International Film Festival Research Articles

“The cultural politics of food in selected Egyptian films”

This article focuses on the role of food as a cultural/political marker in selected Egyptian films. The study argues that food is intertwined with power relations and socio-economic political transformations; hence, food studies can constitute a cultural, historical document that unravels personal and collective, political history. The paper examines food discourse in the post-2011 period as depicted in two award-winning films that represented Egypt in a number of international film festivals, mainly, the 2013 documentary film “OM Amira” by Nagi Ismail (1983-) , and the 2016 feature film “Nawara” by Hala Khalil (1967-) . As food for thought, the selected films depict the plight of Egyptian working class women as representative of a whole downtrodden social class. Utilizing an interdisciplinary approach, the study raises a number of questions to which it attempts to provide answers. What is the role of food in films? How do both films represent the relation between food and classes? What is the relation between the food scenes and characterization? How far are the films similar or different in their representation of food and the working class predicament? How do the films represent food as a cultural/political marker that unravels the history of a country in flux, exposing its power structures and contradictions on the one hand, and the struggles, aspirations and frustrations of its lower classes, on the other?

A Study on the Comparative Analysis of the Components of Official Poster Design of China-Korea International Film Festival -Focused on the Shanghai International Film Festival in China and Busan International Film Festival in Korea-

A Study on the Comparative Analysis of the Components of Official Poster Design of China-Korea International Film Festival -Focused on the Shanghai International Film Festival in China and Busan International Film Festival in Korea-

ТВОРЧЕСТВО КРАСНОЯРСКОГО ДОКУМЕНТАЛИСТА И. ЗАЙЦЕВОЙ КАК ФЕНОМЕН РЕГИОНАЛЬНОЙ И НАЦИОНАЛЬНОЙ КУЛЬТУРЫ

The article describes the work of Irina Borisovna Zaitseva, a world-famous Krasnoyarsk documentary film director, a member of the Board of the Union of Cinematographers and the Association of Documentary Films of the Russian Federation, whose film productions have not yet been the subject of film studies. Her films have won numerous prizes at prestigious All-Russian and international film festivals ("Russia", "Golden Knight", "Living Water", "Flahertiana", "Stalker", "Saratov Suffering", "Mediawave", "Documenta Madrid", "Docupolis", etc.). A number of documentary films reflect the history of not only the Krasnoyarsk Territory, but also Russia. Some films have a parable discourse and carry a moral and philosophical context. The director repeatedly addresses the topic of "fathers and children". I. Zaitseva makes high demands on the profession of a film director, relying in her work on the director's code of honor, so as not to harm the heroes of her documentaries. As a result of the analysis of the film "Martyrs and Confessors" and a brief review of other films directed by I. Zaitseva, a wide range of artistic techniques was identified: subjective video camera, vertical and parallel editing, historical reconstruction, "story within a story", changing focalizations and temporality, allegory, and others. All the author's means of the film language work for a strong drama, which distinguishes the films of the documentarian. In her work, there is a hybrid-a combination of factuality and artistry, which does not mean devaluing the principle of documentality. The Krasnoyarsk documentary filmmaker was one of the first in Russia to make a film about the tragic fate of the clergy who died at the hands of representatives of the Soviet government in the period 1918–1938. I. Zaitseva's filmography is a phenomenon of regional and national culture.

Negotiating ‘Asianness’ at the Tokyo International Film Festival Local, Regional and International Dynamics Through Programming Practices and Film Markets

In this paper I will trace a brief history of major Asian film festivals to understand how the notion of ‘Asianness’ evolved over time and how it is expressed nowadays through programming practices and film markets. Then I will focus on the case study of the Tokyo International Film Festival (TIFF) as a problematic site where cultural and economic dynamics converge. As an A-category festival, TIFF has to balance its international status with regional relevance, negotiating ‘Asianness’ in a complex relationship involving the local film industry, since questions on ‘Asian cinema’ are deeply linked to the national. Finally, I will draw some conclusions, discussing how TIFF relates to other major film festivals in Asia, where ‘Asianness’ has been used as a shared effort to distinguish themselves from the paradigm set by European film festivals. However, this is an ongoing process, TIFF struggles to use ‘Asianness’ as a unifying element and the specific interests of each festival obstruct the possibility to create a more systematic trans-Asian model.

