The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts. The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution. Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally. The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement. The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made. The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts. / Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.

The primary goal of the study was to determine the contribution of three distinct South African arts festivals to the arts, namely Klein Karoo National Arts Festival (KKNK), Innibos and Vryfees arts festivals as perceived by visitors to the festivals. To achieve this goal, five objectives were formulated. Firstly, to provide a literature overview of the arts phenomena, by exploring the relationship between arts and culture, the arts context, the arts-related tourism product and then the perceived contributions of arts festivals to the arts; secondly, to determine the perceptions that the visitors to Klein Karoo National Arts Festival (KKNK) have regarding the festival’s contribution to the arts and whether the perceived contributions differs according to the sociodemographic characteristics of the visitors to KKNK; thirdly, to determine the perceived contribution of Innibos Low Veld National Arts Festival (Innibos) and Vryfees Arts Festival (Vryfees) to the arts and, here, to analyse possible differences regarding festival visitors’ involvement in the arts according to their arts preferences; fourthly, to determine the perceived contribution of arts festivals in South Africa to the arts at three arts festivals, namely the KKNK, Innibos and Vryfees festivals, and then to analyse whether or not the festivals differ in terms of their contribution to the arts; and lastly, to draw conclusions from the research and to make recommendations regarding the contributions that these selected South African arts festivals make to the arts. The first objective was achieved by conducting a literature study. Literature was analysed to dentify the relationship between arts and culture when defining the arts. The arts were then placed in the arts festival context; explaining and identifying different art forms that can be present at these events, where after the arts related tourism products were explored with a particular focus on arts festivals. Six contributing factors that arts festivals have for the arts were identified from the literature and each was discussed separately. The contributing factors discovered include the emotional contribution, educational contribution, economic contribution, quality contribution, marketing contribution and the growth and development contribution. Achieving the second objective entailed using a destination-based survey administered at KKNK in Oudtshoorn, Western Cape. An exploratory factor analysis was subsequently conducted and five factors revealed themselves, being Visual arts enhancement, Performing arts enhancement, Emotional inspiration, Visual arts involvement and Performing arts exposure. The factor analysis indicated that KKNK is perceived to contribute to the arts. ANOVAs and ttests were undertaken for further statistical analysis to determine differences in perception between socio-demographic characteristics, such as age, previous arts exposure, arts preference and geographic location of the visitors to KKNK. As the festival is perceived to contribute to the arts, implications were structured for the festival to ensure its continuing contribution to all forms of the arts equally. The third objective was to determine the contributing factors to the arts of two arts festivals, the Innibos and Vryfees festivals, and to determine whether or not preference for a particular type of art might influence personal arts involvement at the festivals. Surveys were conducted at both Innibos in Mbombela, Mpumalanga and at Vryfees in Bloemfontein, Free State. Separate exploratory factor analyses and two-way frequency tables were subsequently conducted to determine the contributing factors of the festivals. This process was followed by independent ttests that were used to investigate any statistically significant differences between visitors who preferred the performing arts and those who leaned towards the visual arts and to their personal involvement to the arts. The results show some moderate differences between arts preference and personal arts involvement concerning the purchase of performing and visual arts products and activities. The results are relevant when the marketing and planning of arts festivals is considered in order to achieve both better arts contribution and personal arts involvement. The fourth objective sought to determine the perceived contribution of three Afrikaans arts festivals, the KKNK, Innibos and Vryfees festivals, to the arts. Differences in contributions amongst the festivals were analysed and those areas that seemed to lack contribution were identified. Questionnaire surveys were conducted, whereafter an exploratory factor analysis was performed to determine by means of factors the perceived contribution at these arts festivals. ANOVAs were done to determine any statistically significant differences in the contributions of the three festivals to the performing arts and to the visual arts in terms of each contribution as identified in literature. The results of this study indicated that the extent of their contribution varied in terms of both the type and the level of their contribution to the arts they presented. The results confirm that the visitors to Afrikaans arts festivals in South Africa perceive them as contributing to the arts. Marketing, programming and planning proposals to effectively increase the arts contribution at these three festivals were also made. The final objective, to draw conclusions and make recommendations founded on the results of the study, indicated that this study made a significant contribution to arts festival planning as it would lead to the development of arts festivals contributing to the arts more effectively and more efficiently. This research made a significant contribution to arts festival research and the contribution that arts festivals have to the arts, since this is the first of its kind. It was recommended that the actual contribution of arts festivals to the arts be measured and not merely the contributions these festivals may appear to have according to the perceptions of festival visitors. It was also evident that the personal involvement of visitors to the arts festivals must be considered when evaluating the contribution of the festivals to the arts. Future research on this topic should be conducted at other arts festivals in order to enable comparative studies. A better understanding of the contributing factors of the arts festival to the arts will assist festival managers in implementing strategies that ensures the livelihood and on-going contribution of arts festivals to the arts. Examining arts festivals based on their perceived contributions has, therefore, proved useful to comprehensively evaluate the festivals under review and particularly as they seek to increase their contribution to all types of arts. / Thesis (MCom (Tourism Management))--North-West University, Potchefstroom Campus, 2013.

