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Artículos de revistas sobre el tema "Film exhibition"

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Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 20 de febrero de 2023

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1

Aveyard, Karina y Albert Moran. "Cinema-Going, Audiences and Exhibition". Media International Australia 139, n.º 1 (mayo de 2011): 73–79. http://dx.doi.org/10.1177/1329878x1113900110.

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This special issue of Media International Australia represents an effort to progress critical understanding of the broader social and economic formations that shape the circulation and consumption of films. The collection provides a range of diverse and compelling insights into the processes of film circulation and viewing, both within the home and at the cinema. Accordingly, these articles address important questions such as: Why do audiences seek out film content? How are films accessed and by whom? What place does film have in popular social memory? How does the site of consumption shape the meaning of these cultural encounters? By what processes can we identify and study audiences?

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2

Iswahyuningtyas, Cici Eka y Mochammad Fadjar Hidayat. "Strategies and Challenges in Conventional and Digital Film Distribution and Exhibition in Indonesia". Jurnal Komunikasi 13, n.º 1 (7 de julio de 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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3

Sim, Jiaying. "Embodiment, Curation, Exhibition". Screen Bodies 1, n.º 1 (1 de marzo de 2016): 87–91. http://dx.doi.org/10.3167/screen.2016.010106.

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As part of the 2014 GENERATION project celebrating the past twenty-five years of contemporary art in Scotland, Douglas Gordon’s exhibition, “Pretty much every film and video work from about 1992 until now,” took centerstage at the Gallery of Modern Art in Glasgow. Gordon contributed to the dialogue with a unique installation showcasing his twenty-two years of artistic endeavors through 101 different-sized old television sets elevated on old plastic beer crates, simultaneously screening 82 video and film works. The screens flickered and lit the dark main gallery as the visual works played on loop—some with sound, some without, some in slow motion. The exhibition included such works as 24 Hour Psycho (1993), Between Darkness and Light (After William Blake) (1997), Play Dead; Real Time (2003), Henry Rebel (2011), Silence, Exile, Deceit: An Industrial Pantomime (2013) and emphasized how Gordon’s collection has grown since its first exhibition from 1999 in Poland and will continue to do so, as he updates the videos and films.

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4

Moloney, Alison. "Fashion exhibition as film". Film, Fashion & Consumption 7, n.º 1 (1 de abril de 2018): 39–55. http://dx.doi.org/10.1386/ffc.7.1.39_1.

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5

Hovet, T. "The Teacher as Exhibitor: Pedagogical Lessons from Early Film Exhibition". Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 6, n.º 2 (1 de abril de 2006): 327–35. http://dx.doi.org/10.1215/15314200-2005-007.

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6

Ince, Catherine. "Charles and Ray Eameses’ museums without walls: Films as exhibition and exhibitions as film". Film, Fashion & Consumption 7, n.º 1 (1 de abril de 2018): 19–38. http://dx.doi.org/10.1386/ffc.7.1.19_1.

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7

Kawakami, Ichiro. "3. Film Distribution, Exhibition Technology". Journal of The Institute of Image Information and Television Engineers 72, n.º 9 (2018): 694–98. http://dx.doi.org/10.3169/itej.72.694.

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8

Bernstein, Matthew. "Exhibition, The Film Reader (review)". Moving Image 3, n.º 1 (2003): 178–81. http://dx.doi.org/10.1353/mov.2003.0002.

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9

Calder, Barnabas. "Book, exhibition and film reviews". Journal of Architecture 16, n.º 6 (diciembre de 2011): 975–94. http://dx.doi.org/10.1080/13602365.2011.637001.

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10

Uduku, Ola. "Book, exhibition and film reviews". Journal of Architecture 17, n.º 3 (junio de 2012): 479–83. http://dx.doi.org/10.1080/13602365.2012.692615.

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11

Cepl, Jasper. "Book, exhibition and film reviews". Journal of Architecture 19, n.º 5 (3 de septiembre de 2014): 809–11. http://dx.doi.org/10.1080/13602365.2014.969974.

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12

Blagojević, Ljiljana. "Book, exhibition and film reviews". Journal of Architecture 20, n.º 2 (4 de marzo de 2015): 355–59. http://dx.doi.org/10.1080/13602365.2015.1028725.

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13

Beech, Nick. "Book, exhibition and film reviews". Journal of Architecture 20, n.º 3 (4 de mayo de 2015): 536–43. http://dx.doi.org/10.1080/13602365.2015.1053186.

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14

Allbeson, Tom. "Book, exhibition and film reviews". Journal of Architecture 21, n.º 7 (2 de octubre de 2016): 1154–58. http://dx.doi.org/10.1080/13602365.2016.1233624.

