共查询到20条相似文献，搜索用时 31 毫秒
1.
Agus Mediarta 《Inter-Asia Cultural Studies》2013,14(2):308-309
Abstract After the New Order stepped down in 1998 and the Department of Information was closed down in 1999, the Indonesian government loosened their control on film regulation. At that time, theatres rarely screened Indonesian films and there had been no film festivals in Indonesia for a long period. Meanwhile, advanced digital technology had provided a digital film camera – for the non‐professional user – that more people could afford. Some young Indonesians believed that lots of Indonesians had a digital film camera and used them to make films, instead of just recording family gatherings. These youngsters – mostly from big cities – came from different backgrounds and usually met at alternative film screenings in foreign cultures centres or the Indonesian Cinematheque. Most were well‐educated and dreamed of watching films from their own country. They therefore organized a film festival in 1999 under name ‘the Indonesia Independent Film‐Video Festival’. They chose a short‐film format for the festival because it was easier for common people to make a short film than a feature film with a digital camera. The organizer of the Indonesia Independent Film‐Video Festival established an organization in early 2000 named Konfiden. After 2000, Konfiden tried to promote Indonesian short films at international short‐film festivals such as the Oberhausen Short Film Festival and Tampere Short Film Festival. After 2002, Konfiden’s festival was not the only short film festival in Indonesia. Several film communities in Java started to organize short film festivals. The Konfiden’s next step is to build a film market, database, and to shape the quality for Indonesia short films. 相似文献
2.
Jia Tan 《Inter-Asia Cultural Studies》2019,20(2):204-219
ABSTRACTExpanding on the critique of Euro-America-centrism in knowledge production, this article examines three spatiotemporal hierarchies through the inter-referencing practices of Asia Pacific Queer Film Festival Alliance. First, through the analysis of the documentary short Lady Eva and its circulation, I look at how the network opens up the issue of Pacific indigeneity in the transpacific context, which has the potential to unsettle the existing epistemic structures that rest upon the binary of West/non-West or white/Indigenous. Second, I investigate how the queer film festival alliance serves as sites for the articulation of queer rights, which sometimes cast a progressivist temporal narrative based on a hierarchical arrangement of geographical places. Third, through the case of ShanghaiPRIDE Film Festival, I examine how anti-institutionalism in film festival organizing offers a critique of gay-male dominated queer film festivals and the capitalist developmental logic that emphasizes profit and financial viability. By doing so, I scrutinize how the spatiotemporal hierarchies embedded in the film festival network complicate the understanding of inter-referencing as citation, collaboration, and competition. At the same time, I use inter-referencing to further the discussion of spatial politics in film festival studies by highlighting the spatiotemporal hierarchies. 相似文献
3.
Ratheesh Radhakrishnan 《Inter-Asia Cultural Studies》2016,17(2):206-222
This paper, focusing on the short film, Dear Kim (2009), and a debate between Polish filmmaker Krzysztof Zanussi and Marxist intellectual P. Govinda Pillai at the International Film Festival of Kerala (IFFK) in 1998, attempts to understand the work done by the category of “world cinema” and the institution of the film festival in the formation of the subject of the region, in this case the south Indian state of Kerala. It focuses on the linguistic region formed in post-independence India, thought of as either mirroring or resisting the nation, and as a cultural resource necessary to inhabit the nation as a citizen. The paper argues for a conception of the subject of the region that is performative, where it negotiates multiple horizons of universality simultaneously. While the figure of the citizen provides it with one horizon of universality, the subject is not exhausted by it. In the case of Kerala, through the figuration of a conception of “world,” operationalized through the conduit of “world cinema,” often located in the institutional space of the film festival, the subject is able to access other horizons of universality, enabling it to transcend the particularities that a politics of location imposes on it. 相似文献
4.
5.
Rebecca Finkel 《Cultural Trends》2009,18(1):3-21
The last 10–15 years has seen the rapid growth of festivals in Britain and overseas. This article examines the current situation of combined arts festivals in the UK in an effort to understand what the British festival environment looks like in the early years of the new millennium. A number of questions present themselves regarding the history and development of the current festival structure, the number of festivals, their size, distribution, audiences, geographical locations, programming content, duration, seasonality, influences, objectives, future plans and so forth. Combined arts festivals are defined as those containing more than one genre of arts, e.g., Edinburgh International Festival. Research methods include a survey questionnaire sent to 117 UK combined arts festivals (56 per cent response rate) to discern audience demographics, programming history, funding and future plans. In-depth interviews were also conducted with festival organizers. Based on survey data, it is argued that a homogeneous combined arts festival “type” is developing and replicating across the country. This argument is supported by the similarity in programming choices and festival format of a majority of the festivals surveyed. One of the main reasons for the increasing formulaic approach to festival programming and design is the increasing competition for funding as public and private funding sources expect combined arts festivals to achieve socio-economic targets and become more sustainable from one year to the next. This can be seen to be contributing to the increasing professionalism of combined arts festival organization, which has resulted in the majority of combined arts festival directors favouring “safe” content options that emulate the successes of several large, long-established festivals. Such an approach has had detrimental effects on the creativity of the arts festival landscape on the whole and may also be altering the symbolic meanings of festivals for communities and places. 相似文献
6.
