On Virtuality and the Diasporic Imagination

2021 ◽  
Vol 75 (2) ◽  
pp. 94-101
Author(s):  
Larissa Andrea Johnson
Keyword(s):  
Extensive Review ◽  
Film Festival ◽  
Independent Films ◽  
Wide Audience ◽  
Institutional Vision

This report covers the 10th edition of BlackStar Film Festival (BSFF), which took place virtually and in person over a week in early August 2021. The independent festival features work by Black, Brown and Indigenous makers, and aims to reach a wide audience whose identities and experiences are reflected in the films. Johnson considers the multifaceted symbolism of the Black Star as it is realized in the curatorial and institutional vision of the festival, and considers the affordances (and limitations) of virtuality toward greater distribution of, and access to, independent films in the places they represent. An extensive review of the shorts program includes reporting on category winners Lizard (Akinola Davies Jr), Dear Philadelphia (Renee Maria Osubu) and Elena (Michèle Stephenson). This is the first review of BSFF for Film Quarterly.

scholarly journals Pusan 1997

1998 ◽  
Author(s):  
Hai Leong Toh
Keyword(s):  
Film Festival ◽  
Independent Films ◽  
Sound System ◽  
Beach Resort ◽  
Official Records ◽  
Insatiable Appetite ◽  
Digital Sound

SOME OBSERVATIONS OF ASIAN FILMS IN THE 2nd PUSAN INTERNATIONAL FILM FESTIVAL The 1997 Pusan International Film Festival (PIFF) witnessed a deluge of films -- new and old Korean films, Asian and international films, independent films, documentaries, and animations. Equally impressive was the response from the home crowd which appeared to have an insatiable appetite for internationally acclaimed films and young, famous Korean directors. (According to official records, the first PIFF attracted 200,000 people, this year, it seemed to be even more.) The 1997 festival opened with Wayne Wang's Chinese Box and closed with Ann Hui's Eighteen Springs at the 4,200-seats Pusan Yachting Centre Outdoor Theatre which also happens to be Asia's largest outdoor screen equipped with a digital sound system. Situated in Haeundae, Pusan's well-known beach resort, it was also where popular Hollywood fare such as G.l. Jane, One Night Stand, Bean, and crowd-pleasing Asian films like Opium...

scholarly journals Membaca Pasar Film Indie Lewat Film “SITI” Karya Edi Cahyono

2017 ◽  
Vol 4 (1) ◽  
pp. 1-10
Author(s):  
Arinta Agustina
Keyword(s):  
Significant Role ◽  
Distribution Channels ◽  
Film Production ◽  
Film Festival ◽  
Independent Film ◽  
Independent Films ◽  
Film Market ◽  
Film Marketing

Penelitian ini bertujuan untuk memahami strategi pemasaran film independen. Sebagai studi kasus dipilih pemasaran film produksi Fourcolors Yogyakarta. Perkembangan  film independen  di  Indonesia, khususnya di Yogyakarta tidak terlepas dari pergerakan dan perkembangan komunitas-komunitas film dan sekolah-sekolah film. Fourcolors yang kali pertama berangkat sebagai sebuah komunitas film independen, lewat film “Siti” karya sutradara Edi Cahyono mencoba memberikan warna baru dalam peta perfilman independen di tanah air. Sebagai sebuah film yang tumbuh dari berbagai festival, baik nasional maupun internasional, film “Siti” akhirnya mampu menembus pasar film mainstream lewat prestasinya sebagai pemenang Festival Film Indonesia. Hal ini menjadi sebuah kejutan dan mematahkan sekian banyak mitos bahwa film independen sulit untuk menembus pasar mainstream. Ketepatan memilih jalur distribusi melalui festival memiliki peran yang cukup penting dalam menentukan target penonton dan kualitas yang akan dicapai. Reviewing the Market of Indie Film through the Film of “SITI” by Edi Cahyono. This study aims to understand the strategy of  independent film marketing. The marketing of film production of Fourcolors Yogyakarta is chosen as a case study of this study. The development of independent films in Indonesia, especially in Yogyakarta is inseparable from the movement and development of film communities and film schools. Fourcolors that firstly sets out as an independent film community, through the film of "Siti" by director Edi Cahyono tries to give new colors in the map of independent film in this country. As a film that grows from various festivals, both nationally and internationally, the film of "Siti" is finally able to break through the mainstream film market through its achievements as the winner of the Indonesian Film Festival. It comes to a surprise and breaks the myths that the independent films are difficult to penetrate the mainstream market. The accuracy of choosing the distribution channels through the festival has a significant role in determining the target audiences and the quality to be achieved.

