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.
Full textHanson, Stuart. "Contemporary developments in cinema exhibition." Thesis, De Montfort University, 2014. http://hdl.handle.net/2086/11105.
Full textPeng, Kan. "A political economy of online film exhibition in China." HKBU Institutional Repository, 2013. https://repository.hkbu.edu.hk/etd_oa/23.
Full textWu, Dan. "Minjian film exhibition culture in contemporary China : sustainability and legitimisation." Thesis, University of Newcastle upon Tyne, 2017. http://hdl.handle.net/10443/3637.
Full textLewis, 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.
Full textCook, 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/.
Full textDickson, 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/.
Full textWilson, Gavin. "Cell/ular cinema : individuated production, public sharing and mobile phone film exhibition." Thesis, University of Leeds, 2014. http://etheses.whiterose.ac.uk/8475/.
Full textBirkinbine, Benjamin J. "Continuity in Technological Change: A Political Economic Analysis of Digital Film Exhibition." OpenSIUC, 2010. https://opensiuc.lib.siu.edu/theses/252.
Full textAveyard, 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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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/.
Full textOverpeck, 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.
Full textHeuman, Mary Jac. "Royalty Free: An Exhibition of User-Made Objects from The Sims." Scholarship @ Claremont, 2018. http://scholarship.claremont.edu/scripps_theses/1091.
Full textOLSON, 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.
Full textO'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/.
Full textGroskopf, Jeremy W. "Profit Margins: The American Silent Cinema and the Marginalization of Advertising." Digital Archive @ GSU, 2013. http://digitalarchive.gsu.edu/communication_diss/47.
Full textKozak, 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.
Full textGunckel, 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.
Full textPoos, 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.
Full textWielgus, 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.
Full textGarcía, 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.
Full textEXPRMNTL 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
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/.
Full textThis 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.
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.
Full textKaradzha, 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.
Full textWhat 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
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.
Full textVilallonga, 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.
Full textEl 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.
Steele, Jamie Nicholas. "The 'transnational regional' in Francophone Belgian cinema." Thesis, University of Exeter, 2014. http://hdl.handle.net/10871/15434.
Full textSilva, 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
Goodall, Mark D. "An Exhibition of Atrocities." 2012. http://hdl.handle.net/10454/6704.
Full textMiranda, 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.
Full textMiranda, Marta Maria Araújo. "Public Policies for Cinema in Portugal: the Non-commercial Film Exhibition Sector." Dissertação, 2020. https://hdl.handle.net/10216/129647.
Full text陳庭舜. "A study of management strategy for nonprofit film exhibition institutions in Taiwan." Thesis, 2010. http://ndltd.ncl.edu.tw/handle/07384317461473348767.
Full textLester, 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.
Full textCarmichael, 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.
Full textPo, 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.
Full textWang, 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.
Full text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.
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.
Full textWANG, 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.
Full text國立臺灣藝術大學
藝術管理與文化政策研究所
107
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.
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.
Full text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
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.
Full textYang, 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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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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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.
Full textMetz, 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.
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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 text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.
Marzloff, Alice. "La cinématographie-attraction à Montréal à la lumière de la législation (1896-1913)." Thèse, 2016. http://hdl.handle.net/1866/16134.
Full textCinématographie-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.
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 text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.
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 textThibodeau, Simon. "Expérience hétérotopique du cinéma : approches théoriques et historiographiques du cinéma en salle." Thèse, 2015. http://hdl.handle.net/1866/12523.
Full textThis 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.
Miller, April G. "Exhibiting integrity : archival diplomatics to study moving images." Thesis, 2001. http://hdl.handle.net/2429/11781.
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