This master's thesis has two main objectives. The first one is represented by the theoretical research of the current situation in the field of social media and the explanation of its marketing use. The potential of communication channels suitable for corporate presentations is described in detail thereafter, while most attention is paid to the following services: Facebook, Twitter, Google+ and YouTube. The other aim of the work is reflected in the practical part which focuses on a draft of the new communication strategy for Film Festival Finale in social media terms. These specific targets were chosen using the SWOT analysis carried out through an expert inquiry in the festival team. The final section is a guide for organizers of film festivals. This comprehensive social media tactics is divided into three phases describing the different activities of the marketer before, during and after the festival.

彭家維. / "2009年7月". / "2009 nian 7 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2009. / Includes bibliographical references (leaves 127-138). / Abstracts in Chinese and English. / Peng Jiawei. / Chapter 第一章 --- 前言 / Chapter > --- 研究動機´ؤ´ؤ從「女『同志』」說起 --- p.1 / Chapter > --- 研究目的 --- p.3 / Chapter > --- 研究方法 --- p.5 / Chapter > --- 論文架構 --- p.6 / Chapter 第二章 --- 香港´Ø同志´Ø影展的文化場域 / Chapter > --- 引言 --- p.8 / Chapter > --- 香港´Ø影展 --- p.9 / Chapter > --- 同志´Ø影展 --- p.10 / Chapter > --- 香港´Ø同志 --- p.12 / Chapter > --- 不是同志運動的同志運動 --- p.14 / Chapter > --- 後殖民香港的獨特情境 --- p.21 / Chapter > --- 不是同志電影的同志電影 --- p.23 / Chapter > --- 香港同志影展的獨特性 --- p.25 / Chapter > --- 小結 --- p.34 / Chapter 第三章 --- 香港同志影展的歷史脈絡 / Chapter > --- 引言 --- p.36 / Chapter > --- 香港同志影展二十年 --- p.36 / Chapter ´ةŒ --- 實驗期：一九八九年至一九九八年 --- p.37 / Chapter ´ةŒ --- 轉型期：二零零零年至二零零三年 --- p.52 / Chapter ´ةŒ --- 多元性別轉向：二零零四年至今 --- p.63 / Chapter > --- 粉紅消費迷思下愈趨商業化的同志影展 --- p.72 / Chapter ´ةŒ --- 邊緣的邊緣：階層、種族、語言和性別 --- p.75 / Chapter > --- 小結 --- p.79 / Chapter 第四章 --- 性別戰場：她們的影展故事 / Chapter > --- 引言 --- p.82 / Chapter > --- 女同性戀女性主義 --- p.83 / Chapter > --- 她們與香港同志影展的故事 --- p.85 / Chapter > --- 商業為先，男同志次之，社群為輕? --- p.87 / Chapter > --- 女仔戲不賣座？ --- p.90 / Chapter > --- 還是錢的問題 --- p.95 / Chapter > --- 知其不可而為之：女策展人的定位與策略 --- p.99 / Chapter ´ةŒ --- 選片方面 --- p.99 / Chapter ´ةŒ --- 政治結盟 --- p.107 / Chapter ´ةŒ --- 不同層面的介入 --- p.110 / Chapter > --- 小結 --- p.114 / Chapter 第五章 --- 結論 --- p.117 / 參考書目 --- p.127 / 附錄 / Chapter > --- 【附錄1】年度影展資料 --- p.139 / Chapter > --- 【附錄2】年度電影列表 --- p.146 / Chapter > --- 【附錄3】研究倫理 --- p.179 / Chapter > --- 【附錄4】訪談錄 / Chapter ´ةŒ --- 【附錄4.1】游靜 --- p.186 / Chapter ´ةŒ --- 【附錄4.2】麥海珊 --- p.207 / Chapter ´ةŒ --- 【附錄4.3】鄧芝珊 --- p.231 / Chapter ´ةŒ --- 【附錄4.4】 Vicci Ho --- p.258 / Chapter > --- 【附錄5】影展場刊 284 (附件）

