Academic literature on the topic 'Film festivals – California – Exhibitions'
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Journal articles on the topic "Film festivals – California – Exhibitions"
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Шраер, Александр Викторович, and Анна Андреевна Сомова. "New and Traditional Professional Exhibitions in Cinema Tourism Services." ЖУРНАЛ ПРАВОВЫХ И ЭКОНОМИЧЕСКИХ ИССЛЕДОВАНИЙ, no. 4 (December 15, 2019): 263–67. http://dx.doi.org/10.26163/gief.2019.84.13.044.
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Кинотуризм как специфический вид туристской активности находится в поле внимания научных исследований, но вопросы, связанные с изучением выставочной деятельности в этой сфере мало представлены в научных публикациях. В статье рассматриваются вопросы развития кинотуризма, формирования кинолокаций и возможности использования ресурсов кинофестивалей и киновыставок как ресурса для повышения привлекательности дестинации на мировом рынке туризма; показаны особенности профессиональных выставок в сфере киноиндустрии, рассмотрены традиционные и новые форматы выставочной деятельности в киноиндустрии, приведены особенности крупных киновыставок с учетом зарубежного и отечественного опыта. Рассмотрена роль Кинокомиссий в системе организации киноиндустрии, описаны особенности Синепозиума как специфического формата профессиональной выставки в индустрии кино. На основе проведенного сравнительного анализа международной практики и российского опыта организации киновыставок делается вывод, что российский рынок кинофестивалей и киновставок становится все более привлекательным для зарубежных партнёров, что связано, в том числе, с его окончательной институционализацией. Cinema tourism as a specific kind of tourist activity represents a focus of scientific research, though it is barely covered in scientific publications. We consider problems of developing cinema tourism, forming cinema locations as well as possibilities of using the resources of film festivals and film exhibitions to increase the attractiveness of a tourist destination on the global market. We show characteristics of professional exhibitions in film industry and list the features of large exhibitions taking into consideration international and domestic experience. We consider the role of film commissions in the film industry system and describe the characteristics of Cineposium as a specific format of professional film exhibition. On the basis of comparative analysis of international practice and Russian experience in film exhibitions, we make a conclusion that Russian market of film festivals and exhibitions is becoming more attractive for foreign partners, which is connected with its definitive institutionalization.
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Ardianto, Deny Tri, Bedjo Riyanto, Sayid Mataram, and Mohd Asyiek Mat Desa. "Dadi Jeksa; Adaptation of Serat Jayengbaya to Dance Film." Mudra Jurnal Seni Budaya 37, no. 4 (October 24, 2022): 395–403. http://dx.doi.org/10.31091/mudra.v37i4.2113.
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As a law enforcement officer, a prosecutor plays an important role in investigating a case or prosecuting a suspect. However, in recent years, several prosecutors were found involved in a number of corruption cases in Indonesia. This phenomenon is not a new one. In Serat Jayengbaya written by R.Ng. Ronggowarsito, especially in the song Dadi Jeksa, the behavior and life of prosecutors in the past are depicted as a profession full of intrigue and manipulation. This phenomenon inspired the making of a dance film adapted from Dadi Jeksa song. Using a Research and Development (RnD) approach, this film was designed to use movements based on contemporary dance as a means of its story telling. This film represents the culture and perspective of the Indonesian people in viewing legal issues. After the film was presented at various festivals and exhibitions, positive responses were obtained from various parties. The appreciation received mainly focused on the film’s creative storytelling and visualization in presenting a depiction of law enforcement dynamics in Indonesia.
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kirsch, francine. "Eat Me at the Fair: America's Love Affair with Food Installations." Gastronomica 11, no. 3 (2011): 77–83. http://dx.doi.org/10.1525/gfc.2011.11.3.77.
