International Film Festival Research Articles

Образ героя в сучасному українському кінематографі. Інтерв'ю з Дмитром Сухолитким-Собчуком

His feature film debut was Pamphyr (2022), which had its world premiere at the Cannes Film Festival. The film was nominated for the EFA Prize for Best First Feature and won more than 30 awards at over 70 festivals. His short films have been selected for the most prestigious festivals, including Sundance Film Festival, DOC NYC, IDFA, Toronto International Film Festival, Clermont-Ferrand International Short Film Festival, Palm Springs International Festival of Short Films and others. He is a member of the Ukrainian (since 2017) and European (since 2018) film academies, the founder and organiser of the Terrarium screenwriting platform.

국제 영화제 포스터를 통한 브랜드 아이덴티티 고찰

Brands that were used to identify products or services are gradually expanding their scope. In addition to companies and product brands, interest in brands is also increasing in the country, individuals, and local governments. International film festivals are also establishing their identity over time, and this appears in various forms. One of them, the poster, is appealing for the film festival by implicitly showing the identity of the film festival. In this study, we analyze what patterns are represented for posters of domestic and overseas international film festivals, focusing on sensory elements, and consider the relationship between sensory elements and brand identity. To this end, we analyzed the meaning, shape, and color elements, focusing on the film festival posters produced since 2000, and found out how their patterns express the film festival identity. As a result of the study, it was confirmed that each film festival showed a clear visual pattern, and through this, style, theme, and overall impression were formed.

A Study on the Narrative Methods of Times Still Turns the Pages from the Perspective of Trauma Theory

Times Still Turns the Pages (2023) is a feature film directed by Hong Kong director Zhuo Yiqian and produced by Er Dongsheng. The film received five nominations at the 60th Golden Horse Awards and was shortlisted for the World Focus Unit at the 36th Tokyo International Film Festival. The story begins with an unclaimed anonymous suicide note, triggering middle school teacher Zheng Sir’s search for the story behind the suicide note. This search process evoked the painful memory of his brother’s suicide when he was young, allowing him to re-face the trauma deep in his heart. Through this story, the film reveals the family, campus and social issues behind the phenomenon of teenage suicide. On a deeper level, it explores the short life span of a damaged soul and how the living carry trauma and heal themselves. The film explores how people face, understand and deal with trauma, and raises the possibility of rebuilding the ruins of the soul through love and telling.

Micro movie from cinemas to online video platforms: terminology issues

A comprehensive study of the phenomenon of microcinema is presented. The tasks of semantic analysis of the concept of “microcinema” are set and solved, its characteristic features are discovered and, on the basis of the results obtained, an actual definition of the term is proposed for the first time; it is revealed on which screens the ultra-short meter exists today. The hypothesis that ultrashort films as a phenomenon cannot be fully considered as a product of the digital era is substantiated, this form inherits classical cinema, although it’s presented to the audience at other, modern venues. This problem is considered in view of the widespread interpretation of the term “microcinema” as a format that arose in the 21st century in the network space. As the main difference from various kinds of ultra-short audio-visual content posted online, the focus of micro movie on the coverage of philosophical, life problems, the search for new meanings, the demonstration of the author's views on existential issues is indicated. As a result of studying the filmography of reputable international film festivals, this assumption is confirmed. The boundaries of the timing of ultrashort films are revealed, for which the requirements put forward by specialized microcinema festivals to authors are investigated.

It is all about qingnian dianying: Post-independent Chinese cinema, auteurism, and the FIRST International Film Festival

Intersecting Chinese cinema studies and film festival studies, this article inquiries into the (re)invention and growing significance of qingnian dianying (‘youth cinema’) on the Chinese film festival scene since the mid-2010s—a period we approach as the ‘post-independent’—through a close examination of the FIRST International Film Festival. The article first uses the idea of ‘post-independent Chinese cinema’ to re-examine the contemporary cinematic field, wherein an understanding regarding the in-betweenness of Chinese independent cinema (duli dianying) and art cinema (yishu dianying) helps to contextualize our study of FIRST. Qingnian dianying is approached as a set of discourses and practices centring around the ‘networked auteurism’, which underscores the institutional configurations of the film festival network and the logic of project that the emerging film auteur correlates with and works through. In our case study of FIRST, we turn to the performativity of qingnian dianying to examine a series of festival activities wherein auteurism is articulated and realized via working through a cycle of film projects. Overall, this research foregrounds qingnian dianying as a symptom as well as a mechanism to understand contemporary Chinese cinema in transition in relation to the domestic film industry, cultural policies and the global film festival network.

