Journal articles: 'International Festival of Photojournalism'

1

Luwes, Nico. "International Theatreschool Festival." South African Theatre Journal 11, no. 1 (January 1997): 226–31. http://dx.doi.org/10.1080/10137548.1997.9688206.

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Clark, Robert S. "International Festival: Bergen, Norway." Hudson Review 52, no. 3 (1999): 471. http://dx.doi.org/10.2307/3853458.

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Swortzell, Lowell. "Philadelphia International Children's Festival." Theatre Journal 39, no. 1 (March 1987): 97. http://dx.doi.org/10.2307/3207627.

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Dugger, Edward. "2006 International Music Festival." Journal of the Acoustical Society of America 130, no. 4 (October 2011): 2533. http://dx.doi.org/10.1121/1.3655119.

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Komporaly, Jozefina. "Interferences International Theatre Festival." Theatre Journal 67, no. 3 (2015): 550–54. http://dx.doi.org/10.1353/tj.2015.0082.

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Goldstein, Julia. "Kampala International Theatre Festival." Theatre Journal 67, no. 3 (2015): 535–40. http://dx.doi.org/10.1353/tj.2015.0084.

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7

Connelly, John, and Marilyn Connelly. "International Student Media Festival." TechTrends 48, no. 3 (May 2004): 3. http://dx.doi.org/10.1007/bf02763346.

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Connelly, John, and Marilyn Connelly. "International student media festival." TechTrends 48, no. 4 (July 2004): 12–13. http://dx.doi.org/10.1007/bf02763438.

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9

Wexman, Virginia Wright. "Toronto International Film Festival." Framework: The Journal of Cinema and Media 47, no. 2 (2006): 125–27. http://dx.doi.org/10.1353/frm.2006.0025.

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Wexman, Virginia Wright. "Vancouver International Film Festival." Framework: The Journal of Cinema and Media 47, no. 2 (2006): 128–30. http://dx.doi.org/10.1353/frm.2006.0026.

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Loubet, Emmanuelle. "International Computer Music Festival." Computer Music Journal 23, no. 2 (June 1999): 88–93. http://dx.doi.org/10.1162/comj.1999.23.2.88.

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12

Ostman, Ronald E. "Photojournalism and Foreign Policy: Icons of Outrage in International Crises." American Journalism 18, no. 1 (January 2001): 112–14. http://dx.doi.org/10.1080/08821127.2001.10739303.

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13

Duran, Erol, and Bahattin Hamarat. "Festival attendees’ motivations: the case of International Troia Festival." International Journal of Event and Festival Management 5, no. 2 (June 10, 2014): 146–63. http://dx.doi.org/10.1108/ijefm-07-2012-0020.

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Purpose – The purpose of this paper is to investigate underlying motivational dimensions of visitors attending the International Troia Festival (ITF), Çanakkale, Turkey. Design/methodology/approach – Surveys with 26 items on six motivational dimensions were empirically tested. Data were collected by a self-administered survey. The study sample comprised attendees of particular festival events which were suitable for survey practice in the ITF lasting for five days. The participants of the survey were the attendees of two theater shows, two conferences, and two folk dance shows. A total of 473 usable forms were obtained from the visitors and processed in the analysis. Findings – Significant differences and relations in motivational dimensions were found on the basis of visitors’ socio-demographic origins. Female visitors are more likely to attend festival events with high motivation of family togetherness and cultural exploration. Also male visitors are more likely to attend the events with more motivation of event attraction and escape and excitement than family togetherness. Motivation of cultural exploration is also high for all socio-demographic groups of festival visitors. Thereby, cultural exploration and family togetherness are also highly important for attendees. The basic theme of the ITF was identified as a cultural festival which essentially motivates visitors to attend particularly for cultural exploration. Research limitations/implications – The findings of this paper solely reflect the motivational dimensions identified during a Turkish festival with a cultural lifestyle. Practical implications – The field research of the study demonstrates the application of methodology by event managers to gain better understanding into visitor motivation, satisfaction, behavioral intention, event organization, and event theme. Originality/value – The important theoretical contribution of the study is in the area of establishing a meaningful and empirical relation between motivation of festivals and cultural structure of community as part of the perceived socio-cultural impacts of festivals. This implies and empirically substantiates the common belief that festivals and events can be instrumental in enriching cultural life.

