Film Festivals (original) (raw)
内容简介 · · · · · ·
The film festival has come a long way from its relatively humble origins in Venice in 1932—when nine nations presented twenty-five feature films screened in an open-air cinema where men had to adhere to standards of formal evening attire. Hugely popular events that attract diverse lovers of cinema worldwide, today’s most famous film festivals—Cannes, Berlin, Venice, and Rotterd...
The film festival has come a long way from its relatively humble origins in Venice in 1932—when nine nations presented twenty-five feature films screened in an open-air cinema where men had to adhere to standards of formal evening attire. Hugely popular events that attract diverse lovers of cinema worldwide, today’s most famous film festivals—Cannes, Berlin, Venice, and Rotterdam—continue the story of a phenomenon that began in the midst of geopolitical disputes in war-torn Europe. Film Festivals shows how these festivals turned impediments into advantages and developed a successful global network that addresses issues as diverse as programming and prizes, national legitimation, city marketing, cinephilia, glamour, and audience. Discussing the festival as a media event and looking closer at various festival visitors, this volume also questions whether “successful” is in fact the appropriate term for understanding developments that could be considered dogmatic in their insistence on framing filmmakers as auteurs and films as belonging to “new waves.” An essential title for everyone interested in the culture, politics, and history that surround the celebration of cinema, Film Festivals proves that the movies are still our greatest—and most fêted—escape
作者简介 · · · · · ·
Marijke de Valck studied Theatre, Film and Television Studies at Utrecht University. She graduated cum laude with a thesis on transmedial storytelling in film, television and new media. After having worked two years for an internet company, she joined the University of Amsterdam to conduct her Ph.D. on international film festivals, which she completed cum laude in 2006. Afterwa...
Marijke de Valck studied Theatre, Film and Television Studies at Utrecht University. She graduated cum laude with a thesis on transmedial storytelling in film, television and new media. After having worked two years for an internet company, she joined the University of Amsterdam to conduct her Ph.D. on international film festivals, which she completed cum laude in 2006. Afterwards she taught courses in the film programme and the MA programme Preservation and Presentation of the Moving Image at UvA, while working on a CMI-studies (communication, media and information) project for the Royal Netherlands Academy of Arts and Sciences. Marijke now works as an assistant professor in the department of Media Studies.
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0 有用 Huiii 2023-03-30 21:14:03 北京
算是十分难得也全面的电影节研究，读的时候不断勾连自己作为电影节参与者（影人与观众）的经验。从成书到现在的十几年间，作者提出的一些基本观察，如festival circuit的内部时间轴和权力关系，平行单元、精准化受众，媒体构造的buzz与“艺术”标准的并置，都不过时，甚至更成为电影节文化中根深蒂固的一部分。甚为有趣，而遗憾作者并未充分展开的，是所谓experience economy的概念，即作为... 算是十分难得也全面的电影节研究，读的时候不断勾连自己作为电影节参与者（影人与观众）的经验。从成书到现在的十几年间，作者提出的一些基本观察，如festival circuit的内部时间轴和权力关系，平行单元、精准化受众，媒体构造的buzz与“艺术”标准的并置，都不过时，甚至更成为电影节文化中根深蒂固的一部分。甚为有趣，而遗憾作者并未充分展开的，是所谓experience economy的概念，即作为一种“经历”甚至“深度参与”的文化消费在有闲阶级年轻人中巨大的吸引力——实在是太可以用来反观当下趋势了。但作者整体的理论构建，尤其是核心的ANT，显得力道不足，并未在现象观察的基础上提供更多的构建：许多理论陈述，并未与对象拉开足够的学术距离，实际上只需要亲身体验一些电影节，并不难得到类似的结论。 (展开)