Introducing inclusive subtitles

Abstract In recent years, numerous variations of subtitling approaches, which have been variously defined as enriched, creative, dynamic, emotive (Neves 2018), but also ‘creactive’ (Sala Robert 2016), have been put forward by scholars in the attempt to diversify and expand the audiences’ access to audiovisual products through subtitles. Also, there has been a significant growth in international film festivals which, alongside long-established festivals, have contributed to providing audiences with a cultural window on the world. In Italy, for example, there are hundreds of film festivals, which vary in terms of size, subject-matter, and genre. Against the backdrop of recent research on audience(s) attending film festivals (Di Giovanni 2020), accessibility studies (Greco 2018), and preferences and familiarity with various types of subtitles for Deaf and Hard-of-Hearing people (Romero-Fresco 2015), this paper aims to introduce the notion of inclusive subtitling and to propose guidelines and applications within the context of accessible film festivals and cultural events. The corpus for this empirical study consists of the short films competing in the eleventh and twelfth editions of the Sicilia Queer Film Fest, inclusively subtitled. Results will prove that ‘inclusive subtitles’ have the potential to cater to more varied needs, embracing settings such as film festivals, theatres, museums, galleries, and similar cultural contexts. In line with Greco’s (2018) universalist approach, and in contrast with the recent introduction of the term by Martínez-Lorenzo (2020) applied to minoritised languages, inclusive subtitles is an expression that refers to intralingual or interlingual subtitles, open or closed (with the aid of external tools, such as an app) and applied specifically to film festivals.

Rozmowa z Krzysztofem Zanussim


 
 
 An interview with the Polish film director Krzysztof Zanussi was conducted on 12 July 2022 at his home on the outskirts of Warsaw. The filmmaker has collaborated with Ukrainian artists, traveled extensively in Ukraine, supported Ukrainians during the war and even sheltered Ukrainian refugees in his home. The conversation focused on his collaborations with Ukrainian artists, in particular the prominent Ukrainian actor Bohdan Stupka (1941–2012). He played the lead role in Krzysztof Zanussi’s film And a Warm Heart (2008), for which he received the Best Actor award at the Third Rome International Film Festival for the first time in the history of Ukrainian cinema. The conversation also touched on the director’s personal ties with Ukraine, his views on the problems of the development of Ukrainian culture, his memories of creative contacts, including those during the Soviet period, and his experience of working with Russian artists. The filmmaker shared his thoughts on the war in Ukraine and its possible consequences, including those for the development of art.
 
 

Arts festivals as polysystems: a case analysis of Morocco music and film festivals

ABSTRACT In today’s fluid culture, fluid economy and fluid tourism, arts festivals fulfil various and sometimes conflicting functions, but surprisingly little scholarly attention has been paid to this issue. The concern of this note is consequently to fill in this void by specifically providing, exploring and critically examining the multifaceted culture of festivalisation in the urban context. In so doing, the current study draws on two case studies namely Mawazine Festival Rhythms of the World (MFRW) and Marrakech International Film Festival (MIFF). Accordingly, while this research note brings into focus how the concept of polysystem is useful for understanding the complex interactions between different cultural systems, it also argues that a polysystemic approach can help shed light on the complex dynamic interactions between systems and subsystems; and identify the various actors and forces that shape the production and reception of cultural events in the urban milieu.

