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This thesis examines how Latin America is produced and consumed through the ¡Viva! Spanish and Latin American Film Festival in Manchester and how people who do not have Latin American origins (subsequently 'non-Latin American') use Latin American culture to reconcile issues of self-identity and cosmopolitanism at a local level. Extending Dina Iordanova's (2010) application of imagined communities to film festivals beyond diaspora, a framework of imagined cosmopolitan communities finds that, through consumption of the ¡Viva! film festival, non-Latin American consumers can often feel a sense of belonging or connection to Latin American people and culture. Non-Latin American ¡Viva! consumers subsequently incorporate Latin American culture and identity within their own construction of self-identity in order to reaffirm their sense of self. Using a mixed methods approach which brings together qualitative research (including a questionnaire survey and semi-structured interviews) with media analysis, this thesis finds that the incorporation of Latin American identity into non-Latin American self-identity is facilitated, in part, by the way in which Latin America has been encoded at a discursive level in the UK in recent decades through magical realism and associated codes, themes and narratives concerning the region's bizarre, crazy, strange and surreal characteristics. Applying theories of encoding and decoding (Hall, 1980), the ¡Viva! film festival and its non-Latin American audience members are found to likewise construct Latin America in these terms, as different, but not too different from British cultural norms. This interpretive framework, along with the fact that Latin Americans are largely positioned outside of the increasingly hostile rhetoric towards migrants and ethnic minorities in the UK, facilitates the incorporation of a Latin American identity within non-Latin American consumers' construction of self-identity. Scholars have suggested that cosmopolitanism demands a transformation in self-understanding in addition to an openness towards the cultural Other (Delanty, 2009). Analysis of the ¡Viva! film festival subsequently reveals a nuanced form of cosmopolitanism in which the Self is transformed through the incorporation of the Latin American cultural Other and offers an insight into the changing nature of the cultural relationship between Latin America and the UK. Latin America has typically been constructed as embodying the unconscious fears and desires of British (and western) culture (Beasley-Murray, 2003; Foster, 2009). This thesis finds instead that Latin America is being reconfigured by non-Latin American consumers of the ¡Viva! film festival as an equally formative part of their conscious identity that completes their sense of self and of being cosmopolitan in an attempt to resist and challenge contemporary scepticism and rhetoric in the UK surrounding multiculturalism, immigration and ethnic minorities.

Esta investigación pretende recopilar las experiencias del FIACID a modo de guía de consulta a disposición de cualquier gestor cultural que pretenda producir o dirigir un festival de cine en el Perú. A consecuencia de lo anterior es importante señalar que la presente investigación es heurística, es por esto que se ha desarrollado por medio de la observación y de la exploración de campo, los cuales incluyen un análisis preliminar que no pretende ser exhaustivo, sino más bien cumple con una descripción por un lado histórica, sobre las diferentes etapas en que se desarrolló el FIACID, y por otro lado comparativa, respecto a otros festivales de cine que le sirvieron de modelo. Asimismo, se revelarán circunstancias ocurridas en el festival, como requerimientos, responsabilidades, dificultades, logros y algunas otras lecciones relevantes, que contribuyan al acompañamiento para resolver las dudas internas que suelen presentarse en la organización de este tipo de proyectos. / Trabajo de suficiencia profesional

アジア系アメリカ人の映画制作・上映活動について、歴史、文化、労働の問題を中心とし、戦争記憶、コミュニティ形成、芸術活動について考察した。調査対象は、アメリカ合衆国、サンフランシスコのアジア系アメリカ人社会とした。これまでアジア系の芸術活動は、社会運動/芸術的抵抗運動として位置付けられてきたが、本研究では、抵抗運動の側面にとどまらず、労働の側面を再考することにより、非物質的労働についての批判的議論を展開した。 / This study examined Asian American film production and screening activities, focusing on issues of history, culture, and labor, as well as war memory, community building, and artistic activities. The field research was conducted in the Asian American community in San Francisco, California, United States. Although Asian artistic activities have been understood as a social movement/artistic resistance movement, this study developed a critical discussion of immaterial labor by reconsidering not only the resistance movement aspect but also the labor aspect. / 博士(現代アジア研究) / Doctor of Philosophy in Contemporary Asian Studies / 同志社大学 / Doshisha University