Jeongmin Kim 《Inter-Asia Cultural Studies》2013,14(4):617-633
Abstract This study is an attempt to examine the ways in which popular culture can restructure the relationship between sexuality and power, through the case of Seoul Queer Films and Videos Festival, a cultural arena of newly emerged queer discourses in Korean society. In the past 10 years, queer discourses in Korea have undergone a rapid change. With heterosexual normativity being challenged and ‘queer’ being consumed as a cultural code, Korean spectators come to engage with a queer film festival in multilateral and sometimes contradictory contexts. This study will try to pose a controversial question to the heterosexual society by reading the complex interactions between film festivals, films and spectators while paying attention to the experiences of the participants in the Seoul Queer Films and Videos Festival and pointing at the political implications of queer films now in 2006. Through this, I try to look for possibilities of a queer cultural movement which rejects being co‐opted by the heterosexual society, constructs new ideas of social powers in relation with sexuality, and seeks alternative visions for such change in relations. 相似文献
7.
《Cultural and Social History》2013,10(1):33-52
ABSTRACTBy analysing the factors that precipitated the decline of what had been a flourishing provincial institution, the Salisbury music festival, this article captures late eighteenth-century provincial culture at a stage of transition from a society dominated by aristocratic patronage to an increasingly commercial society. It argues that the displacement of gentlemen amateurs from the heart of Salisbury's musical culture and their replacement by professional musicians and concert managers brought about a change in attitudes to music in the city. Ultimately, these modernizing influences of commercialization and professionalization proved detrimental to the grand occasion of the Salisbury musical festival, prioritizing alternative concert forms and a commercial, rather than civic, attitude to music. 相似文献
8.
Diana Wong 《Inter-Asia Cultural Studies》2013,14(3):527-529
Abstract The first Asian Lesbian Film and Video Festival, held in Taipei in August 2005, brought forth media art, social activism and cultural exchange on one occasion. It provided a rare opportunity to showcase the experience of Asian lesbians, which is vastly different from the experience of those in Western countries. While there were great similarities in their love experiences among the 36 Asian lesbian shorts selected, they also reflected the differences among the Asian countries in terms of local development of tongzhi culture and community as well as the visibility of tongzhis. Among the Chinese communities, Taiwan was seen to be at the forefront of the development of tongzhi culture, Mainland China was new to the movement, and Hong Kong was somewhere in‐between. Japanese and Korean videos took a critical and reflective attitude towards social regulations and mainstream thoughts, although witty and farcical at times. While the Filipinos show a more tolerant attitude to the Lesbian Gay Bisexual Transgender (LGBT) community, the major oppressive forces on lesbians were poverty, gender inequality and sexual violence. Only one Israeli documentary was shown at the film festival, which focused on lesbians living in the Jewish Orthodox traditions. The film won international acclaim and attracted much public attention to the issue. Films and videos were found to be an effective means to transcend language barriers and cultural differences for a true cross‐cultural exchange among Asian lesbians. During the few days of festival, a ‘queer nation’, not defined by nationalities or languages, but by the pursuit of love expressions, was constructed around The Taipei House. 相似文献
9.
Wang Feng 《中外文化交流(英文版)》2005,(8):6-8
From June 18 to 19, French modern music festival TransMusicales staged its biggest production outside France in the very heart of Chinese capital, bringing the latest techno and electronic pop to an audience largely unfamiliar with outdoor pop festivals. Trans in China, a miniature Chinese version of Les Rencontres TransMusicales held each December in the French city of Rennes, was shown in a grassy amphitheatre at Chaoyang Park — a popular rendezvous of outdoor cultural events in Beiji… 相似文献
10.
《Journal of Intercultural Communication Research》2013,42(1):59-80
This study examines a recognizable speech code, the code of food and tradition, as displayed among members of a Lebanese community in Flatland, located in the central United States. Based upon in-depth interviews with 20 participants and three months of participant observation at a Lebanese food festival, we identify communication that is gendered, generationally shaped, and focused on tradition. These are manifest in both beliefs and everyday practices. Drawing upon Speech Codes Theory and Bakhtinian perspectives, we examine the communicative practices and beliefs as to what it means to “be Lebanese.” 相似文献
11.