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15

Galán, Ignacio G. "Book, exhibition and film reviews". Journal of Architecture 23, n.º 2 (17 de febrero de 2018): 339–42. http://dx.doi.org/10.1080/13602365.2018.1443578.

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16

Chmelyk, Iryna. "Loving Vincent: Online Exhibition as an Innovative Form of Presenting Visual Art in Ukraine". Artistic Culture. Topical Issues, n.º 17(1) (8 de junio de 2021): 145–52. http://dx.doi.org/10.31500/1992-5514.17(1).2021.235242.

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The article considers the online exhibition and art events Loving Vincent as the relevant forms of exhibition of art works, the main idea of which is to promote the work of Vincent van Gogh and the art of the animated films in Ukraine. The aim of the paper isto highlight the importance of the latest forms of visual art representation in Ukraine on the example of the online exhibition Loving Vincent and a number ofrelated events dedicated to the world’s first full-length eponymous animated feature film about the life of Vincent van Gogh. The role of Ukrainian artists in the process of working on the film is also highlighted. The methodology of work includes a set of culturological and art research methods and approaches. In particular, empirical observations, analysis of the source base and video materials contribute to the comprehensive coverage of the process of organization and realization of the Loving Vincent exhibition. The interviews with the organizers, screenwriters, and artists helped to get a deep insight into the specifics of working on the film. Descriptive and analytical methods contributed to the formation of a comprehensive view regarding the innovative forms of representation of visual artworks in Ukraine. On the basis of factual material, a synthetic comprehension of problems and prospects of development ofsuch newest exposition forms as virtual excursions and online exhibitions were formed. Emphasis is also made on the participation of Ukrainian artists in the largescale international art projects that leads to the creation and development of new opportunities of the representation of contemporary art

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17

Merrington, Peter, Matthew Hanchard y Bridgette Wessels. "Inequalities in Regional Film Exhibition: Policy, Place and Audiences". Journal of British Cinema and Television 18, n.º 2 (abril de 2021): 198–222. http://dx.doi.org/10.3366/jbctv.2021.0566.

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This article questions the variety of film exhibition in four English regions. While a regional and national frame is the focus of cultural policy in relation to film audience development in the UK, our analysis examines relational, localised and sub-regional film cultures in order to understand how differing levels of film exhibition influence people's sense of place. This is framed within a discussion of cultural inequality more generally. In the UK, questions of engagement with different types of film exhibition have gained greater prominence recently, but there has been limited attention paid to how audiences understand their geographic relationship with film exhibition. Drawing on 200 semi-structured, qualitative interviews with a wide range of film viewers across four English regions, the North East, North West, South West and Yorkshire and the Humber, we assess perceptions of film exhibition in these regions. In doing so, we characterise five different modes of place in relation to the breadth of film exhibition, from distinctive film cities to mainstream multiplex towns. In particular, we focus on how access to film is simultaneously narrated through both localised proximity to cinemas of different types and virtual access to film through online platforms. This work provides further evidence of the uneven provision of diverse film in England but shows how film audiences relationally interpret their engagement within film as a cultural form.

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18

Danso, Augustine. "Reconstructing cinematic activities in the early twentieth century: Gold Coast (Ghana)". Journal of African Cinemas 13, n.º 2 (1 de diciembre de 2021): 147–55. http://dx.doi.org/10.1386/jac_00051_1.

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In the history of African cinema, there is a nexus between films and the colonial imperial project. That is, products of cinema and cinematic practices shaped the process of colonialism in the specific case of Africa. Predicated largely on archival documents, this study explores how cinema was regulated in the major towns and cities in the Gold Coast during the colonial era. Ghanaian cinema has a considerably long historical narrative, however, much of what is known about the history of cinema in Ghana, particularly, on film screening, censorship and exhibition practices, is rather little. Thus, it is with this gap that this study attempts to fill and make a useful contribution to Ghanaian film history. The colonial experience set the basis for cinematic houses, film production, censorship, distribution and ideological concerns in African cinema. This study is framed within the relationship between cinema and history, with a specific focus on Ghana. This article concludes that while film exhibition, censorship and licensing stimulated the growth of art, particularly cinema, they further inflated the colonial imperial agenda in the Gold Coast.

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19

Vinod Rao, N. y R. Rajeshwari. "OTT as New Platform of Cinema Exhibition: Opportunities and Challenges for Kannada Films". Asian Review of Social Sciences 10, n.º 1 (15 de mayo de 2021): 48–51. http://dx.doi.org/10.51983/arss-2021.10.1.2681.