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This master's thesis focuses on visual communication of Karlovy Vary International Film Festival using social network - Instagram. The festival uses this network to communicate with spectators, which helps it create its identity and build a fan base. Theoretical part of the master's thesis describes history of Instagram as well as all the functions of this popular application. It also talks about Karlovy Vary International Film Festival and other international film festivals and their use of Instagram. The theoretical part concludes with definition of visual communication, focusing mostly on specifics of analogue, digital, and Internet photography. Using quantitative content analysis of Instagram pictures and semiotic analysis of technical and content elements, the thesis analyzes what visual style of communication the festival uses, and how the fans and media understand and transform the content. For the research purposes, the festival's Instargam profile as well as selected media and spectators' profiles were followed. The purpose of the thesis is to describe what visual language the festival organizers use on Instagram and how this language is reflected in building the identity of the festival itself.

This diploma thesis examines risk identification, risk assessment, and risk management of existing and potential problems and opportunities at film festival's organization, using Kepner-Tregoe's methodology of Rational Processes. In the opening chapters the term risk is defined, and the Kepner-Tregoe's methodology introduced. The extensive part of the thesis focuses on application of thesis methodology on real problems and opportunities from the author's experience with organizing film festivals both in the Czech republic, and abroad. The aim of this research and application is to find a suitable methodology that can be applied to specific conditions of such a type of cultural organization.

金馬影展對台灣藝術電影影迷而言，就像是場神聖的盛宴，在這場儀式中，透過群體的力量，讓信念的力量益發強大。本研究嘗試依循「朝聖」（pilgrimage）的角度，將金馬影展的觀影者，視為一種信仰著藝術電影教派（cult）的信徒，他們的身份不只是閱聽人或消費者，而是一種參與者（participants）。 本研究分為三階段進行。第一階段針對金馬影展三十年來（1980～2009）的影片清單進行歷史性檔案研究，歸納出金馬影展播映影片的脈絡。第二階段對影展觀眾進行問卷調查與參與觀察，以期歸納出金馬影迷的外在觀影行為，並透過田野調查實際了解金馬影迷的參與過程。第三階段則是對影迷進行深度訪談與生命史訪談。在影展現場找尋了78位金馬影迷進行訪談，另針對3位具代表性的影迷，分別透過他們參與金馬影展的經歷，來進一步認識歷年金馬影迷參與的過程。 本研究發現金馬影展的儀式概念（The Cult of Film Festival）主要來自於三者：在時間性而言，因一年一度有如逢年過節的「週期性」而營造了儀式感；在空間性而言，因影片與影迷的「齊聚性」而營造了儀式感；除了這兩者之外，要達到類宗教的景仰標準，勢必還要有「神聖性」的概念，其神聖感則是來自於電影大師的作品，所帶來的崇拜心態。 至於影迷的朝聖歷程，本研究以三位影迷的生命史作為引述，介紹20、30、40歲各個世代的影迷，究竟是什麼樣的樣貌。而後根據大量深度訪談、田野觀察與問卷調查的結果，搭配儀式結構的模式，描繪出金馬影迷單次旅程與生涯歷程。在單次旅程的部份，可以分作「前影展時期」、「影展時期」與「後影展時期」，三者中尤以前影展時期的套票搶購與排隊劃位最具儀式性特質。在生涯歷程的部份，亦可分作「前影迷階段」、「影迷階段」與「後影迷階段」，此三者之間主要差異，是以對電影的重視、迷戀與可犧牲程度作為劃分標準。 / For art cinema fans of Taiwan, Golden Horse Film Festival just like a sacred Feast, fans gathered together every year, that increasingly the forces of faith in the ritual. This study attempts to follow the "pilgrimage" view, to imagine that Golden Horse Film Festival audience as the cult followers, their identity is not just the audience or consumers, but a participants. This study is divided into three stages. First is the archive research of Golden Horse Film Festival for the thirty years (1980~2009). Second is the festival audience questionnaire survey and participant observation, to understand the fans viewing behavior. The third stage is life history interviews. The study found that the “ritual” or “cult” concept of Golden Horse Film Festival mainly from the three points: the timing, the result of annual holidays, like the "cyclical" and created a sense of ritual; in the space, for film and fans of the "gather" of the ritual to create a sense; In addition to these two, the religious admiration to achieve the standard class is bound to also have "sacred" concept, its sacred sense is from master's work in the film, brought the worship mentality. For fans of pilgrims journey, the study quoted by three fan’s life history, describes the various generations of 20,30,40 years old. Then according to a large number of interviews, field observations and findings of the survey, with the ritual process model depicts a single journey and the career of the cinephiles. In a single part of the journey, we can divided into "pre-festival period", "Film Festival Period" and "post-festival period". Part in a career of the cinephiles can be divided into "pre-cinephile stage", "cinephile stage" and "post-cinephile stage", the main differences between the three is based on the film's importance, degree of obsession and expendable as the division of standard.

