Más allá del recinto: el rol del audiovisual digital en el mantenimiento y la reconstrucción de la experiencia del festival de música (original) (raw)
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Methodological Approaches to the Study of Film Festivals
Rebeca. Revista Brasileira de Estudos de Cinema e Audiovisual, 2021
Note: this is an automatic translation of the original article published in Spanish. Please, quote the original: Peirano-Olate, María Paz y Aida Vallejo Vallejo (2021) “El estudio de festivales de cine: aproximaciones metodológicas”. Rebeca. Revista Brasileira de Estudos de Cinema e Audiovisual, 10(2), 21-46. (Open Access) https://doi.org/10.22475/rebeca.v10n2.821 Since its origins, the study of film festivals has been defined by its interdisciplinary nature. This article presents a review of the different fields and methodologies (both qualitative and quantitative) developed by Film Festivals Studies, with a specific focus on Iberoamerica. We will look at various aspects of film festivals, taking into account their dual nature as ephemeral and recurring events, local and global, physical and virtual. Firstly, we will look at the past of the festivals, and the possibilities of archival work, interviews and chronological reconstruction for their study. Secondly, we will focus on their present, analyzing various methods of data collection, analysis, and presentation, including cartographies, ethnographic methods, surveys and statistics, content analysis, and film analysis. Finally, we will address the future of film festivals, with studies that aspire to predict their possible long-term development and evolution through the analysis of patterns and recurring elements, such as the circulation of films, the creation of professional networks or their economic impact. Keywords: film festivals, methodology, interdisciplinary research
Festivalisation of cultural production
The growth in arts festivals that has taken place since the 1990s has changed the structure of the cultural market place. Based on interviews and discussions with festival directors and arts producers, participant observation as a producer and audience member, primarily in the UK, together with examples from the literature, this paper explores the question of whether festival aesthetics and the particularities of festival production and exhibition are changing the nature of the work that is being produced in response to festivalisation. It identifies a number of dimensions of the festival experience, commissioning, spectacularisation, thematic programming, immersion and participation, that are increasingly prevalent in the performing and visual arts being produced for non-festival settings. This festivalisation of culture poses new challenges and offers different opportunities to artists, producers and audiences to make innovative kinds of work that wouldn't have been possible within the hitherto standard production models.
Film Festivals as Aesthetic Experiences: Theories of Affect and the Collective
Zenodo (CERN European Organization for Nuclear Research), 2023
Film festivals may be distinguished by virtue of their collectively felt atmospheres, and, while oscillating between uniqueness and the generic, they equally provide and require specific moods. Characterized by an intense schedule of film projections as well as observing the elongation of the cinematic by way of meeting and celebrating film-makers, film festival phenomena comprise several elements which play into their atmospheres. The author argues that tracing the becoming of those elements draws us closer to the role of film festivals as well as to our experience thereof. Breaking down the complexity of the film festivals is effected by drawing on similarities with art exhibitions. Drawing on the argument that their
Contingency, time, and event: An archaeological approach to the film festival
The argument proposed here is that an analysis of time as it is manifested by the film festival illuminates both the particularity of the festival's structure and the continuation of its appeal. Equally, through the study of a film festival as a model or figural form we are able to comprehend our contemporary experience of time as it has mutated from a regulated clock-time of the early twentieth century to a more amorphic modality at the beginning of the twenty-first century. In summary, at cinema's inception over a century ago the populace encountered a new temporal regime that forced them to inhabit life as a series of units designated by schedules and conforming to standardized timetables. Cinema famously played it both ways, colluding with the uniformity of an increasingly mass culture in its roll-out of repetitive exhibition programs, but it also broke with the demanding nature of working life in the provision of a new spectacular culture of distraction. If factory life meant clocking in, cinema culture equaled release from duty. If we travel forward 100 years, the patterns of life and the experience of time have radically changed in a climate of deregulation and deinstitutionalization. Both work and leisure (including film viewing) in the process of relocating to the home have become mixed up and overlapping. The collective nature of film viewing is all but lost as film is dispersed across technological forms, locations, and times. In short, the dominant concept of time at the beginning of this century is one of distributed nonalignment. The film festival, however, operates a temporality that runs counter to the deregulated environment in which it exists. To a certain extent this argument runs counter to the paradigmatic features of the film festival as they have been established in a growing body of scholarship that identifies its effectiveness and appeal through spatial terms (De Valck 2007; De Valck and Loist 2009). It is useful to enumerate the most prominent of these at the beginning. First, film festivals provide for film cultures that would otherwise remain marginalized by a dominant, high-budget cinema. These " alternative " films may be minority language, or they may focus on identitarian politics, or they may locate themselves within a minority aesthetic such as cult cinemas. Second, collectively festivals operate routes of distribution where each autonomous site also belongs to a series of nodes that 659_04b_Film Festivals.indd 69 2/12/15 15:06:31