David Steele 《Cultural Trends》2004,13(4):5-21
The UK Film Council established a Research and Statistics Unit in order to gather data relating to film to inform the development of UK Film Council strategy and to provide an information service to the industry, government, the arts and cultural sector and the wider research community. The Research and Statistics Unit draws data from both official and unofficial sources and commissions its own special-purpose studies to gather information relevant to the strategic objectives of the Council. Key tasks are the measurement of the size of the market for film and the various elements of the film value chain, the performance of films supported by the UK Film Council and the performance of UK films in general. Special-purpose research projects currently include a detailed survey of the film production workforce, a study of the economic impact of the UK screen industries and studies of the social impact of local cinemas and the experience of Black- and Minority-led film production companies. A range of industry and official partners are collaborating in these studies. The Research and Statistics Unit also provides statistical and policy analysis relating to the wider policy environment of UK film, including issues such as the future of film tax incentives. This analysis has been developed within the HM Treasury ‘Green Book’ framework with particular reference to understanding market failure in relation to film. Central to the market failure argument is the cultural value of film in both its qualitative and its quantitative aspects. UK Film Council research is placed in the context of the literature on hedonic pricing and contingent valuation. The industrial challenges of increasing cultural value are discussed. Finally, consideration is given to the potential of film to contribute directly to ‘public value’. 相似文献
12.
Joe Tompkins 《Popular Communication》2014,12(1):32-47
This article examines film criticism as a social practice. Specifically, it explores the institutional politics of horror film criticism and the various ways critics of the genre justify their own readings and interpretive discourse. It does so by way of positing a horror film “reading formation,” which serves a critical-institutional function within the film academy, namely, securing academic legitimacy for the genre while shoring up cultural and political distinctions specific to elite modes of analysis. Accordingly, the article argues that three intertextual mechanisms (canonical recycling, political auteurism, and symptomatic interpretation) both condition the appropriation of horror film texts as legitimate objects-to-be-read and work to sustain discursive power relations between scholastically credentialed and “nonexpert” reading subjects. 相似文献
13.
Ian Huffer 《Cultural Trends》2017,26(2):138-154
It has been argued that the circulation of film online is a “democratising process”, evident in the breadth and depth of international film now available online, and in the greater ease of access to this content for audiences across the world. This is seen by some to present greater commercial opportunities for film-making from countries marginalised by previous distribution networks, and to foster a more globally diverse and inclusive film-viewing culture, with particular benefits for diasporic populations. Others, however, have pointed to the way in which audiences’ engagement with film online may be constrained by the economics and technology of online distribution and cultural competencies rooted in social stratification. These factors may limit how and what audiences watch, extending beyond issues of physical access to those of cultural access. As such, they raise questions regarding the demographic composition of the audience for online methods of film distribution and different types of international film. We lack sufficient understanding of these issues, however, due to the limited emphasis upon socio-demographic variables in existing academic research into online film consumption, and the limited consideration of particular film content in relevant market research. This article uses original audience research to interrogate the extent to which online distribution is able to connect audiences to a diversity of international film in comparison to other methods of distribution. It also considers some of the socio-demographic characteristics of the audiences for different methods of distribution and types of international film. In doing so, the article grants us a clearer understanding of the degree to which online film distribution fosters diversity and inclusivity through the connections it facilitates between audiences and content. 相似文献
14.
Sun Yi 《Inter-Asia Cultural Studies》2018,19(2):220-233
Hong Kong cinema is an emerging component of the booming Chinese film industry twenty years after the transfer of Hong Kong’s sovereignty from Britain to China. Hong Kong filmmakers and film companies now routinely collaborate with the mainland industry to produce for the mainland audience, prompting many creative artists and companies of the Hong Kong industry to relocate to the mainland. Based on the fundamental idea that both mainland Chinese cinema and Hong Kong cinema are constantly reshaping as a result of inter- and trans-cultural exchanges, this article adopts a bottom-up approach to re-examine the top-down-managed cultural nationalisation of Hong Kong cinema. Hong Kong (co-)produced films are increasingly devoid of local sensibilities and identities. Film companies and talents of the Hong Kong film industry, at least in the mainstream sector, are gradually incorporated into the film industry in the mainland. Notwithstanding these overwhelming tendencies, I suggest that Hong Kong cinema’s legacies exist beyond narrative strategies and genre approaches, and have started to show in film companies’ role in, and their capability of, challenging and reshaping the future of the Chinese screenscape. Specifically, through the examination of a series of film projects from Milkyway Image, a Hong Kong-based film production company, this article shows that Hong Kong cinema’s renationalisation is a process of simultaneous cooperation, negotiation, and resistance. 相似文献
15.