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Juntunen, Jacob. "Taking the Rural International." Theatre Survey 62, no. 3 (August 23, 2021): 322–26. http://dx.doi.org/10.1017/s0040557421000223.

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In March 2020, Southern Illinois University in Carbondale (SIU) went into lockdown. With the annual Big Muddy New Play Festival about to kick off—two productions entering tech and four full-length staged readings rehearsing—SIU's M.F.A. Playwriting Program had been left in the lurch. COVID-19 and the scramble to move courses online and to graduate our M.F.A.'s canceled the entire festival. A year later, still online, the SIU M.F.A. Playwriting new play festival did not meet this same fate. Based on twelve months of experimentation, the program was able to develop a streaming festival. Our 2021 new play festival on YouTube brought together more than forty artists across eight time zones to collaborate with our five graduate student playwrights. The international ensemble, represented in an interactive map (Fig. 1), showed how open-access software and streaming platforms could help students at our rural university transcend our limited geography.

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15

Sorgenfrei, Carol Fisher. "The Edinburgh International Festival, and: The Edinburgh Fringe Festival (review)." Theatre Journal 58, no. 2 (2006): 320–24. http://dx.doi.org/10.1353/tj.2006.0136.

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16

Dasgupta, Gautam. "BITEF: An International Theatre Festival." Performing Arts Journal 11, no. 3 (1989): 219. http://dx.doi.org/10.2307/3245439.

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17

Nudler, Alicia. "Happy Days International Beckett Festival." Journal of Beckett Studies 31, no. 2 (September 2022): 229–334. http://dx.doi.org/10.3366/jobs.2022.0380.

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18

McConachie, Bruce. "International Theatre Festival: Kontakt '94." Theatre Journal 47, no. 1 (March 1995): 128. http://dx.doi.org/10.2307/3208812.

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Scharine, Richard. "International Theatre Festival: Kontakt '93." Theatre Journal 46, no. 1 (March 1994): 124. http://dx.doi.org/10.2307/3208961.

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20

Galeyev, Bulat M. "The International "Ost-Ranenie" Festival." Leonardo 28, no. 1 (1995): 78. http://dx.doi.org/10.2307/1576171.

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21

Alker, Gwendolyn. "International Hispanic Theatre Festival (review)." Theatre Journal 54, no. 2 (2002): 309–12. http://dx.doi.org/10.1353/tj.2002.0032.

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22

Weiss, Alfred. "The Edinburgh International Festival, 1990." Shakespeare Quarterly 42, no. 4 (1991): 462–71. http://dx.doi.org/10.2307/2870464.

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23

Grant, Barry Keith. "Toronto International Film Festival 2007." Film International 5, no. 6 (December 2007): 92–96. http://dx.doi.org/10.1386/fiin.5.6.92.

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24

Hunter, Les. "Borderlight International Theatre + Fringe Festival." Theatre Journal 72, no. 2 (2020): 248–52. http://dx.doi.org/10.1353/tj.2020.0045.

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25

Alawadhi, Hend F. "13th Dubai International Film Festival." Afterimage 44, no. 5 (March 1, 2017): 4–5. http://dx.doi.org/10.1525/aft.2017.44.5.4.

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26

Sauer, Stephanie. "Plana International Festival of Publications." Afterimage 45, no. 4 (July 1, 2018): 5. http://dx.doi.org/10.1525/aft.2018.45.4.5.

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27

Jelesijević, Nenad. "International Puppet Festival LUTKE 2014." Maska 31, no. 179 (September 1, 2016): 138–53. http://dx.doi.org/10.1386/maska.31.179-180.138_1.

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The article considers fragments of performances from the Ljubljana International Puppet Festival, especially emphasizing Antigone and Georges Méliès’ Final Trick. It places at its centre the hybridisation of the bodies of puppet and puppeteer as a phenomenon that creates unexpected transitions of form and sensuality – that is, a trans-situation, in which sensual distribution occurs not only among living individuals but also among (animated) objects. A trans-situation allows for a wider space of sensual distribution within the temporary bounds of the performance.

