Purpose – The purpose of this thesis is to investigate how film festivals use project management techniques to manage uncertain resources. Design/methodology/approach – Fourteen case studies are used to explore the project management techniques used by film festivals across Europe. An extensive theoretical framework brings together a number of key fields for the first time and provides an informative background to the study. Based on this theoretical framework a conceptual model was developed, ‘the film festival ‘smoothie’ model’, which provides a guide for data collection and analysis. The research focuses on traditional and contemporary project management techniques, but also contextual factors that impact upon the project management of film festivals. Findings – The findings show that a creative, reactive and flexible approach to project management is vital within film festival organisations and supports earlier research calling for a rethinking of project management to consider the growing presence of ‘soft projects’ and contextual factors of projects. Furthermore, it highlights interesting characteristics and lessons that can be learnt from film festivals, warranting further investigation, since film festivals are ‘interesting repositories of knowledge that provide rich data for organisation and management researchers’ (Rüling and Strandgaard Pedersen, 2010, p. 322) and that cultural projects can be source of inspiration for refreshing project management techniques (Cwikla and Jalocha, 2015). Research limitations – The research gives an initial picture of the European panorama and presents studies of film festivals from Italy, Portugal, United Kingdom and Sweden. Originality/value – Our research contributes to a detailed understanding of the project management processes within film festivals and the way film festivals minimise the negative impact of uncertain resources, and exercise control without stifling creativity. Practical implications - This thesis intends to be descriptive, and therefore does not provide solid ground for practical recommendations of a recipe for success for project management within film festivals. The research does, however, provide evidence of the interesting project management approaches within film festival organisations and therefore advocates further research to be done in this field.

Thesis (Ph. D.)--University of California, Santa Cruz, 2001. / Typescript. Includes bibliographical references (leaves 392-440).

Thesis (Ph. D.)--University of Technology, Sydney, 2005. / Title from PDF title page (viewed on Feb. 5, 2008). Includes bibliographical references (p. 365-391).

Thesis (Ph.D.). / Written for the Dept. of Art History and Communication Studies. Title from title page of PDF (viewed 2009/06/11). Includes bibliographical references.

This dissertation documents and analyzes the reception of Japanese films in the French film journals of the 1950s, when postwar Paris was awash with cinephilia. The foremost of those journals, Cahiers du cinéma, began publication in 1951, the same year as Japanese cinema’s breakthrough into international film culture with the surprise victory of Akira Kurosawa’s Rashõmon at the Venice Film Festival. Previous scholarship has amply credited the critics at Cahiers with reinventing the tenets of film criticism and launching the French New Wave, but without focused attention on the Japanese case. Meanwhile, reception studies of Japanese cinema in the postwar West have tended to concentrate on the United States’ hegemonic position vis-à-vis the Japanese film industry. Entwining those two strands, I investigate how Cahiers’ sustained but selective engagement with Japanese cinema fueled intergenerational conflicts within the journal and debates with rival journal Positif, helped crystallize the key tenets of auteur theory and mise-en-scène, and navigated between orientalist notions of authentic national cinema and the vexed ideal of cinema as a universal language. In addition to mining the film journals, I draw on the rich archive of the Cinémathèque Française for unpublished quantitative data and correspondence related to screenings of Japanese films and Japan’s entries in the European film festival circuit, especially Cannes. This factual record underscores my argument that the French critics used Japanese cinema subjectively as a malleable canvas for limning their own partisan aesthetics and passionate advocacy for cinema as the seventh art. After setting the scene of 1950s cinephilia, I trace Cahiers’ encounter with the unknown of Japanese cinema which resulted in reactions from stunned amazement, through enthusiastic viewership and awareness of Japan’s already thriving film industry, to reaction against the exotic seductions of Japanese films suspected of having been made solely for export to the West. In particular, I show how Cahiers’ championing of the “incomparable” Kenji Mizoguchi as the first non-Western director admitted to their pantheon of world-class auteurs emerged from a decade of polarizing head-to-head comparisons with Mizoguchi’s increasingly disparaged countryman Kurosawa. My transregional approach thus taps and commends a fertile vein in historicocritical film studies.

