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"Film festivals Europe."
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Some Considerations Regarding Motivations and Overall Perceptions on Film Festivals
At the global level the events industry is developing and it is directly connected with sustainable development of communities in each country. Festivals are perceived nowadays as an important part of cultural and leisure attractiveness of destinations. Festivals as major events have the power to mobilize large numbers of people and create a significant impact on their lives by creating a positive experience for spectators and by changing humans’ behaviour on long term in a positive way. The main purpose of the research is to study participants’ motivations for attending a film festival, their perceptions and overall impression from different segments point of view. An exploratory and descriptive research was conducted. Data were collected from the attendees of the Transilvania International Film Festival, which takes place on a regular basis in Cluj-Napoca, Romania using a faceto- face interview based on a short questionnaire. The obtained results reveal significant variations in motivations and overall impression across main demographic features of the participants. The study brings some theoretical contributions, but also managerial implications.
Journal Article
KURDISH CINEMA AS A TRANSNATIONAL DISCOURSE GENRE: CINEMATIC VISIBILITY, CULTURAL RESILIENCE, AND POLITICAL AGENCY
Within the last few years, “Kurdish cinema” has emerged as a unique discursive subject in Turkey. Subsequent to and in line with efforts to unify Kurdish cultural production in diaspora, Kurdish intellectuals have endeavored to define and frame the substance of Kurdish cinema as an orienting framework for the production and reception of films by and about Kurds. In this article, my argument is threefold. First, Kurdish cinema has emerged as a national cinema in transnational space. Second, like all media texts, Kurdish films are nationalized in discourse. Third, the communicative strategies used to nationalize Kurdish cinema must be viewed both in the context of the historical forces of Turkish nationalism and against a backdrop of contemporary politics in Turkey, specifically the Turkish government's discourses and policies related to the Kurds. The empirical data for this article derive from ethnographic research in Turkey and Europe conducted between 2009 and 2012.
Journal Article
Early Cinema Today
Within the last decade, film archives and film festivals have unearthed this lost art and have featured outstanding examples of the culture of early cinema reconfigured for today's audiences.
eBook
INDEPENDENT CINEMA IN THE DIGITAL AGE: IS DIGITAL TRANSFORMATION THE ONLY WAY TO SURVIVAL?
Development of digital technologies has resulted in the creative and cultural industries having to adapt business models in light of evolving consumer preferences. This paper aims to examine how independent cinemas can transform their delivery in light of the challenges posed by digital disruption, and more specifically, whether this has to focus entirely on digital transformation. This conceptual paper examines one independent cinema in Scotland, concluding that digitalisation should be used to complement existing activities, along with exploring other innovative business models. It is crucial to understand that the old-time patterns of running a business have irrevocably changed.
Journal Article
The figure of the imaginary gypsy in film: I Even Met Happy Gypsies (1967)
The article presents a critical study of Aleksandar Petrović’s celebrated work I Even Met Happy Gypsies (1967). The analysis focuses on the content and functions of the cinematic gypsy figure drawing its insights from Yuri M. Lotman’s spatial model of culture, Critical Whiteness Studies, Postcolonial Studies and Antigypsyism. The transposition of the fictional gypsy into the idiom of film is considered in detail on the level of plot, character delineation and visual aesthetics. The work of the renowned Serbian director makes a superb example of the artistic strategies by which the gypsy myth is rendered into an ‘authentic’ ethnographic document. Also, a parallel is drawn between gypsy films and blackface minstrelsy shows as a way of elucidating the three central functions of racial masquerade staged in effect in all gypsy films that make a claim to ethnographic truthfulness.
Journal Article
Screening Antiapartheid: Miriam Makeba, \Come Back, Africa,\ and the Transnational Circulation of Black Culture and Politics
The film Come Back, Africa documented a cosmopolitan cultural life for black South Africans, one that was profoundly international and influenced by US popular culture.9 The literal production of the film in South Africa as well as the discursive reception of the film internationally indicate the ways in which Americans, Europeans, and South Africans engaged with each other across race lines as cultural workers, cultural consumers, and political activists.\\n More specifically, representations of Makeba as a primitive embodiment of Africa allowed this \"bashful, beguiling Xosa [sic] tribeswoman\" to bring South Africa and apartheid to the attention of many different kinds of US consumers. 63 Through her music that seemed mostly apolitical, and with her apparently nonconfrontational style, Makeba used definitions of herself as essentially African to defy that very essentialism: she bridged race relations in South Africa and in the United States; she connected Pan-African anticolonialism and US civil rights; and she articulated a position in which desirable black femininity-and the racial pride associated with \"black is beautiful\"- and black power coexisted. [...]despite the relative erasure of Makeba's hybridity and cosmopolitanism in US popular discourse, Americans were unable simply to impose older views of Africa onto her.
Journal Article
The international federation of film producers' associations: a controversial party in the promotion of cinema after 1945
One party distinctly emerges from the post-1945 film and cinema mediation process on the international scene: the international federation of film producers' associations (Fédération internationale des associations de producteurs de cinema). The history of the FIAPF, its development from the 1940s to the early 1970s, brings to light the role it played in the debates on producers' status as well as the free circulation of films, their modes of development and promotion. In the midst of the Cold War, as American majors became influent members, it became active in economic, political and diplomatic circles as suggested by the way it sought to regulate the international film festivals in Europe, which became its main fields of influence. It was subject to increasing criticism from directors at the turn of the 1970s and led to the creation of the federation of independent producers in 1973. //ABSTRACT IN FRENCH: Dans le processus de médiation des films et du cinéma à l'échelle internationale après 1945, un acteur se distingue, la Fédération internationale des associations de producteurs de cinéma (FIAPF). Son histoire, de son essor à la fin des années 1940 jusqu'au tournant des années 1970, permet de mesurer le rôle qu'elle joue concernant les débats sur le statut des producteurs et sur la libre circulation des films, leurs mode de valorisation et de promotion. En pleine guerre froide et alors que les majors américaines en deviennent un membre influent, son action s'inscrit dans des enjeux tout à la fois économiques, politiques et diplomatiques, comme l'atteste la manière dont elle cherche à réguler les festivals internationaux de cinéma en Europe qui deviennent l'un de ses principaux espaces d'influence. Au tournant des années 1970 elle fait l'objet de critiques de plus en plus fortes de la part de réalisateurs, et cette situation conduit à la création d'une Fédération des producteurs indépendants en 1973. Reproduced by permission of Bibliothèque de Sciences Po
Journal Article
Marrying into the European Family of Nations: National Disorder and Upset Gender Roles in Post-Communist Romanian Film
Drawing on recent Romanian films, this article explores the distinctive post-communist concerns with national relocation in the symbolic geography of Europe. The focus on tragic comedies, an increasingly popular genre in Eastern European cinematography, foregrounds the critical usage of irony to express skepticism about the inclusive nature of geopolitical projects such as the European Union by national communities situated at its periphery. While the tragic comedies examined here are successful in challenging official narratives of European belonging, they rely on highly gendered scripts that prove more resilient to ironic reworkings. The movies resort to gendered plots and family tropes, representing Romania’s efforts to receive European recognition as attempts to “marry into” the European Union. The larger thrust of this article is to open complex notions such as “Europe,” “nation,” and “gender,” which are notoriously prone to essentialization, to a deconstructive analysis as systems of differentiation.
Journal Article