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28

Deschênes, Bruno. "The Montreal International Jazz Festival." Popular Music 19, no. 2 (April 2000): 253–55. http://dx.doi.org/10.1017/s0261143000000155.

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The Festival International de Jazz de Montréal (Montreal International Jazz Festival), which celebrated its twentieth anniversary in 1999, has become one of the most popular music festivals in the world, attracting in just twelve days more than a million and a half people. Most visitors are Canadians and Americans, but Europeans are attending in greater numbers each year.The first Festival, held in the summer of 1979, lasted less than a week. Since then, it has progressively expanded and has moved from one site to another several times to accommodate the growing number of visitors. At its current site in downtown Montreal, in the neighbourhood of the Place des Arts, it now lasts a full twelve days. In 1998, thirty-six concert series and two film series were offered for a total of 411 events. Of these, 103 were paying concerts, and 298 were free concerts held for the most part out of doors. Jazz presented in more than twelve bars all over the city also forms part of the event.From noon to 6 pm, a free outdoor concert is held every hour. From 6 pm to midnight, two more free concerts are performed simultaneously. During the day, street bands give strollers a taste of a wide range of musical styles. For more than twelve hours the public can hear music nonstop by moving from one venue to the other. The downtown site is big enough to avoid the overlapping of music from simultaneous performances. At the end of the afternoon and in the evening, Festival-goers can enjoy the indoor paying concerts.

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29

Connelly, John, Michael J. Fullan, James B. Ellsworth, Michael J. Fullan, R. Paul Fender, Preston P. Parker, Darren B. Brown, Joanne P. Hall, and Steve Curda. "AECT International Student Media Festival." TechTrends 44, no. 3 (April 2000): 24–36. http://dx.doi.org/10.1007/bf02778223.

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30

Bechervaise, Jason. "The Busan International Film Festival." Film Quarterly 77, no. 3 (2024): 86–92. http://dx.doi.org/10.1525/fq.2024.77.3.86.

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Jason Bechervaise examines the latest edition of the Busan International Film Festival (BIFF) in the context of the external and internal problems that have plagued the festival over the past ten years, with a leadership crisis this spring once again putting the festival in the spotlight for the wrong reasons. This report explores BIFF’s curation of Korean cinema, with an emphasis on the festival’s importance as launch pad for young Korean filmmakers as well as how the festival’s programming, which now includes productions financed by streaming platforms, reflects the rapidly changing Korean film and media ecosystem.

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31

Saeed, Alan Ali. "History of The Slemani International Film Festival." Journal of Festive Studies 4, no. 1 (February 23, 2023): 135–43. http://dx.doi.org/10.33823/jfs.2022.4.1.125.

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This interview with Hemn Hussein presents a history of the Slemani International Festival from its inception to the present. The interview looks at the practical issues of funding and running the festival. Attention is focused on its particular context of being a Kurdish yet international festival and its significance within Kurdish cultural aspirations.

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32

Midberry, Jennifer, Ryan N. Comfort, and Joseph E. Roskos. "Celebrating life or adversity? The redefinition of features in the Pictures of the Year International contest." Journalism 21, no. 6 (April 10, 2019): 766–83. http://dx.doi.org/10.1177/1464884919841134.

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Photojournalism contests have been criticized for continually awarding top prizes in hard news categories to images that depict conflict, disaster, poverty, and other problems. Pictures like these, which have a social issues visual frame, usually focus on people from countries other than the United States and on minorities. Some photojournalism contests, like Pictures of the Year International (POYi), include a features category. Traditionally, the purpose of feature photographs is to celebrate the human condition; however, in recent years of the POYi contest the features category has been dominated by images that stress hardship. To investigate whether this represents an increasing trend in POYi of awarding prizes to pictures that focus on social issues, a content analysis of the winning photographs from the past 20 years was conducted. Understanding whether the feature category in Pictures of the Year International has evolved is important because when it comes to shaping discourses about social issues, national identities, ethnicity, and race, feature photos have the potential for emphasizing commonality. If the newsworthiness of feature photos starts to become tied to similar criteria as hard news photos, that potential will be diminished.