Kaohsiung, developed from many heavy industries, was described as a cultural desert. The Kaohsiung City Government has tried to change the image and to build a civilised city in the recent years by drawing up new policies, including transportation, arts, tourism, film and television. The triumphs of the trendy drama "Black and White" and the film "NO PUEDO VIVIR SIN TI," which won prizes from Golden Bell Award and Golden Horse Award individually, became successful city marketing strategies promoting Kaohsiung through the film and television industry. In order to encourage the cinema culture industry, Information Bureau of Kaohsiung City Governmenat found Kaohsiung Film Archive and held Kaohsiung Film Festival. The goals of this festival are not only to proclaim the art and culture, but also to enhance audiences¡¦ chances to watch different kinds of movies. This study is focused on how to apply the communicate tools to reach these audience and what the strategies to choose. By using "2009 Kaohsiung Film Festival" as a case, this study exam it¡¦s marketing strategy with the theory of integrated marketing communication. Some in-depth interviews are conducted to collect crucial information. The purposes of this study include: (1) to understand the current situation and promotion results of Kaohsiung Film Festival; (2) to analyze "2009 Kaohsiung Film Festival" with integrated marketing communication. After the analysis, it will also provide some suggestions to the festival.

Compared to the early days of China’s New Documentary Movement in the 1990s, Chinese independent documentary in the past decade has become more diverse in topic and style, thanks to technologies such as digital video cameras and the internet. Independent documentaries capture a fast-changing China in progress, and have thus drawn scholarly attention from cultural or social studies perspectives. However, industrial development in the past decade has often been neglected in favor of textual analysis of films. Since the marketization of independent documentaries in the 1990s was mainly through international film festivals, and a domestic industry has been lacking, it is easy to assume that Chinese independent documentarians today still have to follow the same path as their counterparts in the 1990s. However, my research on the Chinese independent documentary scene in Beijing in 2009 showed me a picture of a burgeoning domestic industry for independent documentaries, with a handful of newly emerged multi-functional independent film organizations practicing production, distribution and exhibition. Since a real industry has not yet formed, I use “ecosystem” instead of “industry” in the context of Chinese independent documentary. This study compares three representative organizations which are different from each other in nature and emphases, from their birth and evolution to their work and strategies. I argue that these organizations have created new possibilities and opportunities for today’s Chinese independent documentaries, through their different strategies in balancing themselves in a three-legged system of the global, national and local forces and resources. / text

Thesis (Ph. D.), Memorial University of Newfoundland, 1999. / Bibliography: p. 300-317.

The objective of this work is to analyze the currently used marketing concept, way of communication and PR activities connected with International Festival of Outdoor Films (hereinafter MFOF) with respect to the target group and type of event. The main objective was to create a certain design improvements lead to the success of the festival.

Cette thèse propose une approche historique et culturelle du Festival de Cannes, en mettant l'accent sur son rôle, contrasté, dans la promotion du cinéma en France de 1946 à 1972. Quelle(s) image(s) ses organisateurs entendent-ils donner du cinéma et quelle image contribue à en construire la publicisation de la manifestation dans les différents médias de l'époque (télévision, actualités cinématographiques et presse spécialisée) ? Il s'agit donc de savoir comment été perçu le cinéma après la Seconde Guerre mondiale par l'intermédiaire du Festival de Cannes, d'évaluer comment le Festival a cherché à modifier en France ou a modifié dans les faits (ce qui n'est pas forcément la même chose) l'image, le statut, les fonctions du cinéma et le rapport au cinéma, national ou international, et de voir comment les médias abordent l’actualité cinématographique. Les recherches, essentiellement faites à partir de fonds d’archives – celles de l’Association du Festival de Cannes, de la télévision et de la presse spécialisée –, ont permis de comprendre les différents aspects de la manifestation et de saisir les relations qu'entretiennent les différentes institutions en charge de l’événement avec le cinéma.1946, année de la première édition du Festival, est le point de départ de ses recherches. 1972, année où le Comité d’Organisation devient le seul décisionnaire des films sélectionnés, les clôture. Entre ces deux dates, 25 éditions où les pays participants choisissaient eux-mêmes les films envoyés sur la croisette. 25 années où le contexte socio-politique mondial s’invite sur la scène cannoise mettant à l’épreuve les ambitions artistiques mais aussi les intérêts économiques et diplomatiques des organisateurs du Festival de Cannes ; 25 années dont les médias sont, partiellement et/ou différemment selon les sources, les reflets privilégiés. / This thesis offers a cultural and historical approach about the Cannes Film Festival by emphasizing the accent on its contrasted role in promoting cinema in France from 1946 till 1972. What images intended the organizers to give about cinema and what images contributed to build the exposure and coverage of Cannes Film Festival in the various media of that time such as television, cinema newsreels and specialised press?It is therefore about to know how Cinema was perceived after the Second World War by the prism of the Festival, to evaluate how it tried to modify in France or modified effectively (which is not necessarily the same point) image, status and functions of Cinema and the relationship with native and international cinema then finally to see how medias approached the film industry current events. The research, essentially engaged from Archives Collections - such as those of Cannes Film Festival Association, television and specialist publications -, allowed to understand the various aspects of the Festival and to perceive the links which maintained the various institutions in charge of the event with Cinema.The first edition of the Festival in 1946 is the starting point of this research. It ends in 1972, twenty-five years later, when the Steering committee has become the only decision-maker of the selected movies. During these twenty-five editions the participants themselves used to select the movies to sent to the « Croisette ». Twenty-five years during which the world social and political context invited itself in Cannes to put to the test the artistic ambitions and the economic and diplomatic interests of the organizers of the Cannes Film Festival. Twenty-five years during which the medias were partially and/or variously the privileged reflections.