Sophia Siddique Harvey 《Inter-Asia Cultural Studies》2013,14(2):262-276
Abstract The short film form in Southeast Asia is a potent form of cultural production and one that contributes compellingly to the development and continued growth of the region’s moving image culture. This essay provides a preliminary theoretical framework within which to map the intricacies of the short film within Southeast Asia and offers a case study of short film production in Singapore. The essay grapples with the polymorphous and itinerant qualities of the production, distribution, and/or exhibition of short films through the concepts of modes of production, object, text, and/or trace. It identifies and examines two key traces in contemporary Singapore film production: merantau and motley urbanisms. 相似文献
16.
Valentina Vitali 《Inter-Asia Cultural Studies》2013,14(2):282-288
In Britain, film studies came on the agenda in the 1970s, when it served as a terrain for the formulation of a critical understanding of how cinema functioned within the broader context of industrial capitalism and the nexus between that and the reshaping of people's habits and lives. However, during that decade, a different agenda was also at work, which, from the early 1980s, began to receive support from neo‐liberal ‘free‐market’ ideologues. Over a period of 30 years, the overall direction of the inquiry into cinema, now firmly sealed into institutional networks, has become such that the critical language of ‘film theory’ has been hollowed out and the industrial agenda of British national television and cinema wrapped around it. Today, with the opening of film studies departments across Asia, the question is not whether outside Britain the language of film studies will became available for instrumentalization by the forces of an expanding Euro‐American capital, but how it will do so. This paper argues that the recovery of film from the bureaucratization of its study and its rediscovery as one of the modalities of modernization require both a framework of analysis that is fully conscious of its own historicity and critical role, and a new topography of cinema. 相似文献
17.
Adrian MARTIN 《Inter-Asia Cultural Studies》2013,14(2):258-270
AbstractExamining two Vietnamese films, one made in the North in 1959, and another produced in the South during the American War in 1971, this article contends that Vietnam's landscape serves as an affective site for a gendered construction of nationalism within key moments in Vietnamese history. In analyzing the attachments that the Vietnamese and Vietnamese diaspora feel towards their country, I explore a topic rarely discussed in US film scholarship and historicize these filmmaking efforts to demarcate a different way of viewing Vietnam in film. This study demonstrates the importance of understanding how gender and affect are projected onto landscapes in a national cinema like Vietnam's. More exactingly, it emphasizes that affects underlying Vietnamese nationhood and war are undergirded by the political economy of film and filmmaking. My arguments point to the modes of production and circulation of film, which shape the making of affect in Vietnam War discourse. My analyses are framed by the questions: how is affect inscribed in Vietnamese film, and what are its effects on notions of belonging and nationhood? In what ways has affect traveled about Vietnam in the past and present moment? Who is able to access such representations, and why does this matter? 相似文献
18.
Katinka van Heeren 《Inter-Asia Cultural Studies》2013,14(2):211-226
Abstract In about half a decade since May 1998, changes have taken place in the content, production, distribution, exhibition, and discourse of Indonesian cinema. During Reformasi (1999–2001), the rules and regulations of cinema authorized under the New Order government of President Suharto began to be contested and re‐negotiated. The rise of new film genres and changes in concepts about existing genres and formats took place, new discourses emerged, and different communities and institutions arose that identified themselves with certain film genres or which used the medium of film for particular means, such as a medium for advocacy of human rights issues. Five to six years after 1998, it is apparent that besides changes, there are also many continuities: many old film institutions and structures for film production, distribution, and exhibition are still in place, and topics of discourses often recall past discourses of the New Order period or those held in the newly independent 1950s. This paper considers some of the changes in the understanding of genres and formulas within horror films, and discusses modes of representation and constraints in choices of subject matter in narrative practices in contemporary Indonesian cinema. 相似文献
19.
Peichi Chung 《Inter-Asia Cultural Studies》2013,14(3):414-424
ABSTRACT This paper examines the cultural significance of three emerging Chinese kung fu films in their recent box office success in global film market. The paper aims to provide an integrative framework that shows how Hollywood’s global dominance in both film consumption and production contributes to the success of the newly Chinese Kung Fu films. Focusing on marketing strategies of Crouching Tiger, Hidden Dragon, Hero and House of Flying Daggers, this study argues that the economic success of the three films represent further regulation of Hollywood. In production, the NICL thesis is at work with a particular collaboration pattern among the transnational Chinese film talent communities. In distribution and exhibition, this paper contends that global box office achievement fails to contribute directly to any Chinese film industry. Autonomy is seen between Hollywood film majors and Chinese filmmakers when consumption of these films becomes a global phenomenon. 相似文献
20.
This article reports on the design of a teacher education activity that involves the documentary film, Escuela, which was produced by Hannah Weyer. We describe this instructional design, highlighting how documentary film can be used strategically to create opportunities for teacher candidates to approximate the work of culturally relevant teaching. 相似文献