vi, 84 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number. / This thesis explored the significance of the 1969 Woodstock festival and its anniversary festivals as indicated through media use of iconic and popular photographs. The literature review examines the role of iconic and journalistic images in the collective memory of historic events. The dynamic interplay of collective memory and images forms the theoretical backbone of the thesis, which applies semiotic analysis to interpret the meaning and significance of three significant photographs from the festivals. Results indicate that photographs from the original festival are icons forming the template against which photographs from later festivals can be understood and read. Images from anniversaries of the festival reflect a ritualistic repetition of themes from the original festival, as well as its increasing commercialization. / Committee in Charge: Dr. Julianne Newton, Chair; Dr. Pat Curtin; Dr. Philip Scher

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.

The thesis deals with the creation of corporate indentity of student festival Salon původní tvorby at the Theatre Department of Janacek Academy of Brno. The objective of the thseis is to assess the theoretical rules of creating corporate identity and then to apply them on creating the logo and logotype of the festival that could be used for any theme of the festival. Furthermore the thesis creates the design of the actual year, Salon [si ty]. There it attemps mainly for the increase of presentation of the festival and the orientation of the participants. The design follows the ergonomic, constrictional and other rules set up in the theoretical research.

Uma reportagem de tema amazônico o Festival Folclórico de Parintins abre caminho para investigar as possibilidades pragmáticas de uma proposta que evita o distanciamento objetivo ou a objetividade possível tal como dito nos manuais de redação jornalística. A tese busca uma estratégia, nomeada de transubjetividade, que intensifica o diálogo e tenta articular, na construção da reportagem, os aspectos: objetivo, subjetivo, intersubjetivo, e normativo (como indica Habermas). Para alcançar essa meta é preciso reconhecer o impulso subjetivo que leva à gênese da reportagem mas sem que o autor se torne o centro da narrativa; respeitar o próximo além de seguir as normas éticas da profissão; fazer referência ao real aprofundando nas questões Quem? O quê? Quando? Onde? Como? Por quê?; e praticar a intersubjetividade na mediação social, para compreender aqueles que atuam na experiência coletiva do presente. / A story behind an Amazonian theme Parintins Folk Festival leads a way toward the investigation of the pragmatic possibilities of a proposal that avoids the objective and distant posture or the possible objectivity such as said in the journalistic stylebooks. This thesis searches a strategy, named transubjectivity, which reinforces the dialogue and tries to articulate in the report the objective, subjective, intersubjective and normative aspects (as Habermas points). To achieve this goal it is needed to recognize the subjective impulse which leads to the genesis of the report without the author becoming the center of the narrative; being respectful beyond the ethical/normative rules of the profession; making reference to the real by deepening the questions Who? What? When? Where? How? Why? and practicing intersubjectivity in social mediation, in order to comprehend the ones who act in the current collective experience.

<p>In this paper my aim is to understand the trance movement from within as a collective phenomenon. I went to Turkey with my boyfriend David on a trance gathering, a festival called A Total Solar Eclipse Festival. There I did participant observations and interviews.</p><p>Can Collins theory about interaction ritual be useful to raise the understanding? And is it fruitful to apply the term collective identity?</p><p>The collective identity is build up by the festival as interaction ritual. It generates solidarity, emotional energy and a sense of belonging.</p><p>In this paper I discuss different categories and symbols that the collective identity contains of. Like for example the music or the movement’s experience of the nature. The categories are symbols in that sense that they are norms and values which the participants bring along with them, they gets stronger and reproduces through the festival.</p><p>The categories that I have found I place under one main category called “liberation of spirituality” where feelings of timeless, present orientation and a break from ordinary life. But also feelings as freedom, beautiful nature, colours, music, and drugs that raise the spirit and scatter boarders.</p><p>The movement also contains conflicts, some of them they express explicitly and others they don’t mention more than implicit.</p>

In this paper my aim is to understand the trance movement from within as a collective phenomenon. I went to Turkey with my boyfriend David on a trance gathering, a festival called A Total Solar Eclipse Festival. There I did participant observations and interviews. Can Collins theory about interaction ritual be useful to raise the understanding? And is it fruitful to apply the term collective identity? The collective identity is build up by the festival as interaction ritual. It generates solidarity, emotional energy and a sense of belonging. In this paper I discuss different categories and symbols that the collective identity contains of. Like for example the music or the movement’s experience of the nature. The categories are symbols in that sense that they are norms and values which the participants bring along with them, they gets stronger and reproduces through the festival. The categories that I have found I place under one main category called “liberation of spirituality” where feelings of timeless, present orientation and a break from ordinary life. But also feelings as freedom, beautiful nature, colours, music, and drugs that raise the spirit and scatter boarders. The movement also contains conflicts, some of them they express explicitly and others they don’t mention more than implicit.