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COVID-19 pandemic has affected many areas including cinema exhibitions. Due to non-opening of cinema theatres film makers found the platform that is over-the-top (OTT). Before COVID-19 OTT was not able to compete with theatrical release. However, the pandemic situations changed the way of movie release through OTT platforms such as Netflix, Amazon Prime, Hot-star and others. The usage of OTT increased during the period of lockdown. According to Boston Consulting Group, subscriptions increased 60% and average watching hours increased to 14.5%. In the Kannada film industry, the well-known actor and producer Punith Rajkumar’s two films titled Law and French Biriyani were released on India's second largest OTT platform Amazon Prime during the lockdown period. In this context, this research tried to find prospects of Kannada film exhibition through OTT platform. The specific objectives are to explore the opportunities for releasing Kannada films through OTT, to study the challenges ahead in this way. The study used both quantitative and qualitative research methods. Online surveys conducted with structured questionnaires among 100 OTT users and in-depth interviews conducted among the people who are involved in film making from Kannada film industry to answer the research questions. This study would help filmmakers who are intended to release their film through OOT in future.

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20

Quiroga Fernández, Sofía. "Moholy-Nagy’s Light Prop for an Electric Stage. Design, Copies and Reproductions". Disegno, n.º 1-2 (2021): 166–77. http://dx.doi.org/10.21096/disegno_2021_1-2sqf.

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László Moholy-Nagy worked on the prototype for Light Prop for an Electric Stage for eight years, from 1922 to 1930, developing several sketches and designs. The final drawings and model were made with the collaboration of the Hungarian architect Stefan Sebök (István Sebők). The device was built by the AEG company, and it was displayed for the first time in the Werkbund exhibition held in Paris in 1930, where it appeared as an autonomous aesthetic object. This was clearly captured in the film Light Play: Black-White-Gray, in which Moholy-Nagy recorded its kinetic quality in the spirit of the abstract films developed at that time. The film clearly shows the motion of the lighting device as a formal exercise of abstraction using double exposures, special effects and close-ups. The Light Prop underwent several alterations over time to keep it working in a variety of exhibitions around Europe and America. In 1956, after Moholy-Nagy passed away, his widow, Sibyl Moholy-Nagy, donated it to the Harvard Busch-Reisinger Museum, where it has remained ever since. After further damage caused by inappropriate restoration and its mechanical instability, the Light Prop was reconstructed in 1969 for the exhibition From Pigment to Light, celebrated at the Howard Wise Gallery in New York (Tsai et al. 2017). The idea of a copy emerged during the planning of this exhibition to preserve the legacy of Moholy-Nagy’s knowledge. Sibyl Moholy-Nagy finally approved this idea in 1970, allowing the production of two copies, one for the exhibition and the other for the 35th Venice Biennale (1970). Both reproductions were kept and sent to the Bauhaus Archive in Darmstadt and the Van Abbemuseum, where the original device had suffered repeated damage during the KunstLichtKunst exhibition (1966). The essay attempts to trace the timeline of modifications from the original device to the reproductions.

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21

Hilton-Smith, Simon, M. Elizabeth Weiser, Sarah Russ, Kristin Hussey, Penny Grist, Natalie Carfora, Nalani Wilson-Hokowhitu, Fei Chen, Yi Zheng y Xiaorui Guan. "Exhibition Reviews". Museum Worlds 10, n.º 1 (1 de julio de 2022): 257–89. http://dx.doi.org/10.3167/armw.2022.100121.

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[Re:]Entanglements: Colonial Collections in Decolonial Times, Museum of Archaeology and Anthropology, University of Cambridge (22 June 2021 to 20 April 2022)Greenwood Rising Center, Tulsa, OklahomaFirst Americans: Tribute to Indigenous Strength and Creativity, Volkenkunde, Leiden, the Netherlands (May 2020 to August 2023)Kirchner and Nolde: Up for Discussion, Statens Museum for Kunst, Copenhagen (April–August 2021)Australians & Hollywood, National Film and Sound Archive, CanberraFree/State: The 2022 Adelaide Biennial of Australian Art, Art Gallery of South Australia, Adelaide (4 March–5 June 2022)Te Aho Tapu Hou: The New Sacred Thread, Waikato Museum Te Whare Taonga o Waikato (7 August 2021 to 9 January 2022)West Encounters East: A Cultural Conversation between Chinese and European Ceramics, Shanghai Museum (28 October 2021 to 16 January 2022)The Shanghai Jewish Refugees Museum’s Permanent Exhibition, ShanghaiThe Way of Nourishment: Health-preserving Culture in Traditional Chinese Medicine, The Chengdu Museum, Chengdu, Sichuan Province, China (29 June–31 October 2021)

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22

Grogg, Morgan A. "The Iconic Wurlitzer: Transforming Early Film Exhibition". Film Matters 4, n.º 4 (1 de diciembre de 2013): 56–58. http://dx.doi.org/10.1386/fm.4.4.56_1.