Deferral and the Dream

Deferral and the Dream

The Militarized Imagined Family: How Children of Refugees Negotiate Cold War Politics in Community Arts Organizing

ABSTRACT After the end of war in Vietnam, Vietnamese Americans debate the balance between artistic freedom and Cold War politics. How do community arts organizers continue their work after anticommunist backlash? To answer this, I conducted participant observation and interviews with organizers of the Vietnamese International Film Festival in California. I analyze how children of refugees inherit the legacies of war outside of the family setting. Through community arts organizing, Vietnamese Americans come to understand their ethnic nation as a militarized imagined family. This view demands deference to the figure of the male refugee soldier – at the expense of the daughterly figure.

DESIGN STRUCTUR VARIABLES IN THE POSTERS OF THE INTERNATIONAL FILM AND TELEVISION FESTIVAL

Posters for cinematic festivals are an effective visual artistic way to address recipients (the audience), with their functional, aesthetic and expressive dimensions that contribute to spreading a variety of cultural awareness, especially those posters that specialize in their media and advertising performance, promotional and organizational, and cultural activities specified at certain time. Based on the foregoing, the researchers found that her research problem is summarized by the following question: What are the design structure variables in the designs of the film festival posters? The research consisted of four chapters as follows: The first chapter includes the research problem and the goal of the research, which is studying the variables of the design structure in the international film festival posters. As for its importance (theoretical importance / practical importance), the research limits (objective / spatial / temporal) and also include the most important terms. The second chapter includes the theoretical framework that the researcher divide into two topics, the first topic includes (the structure in the poster). As for the second topic (the variables in the poster structure) as well as previous studies and the most important indicators reached by the researcher, the third chapter includes research procedures that includes determining the method followed in analyzing samples for their scientific relevance in diagnosing the researched phenomenon, and the research community and the adult (6), and selecting a sample The research number (3) models after repeated exclusion from them, then the research tool, honesty and consistency. As for the fourth chapter, it includes the results of the research, conclusions, recommendations, and proposals, and the most important findings of the researcher were as follows: 1. The employment of the idea resulted in a fundamental variable in the structure of the poster, as the ideas differ according to the subject presented, in addition to the different idea from one designer to another. This is due to its frame of reference, which has a major impact in building the innovative idea that contributes to the presentation of the content. 2. Modern technologies have achieved the emergence of effective results in the design structure as an output variable that enhances the effectiveness of communication channels, and that this action has influential characteristics that have the ability to attract attention and direct impact on the recipient through the various technical treatments that the designer performs in constructing the poster and activating the role of technology in the structural display of the poster design elements. Either conclusion includes: 1. Structure variables are mainly related to the content of the design idea with the suitability of use, which is based on variable technical stylistic data.

Glamorous Work: Notes from the Red Carpet

AbstractThe Toronto International Film Festival (TIFF) attracts filmmakers and film audiences from around the world each year. In this article, I take an ethnographic approach to understand the way film festival organizers bring groups together and act as intermediaries in negotiating the value of particular films and cinema. I argue that film festival organizers engage in glamorous work—a strategy that employs visual cues and artful mediation to cultivate a sense of the extraordinary while obscuring the risky nature of film festival organization. This article considers the risks involved in film festival organization and the way glamorous work attempts to alleviate these risks.