The aims of this research investigate and discuss the possibility of how a local government can construct city image by organizing local festivals with its marketing campaign. In generally, most of festivals and events can inject economic revenues and build up the city images upon branding marketing. Basically, the local government remains the main authority to coordinate the festival promotion and marketing, but festival branding and marketing even meet many challenges and struggles. Significantly, many of phenomena in Taiwan tourism markets presented those current festivals facing many potential problems and unpredictable impacts with respect to festival management and sustainability. However, these problems and dilemma including local government please tourists, lack of culture protection, demolishing local specialty and lack of innovation as well as the purposes of this festival. Wan-Nien Festival was chosen as the case study of this research since Wan-Nien Festival has exhibited for more than ten years to be the most popular and historical event of Taiwan official festivals as a result of its amazing campaign and diverse contents. Due to its entirely empirical characteristics and comparing with other short-lifecycle festivals in Taiwan tourism market, Wan-Nien Festival has been already authorized by Taiwan Tourism Bureau to call for the 2010 main folk festival t. On the contrary, a number of festival managements might face the end situation due to the limitation of budgets even though those festivals have already experienced and accumulated high popularity and reputation such as Yilan International Children¡¦s Folklore ¡® Folkgame Festival. Similarly, Wan-Nien Festival might face the same challenge and difficulty for its sustainability without money injection. In contrast, many famous festivals and events are still in the process and development, such as Edinburgh International Festival which has been held for more than sixty years (from 1947). However, these famous festivals still attract many tourists all over the world as a result of their marvellous activities and they also turn into highly-acceptations festivals by the branding marketing. According to the argument of above description, the purpose of this research intends to discuss the possibility of Wan-Nien Festival branding-building and branding management. The methodology of this research can be divided into three perspectives. First of all, Three outstanding international festival, Edingburgh International Festival, Qingdao International Beer Festival, and Yilan International Children¡¦s Folklore and Folkgame Festival will beanalysed, induced, and compared the significant key factors and impacts to result in the success of these festivals. Secondly, referring to the branding management, research strategy adopt semi-construct interview to ask eleven relative stakeholders such as governors involved in holding festival, representative from Wan-Nien Festival local committee, village wardens, scholars specialize in festival marketing and tourism and business representatives. This research method tries to build up complete theory in the base of grounded theory and utilize the Atlas.ti 5.6.3 software to integrate and collect these interview data. The main research process is to record all correspondents interview conversations by the step to open coding, family coding, illustrating network diagram and finally constructing research theory. Due to the deep interviews with 11 relative stakeholders who might directly or indirectly participate in Wan-Nien Festival marketing and branding, this dissertation illustrated several significant discoveries and valuable information. These results demonstrate that there are numbers of key factors of a success festival such as well-using of the local resource, festival organizing and support with more assistance from a local government, and integrating local community agreement. The research results also recapitulate that local participators involvement seem main power to drive the local feature and shape the festival organization. In addition, the main attraction to identify the difference of marketing branding and marketing position is to plan the local stories.

Characterized with movability, intangibility and easy to perish, successful tourism is in need of accurate and timely information. As the Internet becomes more pervasive, the industry of tourism and traveling has been considering how to take advantage of the technology and adopting e-business strategies. Meanwhile, local governments are also interested in marketing local festivals using new forms of promotion. This thesis addresses how a local government in Taiwan and a festical conductoring organization tried to transform a traditional religious festival into a nationwide cultural activity and the role of mobile technology and application in it. Festival is an activity featured by short-term period, over-population, and program change, which makes information demanding for participants. Therefore, a soundful planning of information provision in terms of timingness, accessability and completeness can affect the effectiveness of conducting a festival. Hopefully the mobile technology and its applications can fultill that need. How potential can mobile devices and services fulfill the obligation of offering and updating festival information is the motivation that drives this research. Taking the ¡¥2005 Taichung County Dajia Matsu International Festival¡¦ as a case example for examination, I explores the role of mobile technology, a prominent form of the information and communication technologies (ICTs) increasingly affects one¡¦s living, in promoting a religious festival with nationwide or even worldwide believers, notably in terms of campaign marketing and information provision. Comments and suggestions follow an in-depth interview with relavant figures and secondary data. Exploration also goes to the role and means of telecommunication operators in promoting this particular festival. These findings are also achieved by participant observation. This study suggests that, with the consent of festival conductors and interest of mobile operators, mobile devices and applications plays an increasingly important role in festival marketing. Mobiel marketing lowers the cost for both festival conductors in information dissemination as well as tourists in information searching. Still, the mobile¡¦s function of information provision can be be improved and enhanced, notably in deepening cultural beliefs adding to information provision of the show. Hopefully, this study can contributes to the understanding of using mobile technologies in festival marketing so that a satisfactory tourism experience can be achieved.

Thesis (M.S. in Arts Administration)--Shenandoah University, 2004. / Includes bibliographical references.