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23

Eamon, Christopher. "Exhibition 3: Rare Film and Audio Art". Public 23, n.º 46 (1 de diciembre de 2012): 77–97. http://dx.doi.org/10.1386/public.23.46.77_1.

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24

Eamon, Christopher. "Exhibition 3: Rare Film and Audio Art". Public 46, n.º 1 (1 de diciembre de 2012): 77–97. http://dx.doi.org/10.1386/public.46.1.77_1.

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25

Reinhart, Martin. "The Film and Photo Exhibition of 1929". Maske und Kothurn 65, n.º 1-2 (28 de diciembre de 2019): 126–29. http://dx.doi.org/10.7767/mako.2019.65.1-2.126.

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26

Stevens, Kirsten. "Fighting the Festival Apocalypse: Film Festivals and Futures in Film Exhibition". Media International Australia 139, n.º 1 (mayo de 2011): 140–48. http://dx.doi.org/10.1177/1329878x1113900118.

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Since the turn of the millennium, the number of film festivals celebrated annually has exploded, with more than 30 events being celebrated in the Melbourne metropolitan area alone in 2010. The rate of proliferation raises issues of event saturation, bringing into question the future of the film festival format. This article engages with the growing debate over the sustainability of unchecked festival growth. Examining the rise in specialised events that has characterised the film festival phenomenon, it argues that the diverse range and ubiquitous nature of these events collectively forms an exhibition system with the potential to usurp the role of art-house and specialty theatres. As a kind of ‘new cinema’, this article considers how festivals may be reshaping the future of film exhibition.

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27

Zarobell, John. "Global Art Collectives and Exhibition Making". Arts 11, n.º 2 (1 de marzo de 2022): 38. http://dx.doi.org/10.3390/arts11020038.

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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored. Some of the collectives included in these exhibitions have also been very involved in exhibition making themselves. The Indonesian art collective ruangrupa was selected to curate the 2022 edition of documenta. This selection emerges not only from their participation in international biennials and their own exhibition practice in Jakarta—including the organization of regular exhibitions, workshops and film screenings at their compound—but also more ambitions events such as Jakarta 32 °C, a festival of contemporary art and media (2004–2014), or O.K. Video (2006–2018). Another group, the Raqs Media Collective, based in Delhi, curated the Shanghai Bienniale in 2016 and the Yokohama Trienniale in 2020. This paper will connect the local and the global through an examination of art collectives’ community-based work in their own cities, and the way it translates into global art events.

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28

TAYLOR, JEREMY E. "Chinese film exhibition in Occupied Manila (1942–1945)". Modern Asian Studies 47, n.º 5 (1 de febrero de 2013): 1588–621. http://dx.doi.org/10.1017/s0026749x12000467.

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AbstractThis paper explores the nature of film exhibition amongst the Chinese community in Manila during the Japanese Occupation of that city. Based on advertisements and film listings published in the Chinese-language press of the day (as well as on pre-war records concerning commercial Chinese entertainment in the Philippines), it explores the continuities in film exhibition practice undertaken by various theatre operators within the Binondo area of Manila both before, during, and after the war. The paper suggests not only that such practices represented a quite different trajectory from that experienced in other parts of Occupied Manila, but also that a more thorough exploration of the Manila Chinese during wartime—one which goes beyond questions of mere collaboration and/or resistance—will encourage us to question some of the assumptions that underpin recent scholarship about this community.

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29

Leivategija, Karin. "Filmid Eesti Rahva Muuseumi püsinäitusel „Kohtumised“". Eesti Rahva Muuseumi aastaraamat 62, n.º 1 (20 de diciembre de 2019): 101–22. http://dx.doi.org/10.33302/ermar-2019-004.