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33

Editorial. "Student Creativity Festival." Journal of Flm Arts and Film Studies 8, no. 4 (December 15, 2016): 6. http://dx.doi.org/10.17816/vgik846-6.

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The 36th international student festival, held in the Year of Russian cinema, was successfully completed, confirming its uniqueness and cinematic and theatrical art of young people, their readiness to enter into a professional activity. Traditionally, the festival includes 3 competitive programs-Competition of film works of students of VGIK, College of cinema and television of VGIK, Higher -" courses of VGIK. International competition kit, the jury of which was headed this year by the famous Director, screenwriter, producer Krzysztof Zanussi (Poland); XII international theater competition, where participation this time, in addition to Russia, took theater groups from China, Serbia, Bulgaria.

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34

Khatrunada, Siti Afifah, and Gilang Nur Alam. "Diplomasi Budaya Indonesia melalui International Gamelan Festival 2018 di Solo." Padjadjaran Journal of International Relations 1, no. 2 (August 31, 2019): 104. http://dx.doi.org/10.24198/padjir.v1i2.26125.

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Penelitian ini membahas diplomasi budaya Indonesia melalui acara budaya International Gamelan Festival 20S18 di Solo, dimana kegiatan ini dilakukan oleh pemerintah Indonesia sebagai salah satu instrumen untuk meningkatkan citra positifnya di mata dunia. Yang dikaji dalam penelitian ini adalah bagaimana Indonesia mengemas prinsip diplomasi budaya, yaitu: Prinsip Penyebaran (Transmission), Prinsip Penerimaan (Acceptance), dan Prinsip Koeksitensi (Coexistence) melalui kegiatan International Gamelan Festival 2018 di Solo sehingga berpengaruh terhadap citra Indonesia di dunia. Diplomasi Budaya oleh Indonesia melalui International Gamelan Festival 2018 ini ditujukan kepada peserta asing yang mengikuti kegiatan festival tersebut. Hasil penelitian ini menunjukkan bahwa pelaksanaan International Gamelan Festival 2018 memberikan pengaruh bagi Indonesia dalam meningkatkan pandangan positif terhadap khalayak asing, khususnya peserta asing, melalui konten-konten budaya yang terdapat dalam festival tersebut. Selain itu, melalui diplomasi ini juga dapat membantu Indonesia memberikan pengetahuan dan perkenalan mengenai budaya Indonesia terhadap peserta asing yang mengikuti International Gamelan Festival 2018 di Solo.

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35

Duran, Erol, Bahattin Hamarat, and Emrah Özkul. "A sustainable festival management model: the case of International Troia festival." International Journal of Culture, Tourism and Hospitality Research 8, no. 2 (June 2, 2014): 173–93. http://dx.doi.org/10.1108/ijcthr-04-2013-0017.

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Purpose – The purpose of this study is to propose a sustainable festival management model (SFMM) drawing on data from the International Troia Festival, Çanakkale, Turkey. Design/methodology/approach – Three research techniques were used in the study. Survey data examined six motivational dimensions whose importance were tested using the logistic regression analysis. In-depth interviews and observations were analyzed using content analysis. The study sample comprised festival event attendees, members of public and private businesses and NGOs. Findings – The field research indicated that, culture is the main factor, which motivates visitors to attend the festival and also the main theme of the festival that reflects the significant cultural heritage of the city. A SFMM is presented for the International Troia Festival, based on the results of the field research and literature. Research limitations/implications – The findings of this study solely of SFMM were identified during a Turkish festival. Originality/value – Future applications of SFMM both for generating development of local or international festivals in a sustainable way and for resolving general or regional environmental challenges on festival management are discussed. The model can be used to ensure the sustainability of the International Troia Festival and similar festivals.

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36

Nornes, Markus. "Filmless Festivals and Dragon Seals: Independent Cinema in China." Film Quarterly 72, no. 3 (2019): 78–86. http://dx.doi.org/10.1525/fq.2019.72.3.78.

