Bibliografie tematiche / International Festival of Photojournalism

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  2. Tesi
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Letteratura scientifica selezionata sul tema "International Festival of Photojournalism"

Autore: Grafiati
Pubblicato: 29 luglio 2024
Ultima modifica: 30 luglio 2024

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Articoli di riviste sul tema "International Festival of Photojournalism"

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Luwes, Nico. "International Theatreschool Festival". South African Theatre Journal 11, n. 1 (gennaio 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, n. 3 (1999): 471. http://dx.doi.org/10.2307/3853458.

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Swortzell, Lowell. "Philadelphia International Children's Festival". Theatre Journal 39, n. 1 (marzo 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, n. 4 (ottobre 2011): 2533. http://dx.doi.org/10.1121/1.3655119.

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Komporaly, Jozefina. "Interferences International Theatre Festival". Theatre Journal 67, n. 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, n. 3 (2015): 535–40. http://dx.doi.org/10.1353/tj.2015.0084.

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Connelly, John, e Marilyn Connelly. "International Student Media Festival". TechTrends 48, n. 3 (maggio 2004): 3. http://dx.doi.org/10.1007/bf02763346.

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Connelly, John, e Marilyn Connelly. "International student media festival". TechTrends 48, n. 4 (luglio 2004): 12–13. http://dx.doi.org/10.1007/bf02763438.

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Wexman, Virginia Wright. "Toronto International Film Festival". Framework: The Journal of Cinema and Media 47, n. 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, n. 2 (2006): 128–30. http://dx.doi.org/10.1353/frm.2006.0026.

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Tesi sul tema "International Festival of Photojournalism"

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Carrozzo, Virginia <1991&gt. "Progettare e gestire un festival cinematografico: il caso del Salento International Film Festival". Master's Degree Thesis, Università Ca' Foscari Venezia, 2018. http://hdl.handle.net/10579/13056.

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Partendo dall'analisi di quelli che vengono definiti eventi culturali, con particolare attenzione ai festival cinematografici, si arriva a descrivere il processo di progettazione e gestione di un evento culturale. Viene analizzato, in seguito, il caso del Salento International Film Festival che, nel suo piccolo, come tutti i festival del cinema, determina una crescita sociale, culturale ed economica dei Paesi in cui esso si svolge.
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Van, Hemert Tess. "International acclaim : the role(s) of the international film festival in supporting emerging women’s cinema". Thesis, Queensland University of Technology, 2013. https://eprints.qut.edu.au/63269/1/Tess_Van_Hemert_Thesis.pdf.

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International Film Festivals act as important sites for the exhibition of contemporary world cinema. Film festivals represent an increasingly transnational film culture, where audiences, filmmakers, distributors, press, critics and academics come together from all over the world to discover new films, network with one another and debate about the past, present and future of cinema. This research project investigates the role that international film festivals play within the wider international film industry, with a specific focus on emerging women filmmakers. It therefore explores the arena of contemporary women.s cinema at its intersection with the international film festival industry. The significance and original contribution of the research is its intervention in the growing field of film festival studies through a specific investigation of how international film festivals support emerging women filmmakers. The positioning of the research at the intersection of feminist film theory and festival research within the broader context of transnational cinema allows the examination of each festival, the attending filmmakers and their films to be addressed within a more refined and nuanced lens. A core method for the thesis is the close textual analysis of particular emerging women filmmakers. films which are screened at the respective festivals. The research also utilises the qualitative research strategies of the case study and the interview to ¡°seek to understand the context or setting of the participants through visiting this context and gathering information personally¡± (Creswell 2003, 9). The textual analysis is used in dialogue with the interviews and the participant observational data gathering to provide a related context for understanding these films and their cultural meanings, both personally for the filmmaker and transnationally across the festival circuit. The focus of the case studies is the Brisbane International Film Festival, the International Film Festival Rotterdam and the Toronto International Film Festival. These three festivals were chosen for their distinct geographical locations in the Asia Pacific, Europe and North America, as well as for their varying size and influence on the international film festival circuit. Specifically, I investigate the reasons behind why the organisers of a particular festival have chosen a certain woman.s film, how it is then packaged or displayed within the programme, and how all of this impacts on the filmmaker herself. The focus of my research is to investigate film festivals and their .real-life. applications and benefits for the filmmakers being supported, both through the exhibition of their films and through their attendance as festival guests. The research finds that the current generation of emerging women filmmakers has varying levels of experience and success at negotiating the international film festival circuit. Each of the three festivals examined include and promote the films of emerging women filmmakers through a range of strategies, such as specific programming strands dedicated to showcasing emerging talent, financial support through festival funds, providing visibility within the programme, exposure to international audiences and networking opportunities with industry professionals and other filmmakers. Furthermore, the films produced by the emerging women filmmakers revealed a strong focus on women.s perspectives and experiences, which were explored through the interweaving of particular aesthetic and cinematographic conventions.
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Attala, Jennifer. "Performing the Festival : a study of the Edinburgh International Festival in the twenty-first century". Thesis, University of Glasgow, 2012. http://theses.gla.ac.uk/3839/.