The ABSA Klein Karoo National Arts Festival (KKNK) is one of the biggest and most popular Afrikaans arts festivals in South Africa, and since its modest beginnings in 1994, the festival has grown significantly with an estimated 85518 visitors attending the festival in 2010. The festival furthermore has a considerable economic impact on the host community of Oudtshoorn and the surrounding regions. The direct spending by festival visitors during the 2010 festival was estimated at R109.7 million, that consists of tickets bought at the festival, memorabilia, food, restaurants and beverages, transport, accommodation and entertainment. Benefits associated with these spending patterns include an increase in job opportunities for the residents, more entertainment opportunities, improvement of residents’ lifestyles and opportunities for expanding businesses to name but a few. However, the number of tickets bought for shows and productions at the KKNK has decreased drastically over the last six years, visitor numbers have decreased and this will result in a decrease in the total revenue and economic impact this festival has on the local community of Oudtshoorn. Therefore, the festival needs to be managed in a sustainable way through improving the entertainment offered at the festival. The festival guide and promotion material should be designed in such a way that they meet the needs of visitors and offers the necessary information services to create a unique festival experience for visitors. The specific services visitors need must be provided, such as shuttle services and security. The purpose of this research is to identify the key success factors (KSFs) in managing the visitors’ experience at the KKNK. To achieve this, a quantitative survey was done by distributing 500 questionnaires amongst the visitors to the festival in 2010 from the 1st to the 8th of April. A total of 443 completed questionnaires were received back. In Chapter 2, an analysis on the background and different theories of event tourism, special events, arts festivals, management and KSFs were investigated. Previous studies on the KSFs were also identified which rendered valuable and proved that different tourism operations including events and arts festivals have different KSFs. Furthermore, this analysis revealed that there exist different markets with their own individual needs and reasons for attending the arts festivals and therefore have their own expectations of what needs to be included in a unique festival experience. Chapter 3 consists of Article 1, and the main purpose of this article was to identify the various key success factors visitors to the KKNK see as important in satisfying their needs and providing a unique festival experience. A factor analysis was performed and identified the following KSFs: Safety and Personnel, Marketing and Accessibility, Venues, Accommodation and Ablutions, General aspects and Social impact, Parking and Restaurants and Shows and Stalls. The results indicated that professional staff, adequate safety and emergency services, clear indications, easy accessible venues, quality accommodation, affordable children activities, quality food providers and a variety of shows are important KSFs to provide visitors with an unforgettable festival experience. Chapter 4’s (Article 2) main purpose was to divide or segment visitors to the KKNK based on their travel motivation to attend the festival and their rating of the importance of the KSFs into separate markets. This purpose was achieved by performing a factor analysis on the travel motivations to identify the main travel motives for visitors to attend the KKNK, this was followed by a cluster analysis based on the travel motives where three clusters were identified namely Escapists, Festival Junkies and Culture seekers. The clusters festival organisers should focus their management skills and resources on are the Festival Junkies and Culture Seekers. After performing ANOVA and Chi–square tests the results showed statistically significant differences between the three clusters based on age, years attended the festival, length of stay, total spending, all the KSFs, gender and rock shows as visitors preferred type of show or production. The results therefore reveal that there are three different markets based on their travel motives who attend the KKNK, furthermore each of these three clusters has their own preferences, characteristics and ratings on which KSF will contribute in enhancing their festival experience. This was the first study of its kind in South Africa. Therefore, it contributes to the event management literature. Festival organisers can also use the results of this research to improve the KKNK’s sustainability and success by applying the KSFs and increase tickets sales for shows and productions, attract a younger market and attract visitors who spend more at the festival, by providing for the needs of specific markets and creating a unique festival experience for each visitor. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.

