This study is intended to provide a record of the founding and development of one of Australia's oldest and longest surviving film festivals and to determine the nature and impact of the Festival in its engagement with other cultural, social, and political institutions over the thirty years from 1954 to 1983. I have taken my research from a variety of sources, primarily the archive of Sydney Film Festival papers and ephemera lodged at Mitchell Library, Sydney. I have utilized a number of publications from the period, including daily newspapers, trade papers and specialist film and art journals. These give some indication of the Festival's influence and impact within the wider community and help position it in terms of predominant cultural and social values. I conclude that the Sydney Film Festival has played a significant, and so far somewhat underestimated, role in the development of Australian film culture and industry, and has influenced the nature and reception of films in commercial distribution within the country. In a pedagogical sense, it has influenced contemporary understanding of film and film history, in part by privileging particular movements and filmmakers over others and in part by creating a communal and interactive environment in which films, filmmaking and other aspects of film culture can be discussed, analysed and celebrated. This is a history of an organisation whose membership included some of the major figures in Australian film and related media and I have been committed to bringing a human element to the events and issues explored. To this end, I have utilized the extensive Oral History archive created in 1992 by the Sydney Film Festival in order to commemorate its fortieth anniversary. As is often the case with historical research, some of these personal memories are in conflict with one another and with the documentary record. By a process of referencing and cross referencing, I hope I have arrived at an approximation of a truth about a moment in the life of an Australian cultural icon.

These years in Taiwan, many counties and cities are having festive activities to advance tourism, to improve economic, to promote cultural environment and to encourage united. Most festivals bring large population during the period, without cultural, economic and educational impact. But the overseas festive activities that have a long history, besides have government and resident support; in addition these festivals create cultural, educational and economical value. All these happen for the industrialization of festival activities, so how to run the industrialization is a topic to discuss. The object of this research is the industrialization of festive activities, and used Edinburgh International Festival, Hokkaido Yosakoi Soran Festival, I-Lan International Children¡¦s Folklore and Folkgame Festival, Kenting Windchime Feast as case studies. The SWOT analysis and VCS analysis was used to analyze the advantage and disadvantage of industrialization in these festivals. According to the result to develop a model for the industrialization of festival activities. The conclusion was made as follows: First, the festival organization should develop it¡¦s own souvenirs, second, integrate with hotels, transports, restaurants and tourism, then set up a festival center and last is to having education programs.

During last few years, place marketing becomes a major task of many mayors and county magistrates when they get their policies moving. The goal is to strengthen the policies statement, promote the whole image of locality, reputation and the power of competition in order to strive for the electors¡¦ support. However, each county is implementing different methods to reach their goal. Some of the counties give the priority to the tourism promotion, while some counties choose to attract the business investment instead. Pingtung County is the one of the counties which focuses on the tourism promotion to market places. Due to the promotion of the Pingtung Blue Fin Tuna Cultural Festival, the blue fin tuna is well-known in Taiwan now. Also Kenting Wind-bell Feast skillfully made good use of the winter tempest to blow the ding dong sound of the wind-bell which is famous to all areas over Taiwan now and bring thousands tourists to Kenting during the winter time. Pingtung County is the sample of this study and the researcher searched and collected information from the newspapers to know the frequency and contents of the report about the Pingtung Blue Fin Tuna Cultural Festival, Kenting Wind-bell Feast and Pingtung Peninsula Arts Festival. Also in this study, the undertaker of the festivals, local resident, shop owner, journalist and tourists were interviewed in order to understand their opinions about these three festivals. The purpose of this study is through all of these information were collected to analyze how these three festivals impacted the promotion of the Pingtung¡¦s reputation and place-marketing, also to discuss if the experiences of Pingtung County can be applied in other counties. And the result of this study shows: 1. The festival indeed to bring the tourists and push forward the local construct, promote the local reputation and image. It¡¦s a good way to bring the profits in economy and settle a sound foundation for place marketing. 2. The main reason for the success of the Pingtung County¡¦s festivals is all the festival activities design or the marketing strategies were very creative and considerate, not only considered the need of the tourists, sponsors but also the journalists. The festival organizations¡¦ strategies of forming an alliance with different businesses were also the key to the success. Another factor was the professional team work and experiences transition.

