標(biāo)題: Titlebook: Chinese Film Festivals; Sites of Translation Chris Berry,Luke Robinson Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 arts. [打印本頁] 作者: Nonchalant 時間: 2025-3-21 16:11
書目名稱Chinese Film Festivals影響因子(影響力)
書目名稱Chinese Film Festivals影響因子(影響力)學(xué)科排名
書目名稱Chinese Film Festivals網(wǎng)絡(luò)公開度
書目名稱Chinese Film Festivals網(wǎng)絡(luò)公開度學(xué)科排名
書目名稱Chinese Film Festivals被引頻次
書目名稱Chinese Film Festivals被引頻次學(xué)科排名
書目名稱Chinese Film Festivals年度引用
書目名稱Chinese Film Festivals年度引用學(xué)科排名
書目名稱Chinese Film Festivals讀者反饋
書目名稱Chinese Film Festivals讀者反饋學(xué)科排名
作者: 豎琴 時間: 2025-3-21 20:14 作者: NIP 時間: 2025-3-22 03:47
https://doi.org/10.1057/978-1-137-55016-3arts; Asia; Asian cinema; Asian culture; China; cinema; culture; directing; film; film and television; film hi作者: 間諜活動 時間: 2025-3-22 06:03 作者: 蚊子 時間: 2025-3-22 09:50
Chinese Film Festivals978-1-137-55016-3Series ISSN 2946-3734 Series E-ISSN 2946-3742 作者: Anecdote 時間: 2025-3-22 12:59 作者: Anecdote 時間: 2025-3-22 17:38
https://doi.org/10.1057/9781137434838 and Shanghai International Film Festivals as case studies. They are starkly different. Hong Kong International Film Festival (HKIFF) started as a local government service aimed at local audiences and has since become an independent organization, only recently launching awards. Shanghai Internationa作者: 輕推 時間: 2025-3-22 23:03 作者: Temporal-Lobe 時間: 2025-3-23 01:53
https://doi.org/10.1007/978-3-031-02266-1film festival culture been translated in Taiwan? Second, how might film festivals function as a cultural broker to enhance the quality of film education and the growth of the local film industry while projecting Taiwan’s cultural values and soft power abroad? This chapter will add to the existing li作者: 言行自由 時間: 2025-3-23 05:51 作者: Amplify 時間: 2025-3-23 10:31
Is There Such a Thing as Too Much Water?,f the Beijing Independent Film Festival (BIFF). The difficulty lies in the lack of a public space where culture and art can develop free from government interference. Flora Lichaa explores the way independent film festivals adapt this model in the face of continued government pressures. The chapter 作者: 矛盾 時間: 2025-3-23 14:19 作者: 誘使 時間: 2025-3-23 18:14
https://doi.org/10.1007/978-1-137-52289-4 and industry constraints. Some serve civic culture in notable ways besides the expansion of cinematic art. This chapter examines two small festivals in Hong Kong: the social movement film festival (smff) and the Chinese Documentary Festival (CDF). Results of field and festival program research indi作者: assent 時間: 2025-3-24 01:41 作者: FICE 時間: 2025-3-24 05:11
Reading and the First World Waraiwan Cinefest and the Chinese Visual Festival, it addresses the role of individual cultural brokers in both establishing transnational festival networks and translating Chinese-language cinema for local audiences. The Cinefest frames the idea of “Taiwanese Cinema” through practices derived from com作者: Ingredient 時間: 2025-3-24 08:40 作者: Entreaty 時間: 2025-3-24 11:42 作者: 使高興 時間: 2025-3-24 15:16 作者: Pillory 時間: 2025-3-24 20:37 作者: 影響 時間: 2025-3-25 02:24
Shafquat Towheed,Edmund G. C. King of the role of film festivals in promoting public cultures and public debate. This chapter looks at the Hong Kong Asian Film Festival (HKAFF) as a case study of how activist practices of screen selection, competition, and mediation have helped to foster new identities and social imaginaries that tr作者: ostensible 時間: 2025-3-25 06:35
https://doi.org/10.1057/9780230101265 by different people, including fans of Chinese/Asian cinema in the West, Asian Americans and Chinese from the People’s Republic of China (PRC). The three festivals illuminate how Chinese cinema, which is already heterogeneous and diverse, embodies different meanings for varied stakeholders—festival作者: Confound 時間: 2025-3-25 07:36 作者: Gratuitous 時間: 2025-3-25 15:40
Shanghai and Hong Kong: A Tale of Two Festivals and Shanghai International Film Festivals as case studies. They are starkly different. Hong Kong International Film Festival (HKIFF) started as a local government service aimed at local audiences and has since become an independent organization, only recently launching awards. Shanghai Internationa作者: Adornment 時間: 2025-3-25 18:40 作者: 欲望 時間: 2025-3-25 23:33
Culture Translation Between “Local” and “International”: The Golden Harvest Award in Taiwanfilm festival culture been translated in Taiwan? Second, how might film festivals function as a cultural broker to enhance the quality of film education and the growth of the local film industry while projecting Taiwan’s cultural values and soft power abroad? This chapter will add to the existing li作者: Innocence 時間: 2025-3-26 02:27 作者: 愛管閑事 時間: 2025-3-26 06:30 作者: Erythropoietin 時間: 2025-3-26 09:09 作者: CAMP 時間: 2025-3-26 12:48
What Can Small Festivals Do? Toward Film Festivals as Testimony to Expanded Civic Engagement in Post and industry constraints. Some serve civic culture in notable ways besides the expansion of cinematic art. This chapter examines two small festivals in Hong Kong: the social movement film festival (smff) and the Chinese Documentary Festival (CDF). Results of field and festival program research indi作者: 諷刺滑稽戲劇 時間: 2025-3-26 19:48 作者: 遭遇 時間: 2025-3-26 21:13