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Markus Nornes, who documented the Chinese independent film festival scene for Film Quarterly in 2009, returns with a report on the changes this sector has experienced in the intervening decade. Borrowing a metaphor from Beijing Film Academy professor Zhang Xianmin, he offers an “update from the ruins,” as government censorship and an absence of institutional support has taken a toll on what had been a thriving festival scene. Nornes reviews the challenges faced by the Beijing International Film Festival, and its innovative responses to them, and finds hope for the future at the Shanghai International Film Festival, the Pingyao Crouching Tiger Hidden Dragon International Film Festival, and the West Lake International Documentary Film Festival.

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37

Relich, Mario. "Reclaiming the Human: Edinburgh International Festival and Book Festival Diary 2023." Scottish Affairs 33, no. 1 (February 2024): 119–29. http://dx.doi.org/10.3366/scot.2024.0494.

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38

Banks, Anna. "Images Trapped in Two Discourses: Photojournalism Codes And the International News Flow." Journal of Communication Inquiry 18, no. 1 (January 1994): 118–34. http://dx.doi.org/10.1177/019685999401800107.

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39

July, Lecture Performance Festival. "Lecture Performance Festival." AM Journal of Art and Media Studies, no. 21 (April 15, 2020): 160–70. http://dx.doi.org/10.25038/am.v0i21.360.

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40

Martinelli, Lucas. "Women's Time: The Mar del Plata International Film Festival." Film Quarterly 73, no. 3 (2020): 89–92. http://dx.doi.org/10.1525/fq.2020.73.3.89.

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Lucas Martinelli reports from the 34th edition of Argentina's Mar del Plata International Film Festival, the only FIAPF-accredited film festival in Latin America. Noting that this year's festival marked the sophomore effort of Cecilia Barrionuevo, the first female director in the festival's history, Martinelli focuses attention on the notable uptick in discussion space and festival slots awarded to women in the industry. The festival's second Forum of Cinema and Gender Perspective brought female speakers from fields across the industry—actresses, directors, researchers, and journalists. In his discussion of films directed by women, Martinelli notes an interest in challenging the historical archive to create a new feminist historiography.

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41

Liu, Xiaoxia. "Pingyao international photography festival (2001-2020)." photographies 14, no. 1 (January 2, 2021): 165–80. http://dx.doi.org/10.1080/17540763.2020.1847175.

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42

Eaton, Michael. "Third International Festival of Ethnographic Film." Anthropology Today 8, no. 6 (December 1992): 23. http://dx.doi.org/10.2307/2783269.

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43

Sperschneider, Werner. "Gottingen International Ethnographic Film Festival 1996." Anthropology Today 12, no. 6 (December 1996): 21. http://dx.doi.org/10.2307/2783405.

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44

Frank, Alison Elizabeth. "Berlin International Film Festival - Berlinale 2011." Film-Philosophy 15, no. 1 (February 2011): 234–39. http://dx.doi.org/10.3366/film.2011.0014.

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45

Baxter, Peter, and Eileen Miller. "The Edinburgh International Festival, 1947-1996." Notes 53, no. 4 (June 1997): 1172. http://dx.doi.org/10.2307/899480.

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46

Watson, David. "The 63rd Edinburgh International Film Festival." British Journal of General Practice 59, no. 565 (August 1, 2009): 624–25. http://dx.doi.org/10.3399/bjgp09x453945.

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47

Ateşman, Özge Özdüzen. "33rd International Istanbul Film Festival (2014)." Alphaville: Journal of Film and Screen Media, no. 7 (June 25, 2014): 129–34. http://dx.doi.org/10.33178/alpha.7.10.

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48

Çağlayan, Emre. "45th International Film Festival Rotterdam (2016)." Alphaville: Journal of Film and Screen Media, no. 11 (August 17, 2016): 132–39. http://dx.doi.org/10.33178/alpha.11.12.

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49

Editorial, Article. "6 Moscow International Open Book Festival." Bibliotekovedenie [Russian Journal of Library Science], no. 4 (July 27, 2011): 128–31. http://dx.doi.org/10.25281/0869-608x-2011-0-4-128-131.

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50

Watson, David. "The 64th Edinburgh International Film Festival." British Journal of General Practice 60, no. 577 (August 1, 2010): 628–29. http://dx.doi.org/10.3399/bjgp10x515278.

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Journal articles on the topic 'International Festival of Photojournalism'

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