scholarly journals Interrogating Patriarchy: Transgressive Discourses of ‘F-Rated’ Independent Hindi Films

2020 ◽  
Vol 11 (1) ◽  
pp. 27-43
Author(s):  
Ashvin Immanuel Devasundaram
Keyword(s):  
Film Festival ◽  
Master Narrative ◽  
Independent Films ◽  
Item Number ◽  
Representation Of Women ◽  
Bona Fide ◽  
Hindi Cinema ◽  
Gender Based ◽  
The Uk ◽  
Global And Local

Since its inception at the Bath Film Festival 2014, the ‘F-Rating’ has been adopted as a yardstick to foster equitable representation of women in film. The rise of a new sub-genre of Hindi ‘Indie’ cinema (Devasundaram, 2016, 2018) has been augmented by an array of bona fide Female-rated independent films. These films fulfil the triune criteria for F-Rating, featuring women both behind and in front of the camera – as directors, actors and scriptwriters. I argue that these distinct female voices in new independent Hindi cinema have engendered discursive filmic spaces of resistance – alternative articulations that transgress India’s patriarchal national master narrative. Indian cinema thus far has been presided over by Bollywood’s hegemonic bastion of male-dominated discourses. The mainstream industry continues to propagate gender-based wage disparity and hypersexualised representations of the female body via the serialised song and dance spectacle of the ‘item number’. The increasing presence of F-Rated Hindi films on the international film festival circuit and through wider releases, gestures towards these films’ melding of the global and local. Drawing on my curation work with the UK Asian Film Festival (UKAFF) and discursive analyses of seminal F-Rated films, this essay highlights the pivotal role played by F-Rated Hindi Indie films in opening up transdiscursive dimensions and creating national and global conversations around issues of gender inequities in India.

scholarly journals STRATEGI KOMUNIKASI PEMASARAN FILM INDIE: MODEL PEMASARAN DAN DISTRIBUSI FILM INDIE INDONESIA

2019 ◽  
Vol 5 (2) ◽  
pp. 74-86
Author(s):  
Rangga Saptya Mohamad Permana ◽  
Lilis Puspitasari ◽  
Sri Seti Indriani ◽  
Hanny Hafiar
Keyword(s):  
Social Media ◽  
Group Discussion ◽  
Digital Tv ◽  
Communication Strategy ◽  
Marketing Communication ◽  
Film Festivals ◽  
Independent Films ◽  
Wide Audience ◽  
Marketing Model ◽  
Production House

AbstrakFilm independent atau yang lebih akrab disebut dengan film indie secara umum adalah film yang diproduksi di luar major label atau perusahaan/production house (PH) film besar. Karena tidak dipasarkan melalui jalur distributor komersial, maka para sineas film indie harus cerdas dan intuitif dalam mencari peluang-peluang untuk memasarkan karya mereka kepada khalayak luas. Hal inilah yang menarik minat penulis untuk melakukan riset mengenai strategi komunikasi pemasaran film indie Indonesia. Berdasarkan uraian tersebut, maka tujuan dari penelitian ini adalah untuk mengetahui strategi komunikasi pemasaran film indie Indonesia. Teknik wawancara, observasi, studi pustaka dan Focus Group Discussion (FGD) digunakan untuk mengumpulkan data-data riset yang dibutuhkan. Penulis telah melakukan wawancara dan FGD dengan beberapa produser, sutradara dan aktivis/pengkaji film indie di 3 kota besar di Indonesia (Yogyakarta, Jakarta dan Makassar). Hasil riset menunjukkan bahwa mayoritas para sineas film indie di Indonesia menjadikan festival-festival film (baik nasional maupun internasional) sebagai media pemasaran utama bagi karya-karya mereka. Selain menggunakan festival film sebagai ajang promosi, para sineas film indie Indonesia juga menggunakan beberapa media/cara lain, yaitu melalui ruang putar alternatif, media sosial, website yang memasarkan film-film alternatif, digital TV platform, roadshow, dan melalui press screening.Kata Kunci: Film; Indie; Komunikasi; Pemasaran AbstractMarketing Communication Strategy of Indie Film: Marketing Model and Distribution of Indonesia Indie Film. Independent films or more familiarly referred to indie films in general are films produced by non-major label or company/production house (PH). Since it is not marketed through a commercial distributor line, indie filmmakers must be smart and intuitive in searching for opportunities to promote their work to a wide audience. The authors interested to do research on the marketing communication strategy of Indonesia indie films. Based on the description, the purpose of this research in this article is to explore the marketing communication strategy of Indonesia indie films. The authors has conducted interviews and FGDs with several producers, directors and indie film activists/reviewers in three cities in Indonesia (Yogyakarta, Jakarta and Makassar). The research results show that Indonesian’s indie filmmakers utilises film festivals (both national and international) as the main marketing medium for their works. In addition, indie film producers also use alternative media, such as social media, websites, digital TV platforms, roadshows, and through press screening.Keywords: Film; Indie; Communication; Marketing

