<p>A qualitative research was conducted to better understand the communication process connected with organizing musical festival for mass audience and the tools used to gain successful communication. Based on data collected by an interview with organizers and data found on the festival web site, theory about communication models of PR Smith and tools used in communication process, described by Kotler, were compared. One of the biggest music festivals in Europe – an Hungarian festival: the Sziget – has been chosen to evaluate its communication. </p><p>The findings show that, in terms of communication model, the company chooses the most appropriate to reach mass audience model. Mass communication model with small modifications seem to be the most appropriate for such a big organization like musical event. Communication tools used in case of a big festival also should concern about reaching mass audience. In order to do that, the tools focussed on more personal communication, such as direct marketing or personal selling can be given up in favour of tools such as advertising, publicity and PR or sales promotion, which give possibility to reach bigger audience in shorter period of time.</p>

This research addresses the functional characteristics of a single organization. It specifically investigates one of the largest festival organizations in the United States, The Portland Rose Festival Association (PRFA). In this case, three groups within the PRFA are its foundation: the paid staff, the executive committee, and the volunteer directors. This study identifies and analyzes the functionality characteristics of this organization. Swanson's (1996) theory of performance variables is used to assess and benchmark the PRFA. He provides five key areas in which functional, effective, and successful groups are proficient. These five areas are: mission/goal, capacity, systems design, motivation, and expertise. The research is qualitative and quantitative in nature by implementing two primary methods- interviews and questionnaires. Phase one consists of interviews from the eleven staff members. The research discovers that the PRFA has numerous strengths. The weaknesses the staff mentioned have been acknowledged by management and are being improved upon or solved. As a result of this phase, the PRFA was assessed as a functional organization. Phase two determines the level of functionality according to appropriate organizational characteristics. The characteristics correspond to Swanson's performance variables. This phase was conducted through questionnaires to the staff members, executive committee, and volunteer directors. The research indicated that the "mission/goal" organizational characteristic received the highest combined mean. Although all areas were ranked very high, responses on the "expertise" questions indicate an area for improvement. Finally, the study discovers that the three groups are relatively familiar with each other. / Graduation date: 2000

A qualitative research was conducted to better understand the communication process connected with organizing musical festival for mass audience and the tools used to gain successful communication. Based on data collected by an interview with organizers and data found on the festival web site, theory about communication models of PR Smith and tools used in communication process, described by Kotler, were compared. One of the biggest music festivals in Europe – an Hungarian festival: the Sziget – has been chosen to evaluate its communication. The findings show that, in terms of communication model, the company chooses the most appropriate to reach mass audience model. Mass communication model with small modifications seem to be the most appropriate for such a big organization like musical event. Communication tools used in case of a big festival also should concern about reaching mass audience. In order to do that, the tools focussed on more personal communication, such as direct marketing or personal selling can be given up in favour of tools such as advertising, publicity and PR or sales promotion, which give possibility to reach bigger audience in shorter period of time.

I detta examensarbete tar vi upp hur vi gått till väga i genomförandet av Alive Festival -09. Vi har jobbat genom den ideella föreningen KF LIVE (Se definition) som fungerar som arrangörsgrupp i Skövde. Vi tar upp frågor som rör ekonomi, marknadsföring samt det egentliga arbete som krävs under festivaldagen. Under arbetets gång har vi hunnit införskaffa information, reflekterat över den och till sist använt oss av den när vi faktiskt genomfört festivalen. Festivalen som hölls under nio timmar innefattar tre scener med femton lokala som internationella band. I denna rapport kommer läsaren kunna ta del av de beslut vi i gruppen fattat samt få en överblick för det arbete som krävs under festivaldagen.

Eine Untersuchung zum königlichen Ritual des sogenannten Sedfestes im Alten Ägypten anhand der Sedfestreliefs vom Torbau Osorkons II. in Bubastis.

Aujourd'hui, un des enjeux majeurs de la mondialisation, c'est la question culturelle. En 2005, la Convention sur la protection et la promotion de la diversité des expressions culturelles de l'UNESCO a été adoptée en réaction à l'accélération du processus de libéralisation des échanges commerciaux internationaux. À l'heure où le Maroc a signé un accord de libre-échange avec les États-Unis en 2004, une Coalition marocaine pour la culture et les arts s'est créée dans le même temps rour préserver l'identité culturelle du pays. Face à cette situation paradoxale, le Maroc n'a toujours pas ratifié la convention de l'UNESCO en date du mois d'avril 2008. L'art cinématographique, moyen d'expression identitaire, représente un vecteur de diversité de regards. Dans le contexte de l'hégémonie de la culture de masse américaine, le cinéma marocain doit se battre pour vivre autant sur le plan national qu'international. Depuis 1944, le Centre cinématographique marocain soutient la production et la diffusion du patrimoine audiovisuel national. De l'émergence récente de quantité de festivals cinématographiques au Maroc, nous avons cherché à comprendre en quoi ces manifestations pouvaient représenter une plate-forme idéale pour la protection et la promotion de la diversité culturelle. En s'interrogeant, à partir d'une étude de cas exploratoire au sein de festivals cinématographiques en France, au Canada et au Maroc, sur la présence et la visibilité du cinéma marocain, nous avons pu rendre compte des nombreux échanges culturels véhiculés et de la vitrine que représente ces événements culturels pour un cinéma parfois peu connu. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Convention sur la diversité culturelle, Festivals cinématographiques, Cinéma marocain, Identité, Étude de cas, Maroc.