International Film Festivals and Discovery of Russian/Soviet Cinema

International Film Festivals and Discovery of Russian/Soviet Cinema

Festivales de cine en Chile: Configuración de campo y comunidades cinéfilas

Este artículo analiza el rol que han tenido los festivales de cine en Chile en la construcción de un campo cinematográfico chileno y nuevas formas de cinefilia, considerando su desarrollo histórico. Se discute cómo los festivales chilenos han facilitado la emergencia de comunidades cinéfilas, articulando la creación, reproducción y difusión de una cultura cinematográfica nacional. Basado en una investigación etnográfica y de archivo, el artículo se refiere específicamente a dos festivales de modelo cinéfilo que han contribuido a la conformación histórica del campo local, el Festival Internacional de Cine de Viña del Mar (FICViña) y el Festival Internacional de Cine de Valdivia (FICValdivia) en distintos momentos históricos (durante los sesenta, los noventa y los años 2000). En ambos casos, los festivales han sido espacios vitales para la construcción de la experiencia cinematográfica local, tanto para los realizadores como para sus públicos, funcionado como nodos de producción de culturas cinematográficas y de formación de una actitud específica hacia lo fílmico, que conlleva modos de particulares de ver y de hacer en torno al cine. En los festivales se conjugan prácticas de encuentro, programación y visionado compartido que han permitido el desarrollo del campo y la codificación de conocomientos sobre cine chileno, difundido y articulado con la emergencia de comunidades cinéfilas particulares asociadas a dichos eventos. Palabras clave: cine chileno, festivales de cine, campo cinematográfico, cinefilia

O I Festival Internacional de Cinema do Brasil (1954)

O I Festival Internacional de Cinema do Brasil (1954) foi a tentativa brasileira de participar do circuito internacional dos festivais de cinema que ganhou fôlego na Europa após a II Guerra Mundial. Concebido como parte das comemorações do IV Centenário da cidade de São Paulo, o festival baseou-se no modelo dos festivais de Cannes, Veneza, Bruxelas (1947) e Knokke Le Zoute (1949). Aprofundando as lições dos festivais europeus, o brasileiro harmonizou em sua programação mostras de enfoque comercial e retrospectivas culturais, mas com o fracasso das expectativas comerciais locais e com o sucesso das programações culturais, cristalizou-se a percepção em parcela da crítica e da crônica que arte e mercado foram dispostas em polos opostos, no qual as mostras comerciais haviam sido preteridas em relação às retrospectivas e atividades de cunho cultural. Analisando historicamente o caso do festival, veremos como seu fracasso comercial e sua única realização resultam diretamente da crise econômica que se abateu sobre o país e sobre a indústria cinematográfica local, demonstrando que oposição entre arte e comércio reflete, na realidade, disputas entre as cinematografias estadunidense e europeia. Veremos ainda que a vitalidade das programações culturais será fundamental para a boa repercussão que o evento alcançará na crítica estrangeira, evitando o fracasso completo da iniciativa.

Anne Démy-Geroe. Iranian National Cinema: The Interaction of Policy, Genre, Funding, and Reception

This book offers a thoughtful and useful exploration of the production and distribution of Iranian cinema both within and beyond the country. Demy-Geroe draws on her own experience as artistic director of the Brisbane International Film Festival, which led her to annual trips to Tehran’s Fajr International Film Festival. These visits gave her the opportunity to meet with a number of Iran’s most established filmmakers and industry insiders (including both government officials and employees suc...

‘Superior to Disney’: colour animation at Lenfilm, 1936-41

ABSTRACT This article examines the phenomenon of colour-film animation at Lenfilm during the period 1936–1941. It discusses the development of colour technologies at the studio during the 1930s and the ways in which its artists responded to the aesthetic challenge of colour. Three of the seven short films produced during this period have been selected as case studies; they are examined here in the context of filmed animations in the Soviet Union during the 1930s, in particular the debates prompted by the screening of three Disney animations in Technicolor at the Moscow International Film Festival in 1935. The formal analysis of the case studies is based on the digital restorations in recent years at the Russian State Film Archive (Gosfilmfond), but also the inspection of one nitrate-positive of Mstislav Pashchenko’s Dzhiabzha (1939), which has survived intact at the archive. The technical difficulties posed by the hydrotype process developed at Lenfilm, as well as the challenge of producing sufficient prints for mass distribution, also form part of the discussion.

