本研究主要以文化治理切入分析影展，並以台北電影節作為研究個案。台北電影節與政府的緊密關係則為本研究選擇文化治理之因。本研究先梳影展與文化治理的概念，並回溯台北電影節十八年來的歷史，最後透過田野研究與深度訪談聚焦於影展工作者。 影展研究的特殊來自其場域的高度複雜性，從多重行動者，到與產業的關係。同時影展高度受限於時空條件，例如：舉辦時間、地點、台北電影節在全球電影產業分工下的角色。全台唯一針對台灣電影設立的台北電影獎也成了其特殊之處，受惠於此的同時也深受其牽制。 台北電影節的設立與大方向訂定與政府／文化局的政策緊密扣連。然而在人事浮動和台灣政治環境下，除了「以文化作為治理方法」，也產生「文化成為被治理對象」的現象。台北電影節有過半經費來自台北市文化局，行政體系上又隸屬財團法人台北市文化基金會，必須遵守嚴格的公文、核銷請款流程。 然而卻與影展工作者特質相互矛盾，影展工作者多半愛好自由、對工作有相當執著等，也因此更容易對繁瑣行政體系產生反彈，同時影展工作常見的短聘制度更是不利公文體系的運作和經驗傳承。原以方便管理、防弊為出發的行政流程，卻吻合Foucault 談論的治理性，治理並不特定指涉國家機器，而是由不同論述推砌。除了由外向內，更同時進行主體化，成為由內向外的規訓。 / This study aims to analyze film festival through the concept of cultural governance. Due to the perceived close relationship between Taipei Film Festival and Taipei government, this festival has been chosen as the case study. It will begin by exploring the concepts of “film festival” and “cultural governance”, and the history of Taipei Film Festival and will focus on the workers through field study as well as in-depth interview. The field of film festival is highly complex. Its diversity of actors, close relationship with film industry, limited time and space, and the global situation concerning film industry all play parts in the performance of a film festival. Taipei Film Awards, a competition specialising in Taiwanese films, also makes Taipei Film Festival more confined in its creativity while brining it much resources. The close relationship Taipei Film Festival has with Department of Cultural Affairs, Taipei City Government makes its cultural aspect gets oppressed with endless administrative procedures to follow in order to gain financial and administrative support. Culture, in this case, has turned into a tool of administration; while on the other hand is ruled over by political decisions as well. The strict administrative procedures pose strong contrast to the nature of film festival workers as they often develop a system on their own to deal with the tons of work that befall on them. They therefore tend to oppose onerous oversight. On the other hand, the short-term contracts, which are common in film festival, also keeps the system from working fluidly. Administration is now coherence with what Foucault called “governance”. Instead only refer to government, governance is about different discourses. Governance is a process of subjectification, not only from to inside, also become the discipline which works from inside to outside.

Uppsatsen undersöker hur kvällstidningen Aftonbladet gestaltar våldtäkt i sin nyhetsrapportering. De våldtäkter som studien kommer att analysera är våldtäkter som inträffat på festivalområden, avgränsat till de på Bråvallafestivalen 2016, samt övriga överfallsvåldtäkter som inträffat under sommaren 2016. Studien kommer även att undersöka potentiella likheter och skillnader i nyhetsrapporteringen av dessa två typer av våldtäkt. Analysmaterialet består av tre rapporterande artiklar om festivalvåldtäkter respektive tre om överfallsvåldtäkter. Genom att utgå från teorier såsom Christies teori om det ideala offret, gestaltningsteorin, medielogikens dramaturgi och teorin om nyhetsvärdering, i samband med en kvalitativ innehållsanalys, analyseras respektive artikels textuella innehåll utefter fem olika teman. Dessa teman är hur rubrik och ingress konstrueras, hur offret gestaltas, hur gärningsmannen gestaltas, hur miljön gestaltas, och vilka andra aktörer som lyfts fram samt hur de lyfts fram. Analysresultaten, av de tre respektive tre artiklarna, sammanfattas sedan utefter den våldtäktstyp de behandlar, för att sedan jämföras med varandra.Resultaten av den tematiska analysen visar på att Aftonbladets framställning av festivalvåldtäkter till viss del skiljer sig från tidningens framställning av överfallsvåldtäkter. Genom användandet av mindre värdeladdade ord och mer neutrala beskrivningar i artiklarna om festivalvåldtäkt, framstår bland annat offren som mindre oskyldiga, gärningsmännen som mer passiva och distanserade, medan miljön kan tolkas som mindre respektabel, i jämförelse med artiklarna om överfallsvåldtäkt. Denna framställning kan tolkas normalisera de våldtäkter som inträffar på festivalområden. / The essay examines how the Swedish tabloid newspaper Aftonbladet portrays rape in their news reports. The rape cases that the study is going to analyze are rape that has occurred at festivals, delimited to Bråvallafestivalen 2016, as well as other cases of assault rape taking place during the summer of 2016. The study will also examine potential similarities and differences between the news reports of these two types of rape.By using theories such as Christie’s theory of the Ideal Victim, the Framing theory, the Dramaturgy of the Media Logic, and the News Value theory, in combination with a qualitative content analysis, the textual content of each article is analysed based upon five themes. These themes are how the headline and preamble are constructed, how the victim is portrayed, how the perpetrator is portrayed, how the environment is portrayed, and which other actors that are being mentioned as well as how they are being mentioned.The results of the thematic analysis shows that some differences do exist, when it comes to how Aftonbladet portrays rape at festivals in comparison to assault rape. By using less emotive words and more neutral descriptions in the articles about festival rape, the victims appear as less innocent, the perpetrators as more passive and aloof, while the environment could be perceived as less respectable, as compared to the articles about assault rape. This portrayal can be interpreted as normalizing the rapes that take place at festivals.

Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

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.

Le festival n'est pas une activité a-juridique. Cette activité événementielle attractive est encadrée par les pouvoirs publics tant par des mesures de police administrative que dans son occupation du domaine public. Cet événement présentant incontestablement des atouts pour la politique touristique et culturelle d'un territoire est devenu une véritable institution cofinancée par les pouvoirs publics. Oscillant entre mission de service public et simple activité de prestation de services, la question de l'intérêt public local de cette activité est au cœur d'un contentieux émergent devant le juge administratif. Dans le même temps, la valeur du festival tend à se privatiser. L'introduction du mécénat, le recours à certains droits de propriété intellectuelle pour protéger cette valeur (droit des marques pour l'appellation et le droit d'auteur pour la programmation) et le travail des groupes de pression pour obtenir un nouveau droit voisin en faveur des organisateurs de spectacles sont autant d'indices qui illustrent ce mouvement de privatisation. De plus, la tentation d'appropriation des concepts festivaliers incite à proposer une qualification juridique globale pour laquelle la notion de fonds de commerce s'avère adaptée. Enfin, l'application de contrats de franchise ou de partenariat aux festivals constitue des instruments juridiques utiles pour permettre leurs duplications. / A festival is a legal activity. This attractive entertaining event is regulated by the government as well through administrative policies measures as by its occupation of the public domain. This event, undoubtedly providing with potential assets for tourism and cultural policies of a given territory, has become an institution cofinanced by public authorities. Oscillating between public service mission and plain private service provision, the issue of local public interest of this activity is at the heart of an emerging dispute before the administrative law judge. At the same time, the value of the festival tends to become privatized. The introduction of corporate philanthropy and sponsoring, the use of specific intellectual property rights to protect that value (name branding laws for the designation and copyright laws for the programming) and groups lobbying for new laws to protect event organizers are all indicators that illustrate the privatization trend. Moreover, the temptation of appropriation of festival concepts fosters the proposal of a comprehensive legal qualification for which the concept of business is appropriate. Finally, the application of franchise or partnership to the festivals provides legal instruments useful to enable their duplication.