The identity of the Caribbean as a territory is a veritable bricolage of cultural forms. Since Columbus’ mistaken arrival in the West Indies, these islands have become home to Spanish, French, Dutch, British, African, Indian and Chinese immigrants, alongside its Aboriginal inhabitants. Despite the massive diversity that can be seen in these islands, there exists one common cultural expression that has persisted for the past 200 years throughout the Caribbean and Latin America. This celebration is Carnival. Trinidad is the southernmost island in the archipelago that composes the Caribbean. Carnival is celebrated in many of Trinidad’s towns, the biggest celebration being held in its capital city, Port-of-Spain. This research thesis looks at Carnival in Port-of-Spain as a complex urban entity that ritualistically re-energises and reclaims the city’s streets. Through ecstatic celebration, the festival engenders a strong sense of communitas and collective identity, annually reinventing itself and occupying a liminal space between the Ordinary city of day-to-day living and the Extraordinary city of mythological complexity. As the festival moves through the city along its annual Parade Route, it creates an urban narrative which exists invisibly during the year in the city’s collective memory. Through a combination of descriptive text, scholarly research and experiential mapping, A City with Two Faces outlines the transformative qualities of Carnival in the streets of Port-of-Spain from its largest temporary urban forms to its smallest manifestations in syncretic masquerade archetypes.

Since ¡§The City of Sadness¡¨ won the first Golden Lion Award of International Venice Film Festival, winning an international award has become a rule that Taiwanese film do its marketing strategy. However, although ¡§The City of Sadness¡¨ created a high profit in its sales, other awarded movies seem not so lucky in the sales performance. This research mainly bases on the aspect of marketing to study the phenomenon that Taiwanese film industry devotes in attending international film festival as its marketing strategy and further to analyze the relationship between the movie box office and this phenomenon. Secondary data would be employed in this research. As a result, besides ¡§The City of Sadness¡¨, both ¡§The Wedding Banquet¡¨ and ¡§Crouching Tiger Hidden Dragon¡¨ also have good performance in their sales. However, the success of these two movies not only resulted from getting awards but also the stories of the movies could attract people to go to the theater. According to the result of this research, we can find that there are more than 400 international film festivals in the world, but only Oscar Award is related with the sales of the film. On the other hand, other film festivals have not been able to attract people as much as ¡§The City of Sadness¡¨ did. Moreover, this situation also can prove one thing: the movie should be developed by commercial mode in order to be accepted by most audiences. To sum up, Taiwanese movies are on purpose (e.g. increase profit and government support) to attend international film festival. However, there are not any benefits to the market of the Taiwan movie and it will let audiences to be distant from their owner entertainments product of their country. If Taiwan government cannot identify the real direction of the Taiwan movies, there is no future of Taiwan movies.

Recently many people spent leisure time for tourism. The local government uses this kind of trend to design elaborate of festivals to attract visitors. There are more and more festivals in Taiwan, but few activities like Pingtung Bluefin Cultural Festival and Tainan Paiho Lotus Carnival can create more than ten million dollars. This research chooses these cases, and through depth interview to collect information. The core question is ¡§ In the period of festival, what the marketing mix and business strategies are, how the product is chose, and how to dispose related resources¡¨. The conclusion is following¡G 1. The local government represents some unique local resources that express the critical internal resources of festival, including productive, cultural and tourism resources. 2. For designing activities, we can develop package tourism; home stay tourism, cultural tourism and the tourism that the visitors can participate in themselves. 3. Developing festivals, we should not only merchandise festival products but we also insist on preserving district cultural. 4. The local government combines industry and culture to promote tourism, upgrade industry, and divert tourism activities. 5. The best model for Taiwanese festival is to set up a foundation to manage festivals. 6. When local government promotes festivals, making good use of marketing strategies, designing itemized media plans, encouraging public and private cooperation involving, and establish first brand image are important.

This study examined the Texas Renaissance Festival as perceived and experienced by (serious) visitors for whom this was a form of regular, repeated and highly meaningful participation. Specifically, the focus was to gain understanding of the notion of serious leisure as defined by Stebbins, in the context of festivals, and to understand the meanings associated with festival participation. Following a qualitative (constructivism paradigm) research frame, the data were collected through participant observation and 37 in-depth interviews for highly committed tourists to the Texas Renaissance Festival. The collected data were analyzed through Grounded Theory techniques specified by Glaser (1978). In regard to the characteristics of participation, the results indicated that their continuous participation in the Texas Renaissance Festival displays qualities of serious leisure: 1) identification; 2) long-term career; 3) unique ethos; 4) significant personal effort; 5) perseverance; and 6) durable personal benefits. As they become more seriously involved in the festival participation, they tend to be a part of a well-integrated subculture of which prominent values include personal freedom, hedonism, and anti-materialism. The experiences constructed through the serious festival participation were reminiscent of tourism existential authenticity specified by Wang (1999) as two levels: intrapersonal authenticity (gaining one’s true self) and interpersonal authenticity (gaining true human relationship). A search of such authentic experiences at the festival seems to be partly driven by the perceived alienation in everyday life. When these aspects were examined from an interpretive and meaning-based approach, attending the festival in a serious manner is not just a simple matter of escaping from the reality (e.g., alienation) of everyday life, but is an active quest for an “alternative” to their lives at home as many indicated. Thus, the serious participation in a tourism activity such as the Texas Renaissance Festival could be best understood as a dynamic process of attaining existential state of Being in response to diverse sociocultural conditions. Several significant theoretical propositions were made based on the results derived from this study. Additionally, marketing and management implications associated with staging tourism events and festivals were discussed.