Le Festival de Cannes et la montée du cinéma d’auteur à l’ère de la mondialisation

The Cannes International Film Festival plays an important role in the process of recognition of cinematographic creation and for the economy of cultural industries. It also focuses attention by creating the event while redefining over the course of its editions many of the usual markers of the identity of “cinéma d’auteur.” Starting from a diachronic perspective, the author details in this article the genesis and structural evolution of its organization over time, on the one hand, by approaching it as an analyzer of complex artistic, cultural, media, and economic trends, and, on the other hand, by focusing his analyses on the mediations and social dynamics of the economy of singularities.

Funds associated with film festivals: Supporting filmmaking in the Global South

The functions festivals fulfill within contemporary film culture extend beyond the exhibition of completed films; many festivals have attained the role of a producer in recent years. The Berlin International Film Festival launched the World Cinema Fund (WCF) in 2005 to financially support film production in Africa, Southeast Asia, Latin America, and the Middle East. This study provides a first-hand glimpse into the process of realizing feature film projects under restrictive conditions by utilizing interviews with directors whose films have received funding from WCF. The interviews the author conducted with directors Alain Gomis, Julia Murat, and John Trengove form the data set analyzed in this article. He argues that one of the most critical points of contention about the practice of allocating public money from European countries to projects hailing from developing regions which were formerly colonized by the very same nations, is its potentially neocolonialist impact through the cultural domain.

The Pan-African Cinema Movement: Achievements, Misfortunes, and Failures (1969–2020)

The Pan-African Cinema Movement:Achievements, Misfortunes, and Failures (1969–2020) Férid Boughedir (bio) Survival of intercultural dialogue, failure of economic strategy, and solidarity action Is it a coincidence that in the past decade in Africa, the two revolutions against the injustice of a prolonged dictatorial power—two spontaneous popular uprisings, without political guidance or leadership, eventually forcing both heads of state into exile—have a common point that has never been mentioned for the occasion? These two countries, Burkina Faso and Tunisia, are the only countries on the continent to have regularly organized Pan-African film festivals since the 1960s, soon after their political independence from French colonialism: the Carthage Film Festival (CFF, Journées Cinématographiques de Carthage) born in 1966 in Tunisia, and the Pan-African Film and Television Festival of Ouagadougou (Festival panafricain du cinema et de la télévision de Ouagadougou, FESPACO) born in 1969 in Burkina Faso. Both Festivals are a tremendous popular success with a record audience. They have been creating for more than half a century a new type of African viewer, aware and eager to see their own image finally filmed by Africans, after more than a century of colonial denial of their cultures and identities! Could the cinematographic Pan-Africanism initiated by these two countries represent a vehicle for regular cultural dialogue between the two shores of the Sahara and between the different language areas of Africa, as well as a vector of social and political awareness through the power of the seventh art image? In other words, the famous role of "evening class," meaningful even to the illiterate, attributed from the outset by the doyen of Senegalese filmmakers, Ousmane Sembène, to African cinemas. This question is definitely worth asking for me, some years after the 50th anniversary of both the FESPACO and the Carthage Film Festival. It seemed useful to me to offer a point of view of their history, subjective of [End Page 236] course, since I was one of the actors. I want to help to trace, without complacency, part of the adventure and evolution of this unitary movement led mainly by artists and referred to as "the Pan-African Cinema movement" or "Cinematographic Pan-Africanism" through the successes and failures of these institutions. I. Birth of Cinematographic Pan-Africanism Historically, the concept of cinematographic Pan-Africanism was born in 1969, with the first (non-competitive) edition of the FESPACO in Ouagadougou and the first Pan-African Cultural Festival in Algiers. A year earlier, the 1968 Carthage Film Festival (CFF, born in Tunisia in 1966, the same year as the Festival of Black Arts in Dakar) officially integrated this concept because of the geographical and cultural situation of Tunisia which made the competition both Pan-African and Pan-Arab. As a result, the non-African Arab countries of the Middle East joined the Arab speaking countries of North Africa in the competition. Cinematographic Pan-Africanism as a movement of intercultural dialogue through festivals—launched by the Carthage Film Festival in 1969 and the FESPACO in 1969—has experienced a constant expansion, as evidenced by the emergence of many other festivals in all regions of Africa: 1. East Africa • In 1981, the MOGPAFIS (Mogadishu Film Symposium) was launched in Somalia. I took part in its implementation with the Pan-African Federation of Filmmakers (FEPACI). • The MOGPAFIS survived until 1987, near the end of Siad Barre's regime. • Zanzibar International Film Festival in Zanzibar. 2. Southern Africa • Zimbabwe International Film Festival in Harare, Zimbabwe. • The DOCKANEMA in Maputo, Mozambique. • Sithengi Cinema Festival in Cape Town and Durban International Film Festival in South Africa. 3. West Africa • The RECIDAK (Dakar Film Meetings), launched by Annette Mbaye d'Erneville in Senegal. [End Page 237] • The Quintessence or International Film Festival of Ouidah, launched by Jean Odoutan in Benin. 4. Central Africa • The Black Screens Festival, launched by Bassek Ba Kobhio in Cameroon. 5. North Africa • The African Film Festival in Khouribga, founded by Nour-Eddine Saïl, one of the undisputed "fathers" of Moroccan cinema, who died from the coronavirus at the end of 2020. • Cinematographic Framework of Hergla founded by Mohamed Challouf, spiritual son of Tahar Cheriaa...