Made available in DSpace on 2016-08-10T10:50:53Z (GMT). No. of bitstreams: 1 EDILENE TRIGUEIRO MENDONCA.pdf: 7786847 bytes, checksum: 19966fbcd930a0af0692e719aafe8a31 (MD5) Previous issue date: 2010-04-19 / This study analyzes the International Festival of Movies and Environmental Video, in special time the partner-environmental impacts, of him advindos, for the local community of the City of Goiás, headquarters of the event. Although it is understood that is it aims at him/it to discuss the maintainable development, looking for to reinforce the conscience for better relationship man/nature, it is verified to be of essential importance that the planning and accomplishment of the event, once the same brings great movement to the municipal district, demonstrate concern with the preservation of the environment, and of the cultural goods, for the which it was granted to the city the title of the humanity's cultural patrimony. Of the point of view of the environmental sustentantabilidade, the research search to identify the local development it is ruled in a maintainable tourism, being considered that the area represents great tourist attractiveness in the State, especially, when of the accomplishment of the event. The verification of the proportionate tourist phenomenon for the accomplishment of the it is oportunizou the elaboration of a diagnosis of the current situation. In that procedure they were identified administration problems, evidencing the need to evaluate the planning conduct and accomplishment of that event as well as the local involvement to configure an efficient maintainable development. / Este estudo busca analisar o Festival Internacional de Cinema e Vídeo Ambiental (FICA), especificamente os impactos sócio-ambientais dele advindos para a comunidade local da Cidade de Goiás, sede do evento. Embora se compreenda que o FICA objetive discutir o desenvolvimento sustentável, buscando reforçar a consciência para melhor relação homem/natureza, verifica-se ser de importância fundamental que o seu planejamento e realização, uma vez que o mesmo traz grande movimentação ao município, demonstre preocupação com a preservação do meio ambiente, e dos bens culturais, pelos quais se concedeu à cidade o título de patrimônio cultural da humanidade. Do ponto de vista da sustentantabilidade ambiental, a pesquisa busca identificar se o desenvolvimento local pauta-se em um turismo sustentável, considerando-se que a região representa grande atratividade turística no Estado, em especial, quando da realização do evento. A verificação do fenômeno turístico proporcionado pela realização do FICA oportunizou a elaboração de um diagnóstico da atual situação. Nesse procedimento foram identificados problemas de gestão, evidenciando a necessidade de se avaliar a conduta de planejamento e realização do Festival, bem como o envolvimento local para se configurar um desenvolvimento sustentável eficiente.

Cette étude vise à analyser la question de l’identité culturelle dans un corpus dramatique de seize textes écrits en français et en anglais par des Kenyans à l’occasion du Kenya National Drama Festival (KNDF). Tenant compte de l’histoire coloniale et du contexte post-colonial du Kenya, il s’est agi de relever dans ce corpus les marqueurs de la post-colonialité, à y identifier les thèmes majeurs et les traits constructifs de l’identité culturelle kenyane et à y déterminer les particularités culturelles. Dans une optique comparatiste, l’étude s’appuie sur les théories aussi bien post-coloniales que du théâtre. Les concepts post-coloniaux touchant la question de l’identité à travers la langue, la culture et la représentation sont identifiés et analysés dans le contexte kenyan. Pour cette raison, l’on s’est appuyé sur les travaux d’Edward Saïd, d’Homi K. Bhabha, de Chinua Achebe et de Ngugi wa Thiong’o. L’étude révèle que la population kenyane se trouve face à une multiplicité de choix culturels résultant de l’expérience coloniale, de nouvelles pratiques liées à la globalisation ainsi que des complexités et des défis de la vie quotidienne du monde moderne. Le KNDF s’avère un dispositif de sensibilisation du public aux nouveautés, de dénonciation des maux sociétaux et de promotion de normes culturelles africaines. Il apparaît ici que le recours aux langues européennes n’empêche pas de représenter des réalités culturelles locales. Le Kenya fait ainsi preuve d’une mobilité culturelle qui se manifeste dans la progression du système traditionnel vers une disposition mondialisée. / This study analyszes the representation of cultural identity in sixteen drama texts written by Kenyans in English and in French for the Kenya National Drama Festival (KNDF). Considering the colonial history and the postcolonial context of Kenya, the task involved identifying the postcolonial markers within the texts, identifying major themes and traits constituting a Kenyan cultural identity and determining specific cultural identity. Using a comparative approach, the study draws from both postcolonial and theatre theories. The postcolonial concepts touching on identity through language, culture and representation are identified and analyzed in respect to the Kenyan context. For this reason, the study narrows down to the theoretical works of Edward Saïd, Homi K. Bhabha, Chinua Achebe and Ngũgĩ wa Thiong’o. The study reveals that the Kenyan population is faced with a multiplicity of cultural choices brought about by the colonization experience, the new practices associated with globalization, as well as the complexities and challenges of daily life. The KNDF proves to be an avenue for sensitizing the public on new phenomena, for denouncing societal ills and for promoting African traditional norms. It is apparent that the use of European languages does not hinder the representation of cultural reality of the local society. Kenya therefore attests to cultural mobility seen in the progression from the traditional system towards a more globalized disposition.