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In the global marketplace of the twenty-first century a proliferation of festivals, or festivalisation, has produced an increasingly pressurised and politicized environment for international arts festivals. Through a case study of the Edinburgh International Festival the thesis explores what strategies the Festival is adopting to maintain its lead position in this increasingly competitive international landscape. It examines recent cultural policy development in Scotland and the UK exploring how creative industry theory promotes the argument for ‘investment’ in cultural festivals as economic drivers and city or region profile boosters. Edinburgh’s cultural policy is to brand itself the Festival City and it has supported the establishment of a number of competing festivals in the city. The case study investigates how the Edinburgh International Festival is managing a range of new initiatives at a time of rapid political change in Scotland. These include: exploiting changing technology to assist marketing and audience development; establishing partnerships and collaborations with a growing range of non-cultural public and private bodies, and cultural diplomacy – the development of international initiatives on behalf of the Scottish and UK Governments. The case study also explores a unique model of co-opetition which has developed between the Edinburgh International Festival and rival festivals, producing new strategic cultural organizations. The thesis establishes how current cultural policies in Scotland and the UK require international arts festivals to engage in non-cultural roles in order to create profile and advantage for themselves and their stakeholders in addition to fulfilling their cultural remit and in an environment of dwindling public and private sector support. In conclusion, it considers the opportunities and risks for arts organizations of an instrumental approach to cultural policy.
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Lee, Toby Kim. "Public Culture and Cultural Citizenship at the Thessaloniki International Film Festival". Thesis, Harvard University, 2013. http://dissertations.umi.com/gsas.harvard:11165.

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This dissertation explores the relationship between state, citizen and public culture through an ethnographic and historical examination of the Thessaloniki International Film Festival in northern Greece. In the two-year period leading up to and following its fiftieth anniversary in 2009, the festival was caught up in the larger economic, political and social crises that have overtaken Greece in the last five years - a painful period of rapid transformation and neoliberalization for one of Europe's staunchest social-welfare states. As the Greek state faces bankruptcy - both economic and political - it is being forced to revisit the terms of its social contract with its citizens. In a country where "culture" was once touted as a national "heavy industry," the relationship between the state and cultural production is also being restructured. Public culture is one of the areas of social life in which people are now struggling with these changes and attempting to redefine what it means to be a citizen of the Greek state - utilizing and revising local, national and transnational identities in the process.
Anthropology
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Kullengård, Josef. "Brokiga nätverk och föreställda gemenskaper : En studie av Göteborg International Film Festival och Malmö Arab Film Festival med utgångspunkt i två teoretiska perspektiv på filmfestivalen". Thesis, Linnéuniversitetet, Institutionen för film och litteratur (IFL), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-31556.

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Syftet med denna uppsats är att undersöka två samtida svenska filmfestivaler, Göteborg International Film Festival och Malmö Arab Film Festival, utifrån två teoretiska perspektiv på filmfestivalen med den mer övergripande målsättningen att bidra till ett spirande och stadigt växande forskningsfält kring filmfestivalen i den nationella kontexten. De aktuella festivalerna inringar i förhållandevis god mån den svenska filmfestivalflorans allsidighet; en omfångsrik historisk publik festival respektive en smalare tematisk nykomling.                       De teoretiska perspektiven innefattar festivalen betraktad som en del av ett internationellt nätverk utifrån Thomas Elsaessers och Marijke de Valcks definition, samt som en kulturell yttring av föreställda gemenskaper. Med utgångspunkt i dessa teoretiska positioner kommer festivalerna granskas med fokus på dess uppkomst, visioner och agenda, filmprogram, publik, ekonomisk beskaffenhet och liknande kontextualiserade förhållanden.                       För Göteborg International Film Festival utgör spridningen av filmkultur, de huvudsakliga fundamenten i dess målsättningar och agenda, i synnerhet med fokus på nordisk film, medan tematiken, den arabiska kulturen, utgör det bärande för Malmö Arab Film Festival. Göteborg International Film Festival uppvisar i samstämmighet med de nätverksteoretiska perspektiven på festivalen en mångfacetterad beskaffenhet av filmceremoni, marknadsplats, internationell plattform och tävlingsmästerskap, i kontrast till Malmö Arab Film Festival där festivalens textur är mer komplex än föreliggande bestämningar. Båda festivalerna har uppstått i den post-industriella staden och dess återskapande som centrum för kreativitet, kultur och kunskap.                       Malmö Arab Film Festival adresserar en uppenbar arabisk (föreställd) gemenskap i sitt tematiska fokus. Denna föreställda gemenskap kan emellertid även appliceras på Göteborg International Film Festival och dess bestämning som en internationell publik festival, med hänsyn till dess faktiska demografi med övervägande del lokala besökare.
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Young, Michael E. "City and the Festival: Architecture, Play, Urban Experience". University of Cincinnati / OhioLINK, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=ucin990813665.