This Master thesis explores the area of film festivals. The first section describes the film festivals and their categorization. For a better comprehension of the issues part of the work is dedicated to the general and Czech history of film festivals. The work is focused on the interest groups and their impact on the functioning of film festivals. The current situation is analyzed through a selected case of the International Film Festival Karlovy Vary. All program activities are analyzed. The work describes the processes that take place during the organization of the film festival and also explores its internal and external conditions. It presents the structure of the organization team and summarizes responsibilities of its positions.

This thesis considers the relationship between practices, communities and continuity in intermittent organisational arrangements. Cultural festivals are argued to offer one such particularly rich and nuanced research context; within this study their potential to transcend intermittent enactment emerged as a significant avenue of enquiry. The engagement of organisation studies with theories of practice has produced a rich practice-based corpus, diverse in both theoretical concerns and empirical approaches to the study of practice. Nevertheless, continuity presents an, as yet, under-theorised aspect of this field. Thus, the central questions of this thesis concern: the practices that underpin the enactment of festivals; the themes emerging from these practices for further consideration; and relationships between festivals and the wider context within which they are enacted. These issues were explored empirically through a qualitative study of the enactment of a community-centred film festival. Following from the adoption of a ‘practice-lens approach', this study yielded forty-eight practices, through which to explore five themes emerging from analysis: Safeguarding, Legitimising, Gatekeeping, Connecting and Negotiating Boundaries. This study revealed an aspect of the wider field of practice that has not yet been fully examined by practice-based studies: the cementing or anchoring mechanisms that contribute to temporal continuity in intermittent, temporary or project-based organisations. The findings of this thesis suggest a processual model, which collectively reinforces an organisational memory that survives periods of latency and facilitates the re-emergence of practice, thus potentially enabling organisations to endure across intermittent enactment and, ultimately, transcend temporality and ephemerality. The themes examined and insights offered in this thesis seek to contribute to: practice-based studies and film-festival studies; forging a new path linking these two disciplines; and generating both theoretical and practical insights of interest to festival organisers and stakeholders of project-based, temporary or intermittent organisational arrangements.

Denna uppsats har som mål att undersöka begreppet kvalitetsfilm och dess användning med utgångspunkt i marknadsföringskanalerna public relations, marketing management och filmfestivaler i Sverige. Uppsatsen definierar marknadsföring och beskriver hur den kan praktiseras i filmindustrin. Begreppsanalysen av kvalitetsfilm refererar till Pierre Bourdieus sociologiska texter och har en kort historisk genomgång av hur begreppet kvalitetsfilm myntades i Sverige. Sedan följer en genomgång av kvalitetsfilm i förhållande till europeisk konstfilm samt hur begreppet influerat den svenska filmbranschen idag. Uppsatsen innehåller analyser utifrån tre kvalitativa intervjuer med anställda som i någon form arbetar med kvalitetsfilm, samt litteratur kring marknadsföring av film och kvalitetsbedömning. / This study aims to examine the concept of quality film and its use on the marketing channels public relations, marketing management and film festivals in Sweden. The study also defines marketing and describes how it can be practiced in the film industry. The conceptual analysis of quality film refers to Pierre Bourdieu's sociological texts and have a brief historical review of how the concept of quality film was coined in Sweden. Then follows a review of quality films in relation to European art films, and how the concept has influenced the Swedish film industry today. The thesis contains analyzes based on three exclusive interviews with quality film workers, and literature on film marketing and estimation of quality.