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The world’s first film specifically produced for an exhibition was displayed in the American Museum of Natural History back in 1930. In the 1960s the Estonian National Museum also began to collect actively ethnographic film material during fieldwork, but its use in exhibitions was marginal. The films at the museum’s new permanent exhibition, ’Encounters’, however, contribute significantly to the visual and content identity of the display and invite visitors to engage in a social and cultural dialogue. Along with the showcases, the films create a visual rhythm in the display hall, and their visuals and sound accompany visitors throughout the entire exhibition. By virtue of presenting diverse perspectives and their integration with the surrounding display, the films can visibly and audibly join in the discussions that ’Encounters’ seeks to elicit. The films of ’Encounters’ focus on the past and present inhabitants of the territory of Estonia, primarily, who have their subjective views and particular life experience and through whom an exhibition visitor can gain an insight into the broader cultural and social context. If in the past, museum films and display items were strictly curated, with the power to create and distribute knowledge concentrated in the hands of curators-filmmakers, then at present the role of museum visitors examining the material has increasingly become more active. Without a recourse to the voice-over or music, which prescribe to the visitors how they should perceive and construe the content, visitors can experience and decipher the films independently. Without the curator’s direct didactical intervention, visitors are free to assign a personal meaning to the themes presented. The films of ’Encounters’, which are unconventionally slow and long-lasting for contemporary people, offer a challenge and opportunity for thoughtful reflection. My own video exhibit ’Stories of Freedom’, which presents the thoughts of nearly 80 inhabitants of Estonia on the subject of freedom in the form of videotaped interviews and written citations, explores meanings and ideas that are abstract and nonmaterial but universally inherent to human beings. The documentaries of Marko Raat take a detailed look at various processes and work techniques from traditional as well as modern life. His films deal with some cultural practices that are still in use but inevitably vanishing as well as some contemporary practices such as a day at a supermarket checkout belt, or activities in the kitchens of top chefs. Raat’s scripted portrait films summon up the lives of people from the past. By his use of aesthetically eclectic and stylised form instead of maximally accurate reconstruction, the filmmaker deliberately minimises the possibility of the films being seen as accurate representations of history. Although the films are not historically faithful depictions in terms of their aesthetics, Raat has used archival documents and authentic museum objects as the films’ source material. Thus, by building on historical documents and objects, he has created characters who tell their real-life stories on the vertical screens, look into the eyes of the visitors and go about their business. The text of archival documents has been brought to life in a historical re-enactment, and the use of authentic objects illustrates the context in which these objects were originally used. When film is integrated with other materials, such as written citations in the video exhibit ’Stories of Freedom’ or traditional costumes in the film ’Clothing’, we are able to detect connections and associations which would not have emerged in isolation. By observing the exhibited items through the perspective of the people who have used and experienced them, such as the traditional dress that an elderly lady from the island of Kihnu puts on, we can also sense more keenly the meaning of these objects. Their story becomes visible through the perspective of the user. The exhibition films can also efficiently describe daily life from thousands of years ago, of which there are no visual records. For instance, the experiment of grinding a stone axe in the film ’Touchstone of Patience’, gives us a sense of what people in the Stone Age had to routinely endure. Combining film with some authentic stones exhibited nearby, enhances the communicative potential of each exhibition item which would not be as great without such a juxtaposition. Traditional work practices, goods placed on the supermarket checkout belt, thoughts on freedom expressed by people with different age, social and cultural backgrounds comprise an important ethnographic material which will unlock stories of modern Estonia in a diversified and polyvocal manner in the future as well.

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30

Forgacs, David. "Film Culture in Rome". Film Quarterly 61, n.º 3 (2008): 40–45. http://dx.doi.org/10.1525/fq.2008.61.3.40.

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31

Smith, Olga. "Exhibition as cinema, cinema as exhibition: Philippe Parreno and the moving image in the museum". Moving Image Review & Art Journal (MIRAJ) 11, n.º 1 (1 de abril de 2022): 34–53. http://dx.doi.org/10.1386/miraj_00082_1.

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This article situates a number of Philippe Parreno’s moving image installations within the developments that led in the 1990s to the establishment of film as one of the pre-eminent forms of display in the museum of contemporary art. From here, a clear yet unexplored relation is established between cinema’s relocation to the museum and artistic practices promoted under the conceptual label of relational aesthetics, with which Parreno was closely associated throughout the 1990s. Conceived as a part of the structural whole comprising an exhibition and embedded in a specific location, film installation was used by Parreno to raise questions concerning the visibility of the artwork and the duration of the viewing encounter. The fluid interactions between temporal and spatial categories in these installations invite a re-examination of the categories of museum and exhibition, as well as the material limits of the medium of the moving image.

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32

Walde, Laura. "Brevity ‐ format ‐ programme: A conceptual triangle". Short Film Studies 11, n.º 2 (1 de septiembre de 2021): 233–38. http://dx.doi.org/10.1386/sfs_00058_1.