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Eales, Alison Caroline. "Bunting and blues : a critical history of Glasgow International Jazz Festival, 1987-2015". Thesis, University of Glasgow, 2017. http://theses.gla.ac.uk/8026/.

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Glasgow International Jazz Festival first took place in 1987 and has run every year since, making it the city's longest-running cultural event. One of the company's stated aims at its inception was to 'establish [Glasgow] as a major European jazz centre' (Williams, 1986b). Through a single, historical case study, the thesis attempts first to ascertain the extent to which this aim has been achieved, and second to determine the enabling and limiting factors acting upon the Festival in its attempts to effect change in its host city. The thesis finds that urban music festivals can, under the right circumstances, contribute to positive and lasting changes to the environment in which they exist. In the case of Glasgow Jazz Festival, this is evident in terms of both the physical infrastructure and educational opportunities which would be unlikely to exist today had the Festival not been their champion. A festival's ability to effect such change, however, can be severely curtailed by fluctuating levels of commitment from local and national authorities.
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Törnmarck, Oskar, e Johannes Wikström. "Music For Sale? : Umeå Open & Umeå International Jazz Festival - A Study in Event Marketing". Thesis, Umeå University, Umeå School of Business, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-25536.

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Umeå is a city that is known for its music scene. Credible bands and artists have consequently sprung out and put the city on the map for as long the authors of this paper can remember. The city has a specific image and this study seeks to shine a light on how this came to be. Has there been a conscious marketing strategy in order to gain the reputation that Umeå has, or is the city’s music scene so prominent that it speaks for itself? Data for the study were collected through conducting qualitative interviews with the producers of the two music festivals Umeå Open and Umeå International Jazz Festival. The results show that cultural visions and marketing are constantly interacting, but to the authors’ knowledge, no conscious decisions have previously been taken to market Umeå as a city of music. Still, with current acts like Deportees, David Sandström and Frida Hyvönen just to mention a few, the image of Umeå is more justified than ever.

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Ma, Ran, e 马然. "Chinese independent cinema and international film festival network at the age of global image consumption". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B46676314.

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Moine, Caroline. "Le cinéma en RDA, entre autarcie culturelle et dialogue international : une histoire du festival international de films documentaires de Leipzig (1949-1990)". Paris 1, 2005. http://www.theses.fr/2005PA010533.

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Abstract (sommario):
L 'histoire du festival international du film documentaire de Leipzig, créé en 1955 par le régime est-allemand, permet de mesurer l'importance de l'ouverture internationale dans la production culturelle et documentaire est-allemande et de revenir sur l'image d'une culture est-allemande autarcique, entièrement dépendante du bloc de l'Est et d'une influence soviétique présentée comme figée dans le temps. L'étude s'interroge ainsi sur le rôle du documentaire dans l'évolution de la société est-allemande, suit les relations entre les différents acteurs de la vie culturelle présents à Leipzig et montre la complexité des contacts culturels internationaux de la RDA au sein même du bloc de l'Est, de même que l'importance des relations avec le Tiers monde, dans le cadre de la « solidarité internationale ». Lieu de représentation et de sociabilité, le festival de Leipzig constitue un excellent observatoire pour une histoire socio-culturelle de la RDA et des changements survenus après 1989.
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Libri sul tema "International Festival of Photojournalism"

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France) International Festival of Photojournalism (28th 2016 Perpignan. Visa pour l'image: Perpignan 2016. Ghent: Snoeck, 2016.

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Newman, Jacqueline M. International festival of flavors. Flushing, N.Y: Queens College/CUNY, 1987.

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Crawford, Iain. Edinburgh International Festival 1989. Edinburgh: Edinburgh International Festival Society Ltd, 1989.

