scholarly journals Cultural Diplomacy on International Film Festivals, during the unprecedented year of 2020.

2021 ◽  
Vol 19 (43) ◽  
pp. 208-228
Author(s):  
Manuela Fetter Nicoletti ◽  
João Guilherme Barone Reis e Silva
Keyword(s):  
Power Relations ◽  
Cultural Diplomacy ◽  
Symbolic Power ◽  
Film Festival ◽  
Film Festivals ◽  
Global Community ◽  
Theoretical Concepts ◽  
Global Pandemic ◽  
Data Record ◽  
Contemporary Practice

Against the countless cancellations of cultural events around the globe, the dynamics of the film festival circuit and its representations took on new courses and different perspectives. About these symbolic power relations, the article dives into a brief data record, on the performance and possible adaptations upon the organization of film festivals, during the year 2020, and throughout the global pandemic, that exponentiated the digitization of some structuring processes on international cinematographic circulation. Ultimately, it adds notions of cultural diplomacy to international film festivals. In order to transpose theoretical concepts to contemporary practice and verify, in this way, the influences and consequences of virtualization to the subjectivities and significance of diplomacy and otherness upon interconnected identities in the current global community.

scholarly journals Notes on Corpoliteracy: Bodies in Post-digital Educational Contexts

2021 ◽  
pp. 167-182
Author(s):  
Gila Kolb
Keyword(s):  
Learning Environments ◽  
Teaching Practices ◽  
Power Relations ◽  
Teaching And Learning ◽  
Digital Art ◽  
Digital Learning ◽  
Conceptions Of Learning ◽  
Global Pandemic ◽  
Art Teaching ◽  
Digital Learning Environments

AbstractThis chapter demonstrates the potential to challenge power relations, and reconsider teaching practices and conceptions of learning bodies. How do bodies in a digital learning setting perform are read and observed? How they can be included in learning settings? Since teaching and learning increasingly take part in digital learning environments, especially since the outbreak of the COVID-19 global pandemic, digital art teaching needs rethinking toward the knowledge of learning bodies and of the perception of learning in the digital realm: a digital corpoliteracy.

Elsewhere: The Last Circus

2020 ◽  
Vol 74 (1) ◽  
pp. 84-87
Author(s):  
Bilal Qureshi
Keyword(s):  
Social Order ◽  
Documentary Film ◽  
Small Scale ◽  
Film Festival ◽  
Film Festivals ◽  
Collective Experience ◽  
Regional Location ◽  
True False ◽  
Falling In Love

FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.

Absence, Ambiguity, and Deviating Pleasure Activism: The Tokyo Rainbow Film Festival

2019 ◽  
Vol 23 (1) ◽  
pp. 23-36
Author(s):  
Qin QIN
Keyword(s):  
Organizational Studies ◽  
Methodological Framework ◽  
Film Festival ◽  
Film Festivals ◽  
Two Factors ◽  
Diachronic Study ◽  
Historical Trajectory ◽  
A Site ◽  
Shed Light

Abstract Whereas several Japanese popular magazines have published reports and interviews on LGBT film festival curators, little scholarship has shed light on Japanese LGBT film festivals. This article serves as a case study of how the festival enables the festival community—cinephiles, LGBT audiences, organized groups of activists, and indie filmmakers—to share ideas and coordinate within and outside the metropolis. I conduct a synchronic and diachronic study to sketch the historical trajectory of the festivalgoers, material spaces, festival formation, curation, and programming. In utilizing a methodological framework which includes geopolitics, gender, film, and organizational studies, this article proposes an approach that juxtaposes the classic concept of ‘counterpublics’ with the theoretical reading of affective politics and pleasure activism. The findings suggest that the Tokyo Rainbow Reel Film Festival functions as a site of discursive political stances and affective disposition. The ambiguity of the film festival space correlates closely with two factors: Japanese homophobia, or ‘the absence of LGBT’, and an unorthodox pleasure activism that does not include suffering and oppression.

Culture as display revisited

2020 ◽  
pp. 136787792093879
Author(s):  
Kristina Karvelyte
Keyword(s):  
Cultural Policy ◽  
Political Power ◽  
The State ◽  
Global Capitalism ◽  
Symbolic Power ◽  
Film Festivals ◽  
Critical Inquiry ◽  
The Arts ◽  
Raymond Williams ◽  
State Relations

In this article, I revisit Raymond Williams’ idea of culture as display, which he developed to describe a particular moment in culture–state relations: the use of culture and the arts in celebration, embellishment and strengthening of the economic and political power of the state. Jim McGuigan applied this concept to contemporary national cultural policy, emphasizing the significance of display under global capitalism. Besides this notable attempt, Williams’ idea of culture as ‘display’ has never received the attention it deserves. The main purpose of this article is to advance the understanding of ‘display’ by considering its place within the context of urban cultural policy. A critical inquiry into the roles of arts and film festivals helps to dissect different instrumental layers of urban display practices and to capture the ‘symbolic power’ of display. This, in turn, contributes to a more comprehensive conceptualization of globalized urban festivals.