Cette thèse s’intéresse à la compréhension des mécanismes de partage d’émotions et de vécu affectif collectif en situation de consommation d’événement récréatif comme les festivals. L’émotion est étudiée d’un point de vue collectif et l’attention est focalisée sur les émotions positives, ce qui confère une double originalité à ce travail. Notre démarche relève d’un processus abductif articulé autour de phases successives d’immersions ethnographiques dans les rassemblements festifs des communautés glisse et psytrance et d’un recours à une littérature multidisciplinaire, significatif de notre inscription dans le courant de recherche de la théorie culturelle de la consommation (CCT).Il ressort que les transferts d’émotion sont centraux dans l’expérience de consommation événementielle. Les processus de partage d’émotion et de contagion émotionnelle sont omniprésents et contribuent à la création d’émotions collectives dont le vécu est recherché par le festivalier ou le spectateur. Ces dynamiques émotionnelles, qui sont en lien étroit avec la notion d’appartenance à la communauté, façonnent les logiques de consommation des festivaliers et influent sur leur rapport à l’expérience. L’ancrage socioculturel des dynamiques émotionnelles est aussi validé par nos résultats.Appréhender l’expérience par la dimension émotionnelle collective nous a permis de proposer une approche singulière de l’expérience et des cadres d’analyse spécifiques au contexte des festivals et des spectacles vivants. En outre, ce travail ouvre de nombreuses perspectives de recherche sur de nouvelles notions que notre analyse a permis de mettre à jour, comme celle de leader d’émotion, de style émotionnel et de densité émotionnelle. / This thesis focuses on the understanding of sharing emotions mechanisms and collective emotional experiences in recreational event consumption situation like festivals. The emotion is studied from a collective point of view and the attention is focused on positive emotions, giving this work a double originality. We adopted an abductive process that is articulated around successive phases of ethnographic immersions in festive gatherings of the action sport and the psytrance communities, and a use of multidisciplinary literature significant to to our registration in the Consumption Cultural Theory (CCT) research stream.Our results show that transfers of emotion are central in the event consumer experience. The process of emotional sharing and emotional contagion are ubiquitous and contribute to the creation of collective emotions that the experience is sought by the festival consumer or the event spectator. These emotional dynamics that are closely linked with the notion of belonging to the community, are shaping the consumption logics of the festival visitors, and are influencing their relation to the experience. The socio-cultural anchor of emotional dynamics is also confirmed by our results.Understanding the experience with the collective emotional dimension has allowed us to offer a unique approach to the experience and specific analytical frameworks to the context of festivals and live performances. In addition, this work opens many research perspectives on new concepts that our analysis was to update, such as emotional leader, emotional style and emotional density

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.

