance of the cinematic framework of classic films. This content visibility and distribution potentially draws those outside the community into the extant fan network. These communities and practices represent previously unexplored methods by which classic cinema appreciation may develop and thrive within the fast-paced media culture of the 21st century.text
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Silva, Joana Santos Lima da. "Ângelo de Sousa’s photographic and film collection: strategies for the preservation of colour slide-based artworks." Doctoral thesis, 2019. http://hdl.handle.net/10362/87080.
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The Portuguese artist Ângelo de Sousa (1938-2011) produced noteworthy work in photography
and experimental film. However, a lack of in-depth studies focusing on the use of these media by the
artist is acknowledged. Thus, his work has been studied, particularly through unpublished
documentation found in the artist’s house and in public archives, bringing new insights into his
production. Despite the delay in the artistic context felt in Portugal in the post-modern period, Ângelo
de Sousa produce photographic and film work perfectly in line with that of other international artists.
The slide-based artwork Slides de Cavalete (1978-1979), constructed with the additive synthesis of
colours, stands out as an example of the inventiveness achieved by the artist with these media. The
production process behind Slides de Cavalete has been studied and reproduced, allowing for a thorough
understanding of the work and contributing to the definition of its significance.
The photographs and films have been gathered together in his house. Since typologies,
quantities and condition of the materials were unknown, a survey was carried out to enhance
knowledge of the collection and to define preservation priorities. Accordingly, 35 mm chromogenic
reversal films (slides), used to produce almost all his photographic colour work, was highlighted as the
set in highest risk due to colour change detected in one third of these materials. Thereby, slide-based
artworks by Ângelo de Sousa were studied in further detail.
The display options undertaken by the artist during his lifetime have been investigated, in order
to guide the decision-making process regarding the exhibition and preservation of his slide-based
artworks. Slides de Cavalete was selected as a case study, and the history of its exhibition was assessed
by searching for documentation and interviewing people. Thus, it is understood that the work was first
presented projected on a canvas over an easel, in 1979. Since the artist’s death, the work has been
presented without this setup, and recently, as a digital projection. An exhibition was conducted at FCT
NOVA, to test the variability of the work displayed with a digital and a slide projector. Based on a
questionnaire, a clear preference for the slide projection was acknowledged. Thus, guidelines for the
exhibition of Slides de Cavalete are defined, following its first presentation.
Considering that chromogenic reversal films are highly susceptible to colour change and that
there is still much to know about these materials, their molecular characterization and degradation has
been studied. Different pathways to characterize chromogenic dyes are suggested based on
chromatographic and spectroscopic techniques. Additionally, a methodology to accurately monitor
colour change in these materials has been defined, based on samples artificially aged at different
temperatures (50, 60, 70 and 80˚C) and relative humidity (40% and 60%). The samples were assessed
using spectrophotometry with optical fibre probes in the ultraviolet-visible range. From the spectral
data, intensity maximums, CIE L*a*b* coordinates and the total colour variation (ΔE*) have been
determined. Optical microscopy and digitization have also proven useful for degradation assessment on
these materials.
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Metz, Daniel Curran. "Prestige and prurience : the decline of the American art house and the emergence of sexploitation, 1957-1972." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-05-1383.
Full textAbstract:
“Prestige and Prurience: The Decline of the American Art House and the Emergence of Sexploitation, 1957-1972” presents a historical narrative of the art house theatre during the 1960s and its surrounding years, examining the ways in which art theatres transformed into adult theatres during the 1960s and 1970s. Beginning in earnest in the immediate post-war period, art houses in America experienced a short period of growth before stagnating in the middle 1950s. With the release in 1957 of the erotically charged Brigitte Bardot film …And God Created Woman, a new era of art houses followed, one that is characterized by the emergence of sexualized advertising, content and stars. As the 1960s came, sex films like The Immoral Mr. Teas played on art film marketing strategies and even screened in many art houses. Gradually, sexploitation films began to dominate art house programs and replace European art films and Hollywood revivals. In this transitional period, however, sexploitation films used key strategies to emulate many art film characteristics, and likewise art films used sexploitation techniques in order to maintain marketability for American distribution and exhibition. By studying the promotion and programming used by art house theatres during this period, this thesis identifies and announces a number of key trends within the dynamic period for art houses. The period is distinguished by its convergence of practices related to prestigious and prurient signs, merging art and sex in ways unique to the era and to the circumstances by which sex films infiltrated art houses and art films pandered to salacious interests. It presents a new perspective on the history of art houses, art cinema, American exhibition, sexploitation films, hardcore pornography and censorship.text
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Lin, Yu-Ru, and 林育如. "The Study on Film Exhibitions of Kaohsiung Film Archive." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/f565vb.