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Today's temporary installations are the domain of artists and intellectuals. But, a century ago, temporary food installations represented America's emergence as the world's breadbasket while exhibiting the patriotic pride of a young, agriculturally expanding nation. At local harvest festivals, temporary installations would take the form of majestic grain palaces. At world's fairs—particularly in 1876 Philadelphia, 1893 Chicago, and 1904 St. Louis—individual states contributed novelty food displays that underscored a prime product, be it Minnesota butter, California oranges, or wheat from Ohio. And, at a time when vast tracts of fertile land lay undeveloped, temporary installations at all these venues were meant to attract new population, whether from among the visitors at crowded urban exhibitions or from the settlers stopping at land grant offices on their way West, by demonstrating what a bounty could be obtained by farming in one particular area.
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Pilkevych, Andrii. "«Multigenre Convention» Through a Prism of US Popular Culture." Ethnic History of European Nations, no. 67 (2022): 136–41. http://dx.doi.org/10.17721/2518-1270.2022.67.18.
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The article gives a brief description of the most famous festivals and conventions of popular culture in the United States, which include Comic-Con International: San Diego, New York Comic Con, Wizard World Chicago Comic Con, AggieCon, Alamo City Comic Con, All-Con, ApolloCon, Archon, Big Apple Comic Con, Blerdcon, CarnageCon, Chattacon, Chicago Comic & Entertainment Expo, ClexaCon, CoastCon, ConCoction, ConGlomeration, ConnectiCon, CONvergence, Dragon Con, Emerald City Comic Con, Fan Expo Boston, Fan Expo Dallas, FanX, Florida Supercon, Genericon, Heroes Convention, LA Comic Con, MidSouthCon, MOBICON, MomoCon, Motor City Comic Con, Pacific Media Expo, Pensacon, Phoenix Fan Fusion, Sci-Fi Valley Con, Silicon Valley Comic Con, WonderCon, Zenkaikon. The most common thematic areas that fill the main structure of convention programs, in particular presentation of rare and latest examples of the comic’s industry, popularization of the idea of the value of collecting, providing space for novice artists to disseminate their work in the alley of artists. At the same time, with the growing dominance of the video game industry, board and card games, as well as themed collectible toys, remain widely popular. Most festivals feature cosplay competitions that reward the winners, autograph zones with invited celebrities, large-scale panels for exhibitions, where in addition to purely visual pleasure you can join workshops, thematic lectures and seminars. Events include Film Festival, cosplay and costume contests, dances, also the option of game playing. Programs include opportunities to preview the latest film industry news, anime, video game testing and sketches of leading artists from companies specializing in comic book content, exhibition panels with authentic material from the set of popular film franchises and interactions.
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Iswahyuningtyas, Cici Eka, and Mochammad Fadjar Hidayat. "Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia." Jurnal Komunikasi 13, no. 1 (July 7, 2021): 133. http://dx.doi.org/10.24912/jk.v13i1.10033.
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Today, media distribution and consumption can occur anytime, anywhere, anything, both conventional and digital. The change in media consumption behavior has brought many challenges for the Indonesian film industry, particularly distribution and exhibition. Film distribution should not just rely on the domestic market and film exhibitions through cinemas. The number of Indonesian cinemas and screens is not ideal, still concentrated in big cities, has low moviegoers, is dominated by foreign films, and lacks support from the government. This study intended to identify challenges and strategies for conventional and digital distribution and exhibition. Answer to that question, this study was carried qualitatively by conducting a literature review through meta-analysis related to history, experiences, and situations in some countries. Research findings indicate film distribution and exhibition need to run simultaneously conventional and digital. Digital distribution is urgent for expanding market size and cinemas revenue. The conventional distribution needs to be maintained because the highest film revenue still comes from cinemas exhibitions. Therefore, filmmakers should begin to organize their distribution strategy and expand cooperation with digital film providers. The government needs to build distribution infrastructures such as global film festivals and distribution agencies, also create policies related to exhibition incentives and tax rebates, especially for films with small audiences. Distribusi dan konsumsi media dewasa ini dapat dilakukan kapanpun, dimanapun, apapun, baik secara konvensional maupun digital. Perubahan perilaku konsumsi media membawa banyak tantangan bagi industri film di Indonesia, khususnya terkait aspek distribusi dan eksibisi. Distribusi