Mzansi Magic

Mzansi Magic

An Analysis of the Cultural Differences Between China and Spain in "Alcarrs" and "Return to Dust" Based on Hofstede's Theory of Cultural Dimensions

With the development of globalization, the number of cross-cultural studies is increasing, among which the articles that use film as a medium for cross-cultural studies mostly focus on the cultural differences between China and the United States, but there are relatively few articles that studied the cultural differences between China and Spain. Based on Hofstede's theory of cultural dimensions, this paper analyzes the differences between China and Spain in five cultural dimensions through a comparative study of "Alcarrs" and "Return to Dust", two films shortlisted for the 2022 Berlin International Film Festival and both portrayed rural lives. The study finds that Chinese and Spanish cultures differ significantly in multiple dimensions, with the most apparent differences in the dimensions of masculinity and femininity, power distance, individualism and collectivism, and the more minor differences in the dimension of uncertainty avoidance between the two cultures. There are also differences between Chinese and Spanish culture in terms of long-term and short-term orientations, although the plot of the two films do not show much of this.

영화제가 도시브랜드 태도와 방문의도에 미치는 영향 : 부산국제영화제를 중심으로

영화제가 도시브랜드 태도와 방문의도에 미치는 영향 : 부산국제영화제를 중심으로

Beans. Dramatic film, directed by Tracey Deer. EMA Films, 2020. 92 min. 2020 Toronto International Film Festival (TIFF), Toronto and online, September 10–21, 2020

Beans. Dramatic film, directed by Tracey Deer. EMA Films, 2020. 92 min. 2020 Toronto International Film Festival (TIFF), Toronto and online, September 10–21, 2020

Subliminal Blueprints for Other Dimensions: The Time‐warped Sanatorium of the Quay Brothers

AbstractOver recent decades, the Quay Brothers (identical twins Stephen and Timothy) have developed an aesthetic language that is immediately recognisable and has gained them many admirers – no matter what media they express themselves in. They combine filmmaking, drawing, calligraphy, puppetry and moody chiaroscuro décor and installations. Edwin Carels, former curator of the International Film Festival Rotterdam, guides us through one of their recent installations.

The Radical Power of Gentle Cinema

Film Quarterly contributing editor Manuel Betancourt’s experience serving on the jury for the Ibero-American program at the Palm Springs International Film Festival prompts him to consider how films labeled “small” or “quiet” don’t tend to win prizes and how this bias is gendered, reflecting the lack of value accorded to domestic, everyday life. Citing the recent ascendance of Chantal Akerman’s Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles to the top of Sight and Sound’s annual poll as a sign this bias may be weakening, he discusses a number of festival favorites—including the Venezuelan director Patricia Ortega’s MAMACRUZ and the Brazilian film Mars One—that elevate gentleness. In an era where big-screen spectacle depends on overstimulation, Betancourt argues for the wonder and joy to be found in a gentler, kinder cinema.

The Transformers

Research Article| June 01 2023 The Transformers: How Chan Is Missing Led to Better Luck Tomorrow Led to Everything Everywhere All at Once Renee Tajima-Peña Renee Tajima-Peña Renee Tajima-Peña is an Oscar-nominated filmmaker who has chronicled the Asian American experience as showrunner/series producer of Asian Americans, producer/director of Who Killed Vincent Chin? and My America...or Honk if You Love Buddha, and co-founder of the May 19th Project. Her films have screened at Cannes, New York, Sundance and the Whitney Biennial. She was founding faculty of the UC Santa Cruz Social Documentation Grad Program and is a professor and endowed chair of Asian American Studies at UCLA. Search for other works by this author on: This Site PubMed Google Scholar Film Quarterly (2023) 76 (4): 32–34. https://doi.org/10.1525/fq.2023.76.4.32 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn Email Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Renee Tajima-Peña; The Transformers: How Chan Is Missing Led to Better Luck Tomorrow Led to Everything Everywhere All at Once. Film Quarterly 1 June 2023; 76 (4): 32–34. doi: https://doi.org/10.1525/fq.2023.76.4.32 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentFilm Quarterly Search During the past forty years in Asian American cinema there have been three premieres that took my breath away: Chan Is Missing in 1982. Better Luck Tomorrow in 2002. Everything Everywhere All at Once in 2022. Twenty years apart, all signaled that the earth had shifted on its axis and the creative landscape of Asian America was on a collision course with the old, retrograde images of the past. Something gloriously new and essentially Asian American was on the horizon. Wayne Wang’s Chan Is Missing, about two San Francisco cabbies on the hunt for their missing friend and their missing four thousand dollars, was the first. I was just out of college and working as the first paid staff person at New York’s Asian Cine-Vision, back in a time when a clueless twenty-one-year-old could run an Asian American arts center. ACV put on the Asian American International Film Festival,... You do not currently have access to this content.