Full textAbstract:
碩士國立臺南藝術大學
音像管理研究所
96
Abstract It has been a long while that there was no professional cultural institute to promote cinema in southern Taiwan. Cinema activities of the film industry are held mostly in northern Taiwan. Based on concerns and dreams of promoting Taiwan’s film culture and the industry, the Department of Information Office of Kaohsiung City Government established Kaohsiung Film Archive. The functions of Kaohsiung Film Archive include collections, research, education, and promotion. According to the broad definition of a “museum”, Kaohsiung Film Archive can be categorized as a film museum. After entering Kaohsiung Film Archive, audience will first encounter the exhibition area, therefore, “exhibition” is the front line for the Film Archive to greet the audience and to reveal its characteristic. The researcher of this study has participated in collecting period pieces in film, planning exhibitions, and executing activities since the establishment of the Film Archive. The study investigated six real cases of theme exhibitions held in the Film Archive: “Unforgettable Love－Collections of Kaohsiung Municipal Film Archive”, “The Phantom of the Opera － Unforgettable Voices and Figures of Super Stars”, “The World Directed by Joseph Kuo”, “Classical Swordsmn Film Exhibition”, “Kaohsiung Cinema Memorandum”, “Twin Cities － Nates in France vs. Kaohsiung in Taiwan”, etc. This research categorized the exhibitions of the Film Archive into three types: 1. exhibitions of film history and period pieces archives; 2. theme exhibitions of film festivals; 3. exhibitions of international film interactions and promotion activities in different cities. This study applied these three types to investigate and analyze the content relating to film education, film archive concept, plan and application of film exhibition space, and application of films as an approach to promote a city. From an abstract imagination to a physical exhibition executed and shown to the audience, the whole process was truly a difficult challenge. The objective of this study is to look for influences caused by either outer or inner factors and to provide precious experiences to future exhibitions.
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Marzloff, Alice. "La cinématographie-attraction à Montréal à la lumière de la législation (1896-1913)." Thèse, 2016. http://hdl.handle.net/1866/16134.
Full textAbstract:
La cinématographie-attraction a longtemps été considérée comme les débuts du cinéma, jusqu’à ce qu’une controverse, en 1978, marque une rupture historiographique et la considère comme un objet d’études à part entière, distinct du cinéma institutionnel. Nous l’analysons ici dans le contexte de Montréal, entre la présentation du Cinématographe Lumière en 1896 et l’entrée en fonction du Bureau de censure des vues animées de la province du Québec en 1913. Plus précisément, nous interrogeons son institutionnalisation à la lumière de la législation ; les représentants du gouvernement canadien donnent un statut juridique aux vues animées en modifiant et en votant des textes légaux. Cette étude définit le contexte cinématographique, historique et géographique. Elle aborde ensuite trois domaines de la cinématographie-attraction qui ne sont pas les mêmes que ceux du cinéma : la fabrication (le financement, le tournage et la modification des œuvres cinématographiques), l’exhibition (les séances de projections payantes d’images animées) et la réception (les jugements portés sur les vues animées). Nous montrons comment la cinématographie-attraction est d’abord contrôlée par de nombreuses personnes (celles qui financent, celles qui tournent les vues animées, les propriétaires de lieux d’amusements, le policier ou le pompier présent au cours des projections), puis par des institutions reconnues et les représentants du gouvernement. En nous appuyant sur la presse montréalaise, les discours officiels, les discours diocésains, les textes légaux, les catalogues publiés par les compagnies de fabrication et sur les vues animées, nous montrons quels sont les enjeux de l’institutionnalisation pour les différents groupes sociaux.Cinématographie-attraction / kine-attractography has for a long time been associated with the origins of cinema. But in 1978, an academic controversy created a rift in cinematic historiography and these works were subsequently deemed to be a separate object of study, one distinct from institutional cinema. This thesis will focus on kine-attractography in the setting of Montreal from the use of the Lumière Cinematograph projector in 1896 to the founding of the Quebec Board of Censorship in 1913. The legislative context surrounding these new forms of ‘amusement’ will be discussed (bills were modified or created to address legal questions). This thesis will investigate these events within the relevant historical, geographical and cinematographic contexts. It will then consider three aspects of kine-attractography that differ from those in cinema: manufacturing (which includes the way cinematic works were financed, shot and later modified), exhibition (the matter of where and how these works were shown) and reception (the ways these works were evaluated or judged). We will discuss how kine-attractography was initially overseen by diverse groups of people (from those who financed or shot the moving pictures, to the owners of ‘amusement’ theatres, to the policeman or fireman who was present at each projection), and then subsequently overseen by recognized institutions, government representatives included. We will explore the issues which accompanied its institutionalisation relative to these various groups by studying articles and ads in Montreal’s newspapers, legal texts, official pronouncements, diocese speeches, catalogues published by manufacturing companies, and the moving pictures themselves.
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Pan, Chun-Wei, and 潘浚瑋. "Effects of Exhibition Marketing Activities on Exhibit Intention and Firm Performance." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/69236186419968436186.
Full textAbstract:
碩士國立高雄應用科技大學
財富與稅務管理系
101
The primary objective of this study is to investigate the effect of exhibition marketing activities between exhibition intention and firm performance. According to service quality and relationship quality, this studiy devises a hypothesized model for exploring the links among contextual variables.In this model, exhibition marketing activities including sales activities, information collection, building relationship and exhibition impression. The author collected 325 manufacturers in Taiwan as our research data. In order to clarify the relationship among these variables, structural equation modeling (SEM) is used to examine the hypothesized model’s fit and the hypotheses. The researcg findings indicate that sales activities, information gathering and exhibition impression have positive impact on exhibition intention. Furthermore, exhibition intention does positive impact on firm performance. This paper illustrates the important role of exhibition marketing activities on firm performance through empirical evidence.