The ABSA Klein Karoo National Arts Festival (KKNK) is one of the biggest and most popular Afrikaans arts festivals in South Africa, and since its modest beginnings in 1994, the festival has grown significantly with an estimated 85518 visitors attending the festival in 2010. The festival furthermore has a considerable economic impact on the host community of Oudtshoorn and the surrounding regions. The direct spending by festival visitors during the 2010 festival was estimated at R109.7 million, that consists of tickets bought at the festival, memorabilia, food, restaurants and beverages, transport, accommodation and entertainment. Benefits associated with these spending patterns include an increase in job opportunities for the residents, more entertainment opportunities, improvement of residents’ lifestyles and opportunities for expanding businesses to name but a few. However, the number of tickets bought for shows and productions at the KKNK has decreased drastically over the last six years, visitor numbers have decreased and this will result in a decrease in the total revenue and economic impact this festival has on the local community of Oudtshoorn. Therefore, the festival needs to be managed in a sustainable way through improving the entertainment offered at the festival. The festival guide and promotion material should be designed in such a way that they meet the needs of visitors and offers the necessary information services to create a unique festival experience for visitors. The specific services visitors need must be provided, such as shuttle services and security. The purpose of this research is to identify the key success factors (KSFs) in managing the visitors’ experience at the KKNK. To achieve this, a quantitative survey was done by distributing 500 questionnaires amongst the visitors to the festival in 2010 from the 1st to the 8th of April. A total of 443 completed questionnaires were received back. In Chapter 2, an analysis on the background and different theories of event tourism, special events, arts festivals, management and KSFs were investigated. Previous studies on the KSFs were also identified which rendered valuable and proved that different tourism operations including events and arts festivals have different KSFs. Furthermore, this analysis revealed that there exist different markets with their own individual needs and reasons for attending the arts festivals and therefore have their own expectations of what needs to be included in a unique festival experience. Chapter 3 consists of Article 1, and the main purpose of this article was to identify the various key success factors visitors to the KKNK see as important in satisfying their needs and providing a unique festival experience. A factor analysis was performed and identified the following KSFs: Safety and Personnel, Marketing and Accessibility, Venues, Accommodation and Ablutions, General aspects and Social impact, Parking and Restaurants and Shows and Stalls. The results indicated that professional staff, adequate safety and emergency services, clear indications, easy accessible venues, quality accommodation, affordable children activities, quality food providers and a variety of shows are important KSFs to provide visitors with an unforgettable festival experience. Chapter 4’s (Article 2) main purpose was to divide or segment visitors to the KKNK based on their travel motivation to attend the festival and their rating of the importance of the KSFs into separate markets. This purpose was achieved by performing a factor analysis on the travel motivations to identify the main travel motives for visitors to attend the KKNK, this was followed by a cluster analysis based on the travel motives where three clusters were identified namely Escapists, Festival Junkies and Culture seekers. The clusters festival organisers should focus their management skills and resources on are the Festival Junkies and Culture Seekers. After performing ANOVA and Chi–square tests the results showed statistically significant differences between the three clusters based on age, years attended the festival, length of stay, total spending, all the KSFs, gender and rock shows as visitors preferred type of show or production. The results therefore reveal that there are three different markets based on their travel motives who attend the KKNK, furthermore each of these three clusters has their own preferences, characteristics and ratings on which KSF will contribute in enhancing their festival experience. This was the first study of its kind in South Africa. Therefore, it contributes to the event management literature. Festival organisers can also use the results of this research to improve the KKNK’s sustainability and success by applying the KSFs and increase tickets sales for shows and productions, attract a younger market and attract visitors who spend more at the festival, by providing for the needs of specific markets and creating a unique festival experience for each visitor. / Thesis (M.Com. (Tourism))--North-West University, Potchefstroom Campus, 2012.