Quality Assessment of the English Subtitles in Five International Award-Winning Colombian Films

The Colombian film industry is growing and gaining relevance in the international market, which demands products that comply with the highest quality standards. Consequently, a study was designed to analyze the current English subtitle quality of five Colombian films that participated in different international film festivals from 2012 to 2018 and won at least one award: La sirga by William Vega (2012), La playa D.C. by Juan Andrés Arango (2013), Tierra en la lengua by Rubén Mendoza (2014), La tierra y la sombra by César Augusto Acevedo (2015), and Niña errante by Rubén Mendoza (2018). The subtitles were examined using Pedersen’s (2017) far model to have a general overview of their quality. The results evidenced a weakness in the functional equivalence category by presenting mistranslations in many of the cultural references and idiomatic expressions, potentially affecting the audience’s reception and, therefore, jeopardizing the international success of the films. Additionally, the readability category included many segmentation and spotting errors. In general, the subtitles comply with the subtitling guidelines regarding reading speed and line length but need to improve the transmission of idiomatic expressions and the segmentation of the subtitles.

Bilingual subtitling in streaming media

Abstract This article explores bilingual subtitling, a relatively under-researched mode of audiovisual translation, and its role in the ever-evolving landscape of global media streaming. Originally used for cinema productions in officially bilingual countries and international film festivals, bilingual subtitling has now resurfaced as a response to the growing affordances of streaming media. This article investigates the proliferation of bilingual subtitling tools and practices in different contexts, from PC-based tools and Chrome extensions that add bilingual subtitle features to streaming platforms (Netflix, YouTube) to amateur (optionally bilingual) subtitling streaming services (Viki Rakuten), video sharing websites (Bilibili), and online channels with open bilingual subtitles embedded in their videos (Easy Languages). Bilingual subtitling is further promoted as a pedagogical tool for foreign-language learning that matches the expectations of contemporary learners, especially ‘digital natives’ who have grown up with new online modalities. The conventional ways in which audiences used to engage with audiovisual content have, arguably, been superseded as streaming platforms that offer an abundance of options in terms of language and content are gradually reshaping viewing patterns. Shifting away from long-established patterns of passive TV consumption, this article also sets out to present online collaborations and initiatives that seek to incorporate bilingual subtitles in language learning while promoting the active participation of the audience within the emerging media streaming landscape.

The Glaciation Trilogy Directed by Michael Haneke from the Perspective of the Theories of Jean Baudrillard

As one of the most celebrated film auteurs of contemporary European cinemas, Austrian film director Michael Haneke has achieved remarkable success at the Cannes International Film Festival. His films always represent the living status of the individuals in the postmodern capitalist society, showing criticism through the reflection on the media. The theory of the postmodern theorist Jean Baudrillard is highly relevant to the works of Haneke. The key notions of Baudrillard, such as simulacra and hyperreality, describe the media-dominated postmodern social landscape, as well as reveal the tension between the individual and society in the post-industrial and late capitalist periods. This research is a cross-study of film authorship and sociology. It takes Hanekes earlier film works, the glaciation trilogy, which are The Seventh Continent (1989), Bennys Video (1992), and 71 Fragments of a Chronology of Chance (1994) as examples, and analyzes the narrative, symbolism and audio-visual strategies through the theoretical perspective of Baudrillards theories. On the one hand, this research examines the Baudrillard themes of postmodernism, hyperreality and media alienation in the cases. On the other hand, it evaluates the cinematic style of Hanake and its relevance to a postmodern film ontology. Through the intertextuality between the works of Haneke and Baudrillard, this study is able to reveal the connection between postmodern sociological theories and contemporary auteur cinemas.

Kyiv International Film Festival "Film Chronicles of War"

Kyiv International Film Festival "Film Chronicles of War"

Digitalization of Hirut, the First Ethiopian Fiction Film and Addis Ababa International Film Festival

Digitalization of Hirut, the First Ethiopian Fiction Film and Addis Ababa International Film Festival