Holding festival activities is one of the major measures in regional tourism development, and the purposes of which are simply raising the regional awareness via these large-scaled activities, attracting more tourists to expend in order to promote economic benefits. In the beginning, these activities may once bring many helps for the local. However, they often become worse in a predicament of sudden reduction in tourism numbers, revenue deficit, or even suspension after several years. In this study, we take Kenting Music Festival in Spring as an object to investigate whether the current marketing strategies meet the consumer requirement or not, in order to further promote its future development. In this research, the marketing strategy is studied in five dimensions, i.e., product, price, place, promotion and service. A quantitative survey is adopted, and analysis methods of descriptive statistics, chi-square test, one-way ANOVA and independent samples T-test are used to study the consumer satisfaction and importance of current marketing strategy on Kenting Music Festival in Spring, and to investigate whether the variable of population statistics will result in a significant difference on the consumer perception of the marketing strategy. Entirely speaking, the results reveal that the consumers feel ¡§satisfied¡¨ but ¡§unimportant¡¨ on the product strategy of Kenting Spring Music Festival in Spring, ¡§unsatisfied¡¨ but ¡§averagely important¡¨ on the price strategy, ¡§satisfied¡¨ and ¡§important¡¨ on the place strategy, ¡§averagely satisfied¡¨ and ¡§unimportant¡¨ on the promotion strategy, and ¡§unsatisfied¡¨ but ¡§important¡¨ on the service strategy. Meanwhile, consumers with different social and economic backgrounds have dissimilar degrees of satisfaction and respect on the activity experiences. According to the results and focusing on the target market requirements, several suggestions are provided, e.g., imitating the successful foreign and domestic marketing cases, being defined as an international activity, establishing a certification mechanism to effectively control the service quality, building up more basic public facilities, improving the traffic capacity, cooperation with public media, integrating environmental maintenance into cost consideration, cooperation with the government department to set up a marketing inspecting organization, etc.

Texte remanié de: Thèse de doctorat--Sciences de l'information et de la communication--Avignon--Université d'Avignon et des pays de Vaucluse, 2006. Titre de soutenance : Transmettre une fois ? Pour toujours ? : portrait dynamique des festivaliers en public. / Bibliogr. p. 227-240. Filmogr. p. 240. Webliogr. p. 241. Index.

En undersökning i hur RFID kan användas som biljettsystem på en festival. Analysen bygger på konventsfestivalen NärCon och presenterar vilka fördelar och nackdelar ett nytt system kan tillföra. Resultatet visar att RFID kan skapa flera fördelar och synergieffekter för festivalarrangören.

This study is intended to provide a record of the founding and development of one of Australia's oldest and longest surviving film festivals and to determine the nature and impact of the Festival in its engagement with other cultural, social, and political institutions over the thirty years from 1954 to 1983. I have taken my research from a variety of sources, primarily the archive of Sydney Film Festival papers and ephemera lodged at Mitchell Library, Sydney. I have utilized a number of publications from the period, including daily newspapers, trade papers and specialist film and art journals. These give some indication of the Festival's influence and impact within the wider community and help position it in terms of predominant cultural and social values. I conclude that the Sydney Film Festival has played a significant, and so far somewhat underestimated, role in the development of Australian film culture and industry, and has influenced the nature and reception of films in commercial distribution within the country. In a pedagogical sense, it has influenced contemporary understanding of film and film history, in part by privileging particular movements and filmmakers over others and in part by creating a communal and interactive environment in which films, filmmaking and other aspects of film culture can be discussed, analysed and celebrated. This is a history of an organisation whose membership included some of the major figures in Australian film and related media and I have been committed to bringing a human element to the events and issues explored. To this end, I have utilized the extensive Oral History archive created in 1992 by the Sydney Film Festival in order to commemorate its fortieth anniversary. As is often the case with historical research, some of these personal memories are in conflict with one another and with the documentary record. By a process of referencing and cross referencing, I hope I have arrived at an approximation of a truth about a moment in the life of an Australian cultural icon.