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.

Submitted by Maria Medeiros (maria.dilva1@ufcg.edu.br) on 2018-11-06T14:31:07Z No. of bitstreams: 1 PAULO CÉSAR DA SILVA LIMA - TESE (PPGRN) 2011.pdf: 2310870 bytes, checksum: e809895ded4befc59a0d2dfb97dc367c (MD5) / Made available in DSpace on 2018-11-06T14:31:07Z (GMT). No. of bitstreams: 1 PAULO CÉSAR DA SILVA LIMA - TESE (PPGRN) 2011.pdf: 2310870 bytes, checksum: e809895ded4befc59a0d2dfb97dc367c (MD5) Previous issue date: 2011-09-05 / O presente trabalho objetivou avaliar a influência da cobertura plástica de filme de polietileno de baixa densidade (PEBD), de 160 μm de espessura, transparente e de largura de 3 m, nas condições microclimáticas de parreirais cobertos na Região do Submédio São Francisco - RSMSF, na produtividade e rentabilidade econômica da viticultura de mesa da região. A pesquisa constou de quatro etapas experimentais conduzidas em parreirais produtivos de uva de mesa das variedades Festival e Itália Muscat em Petrolina, PE (09º 06’ 14’’ S; 40º 29’ 52” W; altitude 360 m) no período de outubro de 2009 a novembro de 2010. O período de cobertura ocorreu somente durante a fase de maturação e colheita da uva, como tradicionalmente é usada pelos produtores da região. Foram estudados três tratamentos: tratamento 1 – dossel sem cobertura plástica (SCob); tratamento 2 – cobertura plástica posicionada a 50 cm acima do dossel (CP50); e tratamento 3 - cobertura plástica posicionada a 100 cm acima do dossel (CP100). Cada parcela foi composta por sete plantas úteis e consecutivas de uma fileira de plantio. O monitoramento microclimático foi realizado através de sensores de temperatura e umidade relativa do ar, velocidade do vento e fluxos radiativos, instalados em três posições: abaixo do dossel na altura dos cachos, entre o dossel e a cobertura plástica e acima da cobertura na atmosfera. Os sensores foram conectados a sistemas automáticos de aquisição de dados CR23X e CR1000, programados para efetuar leituras a cada 2 segundos, gerar médias horárias e diárias e valores extremos diários. Os resultados indicaram que a cobertura plástica posicionada a 50 cm e 100 cm acima do dossel alterou o microclima do parreiral, aumentando a temperatura do ar e umidade relativa e reduzindo a velocidade do vento e reduzindo em até 40% a disponibilidade de radiação no seu interior. A transmissividade da cobertura plástica permitiu a passagem de 67% da radiação global (Rg); 55% da radiação ultravioleta (UV); 58% da radiação fotossinteticamente ativa (PAR), e 76% da radiação infravermelha (IR). No período de abril e maio, época do ano em que na região ocorrem maior nebulosidade e temperatura do ar mais amena, a cobertura plástica alterou o microclima do interior dos parreirais de uva Itália Muscat, com aumento de até 2 °C na temperatura do ar, aumento da umidade relativa em relação ao ambiente externo (com maior diferença sendo observado no dossel CP50), redução significativa da velocidade do vento, principalmente sobre o dossel, e da quantidade de cachos com defeitos no dossel CP50, em relação aos dosséis SCob e CP100. No período de setembro e outubro a produtividade física sob o dossel foi influenciada positivamente e contribuiu para uma maior disponibilidade de radiação quando comparado à cobertura do dossel CP50. O aumento da produtividade comercial, seja pela redução do número