電影作為跨文化傳播的重要媒介，對國家形象的扮演有著重大作用。胡錦濤特別在2004的四中全會上提到中國一方面發展硬實力，另一面就是軟實力的培養。中國當局希望透過文化電影的發展超越西方國家。 　　中國旅法畫家高醇芳女士於2004年有感於法國人對中國電影的生疏，因而創立「巴黎中國電影節」，其宗旨就是向法國人推廣中國的電影，而此活動也逐漸受到中國當局的關注和協助。因此，中國政府採用「巴黎中國電影節」進行「公共外交」的策略。也希望影片中的意識形態能讓法國人接受。 　　中國在經濟上已逐漸與歐美並駕齊驅，在文化上更是希望與歐美國家抗衡。然而在西方影展得獎的中國片或是西方電影呈現的中國意象，這些影片經常出現很深的東方主義觀念。「巴黎中國電影節」的出現提供中國宣揚自身文化，以及利用此機會平反歐美國家對中國東方主義的觀點。 / Film is an important medium of cross-cultural communication, it plays major role in the shaping of national image. In 2004, Hu Jintao particularly referred to the development of China on Fourth Plenary Session. One is hard power; another is the training of soft power. Chinese authorities want to go beyond the western countries through the development of cultural films. 　　In 2004, Chinese painter in France, Ms. Gao Chunfang felt the French were unfamiliar on Chinese films, so she found “the Chinese Film Festival in Paris”. The purpose is to promote the Chinese Films to French public, and this festival is also gradually paid attention by Chinese authorities. Therefore, the Chinese government has adopted "Chinese Film Festival in Paris" to execute "public diplomacy strategy". The government also hopes the film's ideology could be accepted by French person. 　　Chinese economy has gradually reached Europe or American; it also wants to compete on culture. However, Chinese films won the reward on West Film Festival and the Chinese image on western films which often appear the concept of "Orientalism". The appearing of ''The Chines Film Festival in Paris" provides China to promote their culture, as well as they use this opportunity to vindicate the perspectives on Chinese Orientalism from United States and Europe. / 第一章緒論 1 第一節研究動機與目的 1 第二節研究架構 6 第二章文獻探討8 第一節軟實力和公共外交理論探討 8 第二節意識形態理論11 第三節國際電影節與中國電影節概略 12 第三章研究方法 16 第一節樣本取樣 16 第二節研究限制 28 第三節符號學分析 28 第四節鏡頭分析 32 第四章、分析 35 第一節中國夢VS.美國夢：《中國合夥人》、《北京遇見西雅圖》 35 第二節宣揚政府形象：《三個未婚媽媽》、《蝶吻》 46 第三節歌頌青春愛情：《情人節》、《青春派》、《我願意》 51 第四節演繹女性主義：《蕭紅》 76 第五節彰顯愛國情操：《黃金大劫案》 90 第六節營造民族融合：《唐卡》 97 第七節再現古老中國：《畫皮II》 110 第五章、結論 119 第六章、文獻參考 125