film tidak boleh hanya bergantung pada pasar domestik dan mengandalkan eksibisi film melalui bioskop. Hal ini karena jumlah bioskop dan layar yang tersedia di Indonesia belum ideal, masih terpusat di kota besar, memiliki sedikit penonton, berada dalam dominasi film asing dan kurang mendapatkan dukungan dari pemerintah. Kajian ini dimaksudkan untuk mengetahui tantangan dan strategi dalam distribusi dan eksibisi film secara konvensional dan digital. Untuk menjawab pertanyaan tersebut kajian ini dilakukan secara kualitatif dengan melakukan kajian pustaka melalui analisis meta terkait sejarah, pengalaman, situasi yang terjadi di beberapa negara. Temuan penelitian menunjukkan bahwa distribusi dan eksibisi film perlu dilakukan secara simultan. Distribusi digital penting untuk memperluas pasar dan meningkatkan pendapatan. Distribusi konvensional perlu dipertahankan karena pendapatan film terbesar masih berasal dari distribusi melalui jalur bioskop. Oleh karena itu, pembuat film harus mulai mengatur sendiri strategi distribusinya dan meningkatkan kerjasama dengan provider film digital. Pemerintah perlu membangun infrastruktur distribusi seperti festival film dan agensi distribusi di tingkat global, dan membuat kebijakan terkait pemberian insentif eksibisi dan potongan pajak, khususnya bagi film dengan sedikit penonton.
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Singh, Binti. "Social Media, Cultural Activism and Place-making in Contemporary Lucknow." Society and Culture in South Asia 5, no. 1 (August 9, 2018): 1–18. http://dx.doi.org/10.1177/2393861718787869.
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The growing presence of the virtual world has made inroads into new ways of citizen cultural activism that call for an exploration and re-imagining of the idea of place and place-making in contemporary networked societies, cities in particular. This article is based on an analysis of such activism in contemporary Lucknow around its distinct cultural forms such as cuisine, heritage architecture, dance, music and literature actively deploying social media. It argues that social media has bolstered new and existing citizen cultural activism and facilitates place-making by connecting citizens to the city’s cultural specificities. Together with the aggressive use of social media as part of local government strategies for citizen engagement made mandatory under the Heritage Arc and the Smart Cities Plan (SCP) launched in 2014 and 2015, respectively, place-making processes revolve around hosting festivals, street plays, crafts and arts exhibitions, book launches, discussions, film screenings, heritage walks, writers meets and marathons. Resultantly, the idea of place as having shared meanings and sentimental value is resurrected in the face of the homogenising tendencies of cultural globalisation.
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KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.
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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. It gets increasingly difficult to imagine exhibitions that resonate with the public and critics without video. From an avant-garde countercultural practice, video has become the mainstream of contemporary exhibition projects and is presented in exhibitions in many variations. The article analyzes the strategies for including video in the expositions of national pavilions at the 58th Venice Biennale, among which the production of video content in the genre of documentary filming, investigative journalism, artistic mystification, and interactive installation can be distinguished. Artists both create their own content and use footage content from the Internet. The main awards of the Biennale are won by large—scale projects that dialogize fine art with cinema and theater. For the implementation of artistic ideas curators of biennial projects attract professional directors, screenwriters, sound and light specialists. The biennials of contemporary art, by analogy with the term screen culture, can be attributed to the large format in contemporary art. At them, video goes beyond the small screens with the help of full-screen interactive installations, projections on buildings, films timed to exhibitions are broadcast on YouTube and Netflix. As the coronavirus pandemic has shown, the search for new tactics using screen forms is sometimes the only way out for a large exhibition practice in a situation where it is impossible to conduct international projects and comply with new regulations. The Riga Biennale of Contemporary Art, Steirischer herbst in Graz, followed this path. The exhibition is moving closer to film production. New optical and bodily models are being formed. The contemplative essence of art is being replaced by new ways of human perception of information, space and time, built on the convergence of communication means—video, music, dance, the interpenetration of objective and virtual realities.
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Ляпина, А. В. "Methods and forms of integration in foreign practices of teaching the russian language." Russkii iazyk za rubezhom, no. 3(292) (June 30, 2022): 121–25. http://dx.doi.org/10.37632/pi.2022.292.3.017.