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This article outlines the theoretical tenets of considering the short film as a format. Taken as a format rather than simply a film of short duration, the conceptual triangle of Brevity ‐ format ‐ programme is used as a foundation to reflect on the particular epistemological position of short films in film studies and to address larger questions of canon, circulation and context. Rather than working towards a codification of an essence or specificity of the short film, this article proposes that the technical term ‘format’ is a suitable concept to concretely identify and discuss the factors at play in the production and exhibition of short films.

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33

Aveyard, Karina. "Australian Films at the Cinema: Rethinking the Role of Distribution and Exhibition". Media International Australia 138, n.º 1 (febrero de 2011): 36–45. http://dx.doi.org/10.1177/1329878x1113800106.

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Australian films are criticised regularly for their failure to engage local audiences and for their lack of commercial success. Academic and industry analysis of these shortcomings has tended to focus on problems in production and financing, but has given inadequate attention to the role of distribution and exhibition. This article examines how the commercial and cultural situation of Australian films is fundamentally shaped by the manner in which they are circulated and screened. It highlights the complex interrelations between the production, distribution and exhibition sectors, and addresses the implications of these issues for contemporary film policy and practice in Australia.

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Song, Xu. "Journey to the East: A Review of Hollywood’s Film Localization Efforts for China’s Film Market". International Journal of English and Cultural Studies 2, n.º 1 (11 de diciembre de 2018): 1. http://dx.doi.org/10.11114/ijecs.v2i1.3872.

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The film market of China has been growing rapidly and is now the world’s second largest film market. Hollywood studios have been sending transnational films to China to receive additional revenues. This research investigates the three channels (i.e., flat-rate buyouts, co-productions, and revenue-sharing titles) through which Hollywood studios can enter their films in China’s film market and reviews the China-focused localization efforts that Hollywood studios have made to appeal to China. The review findings show that exporting Hollywood films to China as revenue-sharing titles has become the favorite approach for major Hollywood studios to gain additional revenues. To improve revenue-sharing films’ box-office performance, localization efforts of Hollywood studios are executed throughout a film’s theatrical life cycle, from a film’s planning and production stages to its distribution, promotion, and exhibition stages. Implications and suggestions as to how Hollywood studios can further utilize film localization efforts to enhance box-office success in China are also discussed in the present study.

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35

Bañuelos Marco, Amaya. "Making intersexuality visible through the circulation of Lucia Puenzo's XXY". La Manzana de la Discordia 11, n.º 2 (31 de octubre de 2016): 21. http://dx.doi.org/10.25100/lamanzanadeladiscordia.v11i2.1621.

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This article looks at how the film XXY (Lucía Puenzo, 2007) makes intersexuality visible and transmits to the public identities that question the binaries man-woman and homo-hetero by means of its circulation. By acknowledging the challenges of assessing the film’s sociological impact without carrying out audience research, this is a study that analyses the importance of the film’s form in normalising intersexuality as well as its effect in helping the film circulate across various film festivals. Since film exhibition and circulation are emerging academic fields, this research also needs to look at unconventional sources in order to argue that the film’s circulation enables it to be discussed across multiple platforms and to different audiences. By considering the film’s funding, this article argues that film festivals are platforms which allow films to obtain distribution agreements, and therefore increase their exhibition windows, and also have an important and often unacknowledged role in promoting progressive thinking into society. The article ends by examining how through fiction discourses normally restricted to the academic and medical fields can be mediated to general audiences as exemplified by XXY. In addition, the film’s availability under different genre categories makes it accessible to diverse audiences.

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Putra, Achmad Eriansyah Utama, Agnes Juliarti, Dimas Mohammad Wibowo, Figra Ardham y Vera Julianti. "Studi Aktivitas Pemasaran Film Independen: Kasus di Indonesia". Indonesian Business Review 2, n.º 2 (6 de febrero de 2020): 400–437. http://dx.doi.org/10.21632/ibr.2.2.400-437.

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The independent film industry in Indonesia is both interesting and unique sector because it has different characteristics from the commercial film industry. The study was conducted to identify independent film marketing activities through a marketing mix and the factors that can influence the marketing activities of independent films in Indonesia. This is a qualitative research using in-depth interview as the main method. Interviews were conducted to nine participants in the film industry representing three chains of production, distribution and exhibition that forms the synergies in the film industry. The main research finding is eight factors influenced independent film marketing activities: idealism, story line, expressions, aspirations, actualization, film distribution channels, promotional activities, and regulation.

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Cooper, Timothy P. A. "The Kaččā and the Pakkā: Disenchanting the Film Event in Pakistan". Comparative Studies in Society and History 62, n.º 2 (30 de marzo de 2020): 262–95. http://dx.doi.org/10.1017/s0010417520000055.