scholarly journals UNVEIL THE DAY OF DISCOURSE ON THE USE OF TRADITIONAL BALINESE CLOTHING FOR ASN IN THE PROVINCIAL GOVERNMENT OF BALI

2019 ◽  
pp. 26
Author(s):  
Desak Putu Andi Suarmini ◽  
I Nyoman Suarka ◽  
I Nyoman Sukiada
Keyword(s):  
Social Practice ◽  
Power Relations ◽  
Practice Theory ◽  
Qualitative Approach ◽  
Power Relation ◽  
Provincial Government ◽  
Social Classes ◽  
Symbolic Power ◽  
Social Practice Theory ◽  
Cultural Hybridization

This study aims to uncover the form of power relations and the implications of the discourse on the use of traditional Balinese clothing for the State Civil Apparatus (ASN) in the Provincial Government of Bali. The rules on the use of traditional Balinese clothes for the ASN Bali Provincial Government are the implementation of the policy of the Governor of Bali Wayan Koster at the beginning of his leadership period and has been set forth in the Governor Regulation No. 79 of 2018 concerning the Day of the Use of Customary Bali Clothing. The study uses the scientific foundation of Cultural Studies with a qualitative approach. Two theories used in this research are the theory of power and knowledge relations and social practice theory. These two theories are collaboratively used to uncover the power relation forms and the implications of the discourse on the use of traditional Balinese clothes for ASN within the Provincial Government of Bali. The study revealed the form of power relations in the day-to-day discourse on the use of traditional Balinese clothes for ASN in the Provincial Government of Bali, namely governmentality in the form of regulations aimed at making the application of Balinese customary dress rules effective. Another form of power relation is the hegemonic ideology that is by utilizing the myths of Balinese traditional clothing and symbolic power relations using meaningful symbols. The results also revealed that the discourse on the use of Balinese traditional clothing for ASN in the Environment of the Provincial Government of Bali has implications for the representation of social classes marked by the desire of a group of ASN to differentiate themselves by adding accessories to the traditional clothes they wear. Another implication is consumerism among ASNs, where their desire engine is motivated to add custom clothing collections to the office beyond what they actually need. The application of traditional Balinese dress rules for the Bali Provincial Government ASN also gives rise to what is called cultural hybridization.  Keywords: discourse, Balinese traditional clothing, State Civil Apparatus

The rise of experimental film festivals in India

2019 ◽  
Vol 10 (1) ◽  
pp. 7-22
Author(s):  
Gauri Nori
Keyword(s):  
Case Studies ◽  
Experimental Film ◽  
Film Festival ◽  
Film Festivals ◽  
Moving Image ◽  
Cultural Organizations ◽  
Medium Section

Abstract This article will examine the emergence of independent platforms to screen radical and alternative cinema in India by tracing two case-studies: Experimenta, a biannual festival curated by Shai Heredia, and The New Medium section curated by Shaina Anand. While Experimenta has remained largely independent, relying on the support of established artists and cultural organizations, The New Medium section has managed to secure its place within the programme of the MAMI Mumbai Film Festival (MFF). Although their approach may differ, both curators are committed to promoting a culture of moving image experimentation in the country. Drawing on first-hand observations, interviews and scrutinizing festival ephemera, this article aims to identify the curatorial practices and strategies that have established these alternative film festivals both within the international film festival network and the larger film community in the country.

scholarly journals 1st Transylvanian International Film Festival in Cluj, Romania

2002 ◽  
Author(s):  
Ron Holloway
Keyword(s):  
Bram Stoker ◽  
Film Festival ◽  
Film Festivals ◽  
13Th Century ◽  
Ancient Times ◽  
The City ◽  
Musical Accompaniment

Other first film festivals should have it so good. Every guest arriving from abroad to attend the First Transylvanian International Film Festival (3-9 June 2002) in the Romanian city of Cluj (formerly Klausenburg) asked the same question: "Where's Dracula's castle, and how can I get there?" To which Tudor Giurgiu, the festival's founder-director, responded with an same amused grin: "Stay around until closing night: we're screening Murnau's Nosferatu to musical accompaniment!" Just another way of saying that no less than four castles lay claim to Dracula's hideout. "Probably Bram Stoker meant the castle in Sighisoara (formerly Schässburg)," said one informed source. "Schässburg is a 13th-century museum town, only an hour's drive away."Forget Dracula's castle on your first visit to Cluj-Napoca, inhabited by the Dacians in ancient times and founded by the Romans in the 2nd century. The city with the most moviegoers in Romania, Cluj (formerly part of Austria-Hungary) has academies...

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