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В статье представлены культуроориентированные интегрированные технологии как наиболее продуктивные в практике обучения русскому языку за рубежом, рассмотрены направления культурно-творческой деятельности центров открытого образования на русском языке и обучения русскому языку, русских домов, российских центров науки и культуры, позволяющие жителям зарубежных стран интегрироваться в русскую культурную среду. Актуальность данного исследования определяется потребностью комплексного подхода к описанию практик обучения русскому языку и обучения на русском языке, так как в современных условиях глобализации на первый план выходят технологии интегрированного обучения (обучение русскому языку во взаимодействии с другими предметами гуманитарного цикла и внеурочной деятельностью), позволяющие сформировать целостное представление о мире. Делается вывод о том, что благодаря современным методикам русский язык становится для иностранцев не только объектом изучения, а языком, на котором ученики делают открытия и познают русскую культуру. The article discusses the current forms of teaching the Russian language abroad. The most popular form is integration. Culture is learned through language, and language is learned through culture. Integration is a promising direction in education today. The work of the russian language Centers is considered. Modern methods help foreign students to learn the russian language quickly and well and to study russian culture. The main forms of work to promote the russian language and culture are theatrical performances, themed evenings and concerts, meeting evenings, song evenings, festivals, exhibitions, film clubs.
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Shakerin, Said. "Water on Fire." Mechanical Engineering 128, no. 01 (January 1, 2006): 34–36. http://dx.doi.org/10.1115/1.2006-jan-3.
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Engineers and artists have teamed to create combinations of fire and water that have dazzled people at tourist attractions, festivals, and the Olympic Games. At the University of the Pacific in Stockton, California, mechanical engineering professor Ed Pejack and student Eric Eubanks designed a small-scale fountain for educational and demonstration purposes, adapting parts used in irrigation and a camping fuel can. Alan Robinson and Mark Fuller invented a fountain that illuminates water jets with colored flames. Kiki Pettit, a computer programmer, has designed, built, and installed water fountains that incorporate liquid fuel to produce floating flames that flow with water. The water in the Olympic cauldron serves functional and esthetic purposes. The water film flowing down the glass creates random wave patterns that ripple the image of the fire inside. A computer system controls the water flow rate based on temperature of the return water.
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Mykhailova, Yu, and L. Kaznacheieva. "Cultural cooperation between Western Ukrainian cultural and leisure centers with European countries." Culture of Ukraine, no. 75 (March 21, 2022): 16–21. http://dx.doi.org/10.31516/2410-5325.075.02.
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The purpose of the article is to study and clarify the main forms of cultural cooperation of Western European cultural and leisure centers with European countries.
The methodology. The descriptive method and the systemic approach were applied, the review references of the National library of Yaroslav Mudryi “On cultural cooperation of Ukraine with foreign countries” for 2017–2020 and numerous Internet sources were worked out.
The results. It was found out that cultural and leisure centers, including the ones in Western Ukraine, take an active part in intercultural cooperation between Ukraine and European countries. As European countries have for a long time involved culture as a factor in humanitarian development, and leading European countries allocate significant funds and attract the best professionals to implement largescale cultural projects and to increase their presence in Ukraine, so the increase of the number of cultural projects, programs, European culture days, printed and electronic publications, media product will justify themselves as the means of increasing the interest of the Ukrainian public in Europe. By cultural and leisure centers we mean various forms of cultural institutions that are part of the basic network of cultural institutions, including libraries, museums, galleries, reserves, exhibition halls, theaters, philharmonics, concert organizations, art groups, cinemas, film and video distribution enterprises, associations, palaces and houses of culture, other club establishments, educational establishments in the field of culture, art schools, studios, parks of culture and recreation. These institutions carry the lion’s share of all art exhibitions, projects, events and other cultural events taking place in Ukraine. In Western Ukraine, cultural and leisure centers are one of the main subjects in the process of cultural development of the country, without which it is impossible to achieve the strategic goals of Ukraine’s development in the field of culture. Among the events that promote European integration of Ukraine there are international festivals with European representatives, exhibitions, concerts, thematic events, master classes, workshops, trainings, training courses, creative laboratories, scientific cooperation — conferences, forums, seminars which take place in Lviv, Ternopil, IvanoFrankivsk, Volyn, Rivne regions in offline and online formats.