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AbstractFor many city dwellers in Pakistan the distant memory of outdoor cinemas in their ancestral villages rekindles the thrill of first contact with film exhibition. This paper considers attempts made in colonial British India and postcolonial Pakistan to understand, wield, and benefit from the staging of such memorable and affective filmic events. In its cultivation of “cinema-minded” subjects, the British Empire commissioned studies of audiences and their reactions to film exhibition in hopes of managing the unruly morality and materiality of the cinematic apparatus. After Partition and the creation of the Dominion of Pakistan, similar studies continued, evincing a residual strategy of elicited contact. The elicitation of film contact aimed at the exertion and commandment of the event of film exhibition for the purposes of knowing their constituent subjects at a moment of malleability. Yet the Empire's struggle with the perceived problems of “Muslim tastes” and audience members’ ambivalence over rural screenings in post-Partition Pakistan calls for a reconsideration of the efficacy of these tactics. I argue that what complicated these encounters are affective responses that questioned the address, permissibility, and efficacy of film exhibition. In these tactics of elucidation, disenchantment, and denial, ruptures are refused and the new is dismissed as inoperable, incompatible, or impermissible.

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38

Sawadogo, Boukary. "Presence and exhibition of African film in Harlem". Journal of African Cinemas 12, n.º 2-3 (1 de diciembre de 2020): 163–75. http://dx.doi.org/10.1386/jac_00034_1.

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Throughout the twentieth-century American history, the circulation of African arts in the New York City runs parallel with African American activism. The African on-screen presence in Harlem needs to be examined in this broader context in order to better grasp the historical trajectory of its development in the neighbourhood and also the encounters and exchanges between Africans and African Americans. Today, the increased interest in African screen media productions result from the confluence of two phenomena: the current Black renaissance and the reconfigurations of African cinema under the influence of migration. Harlem is once again playing a pivotal role in the dissemination of African culture, specifically African cinema in the New York City.

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39

Condon, Denis. "Film exhibition and distribution in Ireland, 1909–2010",. Early Popular Visual Culture 11, n.º 4 (noviembre de 2013): 444–46. http://dx.doi.org/10.1080/17460654.2013.837594.

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40

Jones, Janna. "Film Exhibition and Distribution in Ireland, 1909–2010". Historical Journal of Film, Radio and Television 33, n.º 2 (junio de 2013): 328–29. http://dx.doi.org/10.1080/01439685.2013.782622.

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41

Shiau, Hongchi y Karina Aveyard. "Private Sponsorships and Independent Film Exhibition in Taiwan". Media International Australia 139, n.º 1 (mayo de 2011): 133–39. http://dx.doi.org/10.1177/1329878x1113900117.

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Following the deregulation of the Taiwanese film exhibition industry in the late 1990s, local movie theatres increasingly have spurned domestic productions in favour of more dependable Hollywood blockbusters. With little commercial support for the screening of their projects, independent filmmakers in Taiwan have begun to turn to private sponsors as a means of securing theatrical deals. This article explores the historical development of this practice, and examines how it has helped some filmmakers overcome the structural and economic constraints that affect domestic productions at the cinema. The article is based on research conducted by Hongchi Shiau over a five-year period in Taiwan.

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42

SIMONSON, MARY. "Visualizing Music in the Silent Era: The Collaborative Experiments of Visual Symphony Productions". Journal of the Society for American Music 12, n.º 1 (25 de enero de 2018): 2–36. http://dx.doi.org/10.1017/s1752196317000505.

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AbstractIn July 1922, the New York Times reported that the “encouraging little film” Danse Macabre was screening at the Rialto Theater in New York City. Directed by filmmaker Dudley Murphy, it starred dancers Adolph Bolm and Ruth Page in a visual interpretation of Saint-Saëns's Danse Macabre that synchronized perfectly with live performances of the composition. While film scholars have occasionally cited Danse Macabre and Murphy's other shorts from this period as examples of early avant-garde filmmaking in the United States, discussions of the films are mired in misunderstanding. In this article, I use advertisements, reviews, and other archival materials to trace the production, exhibition, and reception of Murphy's Visual Symphony project. These films, I argue, were not Murphy's alone: rather, they were a collaborative endeavor guided as heavily by musician and film exhibitor Hugo Riesenfeld as by Murphy himself. Recast in this way, the Visual Symphony project highlights evolving approaches to sound–image synchronization in the 1920s, the centrality of theater conductors and musicians to filmmaking in this period, and the various ways in which filmmakers, performers, and exhibitors conceptualized the relationship between music and film, and the live and the mediated, in the final decade of the silent era.

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43

Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”". October 153 (julio de 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.