de cachos com defeitos observada no período de abril a maio no dossel CP50 ou pela maior disponibilidade de radiação no período de setembro a outubro no dossel CP100, foi determinante para a rentabilidade econômica positiva, mantendo a relação Benefício/Custo sempre maior do que 1, ampliando a margem de segurança da atividade. / This study aimed to evaluate the influence of the plastic cover film of low density polyethylene (LDPE), 160 mm thick, transparent and width of 3 m, the microclimatic conditions of the vineyards covered in the region Submédio São Francisco - RSMSF, productivity and economic profitability of viticulture table in the region. The research consisted of four experimental stages conducted in vineyards production of table grape varieties Festival and Italy Muscat in Petrolina, Pernambuco (09 ° 06 '14''S, 40 º 29' 52 "W, altitude 360 m) during October 2009 to November 2010. The coverage period occurred only during the ripening and harvesting of the grapes, as traditionally used by local farmers. Was studied three treatments: treatment 1 - no plastic cover canopy (SCob), treatment 2 - plastic cover positioned 50 cm above the canopy (CP50) and treatment 3 - plastic cover positioned 100 cm above the canopy (CP100). Each research plot consisted of seven consecutive useful plants and a row of planting. The microclimatic monitoring was performed by temperature sensors and relative humidity, wind speed and radiative flows, installed in three locations: beneath the canopy at the time of the clusters between the canopy and the plastic cover over the cover and the atmosphere. The sensors were connected to automatic data acquisition CR23X and CR1000, programmed to perform readings every 2 seconds to generate hourly and daily averages and extreme values daily. The results indicated that the plastic cover positioned at 50 cm and 100 cm above the canopy changed the microclimate of the vineyard, increasing the air temperature and relative humidity and reducing wind speed and reducing up to 40% availability of radiation inside. The transmissivity of the plastic cover allowed the passage of 67% of global radiation (Rg), 55% of the ultraviolet (UV), 58% of photosynthetic active radiation (PAR), and 76% of infrared radiation (IR). Between April and May, time of year that occur in the region increased cloudiness and air temperature more gently, the plastic has changed the microclimate of the interior of Italy Muscat grape vineyards, with up to 2 ° C in air temperature , increased relative humidity in relation to the external environment (with the main difference being observed in the canopy CP50, a significant reduction in wind speed, especially on the canopy, and the amount of defect clusters with CP50 in the canopy compared to canopies Scob and CP100. During September and October the physical productivity under the canopy was positively influenced and contributed to a greater availability of radiation when compared to canopy cover CP50. The increased business productivity, whether by reducing the quantity of clusters with defects observed during the April and May in the canopy CP50 or by increased availability of light in September and October period in canopy CP100, was decisive to positive economic return of the activity, making the benefit / cost ratio remained always greater than 1 widening of the margin of safety activity.

