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Mo Archer - One of the best experts on this subject based on the ideXlab platform.

  • Space Sound Effects Short Film Festival: using the Film festival model to inspire creative art–science and reach new audiences
    'Copernicus GmbH', 2020
    Co-Authors: Mo Archer
    Abstract:

    The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with Film industry professionals, the standard processes of international Film Festivals were adopted by the project in order to challenge independent Filmmakers to incorporate these sounds into short Films in creative ways. Seven Films covering a wide array of topics and genres (despite coming from the same sounds) were selected for screening at a special Film festival out of 22 submissions. The works have subsequently been shown at numerous established Film Festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts on them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science

  • SSFX (Space Sound Effects) Short Film Festival: Using the Film festival model to inspire creative art-science and reach new audiences
    'Copernicus GmbH', 2020
    Co-Authors: Mo Archer
    Abstract:

    Geoscience CommunicationThe ultralow frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather, however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnerting with Film industry professionals, the standard processes of international Film Festivals were adopted by the project in order to challenge independent Filmmakers to incorporate these sounds into short Films in creative ways. Seven Films covering a wide array of topics/genres (despite coming from the same sounds) were selected for screening at a special Film festival out of 22 submissions. The works have subsequently been shown at numerous established Film Festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts upon them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science

Šimsová Kristýna - One of the best experts on this subject based on the ideXlab platform.

  • Iranian and Israeli cinematography at the World's Most Famous Film Festivals 1989 - 2019
    2021
    Co-Authors: Šimsová Kristýna
    Abstract:

    The diploma thesis deals with Iran and Israel as cultural units in terms of their history, religion, society and politics and looks for the features that unite these nations. The information in this diploma thesis concerning individual countries and Festivals is then put into context with the development of their cinematography, which is presenting various topics, features and approaches that have been developed over the years. Subsequently, the thesis creates an overview of all Films by Iranian and Israeli Filmmakers, which were presented at one of the three most prestigious international Film Festivals (the Cannes Film Festival, the Venice International Film Festival and the Internationale Filmfestspiele Berlin) in the period 1989-2019. Based on this overview, the thesis examines the success of the Films and their creators, topics and explains how these variables have changed over time. It observes certain trends in the development of their cinematography and sum up the impact within some unique Festivals in the Czech Republic. The diploma thesis also deals with the thematic focus of the most successful Films awarded by international festival juries. Based on this information, it identifies the possible reasons that make Iranian and Israeli cinemas so extraordinary and, last but not least, finds..

  • Iranian and Israeli cinematography at the World's Most Famous Film Festivals 1989 - 2019
    Univerzita Karlova Fakulta sociálních věd, 2021
    Co-Authors: Šimsová Kristýna
    Abstract:

    Diplomová práce se zabývá Íránem a Izraelem jako kulturními celky z náboženství, společnosti a politiky a hledá znaky, které spojují. Informace následně uvádí do vývojem jejich kinematografie, její aktuální podobou a odrazem na mezinárodních Filmových festivalech. Tyto festivaly představuje jako součást globálního kulturního koloběhu, přibližuje jejich historii a pri jejichž základě fungují. Práce následně vytváří přehled všech snímků íránských a izraelských tvůrců, které byly v období let 1989 2019 prezentovány na některém ze tří nejprestižnějších mezinárodních Filmových festivalů. Mezi ty řadí ilmový fest Cannes (Festival de Cannes), Benátkách (Venice International Film Festival) a Berlíně (Internationale Filmfestspiele Berlin). Na základě tohoto přehledu zkoumá jejich úspěšnost a vývoj v několika kategoriích a výsledky následně u zemí porovnává. Krátce shrnuje i dosah íránské a izraelské kinematografie v České republice. Zároveň se věnuje tematickému zaměření nejúspěšnějších snímků oceněných mezinárodními festivalovými porotami. Na základě těchto informací identifikuje trendy vývoje obou kinematografií v rámci zmíněných festivalů. Dále nachází charakteristická témata, kterými se země v rámci své Filmové tvorby zabývají a které je spojují. V neposlední řadě také nastiňuje možné důvody, které dělají...The diploma thesis deals with Iran and Israel as cultural units in terms of their history, religion, society and politics and looks for the features that unite these nations. The information in this diploma thesis concerning individual countries and Festivals is then put into context with the development of their cinematography, which is presenting various topics, features and approaches that have been developed over the years. Subsequently, the thesis creates an overview of all Films by Iranian and Israeli Filmmakers, which were presented at one of the three most prestigious international Film Festivals (the Cannes Film Festival, the Venice International Film Festival and the Internationale Filmfestspiele Berlin) in the period 1989-2019. Based on this overview, the thesis examines the success of the Films and their creators, topics and explains how these variables have changed over time. It observes certain trends in the development of their cinematography and sum up the impact within some unique Festivals in the Czech Republic. The diploma thesis also deals with the thematic focus of the most successful Films awarded by international festival juries. Based on this information, it identifies the possible reasons that make Iranian and Israeli cinemas so extraordinary and, last but not least, finds...Department of JournalismKatedra žurnalistikyFakulta sociálních vědFaculty of Social Science

Sonia Tascon - One of the best experts on this subject based on the ideXlab platform.

