標(biāo)題: Titlebook: Documentary Film Festivals Vol. 2; Changes, Challenges, Aida Vallejo,Ezra Winton Book 2020 The Editor(s) (if applicable) and The Author(s), [打印本頁(yè)] 作者: KEN 時(shí)間: 2025-3-21 16:35
書(shū)目名稱Documentary Film Festivals Vol. 2影響因子(影響力)
書(shū)目名稱Documentary Film Festivals Vol. 2影響因子(影響力)學(xué)科排名
書(shū)目名稱Documentary Film Festivals Vol. 2網(wǎng)絡(luò)公開(kāi)度
書(shū)目名稱Documentary Film Festivals Vol. 2網(wǎng)絡(luò)公開(kāi)度學(xué)科排名
書(shū)目名稱Documentary Film Festivals Vol. 2被引頻次
書(shū)目名稱Documentary Film Festivals Vol. 2被引頻次學(xué)科排名
書(shū)目名稱Documentary Film Festivals Vol. 2年度引用
書(shū)目名稱Documentary Film Festivals Vol. 2年度引用學(xué)科排名
書(shū)目名稱Documentary Film Festivals Vol. 2讀者反饋
書(shū)目名稱Documentary Film Festivals Vol. 2讀者反饋學(xué)科排名
作者: Original 時(shí)間: 2025-3-21 23:47 作者: CUR 時(shí)間: 2025-3-22 00:53
Introduction to Part II, Vol. 2: Professional Perspectiveswork” to readers. It presents concepts that are tacitly explored in the interviews that follow and make up this section of Volume 2. In particular the introduction familiarizes readers with interviewing as knowledge production and the experience of art and truth.作者: Palliation 時(shí)間: 2025-3-22 06:59
Notes on Disenchantment: A Conversation with Amir Al-Emary, Former Director of the Ismailia Internatal based in Egypt. The discussion includes (but is not limited to) topics of cultural politics, the development of national cinemas, democracy, freedom of expression, the Arab Spring and social movements.作者: Asymptomatic 時(shí)間: 2025-3-22 10:59 作者: 浪費(fèi)物質(zhì) 時(shí)間: 2025-3-22 14:27 作者: 浪費(fèi)物質(zhì) 時(shí)間: 2025-3-22 18:45 作者: ADAGE 時(shí)間: 2025-3-22 21:28
https://doi.org/10.1057/9780230591905al based in Egypt. The discussion includes (but is not limited to) topics of cultural politics, the development of national cinemas, democracy, freedom of expression, the Arab Spring and social movements.作者: HEW 時(shí)間: 2025-3-23 05:03 作者: 有角 時(shí)間: 2025-3-23 07:37
https://doi.org/10.1057/9781137506863ing policies at documentary festivals, with a special focus on production and distribution. Firstly, we articulate a definition of the documentary festival. Drawing concepts?developed by Bill Nichols, we elaborate on the discussion started in the introduction of our first volume (where we look at ep作者: anatomical 時(shí)間: 2025-3-23 10:26 作者: invulnerable 時(shí)間: 2025-3-23 14:11
Italian and Italian American Studiestudy of their presence in the festival program. These pitching forums, markets, workshops, industry talks and networking events extend the festival’s influence in film promotion towards production and commercial distribution, expanding the classic role of festivals as exhibition sites. I analyse the作者: 寬敞 時(shí)間: 2025-3-23 20:41
Interdisciplinary Studies in Human Rightsnal recognition as a result of both national and international trends. Conditions in Chile have changed in such a way as to facilitate the production of a diversity of documentary films. Moreover, international film festivals and markets have played a major role in both the production and circulatio作者: Ballad 時(shí)間: 2025-3-23 23:28
Interdisciplinary Studies in Human Rightsduction and distribution, festival screenings, and the discursive framings with which the screened films are positioned in festival programs. These areas of inquiry align with the argument that film festivals participate in the cultural restructuring of Europe during the post-1989 transition period.作者: CROAK 時(shí)間: 2025-3-24 03:10 作者: 憤慨一下 時(shí)間: 2025-3-24 08:33 作者: 教義 時(shí)間: 2025-3-24 14:32 作者: 天真 時(shí)間: 2025-3-24 17:10
Transnational Identities and the Mediaares his memories and concerns about the festival organization, archival practices and programming policies. Having collaborated with the festival from the 1970s, del Río reflects on the difficulties that institutional restrictions involved for adapting to global trends, including the feature-docume作者: 委派 時(shí)間: 2025-3-24 20:16