Este estudo tem como tema central a busca por uma maior e melhor compreensão do Festival Internacional do Folclore (FIF), que se realiza anualmente em Nova Petrópolis, Rio Grande do Sul, Brasil, colocando-o em diálogo com o turismo, as memórias locais e a etnicidade. Busca-se perceber se o FIF, ao longo das suas 40 edições, teria contribuído para a preservação da memória local, ao mesmo tempo em que incentivaria uma nova memória social do lugar. Para a condução da pesquisa, optou-se pelo viés qualitativo com suporte metodológico na história oral, por se entender que este é o caminho para a interpretação das experiências instauradas e vividas pelos participantes, assim como para o reconhecimento das diversas vozes relacionadas com o Festival. Os dados foram colhidos através de revisão bibliográfica, pesquisa documental e de campo, na forma de entrevistas e observação participante. Buscou-se aproximar a área teórica do turismo e dos eventos, considerando o contexto da história do turismo e do FIF em Nova Petrópolis. Na análise destes temas, afloraram diálogos e (inter) relações que indicam a preservação da memória local, mas se evidencia a construção de novas memórias, especialmente aquelas associadas à germanidade, imaginário que, uma vez criado e projetado na comunidade, estaria contribuindo para a construção de uma identidade e um sentimento de pertencimento e identidade de Nova Petrópolis, a ela associados. / Submitted by Ana Guimarães Pereira (agpereir@ucs.br) on 2015-04-16T16:38:35Z No. of bitstreams: 1 Dissertacao Luciane Roseli Schommer.pdf: 33985768 bytes, checksum: 43ccdd03ab50ab2e57071bf1d5f08f35 (MD5) / Made available in DSpace on 2015-04-16T16:38:35Z (GMT). No. of bitstreams: 1 Dissertacao Luciane Roseli Schommer.pdf: 33985768 bytes, checksum: 43ccdd03ab50ab2e57071bf1d5f08f35 (MD5) / The main theme of this study is the search for a bigger and better understanding of the International Folklore Festival (FIF – Festival Internacional de Folclore), which takes place annually in Nova Petrópolis, Rio Grande do Sul, Brazil; connecting it with tourism, local memories and ethnicity. It tries to discover if FIF, during its forty editions, has contributed to the preservation of the local memory and, at the same time, encouraged the creation of a new social memory from the region. To conduct this research, a qualitative method was chosen, supported in the oral history, since this is the way to interpret the experiences lived by its participants, such as the recognition from the several voices related to the Festival. The data were collected through bibliographic revision, document and field research as interviews and participant observation. This study tried to approximate the theory field to tourism and events, considering the historic background from tourism and FIF in Nova Petrópolis. In the analysis of these themes, dialogues and (inter)relations that indicate the local memory preservation stand out, however the construction of new memories are evident, especially those related to germanness, an imaginary that once created and constructed in the community, would be contributing to an identity construction and a belonging and identity feeling from Nova Petrópolis, related to it.

隨著網際網路快速更迭，電子商務也越趨蓬勃發展，2015在全球B2C電子商務貿易市場中，中國以6170億美元的規模高居榜首，領先於美國和英國。電商平台競爭越來越激烈的狀況下，中國的阿里巴巴集團在2009年以青少年間的次文化「光棍節」做為節慶主題，打造「雙十一」人造網購節慶，引起了廣大討論。在2013年雙十一成為全球最大的人造網購節日，最新2016年數據雙十一全日網站成交金額達200億美金，大幅領先網路星期一的30.7億美元和黑色星期五的27.4億美元。 由於雙十一的成功，激起中國各大電商平台群起效尤，紛紛地推出各式五花八門的網購節慶。然而過多的人造網購節慶，卻容易模糊消費者的注意力，導致人造節的失敗。為了更深入了解人造網購節慶其成功的關鍵因素，本研究欲個案研究的方式，分析全球最大的人造網購節慶「雙十一」，並以其主要競爭者京東商城推出的「六一八」做比對，套用策略行銷4C架構來深入研究與比較，歸納兩個案節慶知曉度明顯落差之因素，並提出實務的建議供未來有意造的業者參考。 根據本研究分析，天貓雙十一及京東六一八在C1至C3部分皆有下降。然而在C4部份，天貓成功地在買者心中建立平台與節慶的關聯性，建立了促銷相關專屬資產及品牌相關專屬資產，創造4C良性循環，極大化節慶行銷的價值。然而京東六一八的節慶意涵未能打動人心，且持續改變內涵造成形象模糊性，未能創造出品牌相關專屬資產，C4資產專屬性不足，使得整個4C循環力度較弱，節慶的影響力也受到侷限。 / Thanks to the advancement of Internet, E-commerce has become a big business. China is by far the largest market for business to consumer (B2C) e-commerce, with combined sales of over US$617 billion in 2015, ahead the United States and the United Kingdom. In 2009, Alibaba began using youth subculture “Single Day:1111(Double 11)” to promote discounts at retailers on its e-commerce platforms, which storming the online shopping for the very first time. Since 2013, Double 11 has become the biggest online shopping festival in the world. The latest data showed that Double 11 was officially called to come at US$20 billion in 2016, easily eclipsing the US$2.74 billion and US$3.07 billion respectively generated online during the Black Friday and Cyber Monday. Owing to the success of Double 11, aroused the other e-commerce competitors’ interest to launch all kinds of "made-up shopping festival". However, excessive shopping holidays defocused customer attention and led to failure. In order to discover the key factors that make online shopping festival successful and give some marketing strategy suggestion, this study examines the world’s biggest online shopping festival “Double 11” and its main competitor “JD.com 618” through the 4C framework. And this study identifies the reason which caused the awareness differentiation. According to the analysis results, both “T-mall Double 11” and “JD.com 618” decrease the cost of C1, C2 and C3. For the C4, T-mall successfully builds strong connection between T-mall and the festival, created not only the promotion related specific asset, but also brand related specific asset. It generates a 4C positive cycle and maximizes the strength of festival marketing. However, JD.com fails to create brand related specific asset, only generates a weak 4C cycle. Therefore, the awareness of 618 is far less than double 11.