John Cassavetes

2016 ◽  
Author(s):  
James O'Brien
Keyword(s):  
United States ◽  
The United States ◽  
Cirrhosis Of The Liver ◽  
Film Festival ◽  
Independent Film ◽  
Independent Films ◽  
Comprehensive Listing ◽  
Academy Award ◽  
Studio System ◽  
Number Of Authors

John Cassavetes (b. 1929–d. 1989) was an American actor and filmmaker who wrote, directed, and acted in a catalogue of independent films he made over a forty-year career. Cassavetes directed twelve films—thirteen if one considers Shadows (1958) and Shadows (1959) as distinct works. With a close group of actors and crew, his works often featured Gena Rowlands (b. 1930), Seymour Cassel (b. 1935), Peter Falk (b. 1927–d. 2011), and Ben Gazzara (b. 1930–d. 2012). Despite early praise of Shadows (1958) by writers such as Jonas Mekas, reviewers were often unfavorable, uninterested, and/or unkind to the majority of Cassavetes’s films. Cassavetes won no major awards in the United States, though Rowlands, his chief collaborator and his wife, was nominated for an Academy Award twice, for her performances in his films A Woman Under the Influence (1974) and Gloria (1980). Cassavetes did receive a steady run of accolades near the end of his life. At that point, scholars and critics began to consider his works more expansively in terms of their aesthetics—including oft-cited characteristics of a certain brand of realism, naturalism, and echoes of cinéma vérité. The last three films of his career included two made within the studio system—Gloria (1980) and Big Trouble (1986). Released between these, Love Streams (1984), Cassavetes’s last independent film, was also well received in the United States, and it won first place in the Berlin Film Festival. He died in 1989 of cirrhosis of the liver. For the most part, scholarly writings about the films of John Cassavetes did not appear until the 1980s and 1990s. They have been in large part spearheaded and expanded upon by a small number of authors. Prominent among those writers is Ray Carney. This article began under Carney’s advisorship, and his early input (2011–2012) helped shape its scale and scope. It is not a comprehensive listing and annotation of the writings, but it represents a selection highlighting major trends and directions of response and examination.

Toronto International Film Festival: 10–19 September 1998

1998 ◽  
Vol 2 (1) ◽  
Author(s):  
Marty Fairbairn
Keyword(s):  
Film Festival

Victorian Values

2011 ◽  
Vol 1 (1) ◽  
pp. 36-50 ◽  
Author(s):  
Dinah Birch
Keyword(s):  
John Stuart Mill ◽  
Social Thought ◽  
Economic Downturn ◽  
John Ruskin ◽  
Wide Audience ◽  
Political Economist ◽  
Sensation Novels ◽  
Difficult Times

The contested values associated with the term ‘Victorian’ call for fresh and informed consideration in the light of far-reaching changes brought about by the global economic downturn. Victorian writers engaged with public questions that were often associated with the issues we must now address, and their vigorously contentious responses reflect a drive to influence a wide audience with their ideas. Fiction of the period, including the sensation novels of the 1860s, provide telling examples of these developments in mid-Victorian writing; but non-fictional texts, including those of the philosopher and political economist John Stuart Mill and the critic John Ruskin, also question the foundations of social thought. As they challenged traditional genre boundaries through the innovative forms that emerged across a range of diverse works, many Victorian authors argued for closer links between the discourses of emotion and those of logic. These are difficult times for researchers and critics, but the stringencies we find ourselves confronting can provide opportunities to create connections of the kind that the Victorians chose to make, bringing together different genres of writing and disciplines of thought, and arguing for a more generous understanding of our responsibilities towards each other.

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