ОПЫТ ВОЗРОЖДЕНИЯ ДЕТСКОГО И ЮНОШЕСКОГО КИНО НА МАТЕРИАЛЕ ДЕЯТЕЛЬНОСТИ ДЕТСКИХ КИНОФЕСТИВАЛЕЙ И КИНОСТУДИЙ г. ТОМСКА

Regional film festivals are part of the film process and play a special role in the formation and preservation of national and cultural identity. The author of the article refers to the regional children's cinema festival. This topic is relevant because children's filmmaking is given very little attention in the space of contemporary culture (These are films made by the children themselves). We characterize this cinema as the artistic practice of “small cinema with great meaning”. The purpose of research – to identify the specific features of the cinema, as a product of children's creativity. In the course of the work, the following tasks were solved. Firstly, the features of the organization of children's film festivals and educational film studios (in Tomsk region) were studied. Secondly, an analysis of the artistic and imaginative specificity of children's cinema is given. The study was conducted on the material Children's Film Festival "Bronze Knight", the children's film studio "On a cloud" (Tomsk). Our research has shown that the experience of the regions demonstrates the success of the institutionalization of the practices of children's film-making in the format of film festivals, as well as in the form of organizing film schools. At the same time, an important organizational feature is the set guidelines for children's creativity. There are content priority setting; the need to determine value-semantic guidelines, attention to professional training; emphasis on the development of creativity, etc. Analysis of children's films, presented at the International Film Festival "Bronze Knight", enabled us to identify the characteristics of their artistic-figurative system. On the one hand, there is an orientation toward the Soviet film tradition with its distinct guidelines for the transmission of cultural value-semantic attitudes and special aesthetics. This is manifested, firstly, in themes, plots and heroes (humanistic values are glorified, respect for each other and love for their homeland, people and culture are instilled; a positive hero striving for good deeds; the presence of creative and instructive elements, a craving for intellectuality); secondly, in artistic aesthetics (close-ups, landscape photography; foreshortening; even rhythm, experiments with color: sepia, aged shots). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics of frames and rhythm, including youth discourse (slang, neologisms). On the other hand, there is an appeal to the modern cinema language, with its priority attention to visual effects, dynamics and rhythm, including youth discourse (slang, neologisms). Thus, it should be noted that the ideological core of the artistic and imaginative system of children's films is based on the traditions of Russian cinema aesthetics, while maintaining a craving for intellectuality and spiritual and moral themes, while the visual embodiment combines the traditions of Soviet cinema and the means of modern cinema language.