Submitted by Geyciane Santos (geyciane_thamires@hotmail.com) on 2015-06-25T14:54:34Z No. of bitstreams: 1 Dissertação- Laranna Prestes Catalão.pdf: 3900301 bytes, checksum: 9d87eb5c986d1855970e2fbdd9b04284 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-25T19:14:27Z (GMT) No. of bitstreams: 1 Dissertação- Laranna Prestes Catalão.pdf: 3900301 bytes, checksum: 9d87eb5c986d1855970e2fbdd9b04284 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-25T19:14:30Z (GMT) No. of bitstreams: 1 Dissertação- Laranna Prestes Catalão.pdf: 3900301 bytes, checksum: 9d87eb5c986d1855970e2fbdd9b04284 (MD5) / Approved for entry into archive by Divisão de Documentação/BC Biblioteca Central (ddbc@ufam.edu.br) on 2015-06-25T19:18:23Z (GMT) No. of bitstreams: 1 Dissertação- Laranna Prestes Catalão.pdf: 3900301 bytes, checksum: 9d87eb5c986d1855970e2fbdd9b04284 (MD5) / Made available in DSpace on 2015-06-25T19:18:27Z (GMT). No. of bitstreams: 1 Dissertação- Laranna Prestes Catalão.pdf: 3900301 bytes, checksum: 9d87eb5c986d1855970e2fbdd9b04284 (MD5) Previous issue date: 2014-08-20 / CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / The Occupational Health is a public health who has the relationship between work and its object of study and intervention. Reflection of capital and labor contradiction, this field considers the sociocultural, economic and political aspects to delineate the promotion, protection, recovery and rehabilitation of health workers, based on an analysis of the conditions and work processes they undergo. By this way, the objective of this study was to analyze the working conditions and the health impacts from the perspective of artists shed the Bois-Bumbás the Parintins Festival in the state of Amazonas. Symbol of Amazonian culture, this event includes the presentation of gangs, Bantam, dances and has headlining the show produced by Bumbás Garantido and Caprichoso, that impress the exuberance and creativity of the floats and costumes used in his presentation in the arena of Boi Bumbódromo. The job category "artists shed", the central subject of this study, is the denomination that these workers are assigned and are subdivided into a team of cutting-edge artists (artist team coordinator), sculptor, welder, painter, craftsman and auxiliary shed. For this work, the methodology used was a qualitative approach, by means of literature, semi-structured interviews, systematic observation and field diary, to grasp the process of labor and the environment that subjects develop their daily work. In 2013, each Folk Association hired an average of 110 (one hundred and ten) artists from the shed, and this universe, interviews were 19 (nineteen) of the two professional associations. To complement the study of the working environment and the health and safety of political associations, the director of the shed, technical labor safety and responsible for the health sector of the two oxen were interviewed. It was observed that the activities undertaken by the artists shed, considering the perspective of the subject, the work environment and the tools used, bring health risks. In the reports from the interviews, we identified accidents and illnesses caused by trade, diseases in which this was contributory factor and / or aggravating the already established disease. It was also observed that the Associations have improved the working conditions of artists shed by pressure exerted on the Ministry of Labor since 2009, as occurred with the modification of the labor contract, the improvements in the working environment and compliance with the payment of back wages. Nevertheless, it is still necessary that the folk associations and public and private power, event sponsors, compactuem together to establish policies on health and safety in the workplace for artists and others to shed workers, allowing his hands weave the Festival Folk Parintins with more dignity. / A Saúde do Trabalhador é uma área da saúde pública que tem na relação entre trabalho e saúde seu objeto de estudo e intervenção. Reflexo da contradição capital e trabalho, este campo considera os aspectos socioculturais, econômicos e políticos para delinear ações de promoção, proteção, recuperação e reabilitação da saúde dos trabalhadores, com base na análise das condições e processos de trabalho a que são submetidos. Por este caminho, o objetivo deste estudo foi analisar as condições de trabalho e os impactos na saúde na perspectiva dos artistas de galpão dos Bois-Bumbás do Festival Folclórico de Parintins, no Estado do Amazonas. Símbolo da cultura amazonense, este evento engloba a apresentação de quadrilhas, boi-bumbá mirim, danças e tem como principal atração o espetáculo produzido pelos Bumbás Caprichoso e Garantido, que impressionam pela exuberância e criatividade das alegorias e indumentárias utilizadas em sua apresentação na arena do Bumbódromo. A categoria de trabalho “artistas de galpão”, sujeitos centrais deste estudo, é a denominação que estes trabalhadores se atribuíram e subdividem-se em uma equipe formada por artistas de ponta (artista plástico coordenador da equipe), escultor, soldador, pintor, artesão e auxiliar de galpão. Para este trabalho, a metodologia utilizada foi a abordagem qualitativa, por meio de pesquisa bibliográfica, entrevista semiestruturada, observação sistemática e diário de campo, para apreender o processo de trabalho e o meio ambiente a que os sujeitos desenvolvem seu trabalho diário. Em 2013, cada Associação Folclórica contratou, em média, 110 (cento e dez) artistas de galpão e, deste universo, foram entrevistas 19 (dezenove) profissionais das duas agremiações. Para complementar o estudo do ambiente de trabalho e da política de saúde e segurança do trabalho das associações, foram entrevistados o diretor de galpão, o técnico de segurança do trabalho e o responsável pelo setor de saúde dos dois bois. Observou-se que as atividades desenvolvidas pelos artistas de galpão, considerando a perspectiva dos sujeitos, o meio ambiente de trabalho e os instrumentos utilizados, trazem riscos à saúde. Nos relatos obtidos nas entrevistas, identificou-se acidentes de trabalho e doenças causadas pelo ofício, doenças em que este foi fator contributivo e/ou agravador de enfermidade já estabelecida. Observou-se ainda que as Associações têm melhorado a condição de trabalho dos artistas de galpão por pressão sofrida pelo Ministério Público do Trabalho desde 2009, como ocorreu com a modificação da forma do contrato de trabalho, das melhorias no ambiente de trabalho e no cumprimento do pagamento dos salários atrasados. Apesar disso, ainda é preciso que as associações folclóricas e o poder público e privado, patrocinadores do evento, compactuem entre si para estabelecimento de políticas de saúde e segurança do trabalho para os artistas de galpão e demais trabalhadores, permitindo que suas mãos teçam o Festival Folclórico de Parintins com mais dignidade.