The festivalization of live music
2020
Live music has moved center stage in the contemporary music industries. While the music business in general has been severely hit in the last decades by the effects of digitalization, resulting in the plummeting revenues from recorded music, recovery has set in slowly but gradually since the turn of the century. This recovery came from two developments. The first was the newly found profitability of digital sales and streaming of recordings, which has taken some time to develop into a viable business model. The second came from another segment of the music industries: live music. According to Naveed et al (2017) the revenues from live performances account for the majority of the overall revenues of the music industries between 2010 and 2015 (Naveed, Watanabe & Neittaanmaki 2017). Consultancy firm Ernst & Young (EY 2014) likewise showed in 2012 that across the EU, half the revenues of the music industries was from live music. While we are certainly not the first to signal this trend (Frith 2007; Holt 2010; Mortimer, Nosko & Sorensen 2012), it indicates how crucial live music performance has become for the business models of the music industries (Mazierska, Gillon & Rigg 2020; Williamson & Cloonan 2007). It is critical to ask who has benefited from this development and how it affects the music business as an institution, but also the practices of musicians and bands. Recent research suggests that it is mainly the 1 Erik Hitters is Associate Professor of Media and Cultural Industries in the Department of Media & Communication of Erasmus University Rotterdam. He has co-founded and is managing director of ERMeCC, the Erasmus Research Centre for Media, Communication and Culture. He lectures for the MA programme in Media Studies and IBCoM, the International Bachelor in Communication and Media. He is project leader of the POPLIVE project (www.poplive.nl)
Public relations and events: the organization of festivals as a tool for cultural promotion.
International Review Of Communication and Marketing Mix, 2019
Festivals not only fulfill their traditional role as an institution that allows to present, spread or preserve the culture of a society, but also stand out for their ability to generate wealth in the cities where they are celebrated, for their contribution to the diversification of the tourism product or the improvement of the image of the place (Devesa, Báez, Figueroa and Herrero, 2012). Specifically, film festivals have a much greater importance playing a fundamental, but not recognized, role for the development of the industry and the history of cinema (Vallejo, 2014, p.14). Under this perspective, the main objective of this work is to observe the organization of the SCC Express Short Film Festival, in order to propose a sequenced model for the organization of events as a tool for communication and promotion of the cultural industry. The application of the methodological design designed for the application of the proposed case study allows to establish a 9-phase model for the organization of festivals as a technique of promotion and cultural development at the local level.
Comunicación y Sociedad, 2023
El álbum visual supone un nuevo artefacto comunicativo originado con la lógica del con-texto transmedia en su expansión del formato videoclip musical. Se analizan tres casos de estudio, empleando el análisis multimodal para conocer el significado y aporte de los materiales visuales, buscando elementos de intertextualidad y recursividad de motivos y patrones visuales para la realización de un storytelling. Las conclusiones apuntan a tres caminos diversos en la construcción de una representación autoexpresiva de las artistas, gracias a una performatividad visualizada materializada en una mayor intertextualidad y uso de la apropiación cultural. // The visual album represents a new communicative artifact originated with the logic of the transmedia context in its expansion of the music video clip format. Three case studies are analyzed, using multimodal analysis to know the meaning and contribution of visual materials, looking for elements of intertextuality and repetition of motifs and visual patterns for the realization of a storytelling. The conclusions point to three different paths in the construction of a self-expressive representation of the artists, thanks to a visualized performativity and materialized in a greater intertextuality and use of cultural appropriation.
2016
The focus of this essay is a medium-sized festival that has had an essential role in determining the character of cult film fandom in Spain: San Sebastian Horror and Fantasy Film Festival (SSHFFF). Since its opening in 1989, SSHFFF has become generally known by the fans of the genre for the participatory and intentionally annoying behaviour of the audience during the theatrical screenings. Since survival has been the main concern of many Spanish festivals after their problematic proliferation in the 2000s (Mesonero Burgos) this essay examines the aspects that may have contributed to the event remaining a city council managed event regardless of its rather endogamic profile. In order to evaluate the importance of the audience performance in catalysing the festival's permanence, the essay focuses on how the audience enacts a playful and highly restricted protocol to negotiate with the organisers. In particular I am going to use the concept of play as a key cultural category to und...