The Localization Style Design Analysis of Domestic Animation The case study of Scissor Seven

Scissors Seven as a GuangZhou native animation works has won a large number of fans on the Internet, network playback volume reached 260 million, and in 2018 became the only domestic animation in the Annecy international animation film festival, in 2019,in 2020 Magnolia Award for Best Animated Screenplay at the 26th Shanghai TV Festival became the only domestic animation work award in the past five years.Further more the film became Netflix online products, The Japanese and English versions can be seen in 29 countries and 190 regions .Most of the audiences love this work and gave a good comments. This paper will analyze the visual and auditory elements of the work around the localized style design of the film, so as to obtain the inspiration and thinking of domestic animation design.

ПОДІЄВИЙ ТУРИЗМ ЯК СКЛАДНИК РОЗВИТКУ ВНУТРІШНЬОГО ТУРИЗМУ В УКРАЇНІ

The article analyzes the current state and features of domestic tourism in Ukraine. The dynamics of the share of domestic tourism in the total number of tourists served by tourism entities during 2015-2020 was studied. The share of domestic tourism in the total number of tourists served by tourism entities during 2015-2020 changed, and in 2020 amounted to 9.4%. The role of event tourism as an important element in the development of domestic tourism in Ukraine, its tourist destinations, attracting consumers, finding investment and improving the local and regional level of the economy. For example, event tourism is really one of the promising areas of development of tourism in the city of Zaporizhzhia, an important component of its tourism brand. The use of event tourism in the city of Zaporizhzhia as a promising area of domestic tourism is proposed. The organization of large-scale events has a very positive effect on the image of the city. Thematic types of event tourism in the city of Zaporizhzhia are considered. Examples are the All-Ukrainian Cossack Festival «Protection on Khortytsya», the festival «Protection Fair», music festivals «Khortytsia Freedom» and «Zaporizhzhia Jazzy», Zaporozhye International Film Festival «ZIFF», regular performances of the equestrian theater « Zaporizhzhia Cossacks' Festival» on the Rainbow», literary and artistic festival» Toloka «and many others. It is proposed to create a «Catalog of events in the city of Zaporizhzhia «, which will actively develop event tourism in the region, promote the formation of the tourist brand of Zaporizhzhia, position the city as a tourist destination in the tourist market not only in Ukraine but also in the world. , receiving additional funds to local budgets from the tourist tax. Event tourism is undoubtedly a very promising direction in the development of domestic tourism in Ukraine and in the regional tourism development policy of Zaporizhzhia region, because brand events are not only high cultural significance for locals, but also attract tourists and guests from other cities of Ukraine, life of the region.

Música pós-minimalista em cena: uma análise do uso de trance 4 em Closet monster*

O filme Closet Monster, escrito e dirigido por Stephen Dunn, considerado um dos dez melhores filmes canadenses do ano 2015 pelo TIFF (Toronto International Film Festival), apresenta fortes influências do cinema queer e utiliza a música como elemento fundamental para caracterizar o protagonista, acompanhar a trama e conceder à obra um sentido que não seria o mesmo sem ela. Este artigo foca-se em uma cena próxima ao desenlace do filme (71'32"-75'43"), que se serve da peça musical pós-minimalista Trance 4, do compositor americano Michael Gordon, interpretada pelo grupo musical Icebreaker, concebida em 1995. Desse recorte emerge uma análise que tem como objetivos distinguir a contribuição da peça na composição da cena e discutir a influência mútua das linguagens musical e visual, ambas localizadas em tendências com características determinadas, quais sejam o cinema queer e o pós-minimalismo, respectivamente. Para tanto, a análise é apoiada em Román (2008), Leydon (2002) e Chion (2008), dentre outros autores, transitando entre conceitos como linguagem musivisual, pontos de sincronização e pós-minimalismo musical. O artigo inicia com considerações sobre música pós-minimalista, cinema queer e os protagonistas de Trance, à guisa de contextualização, seguidas pela exploração da cena fílmica de Closet Monster ambientada pela faixa musical Trance 4. Como conclusão, ressalta-se o papel da música na composição da cena. Pretende-se contribuir com este artigo para a ampliação dos debates sobre o uso de música pós-minimalista no cinema queer.