Transnational Islam and the Internetestivals focused on documentary filmmaking are so important in many African contexts: to connect Africans to their rich, diverse histories and contemporary experiences, which may not have previously been documented in reproducible and durable forms; and to provide African film fans with far more div作者: 小蟲(chóng) 時(shí)間: 2025-3-25 02:27
https://doi.org/10.1057/9780230591905al based in Egypt. The discussion includes (but is not limited to) topics of cultural politics, the development of national cinemas, democracy, freedom of expression, the Arab Spring and social movements.作者: hauteur 時(shí)間: 2025-3-25 05:03 作者: 條約 時(shí)間: 2025-3-25 08:14 作者: Traumatic-Grief 時(shí)間: 2025-3-25 14:43
https://doi.org/10.1057/9781137319159 the influences of the broadcasters, their largest funding source. In this interview,?Thierry Garrel, who stood at the foundation of the Franco-German public service broadcaster ARTE?in the early?’90s, discusses the needs of the public broadcaster and the role of documentary festivals in film curati作者: considerable 時(shí)間: 2025-3-25 18:52
https://doi.org/10.1057/9781137319159reated by an alliance of European documentary festivals. The discussion touches on topics of festival collaboration, curation, submission procedures, the festival circuit, distribution, TV broadcasting, online circulation, regionalism, event platforms, festival competitions and premieres, film acces作者: BLINK 時(shí)間: 2025-3-25 21:57
https://doi.org/10.1007/978-3-030-17324-1Documentary Film; Film Festivals; Global Cinema; Documentary Festival Circuit; Film Festival Organizatio作者: 雜色 時(shí)間: 2025-3-26 03:12
978-3-030-17326-5The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl作者: ANTE 時(shí)間: 2025-3-26 06:21
2946-3734 professionals who have intimate knowledge of the festival ci.This book provides the first comprehensive overview of the global landscape of documentary film festivals, looking at its contemporary and future challenges. Contributors from across the globe reflect on how documentary has positioned itse作者: CAB 時(shí)間: 2025-3-26 09:02
Interdisciplinary Studies in Human Rightseas of inquiry align with the argument that film festivals participate in the cultural restructuring of Europe during the post-1989 transition period. Through original data sets, the chapter offers pioneering insight into the developing relationship between Northeastern Europe and documentary film festivals.作者: 調(diào)色板 時(shí)間: 2025-3-26 16:12
https://doi.org/10.1057/9781137319159l for Documentary and Animated Film Leipzig (DOK). She is also head of the documentary competition at Sarajevo Film Festival (SFF) and is co-founder and co-organiser of the Eastern Neighbours Film Festival (ENFF) in The Hague. In this interview she reflects on programming, selection and funding within the documentary festival sphere.作者: 無(wú)法解釋 時(shí)間: 2025-3-26 19:12
https://doi.org/10.1057/9781137319159carnations, institutional contexts, pedagogical models, pitch sessions, crowdfunding and standardisation.?Tealdi recounts his experience as a Documentary Campus executive, reflects on the importance of training workshops for documentary filmmakers and recounts the outcomes that these workshops develop for producing new films.作者: 談判 時(shí)間: 2025-3-26 23:30
https://doi.org/10.1057/9781137319159the festival circuit, distribution, TV broadcasting, online circulation, regionalism, event platforms, festival competitions and premieres, film access, funding schemes, industry developments and economically sustainable business models for documentary distribution in the age of the Internet.作者: Flounder 時(shí)間: 2025-3-27 02:15 作者: COWER 時(shí)間: 2025-3-27 08:55 作者: malign 時(shí)間: 2025-3-27 09:50 作者: Colonoscopy 時(shí)間: 2025-3-27 14:24