  • activist Film Festivals towards a political subject
    2017
    Co-Authors: Sonia Tascon, Tyson Wils
    Abstract:

    Film Festivals are an ever-growing part of the Film industry, but most considerations of them focus almost entirely on their role in the business of Filmmaking. This book breaks new ground by bringing scholars from a range of disciplines together with industry professionals to explore the concept of Festivals as spaces through an activist lens, as spaces where the sociopolitical identities of communities and individuals are confronted and shaped. Tracing the growth of activist and human rights-focused Films from the 1970s to the present, and using case studies from San Francisco, Brazil, Bristol, and elsewhere, the book addresses such contentious topics as whether activist Films can achieve humanitarian aims or simply offer “cinema of suffering.” Ultimately, the contributors attack the question of just how effective Festivals are at producing politically engaged spectators?

  • human rights Film Festivals activism in context
    2015
    Co-Authors: Sonia Tascon
    Abstract:

    Acknowledgements PART I: FRAMINGS Introduction 1. Human Rights: From Universalism to Internationalism 2. Film Festivals: Activism and The Gaze PART II: FESTIVAL INTERNACIONAL DE CINO DE DERECHOS HUMANOS, BUENOS AIRES 3. Context 1997-2003: History and Politics 4. The Festival 1997-2003: From the Desaparecidos to Neoliberalism 5. Context 2004-2014: Post-Dictatorship, Post-Neoliberalism and New Argentine Cinema 6. The Festival 2004-2014: The 'Other' and Cosmopolitan Visions PART III: HUMAN RIGHTS WATCH INTERNATIONAL Film FESTIVAL, NEW YORK 7. Context: From the Cold War to The Yes Men 8. The Festival: Presences: Eastern Europe, Middle East and United States 9. Context: From Latin America to Political Documentary in the United States 10. The Festival: Absence: Latin America Conclusions Notes Bibliography Filmography Index

Ruby Cheung - One of the best experts on this subject based on the ideXlab platform.

  • Film festival yearbook 3 Film Festivals and east asia
    2011
    Co-Authors: Dina Iordanova, Ruby Cheung
    Abstract:

    The most exciting developments in world cinema over the past two decades have been linked to East Asian countries such as China, Japan and South Korea. Films made in East Asia triumph at Festivals around the globe. Booming Film markets are attached to the most important Film Festivals in Hong Kong, Pusan (now Busan), Tokyo and Shanghai. The West is only just beginning to wake up to the importance of these Film Festivals to global Film distribution. In this volume of the Film Festival Yearbook, contributors chart these cutting-edge developments in global Film. And by opening up debates on the worldwide network of Film Festivals, they lay the necessary groundwork for a greater understanding of global Film circulation.

  • Film Festival Yearbook 2: Film Festivals and Imagined Communities
    2010
    Co-Authors: Dina Iordanova, Ruby Cheung
    Abstract:

    The second volume in the Film Festival Yearbook series brings together essays about Festivals that use international cinema to mediate the creation of transnational 'imagined communities'. There are texts about the cultural policies and funding models linked to these Festivals, as well as analysis of programming practices linked to these often highly politicised events. The case studies discuss diaspora-linked Festivals that take place in Vienna, San Francisco, San Sebastian, Havana, Bradford, Sahara, South Korea and London and that feature cinema from places as diverse as Nepal and Kurdistan, Africa and Latin America. The Resources section features an up-to-date bibliography on Film festival scholarship and an extensive thematically-organised listing of a variety of transnational Festivals.

Sendra Fernandez Estrella - One of the best experts on this subject based on the ideXlab platform.

  • ‘Documentary Film Festivals vol. 1: Methods, history politics; Documentary Film Festivals vol. 2: Changes, challenges, professional perspectives.’
    'Informa UK Limited', 2021
    Co-Authors: Sendra Fernandez Estrella
    Abstract:

    Documentary Film Festivals, divided into two volumes: Methods, History, Politics and Changes, Challenges, Professional Perspectives, appears two decades after the significant growth of documentary Film Festivals. With the conviction that these “are here to stay” (vol. 1: xi), editors Aida Vallejo and Ezra Winton engage in an exhaustive work of collecting a multiplicity of voices to prove the usefulness and necessity of establishing specific theoretical frameworks for the study of documentary Film Festivals. The editors suggest these ‘call for their own set of specific research questions’ (Vallejo, vol. 1: 31), and have their own hierarchy or ‘metropoles and peripheries’ with International Documentary Film Festival Amsterdam (IDFA), Hot Docs and Sheffield Doc/Fest at the head of the circuit (Winton, vol.1: 171). If documentary had mainly been placed at the margins of mainstream Film culture, with few exceptions (Hogarth, 2006, Rich, 2010 among other), in these two volumes they are put at the very centre, further inviting scholars to rethink the existing approaches in Film festival studies more broadly