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Robinson, Teresa. The Bournemouth International Festival, 1991. Poole: Department of Tourism, Bournemouth University, 1992.

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Leicester, International Dance Festival (2nd 1991 Leicester England). Leicester International Dance Festival 1991. Reading, Berkshire: Harwood Academic Publishers, 1992.

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Shael, Stolberg, a cura di. International film festival guide, 1998. Toronto: Festival Products, 1998.

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(Firm), McAlister Matheson Music. 2002 Edinburgh International Festival: [brochure]. Edinburgh: McAlister Matheson Music, 2002.

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Delphine, Barraclough, e Rai Cinema, a cura di. Screen International festival guide 2004. London: Screen International, 2003.

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Patricia, Dobson, e Rai Cinema, a cura di. Screen International festival guide 2005. London: Screen International, 2004.

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DeRocco, David. The international holiday & festival primer. Virgil, ON: Full Blast Productions, 1996.

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Capitoli di libri sul tema "International Festival of Photojournalism"

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Finney, Angus. "The festival circuit". In The International Film Business, 67–77. 3a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-8.

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Finney, Angus. "The festival circuit". In The International Film Business, 67–77. 3a ed. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003205753-8.

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Gage, S. "Edinburgh International Science Festival". In Science Communication in Theory and Practice, 203–17. Dordrecht: Springer Netherlands, 2001. http://dx.doi.org/10.1007/978-94-010-0620-0_14.

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Ning, Ou. "Yixian International Photo Festival". In Contemporary East Asian Visual Cultures, Societies and Politics, 99–112. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-5791-0_6.

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Van Winkle, Christine M., e Kiri Shafto. "Preventing a Festival Fiasco". In International Case Studies in Event Management, 90–97. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003390381-12.

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Chon, Woohyung. "Beyond the International Film Festival". In Korean Film and Festivals, 81–97. London: Routledge, 2022. http://dx.doi.org/10.4324/9780429327841-7.

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Olivier, Lizette. "Klein Karoo National Arts Festival". In International Case Studies in Event Management, 22–35. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003390381-4.

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O'Toole, Emer. "The International Dublin Gay Theatre Festival". In Contemporary Irish Theatre and Social Change, 93–125. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003205708-4.

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Reková, Tereza. "The Third Coast International Audio Festival". In European Radio Documentary, 233–50. Cham: Springer Nature Switzerland, 2024. http://dx.doi.org/10.1007/978-3-031-57185-5_11.

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Ma, Ran. "Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival". In Chinese Film Festivals, 237–57. New York: Palgrave Macmillan US, 2017. http://dx.doi.org/10.1057/978-1-137-55016-3_12.

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Atti di convegni sul tema "International Festival of Photojournalism"

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Cheon, Yong-soo. "The Impact of Festival Quality on Festival Image". In 10th International Workshop Series Convergence Works. Global Vision School Publication, 2016. http://dx.doi.org/10.21742/asehl.2016.8.32.

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Safronova, Anna. "FEATURES OF THE VISUAL LANGUAGE OF DOCUMENTARY PHOTOGRAPHY IN UKRAINIAN PHOTO BOOKS DEDICATED TO REVOLUTIONARY EVENTS IN UKRAINE". In 9th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2022. SGEM WORLD SCIENCE, 2022. http://dx.doi.org/10.35603/sws.iscah.2022/s08.09.

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The purpose of the article is to analyze the features of the visual language of documentary photography and the actual ways of its presentation in the media space on the example of Ukrainian photo books dedicated to revolutionary events in Ukraine. The main problems of modern photojournalism connected with the development of digital technologies are presented, the value of a photo book as an independent project of a photographer is argued, since commercial photojournalism is largely determined by the narratives of its customer. The issues of the transformation of the language of photography both in modern journalism and in the photo project are considered, the main methods of creating the content of a photo story or photo series in photo books are substantiated. Traditional reportage documentary photography, intended for use primarily for commercial purposes in illustrated magazines, is also an important means of creating independent documentary projects or photo books. Such an approach is especially valuable if it reproduces important historical events, as in the Ukrainian photo books under consideration. Ukrainian photo books are distinguished by a variety of techniques for creating content and post-processing methods that appeal to the aesthetics of postmodernism. The use of filmy contrast black and white photography, grainy or blurry images, disruption of the composition, introduce a unique and original form of expressiveness into the photo book. Due to the documentary photography, direct nature of non-staged shootings and the original style of representation, Ukrainian photo books, which are both a document of history and a reflection of the subjective vision of the author, continue to arouse interest and resonate with the viewer.
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Bobrowska, Olga. "Stoptrik international film festival". In ACM SIGGRAPH 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634010.