Thesis (B.A.(Hons.)) -- University of Adelaide, Dept. of Drama, 1996. / Bibliography: leaves 104-111.

Submitted by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-08-03T11:56:52Z No. of bitstreams: 1 Dissertação [Daniel Rocha].pdf: 5862617 bytes, checksum: 62745719efbe3bdccddd5f0106a780cf (MD5) / Approved for entry into archive by Biblioteca Isaías Alves (reposiufbat@hotmail.com) on 2017-08-03T11:57:54Z (GMT) No. of bitstreams: 1 Dissertação [Daniel Rocha].pdf: 5862617 bytes, checksum: 62745719efbe3bdccddd5f0106a780cf (MD5) / Made available in DSpace on 2017-08-03T11:57:54Z (GMT). No. of bitstreams: 1 Dissertação [Daniel Rocha].pdf: 5862617 bytes, checksum: 62745719efbe3bdccddd5f0106a780cf (MD5) / A presente dissertação tem como objeto de estudo o Festival de Cinema Panorama Internacional Coisa de Cinema (PICC) que acontece na cidade de Salvador tendo como foco a sua décima (2014) e décima primeira edição (2015). Busca-se através desta pesquisa investigar o papel do cinema, enquanto arte, de provocar a reflexão pública sobre as estruturas sociais, e no caso particular deste evento qual a sua capacidade de contribuir para uma concepção sui generis de cinema em um contexto amplo e de disputa associado à produção de bens simbólicos (ou culturais). Parte-se do entendimento que as estruturas sociais são arranjos padronizados que constituem o caráter normativo da sociedade bem como suas sanções legais, além de posições e papéis sociais, cuja apreensão pode se dar a partir de um momento liminar. Assim o estudo consiste na tentativa de compreender em que medida o festival ao utilizar o filme enquanto símbolo permite que os atores (realizadores) que participam desse “ritual” encontrem modos de refletir e criticar a sociedade. / The aim of this dissertation is to study the Festival Panorama Internacional Coisa de Cinema that happens in the city of Salvador focusing on its tenth (2014) and eleventh edition (2015). This research seeks to investigate the role of cinema, as an art, to provoke public reflection on social structures, and in the particular case of this event what its capacity to contribute to a sui generis conception of cinema in a broad context and dispute associated with the production of symbolic goods (or cultural). It is understood that social structures are standardized arrangements that constitute the normative character of society as well as its legal sanctions, further on as positions and social roles, whose apprehension can occur from a liminality moment. Thus, the study is the attempt to understand to what extent the festival in using the film as a symbol allows the social actors (filmmakers and producers) participating in this ”ritual”to find ways to reflect and criticize society.

The past two decades have seen an ethno-religious revival in China, one which is spurred by the development of ethnic tourism with the introduction of the Chinese-state-market economy. The success of recreating, branding, and selling the Yi torch festival, as among the Liangshan Yi people, draws public attention. While some intellectuals are in favor of ethnic elites' effort in promoting cultural difference and authenticity in a festive context, others dispute the changing meanings that are brought about by this "invented tradition". My thesis is intended to bridge the disputants' concern of ritual knowledge and ritual reproduction with a lack of discussion of a stereotypically "primordial" form of the torch festival, dutzie, or "the sacrifice to the fire". I examine how cultural difference is reified and projected upon Morganian-Marxist scales of human societal development through the state-initiated projects of ethnic identification and "minority work" in the early years of nation-state building, and how subsequent radicalized state policies generate forced assimilation and give rise to the Yi's own appropriation of a state-designated category of ethnicity. By exploring both the retraditionalization of the Yi torch festival and the rural Yi's long-held practice of dutzie in the reform era, I investigate ritual changes and cultural continuity among the Liangshan Yi, and therefore highlight Yi identity formation in historical and social processes of producing ethnic dimension in China.