Sole Traders, Cultural Brokers, and Chinese-Language Film Festivals in the United Kingdom: The Londoaiwan Cinefest and the Chinese Visual Festival, it addresses the role of individual cultural brokers in both establishing transnational festival networks and translating Chinese-language cinema for local audiences. The Cinefest frames the idea of “Taiwanese Cinema” through practices derived from com作者: idiopathic 時間: 2025-3-27 04:59 作者: 橫條 時間: 2025-3-27 06:54 作者: 抗體 時間: 2025-3-27 10:02
Clara Law’s ,: The Hong Kong International Film Festival and the Cultural Politics of the Sponsored anion to the feature. The chapter uses . to explore the various ways Chinese film festivals pair up with established auteurs to produce shorts, circulate them in various international festivals, exhibit them online, and exploit them for publicity. It concludes by using this case to expand the defini作者: 情愛 時間: 2025-3-27 15:41
Rural Films in an Urban Festival: Community Media and Cultural Translation at the Yunnan Multi Cultun China. Yunfest’s Participatory Visual Education (PVE) program, which featured rural community media and documentaries as part of the festival over its ten year run, enabled rural filmmakers to show their work to an audience and participate in the festival experience. Thus, as this chapter argues, 作者: habile 時間: 2025-3-27 20:35
Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hon of the role of film festivals in promoting public cultures and public debate. This chapter looks at the Hong Kong Asian Film Festival (HKAFF) as a case study of how activist practices of screen selection, competition, and mediation have helped to foster new identities and social imaginaries that tr作者: GLIDE 時間: 2025-3-28 01:41 作者: Shuttle 時間: 2025-3-28 04:45
Book 2017vals function as sites of translation, translating Chinese culture to the world and world culture to Chinese-speaking audiences, and also how the international film festival model is being transformed as it is translated into the Chinese-speaking world..作者: prick-test 時間: 2025-3-28 08:48 作者: 異端邪說下 時間: 2025-3-28 12:00
Reading and Writing the Electronic Bookh the lens of an intangible asset such as reputational capital, the author tackles the strategy and the impact of such a large-scale event both in relation to the domestic market and the international film festival scene.作者: 修正案 時間: 2025-3-28 14:47
https://doi.org/10.1007/978-3-031-02266-1terature on film festivals a less noticed geographical area of research—Taiwan—while at the same time injecting into the study of Taiwan cinema a new aspect of enquiry on the local and international dynamics of film festivals.作者: MEEK 時間: 2025-3-28 19:24 作者: 努力趕上 時間: 2025-3-29 01:29 作者: dendrites 時間: 2025-3-29 06:03 作者: pus840 時間: 2025-3-29 08:26 作者: CAMEO 時間: 2025-3-29 13:34
2946-3734 culture to Chinese-speaking audiences, and also how the international film festival model is being transformed as it is translated into the Chinese-speaking world..978-1-137-55016-3Series ISSN 2946-3734 Series E-ISSN 2946-3742 作者: FEIGN 時間: 2025-3-29 18:48 作者: Mawkish 時間: 2025-3-29 22:46
Shanghai and Hong Kong: A Tale of Two Festivalsized in different ways. However, the differences between HKIFF and SIFF indicate that this localization cannot be put down to “Chineseness” but must be related to more complex and specific, and in this case municipal, local cultures within the Chinese-language world.作者: 貿(mào)易 時間: 2025-3-30 00:54
2946-3734 orld.Explores how Chinese film festivals influence the globa.This book is the first anthology of research devoted to the booming world of Chinese film festivals, covering both mainstream and independent films. It also explores festivals in the Chinese-speaking world and festivals of Chinese films in作者: 暗諷 時間: 2025-3-30 05:17 作者: Genteel 時間: 2025-3-30 09:47
The Future of the Reading Body,nghai. The chapter concludes that the Tudou Video Festival is seeking to develop innovate models of operation, and identifies a need for film and media historians to acknowledge and account for the corporate presence in the organization of festivals.作者: Magisterial 時間: 2025-3-30 16:01
https://doi.org/10.1007/978-1-137-52289-4icipation-based activities. Both attest to a sharpened valuation of freedom and cosmopolitical public expression in Sinophone civic culture. Evidence of the latter has appeared in the nonviolent dissent and communitarian ethos of Hong Kong Umbrella Movement in September–October of 2014.作者: 打火石 時間: 2025-3-30 18:16
Shafquat Towheed,Edmund G. C. Kingf independent film criticism, they argue that Chinese independent film festivals have created an alternative public sphere in a restricted social environment, effectively sustaining the seemingly unsustainable independent film circle.作者: Mediocre 時間: 2025-3-30 22:18
Reading and the First World Wargical practices. This provides insight not only into the movement of Chinese-language cinema between the Asia Pacific and the UK, but also into the role of particular individuals, and not simply structures, in shaping how film festivals operate in specific local contexts.作者: 清澈 時間: 2025-3-31 04:06 作者: 連鎖 時間: 2025-3-31 06:36
Reading and the First World Warl programming, this chapter also draws attention to how each festival translates, modifies, and strategizes certain trend-setting frameworks and norms for film selection and scheduling of the global festival network in order to enhance its competitive edge regionally and globally.