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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ever more assertive of their intellectual property rights, while activists have become ever bolder in their demands for radical open access. How have film and video artists responded to these differing views about what constitutes our cultural commons? This article explores the question by focusing on two test cases: Thom Andersen's essay film Los Angeles Plays Itself (2003) and Christian Marclay's video collage The Clock (2011). Both involve unlicensed reuse of pre-existing film and television material. However, in their overall conception, methods of production, and distribution and exhibition, Andersen's and Marclay's works provide opposing models for how to engage with media property. The article concludes by suggesting that the two works' differences raise urgent ethical question about how (and where) contemporary artists' film and video is exhibited.

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44

Van Hemert, Tess y Elizabeth Ellison. "Queensland's film culture: the challenges of local film distribution and festival exhibition". Studies in Australasian Cinema 9, n.º 1 (2 de enero de 2015): 39–51. http://dx.doi.org/10.1080/17503175.2014.1002269.

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45

Freitas, Kênia. "How the Machine Works". Film Quarterly 74, n.º 2 (2020): 54–60. http://dx.doi.org/10.1525/fq.2020.74.2.54.

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In this article, Kênia Freitas documents the growing presence of Black filmmakers in Brazil’s independent cinema exhibition circuits and investigates the larger network of art collectives, film clubs, and film festivals that are contributing to the recent racial reconfiguration in Brazilian cinema. Focusing on three new black film series and festivals—Mostra de Cinema Negro Brasileiro (Paraná), Mostra EGBÉ de Cinema Negro (Sergipe), and Negritude Infinita (Ceará)—all situated outside the more traditional Rio/São Paulo axes of national cinema, Freitas’ discussion of these nascent exhibition networks suggests future strategies for structural transformational change.

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46

Overpeck. "Subversion, Desperation and Captivity: Pre-film Advertising in American Film Exhibition Since 1977". Film History 22, n.º 2 (2010): 219. http://dx.doi.org/10.2979/fil.2010.22.2.219.

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47

Zervigón, Andrés Mario. "The Peripatetic Viewer at Heartfield's Film und Foto Exhibition Room". October 150 (octubre de 2014): 27–48. http://dx.doi.org/10.1162/octo_a_00199.

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The traveling exhibition Film und Foto, inaugurated in 1929 by the famous German Werkbund association, stands as a critical landmark in the exhibition of modernist photography and film. Yet walking through its inaugural venue, in Stuttgart, was as much like flipping through an instructional photo essay as navigating an exhibition space. The first of the show's thirteen rooms, for example, offered a large number of prints that recapitulated the history of photography, or more specifically the history of its practical use. Displayed on sleek scaffolds that efficiently expanded the available exhibition surface, these prints hung in what may best be described as modernist salon style meets the printed page. A lower register seems strung near thigh level while a second row pushed toward the ceiling. The left-page/right-page and vertical/horizontal dialogues this arrangement afforded encouraged viewers to compare photographs taken from the spheres of science and industry to avant-garde prints inspired by the former. Above this series of exchanges ran a prominent sans-serif caption, a punning query that framed the entire show: “Where is photography's development headed?”

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48

Шраер, Александр Викторович y Анна Андреевна Сомова. "New and Traditional Professional Exhibitions in Cinema Tourism Services". ЖУРНАЛ ПРАВОВЫХ И ЭКОНОМИЧЕСКИХ ИССЛЕДОВАНИЙ, n.º 4 (15 de diciembre de 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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Fischer, Andre. "New transmedia design for traditional film festivals". Revista GEMInIS 13, n.º 3 (2022): 16–23. http://dx.doi.org/10.53450/2179-1465.rg.2022v13i3p16-23.

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The disruptive process of transformation in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. Different narrative strategies in contemporary production using multiple platforms in creative processes are innovating storytelling model and influencing film festival programming and production. The current format of online film festivals restricts access to user data, as the exhibition is limited by parameters established by exhibition licensing agrements and limited tickets per screening. The process of festivals platformization implies new online functionalities integrated at economic and infrastructure levels which fully affects their organization and strategies. MixBrasil Festival is proposing new ways to merge different formats and languages into its programming.

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Smith, Paul Julian. "Film Culture in Madrid". Film Quarterly 62, n.º 4 (2009): 63–68. http://dx.doi.org/10.1525/fq.2009.62.4.63.

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Abstract With talk of a crisis of Spanish cinema, Paul Julian Smith reports from Madrid, spring 2009, and discusses: the Goya awards (best film won by Javier Fesser's Camino), the struggling but lively theatrical exhibition, burgeoning TV production, education facilities, the eminent presence of Almodóóvar, and the Ocho y Medio bookshop.

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