The scientific novelty: the article attempts to study the role of cultural and leisure centers of Western Ukraine in the formation of a single European sociocultural space.
The practical significance. The analyzed practical experience of European cooperation of cultural and leisure centers of Western Ukraine can be borrowed by the institutions of other regions.
Books on the topic "Film festivals – California – Exhibitions"
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Mostra, internazionale d'arte cinematografica (57th 2000 Venice Italy). 57. Mostra internazionale d'arte cinematografica. Milano: Castoro, 2000.
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Mostra internazionale d'arte cinematografica. (45th 1988 Venice, Italy). XLV Mostra internazionale del cinema. Venezia: Biennale di Venezia, 1988.
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Mostra internazionale d'arte cinematografica. (52nd 1995 Venice, Italy). 52. Mostra internazionale d'arte cinematografica. Venezia: Biennale di Venezia, 1995.
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Tartu Visuaalse Kultuuri Päevad (1st 2004). Tartu Visuaalse Kultuuri Päevad: Põhjamaade Antropoloogilise Filmi Assotsiatsiooni Filmifestival, 10.-16. maini = Film Festival of Nordic Anthropological Film Association, May 10-16th 2004. Tartu: Eesti Rahva Muuseum, 2004.
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Warsaw International Film Festival (2nd 2005). Warszawski Międzynarodowy Festiwal Filmowy: Żydowskie motywy = ha-motiv ha-Jehudi : 19-24 maja 2005, Kino Muranów, ul. Gen. W. Andersa 1 : katalog. Warsaw]: Stowarzyszenie Żydowskie Motywy, 2000.
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Mostra internazionale d'arte cinematografica (51st 1994 Venice, Italy). 51. Mostra internazionale d'arte cinematografica. Venezia: Edizioni La Biennale, 1994.
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2005), Warsaw International Film Festival (2nd. Warszawski Międzynarodowy Festiwal Filmowy: Żydowskie motywy = ha-motiv ha-Jehudi : 19-24 maja 2005, Kino Muranów, ul. Gen. W. Andersa 1 : katalog. [Warsaw]: Stowarzyszenie Żydowskie Motywy, 2005.
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Onsér-Franzén, Jill. Kulturens giganter: En studie om fenomenen bokmässan och filmfestivalen i Göteborg. Mölndal: Distribution, HumTek HB, 1996.
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Finger, Lakes Environmental Film Festival (10th 2007 Ithaca N. Y. ). Finger Lakes Environmental Film Festival: March 26-April 2, 2007. [Ithaca, NY]: Ithaca College, 2007.
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Bienal de Cine y Video sobre el Patrimonio Cultural (1st 1985 Madrid, Spain). I Bienal de Cine y Video sobre el Patrimonio Cultural. [Madrid]: Ministerio de Cultura, Dirección General de Bellas Artes y Archivos, Centro Nacional de Información Artística, Arqueológica y Etnológica, 1985.
Find full textBook chapters on the topic "Film festivals – California – Exhibitions"
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Peirano, María Paz, and Gonzalo Ramírez. "Chilean Film Festivals and Local Audiences: Going Online?" In Rethinking Film Festivals in the Pandemic Era and After, 129–51. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-14171-3_7.
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AbstractThis chapter reviews the impact of the global pandemic of Covid-19 on Chilean film festivals and how this affected their relationship with local audiences. Chilean festivals are small events that exist under precarious conditions, facing different economic and cultural challenges that complicate their stability. After the Chilean estallido (a social outburst in 2019), the current health crisis has further affected their position, due to their cancelation and/or postponement, and most of them have temporarily transformed into online events to ensure their survival. We provide an overview on how Covid-19 has affected festivals in Chile as well as their responses to this crisis, which we understand within a particular context that has been pressuring onsite exhibitions and collective viewing. We mapped and tracked the festivals’ activities throughout 2020 and 2021 and used online ethnographic methods to observe some cases more closely, conducting participant observation of online activities and interviewing festival organizers. As such, the chapter addresses some of the new ways in which film festivals developed to engage with their audiences during the pandemic. We conclude with an emphasis on festivals’ responses as adaptive strategies and poses some questions on the future developments of these events.