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Gibb, Andrew, Sam Nicholson e Graham Thomas. "Edinburgh Festival Explorer Demo". In TVX '17: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3084289.3089911.

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Quirk, Shawn. "Rhode Island international film festival". In ACM SIGGRAPH 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634007.

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Puti, Adelia Nanda, e Sri Nurbani. "Designing Promotion of Festival Pekan Batik PekalonganDesigning Promotion of Festival Pekan Batik Pekalongan". In 4th Bandung Creative Movement International Conference on Creative Industries 2017 (4th BCM 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/bcm-17.2018.21.

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Su, Zhu, Haiyu Wang, Yuxin Liu, Yafeng Li e Zhongyu Shao. "Analzing attention streams to enhance knowledge transmission on MOOC-based learning platforms: A Case Study of XuetangX's Photojournalism Course". In 2023 3rd International Conference on Educational Technology (ICET). IEEE, 2023. http://dx.doi.org/10.1109/icet59358.2023.10424264.

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Velt, Raphael, Steve Benford, Stuart Reeves, Michael Evans, Maxine Glancy e Phil Stenton. "Towards an Extended Festival Viewing Experience". In TVX'15: ACM International Conference on Interactive Experiences for TV and Online Video. New York, NY, USA: ACM, 2015. http://dx.doi.org/10.1145/2745197.2745206.

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Duncan, Keltie. "Ottawa international animation festival short film samplers". In ACM SIGGRAPH 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634003.

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Nopembri, Soni, Nur Rohmah Muktiani, Saryono e A. Erlina Listyarini. "Strengthening Children’s Character Through School Sports Festival". In International Conference on Educational Research and Innovation (ICERI 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200204.007.

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Rapporti di organizzazioni sul tema "International Festival of Photojournalism"

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Ngugi , Stanley, e Mareike Schomerus. Belief, practice, emotion: diversity, equity and inclusion (DEI) at Busara. Busara, ottobre 2023. http://dx.doi.org/10.62372/rzsd5881.

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When we counted, the number was 47. 47 languages were spoken by the staff of Busara who had gathered in Nairobi to celebrate our annual research festival Tara Mistari in September 2023 for the third time. We probably even missed quite a few, such is nature of hybrid events and not everyone attending. The different languages listed were spoken within national borders and across a huge amount of locations all over the world. The 47 languages affirm our identity as an international Global South organization.
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5me Biennale Interamericaine d'art video. Inter-American Development Bank, novembre 2009. http://dx.doi.org/10.18235/0008195.

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Le Centre culturel de la Banque interaméricaine de développement annonce que les candidatures sont ouvertes pour la Vème Biennale interaméricaine d¿art vidéo qui se tiendra en décembre 2010 à la Galerie d¿art du Centre culturel de la BID à Washington, D.C. L¿exposition sera présentée en 2011 à l¿Istituto Italo-Latino Americano à Rome, au Festival international du film à Santa Fé de Bogotá, au Festival Loop à Barcelone, au Centre Eduardo León Jimenes en République dominicaine, etc.
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IDB 2nd Inter-American Biennial of Video Art. Information Bulletin No. 78. Inter-American Development Bank, dicembre 2004. http://dx.doi.org/10.18235/0008213.

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Abstract (sommario):
Presents the inauguration of the Inter-American Biennial? II video art? Exhibited at the Italian-Latin American Institute (IILA) in Rome, Italy, in June 2005, and the International Film Festival of Santa Fe de Bogota in October 2005. During the exhibition in Washington, D. C., distributed a color catalog with the list of the selected films. For display in Rome and Latin America also printed in Spanish and Italian a color catalog with other materials.
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4th Inter-American Biennial of Video Art. Inter-American Development Bank, dicembre 2008. http://dx.doi.org/10.18235/0005923.

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Abstract (sommario):
The country with most entries was Colombia, totaling 70 coming from all parts of the country, and surpassing Argentina (in second place with 24), and others that have traditionally dominated the event, at least numerically, such as Mexico and Brazil (this year with 15 and 11 respectively). The explanation for this phenomenon may be found in the fact that Colombia is the country that in the last two years has shown the most interest in the Biennial¿s exhibit circuit, adding fi ve more venues in cities such as Santa Marta, Cali, and Medellin, in addition to Bogota where the Biennial is part of the International Film Festival, and Cartagena. It also has to do with the accessibility of technology, and the commercial possibilities of the creative technologies developed in that nation in recent years.
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