近年來國內電影映演呈現多元化發展，不只電影類型、內容日趨豐富，電影的映演方式也更趨多元。而擁有集結映演主題、少廳院、長映期、多功能搭配、選擇不設限、聯票預售等特性的「商業影展」更成為九十年代電影市場中極為盛行的電影行銷方式。 隨著電影觀眾的觀影口味多元使得電影分眾市場確立之故，讓許多不同類型的影片得到出現在市場上的機會，再加上多廳戲院取代了傳統大型戲院，除了因應電影分眾的潮流，還可以接受多一些電影放映。另外，為了能夠和大型電影發行商強大的行銷資源相抗衡，將許多部影片的行銷資源集合起來，再透過影展主題式集結的方式行銷，也成為現今非主流商業影片另謀映演空間的方法。上述種種電影市場的新現象就成為現在商業影展興起的契機。 在競爭愈來愈激烈的影展熱潮中，要如何建立有效的行銷策略將是未來經營影展所必須仔細思考的重要課題之一。因此，本研究旨在以行銷的觀點檢視商業影展的經營運作概況，以現在已存的「絕色影展」做為研究對象，整理、分析與討論其所擬定的行銷策略，並將之與消費者的商業影展消費行為調查結果相互比較，提出對商業影展發展行銷策略上的建議，期望對將來在推行商業影展擬訂行銷策略時能有所助益。 本研究探討的行銷策略包括了目標行銷策略以及行銷組合策略兩部分，得到的研究結論如下： 一、目標行銷策略： 商業影展的目標觀眾仍以愛好電影、常看電影的影痴為主，其中年輕的學生人口仍為主要的目標觀眾。 二、行銷組合策略： 1.產品策略：商業影展影片仍以藝術影片為多，建議在主題的選取上可 以朝向更專業化的設計，提供觀眾更具深度的觀影經驗。另外，配合影展提供相關議題的影評講座或座談活動將可以增加影展產品的附加價值。 2.價格策略：採較低價的定價策略並輔以有條件的價格修正措施將可以吸引更多的觀眾。 3.通路策略：觀眾已漸漸培養出購買預售票以及聯票的習慣，因此提供更為簡單便捷的售票系統，將會促進更多觀眾買票進場的意願。 4.推廣策略：商業影展性質有別於一般院線電影，其所採行的推廣策略並非得要用昂貴的大眾媒體做廣告，反而透過公關報導的形式將影展訊息曝光，再利用影評人作為「意見領袖」的方式影響觀眾，透過口碑的傳播，將影展推銷出去，可以得到更大的宣傳影響力量。另外，透過品牌的建立以及建立與維持和顧客長期的良好關係都是商業影展推廣策略中極重要的一環。 / The main theme of the study focus on the marketing strategy of the commercial film festival. The goals of the study include the following: 1. To know what and how the commercial film festival develop marketing strategy, then to evaluate the effect. 2. To find out the main factor that marketing strategy formulated. 3. To research the consumer behavior of the commercial film festival, and suggest the best marketing strategy of the commercial film festival from the consumer research information. In order to achieve the above goals, the study intends to integrate the qualitative and quantitative data. "Cast study" and "Consumer survey" are conducted. Choosing "Fanciful Film Festival" be the cast of the study, to find out how and what the fanciful film festival develop the marketing strategy, then analysis and discuss them. Simultaneously, using the research to get the quantitative data of commercial film festival consumer behavior. Contrasting both cast qualitative data and quantitative research of consumer survey, and get the marketing strategy suggestion. The results of the study are followed: 1. Target marketing strategy the target audience of commercial film festival is mainly enthusiast about film. Mostly they are the young college students. 2. Product strategy (1) Film category: art film is still the main film category of the commercial film festival. (2) Film subject: the more professional, profounder film subject is suggested. (3) Additional product strategy: it would advantage to use some additional product strategies, such as symposium, film review conference... 3. Price strategy: using the going-rate pricing and the conditioned discount. 4. Place strategy: (1) The consumer has trained the habit of buying the advance ticket and the suit ticket. (2) To supply the more convenient ticket system would encourage consumer. 5. Promotion strategy (1) The main promotional tools still are mass medium, especially the public relations. Using the public report to communicate and advertise the film festival, encourage audience consuming. (2) To pay much attention to the effect of the opinion leader. (3) To place importance on brand management and relationship marketing.