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Daniel, Margaret R. "Exhibiting difference aesthetic politics and lesbian of color film and video curatorial practice /." Diss., 2001. http://catalog.hathitrust.org/api/volumes/oclc/48937098.html.
Full text
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Thibodeau, Simon. "Expérience hétérotopique du cinéma : approches théoriques et historiographiques du cinéma en salle." Thèse, 2015. http://hdl.handle.net/1866/12523.
Full textAbstract:
Nous exposons dans ce mémoire les principes qui fondent, au sein de la discipline des études cinématographiques, une conception théorique de la réception d’images animées reposant sur la modalité de consommation spécifique du cinéma en salle. Notre analyse d’un ensemble représentatif d’approches théoriques et historiographiques de l’expérience cinématographique permet de relever les principes qui orientent la conception de différentes formes de médialité conférées à l’expérience du cinéma en salle. Les théories du dispositif et du signifiant imaginaire de Jean-Louis Baudry et Christian Metz proposent une conception de l’expérience du cinéma en salle qui met l’accent sur les effets de transparence médiatique de certaines composantes des salles de cinéma sur les spectateurs ainsi que sur le caractère imaginaire, symbolique et institutionnel de ces médiations. La sémio-pragmatique de Roger Odin et l’approche historiographique de la New Cinema History telle que présentée par Robert C. Allen et Richard Maltby proposent une conception de l’opacité médiatique de l’ensemble complexe des effets de médiation sensorielle, relationnelle, sociale et économique de l’expérience du cinéma en salle et dont les spectateurs font l’épreuve sur toute l’étendue de ce type de site d’exploitation et sur toute la durée de son occupation spectatorielle. Au terme de notre analyse, les différents principes relevés permettent de formuler la notion d’expérience hétérotopique du cinéma pour désigner la conception de l’expérience du cinéma en salle qui caractérise la compréhension de la réception d’images animées dans le cadre des études cinématographiques.This thesis explores how theories of moving image reception that have or have had a significant impact on the development of film studies as a discipline are centered around the movie theater and on “movie-going” practices. The analysis of a representative set of theoretical and historiographical approaches to the cinematic experience allows for the definition of key principles that unearth various forms of mediation at play in the movie-going experience. Jean-Louis Baudry’s “apparatus theory” and Christian Metz’s notion of the “imaginary signifier” both suggest a theory of movie-going experience stressing the transparency effects on spectators of the mediation of certain architectural and technological aspects of movie theaters and focusing on the symbolic and institutional nature of this form of mediation. In contrast, Roger Odin’s semio-pragmatic approach and New Cinema History’s critical historiography (as theorized by Robert C. Allen and Richard Maltby) conceptualize the opacity of a complex set of sensory, relational, social, and economic mediations occurring in movie theaters, which last during the entire experience of the audience in these exhibition sites. By unspooling the complexity of the theoretical stances above mentioned, this thesis moves towards the definition of a heterotopic cinema experience formulated from within the context of film studies.
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Miller, April G. "Exhibiting integrity : archival diplomatics to study moving images." Thesis, 2001. http://hdl.handle.net/2429/11781.
Full textAbstract:
This thesis examines the concepts of reliability, authenticity and documentary form as
defined by archival diplomatics and their relation to moving image records, for the purpose of
exploring the possibility of using them to develop a method for the preservation of the moving
image's intellectual integrity over time. To achieve this purpose, the study establishes a
correspondence between the tenriinology and the theories used to express these concepts in the
two fields through an examination of archival diplomatics and moving images glossaries,
dictionaries and literature.
Notwithstanding the different understandings of the concepts examined, the thesis finds
that when moving images can be regarded as records - that is, as contextual mediated visual and
aural representations compiled for the purpose.of.entering into communication - it is possible to
use archival diplomatics methodology to analyze them successfully. On the strength of this
finding, the thesis proceeds to establish a correspondence between the diplomatic elements of
documentary form and the components of an ideal moving image record, demonstrating parallels
and explaining and reconciling differences, in order to build a template for the analysis of all
kinds of moving image records. This diplomatic instrument is to be used for the identification of
the formal elements of a moving image that allow for the maintenance, verification and
preservation of its reliability and authenticity over the long term. The necessity of such an
instrument derives from the fact that the use of digital technologies for the making, exhibiting
and storing of moving images will render the ability to prove their integrity and their
preservation increasingly more difficult.
The thesis is concluded by a discussion relating the effects of the pervasive use of digital
technologies in the field of moving images, and a demonstration of the substantial threat they
present for the continuing reliability and authenticity of moving images. This discussion shows
the advantages of a close cooperative effort by archivists and moving image theorists in
developing interdisciplinary methods for addressing such threats that are rooted in archival
diplomatics and fully respect the nature of the moving image record.