Transnational Identities and the Mediacultural environment—created in the shadow of the San Sebastian International Film Festival, and coexisting with younger documentary festivals in Spain—he analyses the multi-layered identity of Zinebi, historically focused on the promotion of Basque, Spanish and Latin American filmmakers.作者: CLAIM 時(shí)間: 2025-3-27 19:15 作者: 沒(méi)收 時(shí)間: 2025-3-28 01:59 作者: LUDE 時(shí)間: 2025-3-28 02:05 作者: Fulminate 時(shí)間: 2025-3-28 09:00 作者: emission 時(shí)間: 2025-3-28 12:25
Book 2020llenges. Contributors from across the globe reflect on how documentary has positioned itself within both internationally renowned and more alternative festivals, including IDFA (Netherlands), Cannes IFF (France), Sheffield Doc/Fest (UK), Dockanema (Mozambique), Ismailia (Egypt) and Zinebi (Basque Co作者: hemoglobin 時(shí)間: 2025-3-28 18:29
Introduction to Part I, Vol. 2: Changes and Challenges for Documentary and Film Festivals hierarchies), and new technologies and aesthetics (and the curatorial role of festivals in promoting them). We focus on three different agents operating on the festival circuit: festivals, professionals and films, introducing key aspects further discussed through the chapters included in this section.作者: EVEN 時(shí)間: 2025-3-28 19:54 作者: 輕浮思想 時(shí)間: 2025-3-29 02:36 作者: AXIS 時(shí)間: 2025-3-29 06:48 作者: 辯論的終結(jié) 時(shí)間: 2025-3-29 08:38 作者: boisterous 時(shí)間: 2025-3-29 14:21
Selecting Films for Festivals and Documentary Funds: An Interview with Independent Film Programmer al for Documentary and Animated Film Leipzig (DOK). She is also head of the documentary competition at Sarajevo Film Festival (SFF) and is co-founder and co-organiser of the Eastern Neighbours Film Festival (ENFF) in The Hague. In this interview she reflects on programming, selection and funding within the documentary festival sphere.作者: Licentious 時(shí)間: 2025-3-29 16:29 作者: aplomb 時(shí)間: 2025-3-29 19:58 作者: 花束 時(shí)間: 2025-3-30 01:03 作者: ordain 時(shí)間: 2025-3-30 04:13
Interdisciplinary Studies in Human Rightsill provide an overview of the film festival as it relates to documentary, interactivity and transmedia. Specifically, it will describe and analyze how several film festivals are currently including contemporary interactive documentaries in their programs without sacrificing their traditional event-experience for their audiences.作者: ambivalence 時(shí)間: 2025-3-30 09:20
https://doi.org/10.1057/9780230277472entaries to parallel sections. The study retraces documentary films screened in the festival in order to explore how many and what kind of documentaries are usually programmed at Cannes, in which sections, and which guidelines for including or not including a documentary are in the Official competition.作者: GULLY 時(shí)間: 2025-3-30 13:25 作者: Aphorism 時(shí)間: 2025-3-30 17:56
,Introduction—Volume 2: Documentary Film Festivals: Changes, Challenges, Professional Perspectives,ing policies at documentary festivals, with a special focus on production and distribution. Firstly, we articulate a definition of the documentary festival. Drawing concepts?developed by Bill Nichols, we elaborate on the discussion started in the introduction of our first volume (where we look at ep作者: Devastate 時(shí)間: 2025-3-30 23:52 作者: 捐助 時(shí)間: 2025-3-31 01:07
IDFA’s Industry Model: Fostering Global Documentary Production and Distributiontudy of their presence in the festival program. These pitching forums, markets, workshops, industry talks and networking events extend the festival’s influence in film promotion towards production and commercial distribution, expanding the classic role of festivals as exhibition sites. I analyse the作者: 相互影響 時(shí)間: 2025-3-31 07:30
Connecting and Sharing Experiences: Chilean Documentary Film Professionals at the Film Festival Circnal recognition as a result of both national and international trends. Conditions in Chile have changed in such a way as to facilitate the production of a diversity of documentary films. Moreover, international film festivals and markets have played a major role in both the production and circulatio作者: anus928 時(shí)間: 2025-3-31 09:25 作者: 泛濫 時(shí)間: 2025-3-31 13:47 作者: defendant 時(shí)間: 2025-3-31 21:25