The thesis aims to identify strengths and threats of the International Queer Film Festival Mezipatra using methods of strategic analysis and qualitative research and then propose a course of action in future years. The theoretical part focuses on the description of the structure of the festival, the specifics of non-profit organizations and also characterizes the selected strategic analysis procedures. In the practical part I analyze the festival through the steps of strategic analysis and also use informal talks with members of the organizing staff and my own experience with executive positions at the festival and outline the current status of activities and further direction for the festival.

Este estudo tem como tema central a busca por uma maior e melhor compreensão do Festival Internacional do Folclore (FIF), que se realiza anualmente em Nova Petrópolis, Rio Grande do Sul, Brasil, colocando-o em diálogo com o turismo, as memórias locais e a etnicidade. Busca-se perceber se o FIF, ao longo das suas 40 edições, teria contribuído para a preservação da memória local, ao mesmo tempo em que incentivaria uma nova memória social do lugar. Para a condução da pesquisa, optou-se pelo viés qualitativo com suporte metodológico na história oral, por se entender que este é o caminho para a interpretação das experiências instauradas e vividas pelos participantes, assim como para o reconhecimento das diversas vozes relacionadas com o Festival. Os dados foram colhidos através de revisão bibliográfica, pesquisa documental e de campo, na forma de entrevistas e observação participante. Buscou-se aproximar a área teórica do turismo e dos eventos, considerando o contexto da história do turismo e do FIF em Nova Petrópolis. Na análise destes temas, afloraram diálogos e (inter) relações que indicam a preservação da memória local, mas se evidencia a construção de novas memórias, especialmente aquelas associadas à germanidade, imaginário que, uma vez criado e projetado na comunidade, estaria contribuindo para a construção de uma identidade e um sentimento de pertencimento e identidade de Nova Petrópolis, a ela associados. / The main theme of this study is the search for a bigger and better understanding of the International Folklore Festival (FIF – Festival Internacional de Folclore), which takes place annually in Nova Petrópolis, Rio Grande do Sul, Brazil; connecting it with tourism, local memories and ethnicity. It tries to discover if FIF, during its forty editions, has contributed to the preservation of the local memory and, at the same time, encouraged the creation of a new social memory from the region. To conduct this research, a qualitative method was chosen, supported in the oral history, since this is the way to interpret the experiences lived by its participants, such as the recognition from the several voices related to the Festival. The data were collected through bibliographic revision, document and field research as interviews and participant observation. This study tried to approximate the theory field to tourism and events, considering the historic background from tourism and FIF in Nova Petrópolis. In the analysis of these themes, dialogues and (inter)relations that indicate the local memory preservation stand out, however the construction of new memories are evident, especially those related to germanness, an imaginary that once created and constructed in the community, would be contributing to an identity construction and a belonging and identity feeling from Nova Petrópolis, related to it.