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Hatfield, Charles. "In Our Own Image, After Our Likeness." In Comic Art in Museums, 308–15. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828118.003.0037.
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This chapter includes a 2010 article by author, scholar, and California State University Northridge professor, Charles Hatfield, recollecting his experience viewing the R. Crumb’s Book of Genesis exhibition at the Hammer Museum in Los Angeles and providing in-depth analysis of Crumb’s Genesis book. This chapter discusses narrative in exhibitions, exhibition design, comparison of Crumb’s work with illustrations by Basil Wolverton, Picture Stories from the Bible, The Picture Bible, and DeMille’s film The Ten Commandments. Images: Hammer exhibition photo, comparative panels from Crumb and Wolverton.
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Gold, John R., and Margaret M. Gold. "Longevity and Reinvention: Venetianization and the Biennale." In Festivals and the City: The Contested Geographies of Urban Events, 149–67. University of Westminster Press, 2022. http://dx.doi.org/10.16997/book64.i.
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The Venice Biennale is the world's first biennial art exhibition. It was founded in 1895 as a way for Venice to put itself on the Italian festival map, to generate tourism, and to boost the contemporary cultural sector in a city with a strong tradition in classical art. The Biennale has adapted and evolved into a portfolio of 7 international exhibitions. Today three of these – the Art Biennale, the Architectural Biennale and the Film Festival – are global players in their respective fields. At the same time, the festival has also impacted geographically on the city. Beginning by utilising the Giardini gardens in the east of the city, it then spread to the redundant shipyards of the Arsenale in the 1980s, where it became a driving force for regeneration. More recently, it has diffused outwards into the wider city as national pavilions and collateral events established themselves in suitable buildings after 1995. Described as the Venetization of the festival, this geographical spread of the Biennale from its original exhibition ground has rooted the biennale in the fabric of the city in new ways. This chapter looks at the origins of the festival and its current relationship to the city, highlighting the ways in which the festival has adapted to internal and external pressures for change while keeping its model of national pavilions, by which countries display their art. Initially a pragmatic solution to diversifying the exhibition, this was later interpreted as a straightjacket and an imperial anachronism, but has nevertheless endured as a feature of the Arts and Architectural Biennales. Seen as a means of promoting tourism, the Biennale is now ironically seen as an antidote to overtourism and mass cultural tourism by tempting visitors away from the crowded centre to explore the city beyond.
Reports on the topic "Film festivals – California – Exhibitions"
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Kerrigan, Susan, Phillip McIntyre, and Marion McCutcheon. Australian Cultural and Creative Activity: A Population and Hotspot Analysis: Bendigo. Queensland University of Technology, 2020. http://dx.doi.org/10.5204/rep.eprints.206968.
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Bendigo, where the traditional owners are the Dja Dja Wurrung people, has capitalised on its European historical roots. Its striking architecture owes much to its Gold Rush past which has also given it a diverse cultural heritage. The creative industries, while not well recognised as such, contribute well to the local economy. The many festivals, museums and library exhibitions attract visitors from the metropolitan centre of Victoria especially. The Bendigo Creative Industries Hub was a local council initiative while the Ulumbarra Theatre is located within the City’s 1860’s Sandhurst Gaol. Many festivals keep the city culturally active and are supported by organisations such as Bendigo Bank. The Bendigo Writers Festival, the Bendigo Queer Film Festival, The Bendigo Invention & Innovation Festival, Groovin the Moo and the Bendigo Blues and Roots Music Festival are well established within the community. A regional accelerator and Tech School at La Trobe University are touted as models for other regional Victorian cities. The city has a range of high quality design agencies, while the software and digital content sector is growing with embeddeds working in agriculture and information management systems. Employment in Film, TV and Radio and Visual Arts has remained steady in Bendigo for a decade while the Music and Performing Arts sector grew quite well over the same period.