Esta tese é uma análise exploratória do consumo fanático e se enquadra no âmbito da Consumer Culture Theory (CCT), analisando outras temáticas pertinentes, tais como o consumo de experiências, distinções simbólicas e a formação de identidades e comunidades. Como lócus de estudo, foi escolhido o ambiente dos festivais de cinema fantástico, buscando investigar indivíduos altamente envolvidos com o objeto de consumo, através do ponto de vista dos próprios pesquisados. O objetivo principal desta tese é analisar se estes festivais exercem influência sobre a(s) identidade(s) dos espectadores e se são responsáveis pela geração de comunidades de consumo. O estudo empírico realizado consistiu na incursão em dois campos de pesquisa (Fantastic Fest, em Austin, Estados Unidos, em 2010 e Fantaspoa, em Porto Alegre, Brasil, em 2012), na realização das duas etapas de observação participante e na realização de uma série de 60 entrevistas filmadas nos dois eventos. As entrevistas foram utilizadas para gerar uma videografia e também foram transcritas para a análise dos resultados. O conteúdo transcrito das entrevistas foi codificado e dividido em itens e esta codificação gerou conceitos a partir dos dados, a fim de analisar o seu conteúdo com rigor acadêmico. O enquadramento desta tese no paradigma interpretativista visou compreender a complexidade dos fenômenos sociais de maneira integrada, a partir dos significados atribuídos pelas pessoas, partindo das relações sociais e culturais estabelecidas no campo de estudo. Constatou-se que, durante os festivais, a parcela dos espectadores mais assíduos desenvolve o que poderia ser denominado de “identidade-para-o-festival”. Tais eventos não apenas influenciam no desenvolvimento da identidade dos seus consumidores, mas também propiciam fortes vínculos emocionais com eles. Pode-se confirmar que a maioria dos espectadores pode ser considerada fã, por transformar o ato de ir ao festival em uma atividade cultural, dividindo sentimentos e pensamentos e tornando-se membro de uma comunidade de indivíduos, na qual há um forte sentimento de aceitação e valorização. Verificou-se que esta interação gera contatos que aumentam o interesse e o conhecimento dos espectadores, desenvolvendo relações que podem gerar comunidades de consumo. / This dissertation is an exploratory analysis of fanatic consumption. This is set within the framework of Consumer Culture Theory (CCT), analyzing other relevant themes, such as experience consumption, symbolic distinction and the development of identities and communities. As a locus of study, the environment of genre film festival was chosen, aiming at studying individuals that have a high involvement with their consumption object, through their own point of view. The main goal of this dissertation is to analyze if these festivals exert influence on the identity(ies) of their attendees and if they are responsible for the development of communities of consumption. The empirical study consisted in the incursion in two research fields (Fantastic Fest, Austin, USA, on 2010 and Fantaspoa, Porto Alegre, Brasil, on 2012). Two participant observations were made, as well as 60 filmed interviews in the two events. The interviews were used to create a videography and they were also transcribed for the analysis of results. The transcribed content was codified and separated in items. The coding techniques were used to generate concepts based on the data, aiming at analyzing their content with academic rigor. The framing of this dissertation on the interpretativist paradigm aimed at understanding the complexity of the social phenomenon in a integrated way, being based on the meanings attributed by the festival’s attendees and their social and cultural relationships established on the field of research. It is noteworthy that the most assiduous attendees create what might be called of “identity-for-the-festival”. Such events not only cause influence on the development of the identities of its consumers, but also assist on the development of strong emotional bonds among them. It was confirmed that the majority of the attendees might be considered a fan, because they transform their festival attendance in a cultural activity, sharing thoughts and feelings and becoming a member of a community, in which there is a strong feeling of acceptance and belongingness. It was verified that this interaction, within time, generate contacts that enhance the interest and the knowledge of the attendees, developing relationships that might become communities of consumption.

Esta tese é uma análise exploratória do consumo fanático e se enquadra no âmbito da Consumer Culture Theory (CCT), analisando outras temáticas pertinentes, tais como o consumo de experiências, distinções simbólicas e a formação de identidades e comunidades. Como lócus de estudo, foi escolhido o ambiente dos festivais de cinema fantástico, buscando investigar indivíduos altamente envolvidos com o objeto de consumo, através do ponto de vista dos próprios pesquisados. O objetivo principal desta tese é analisar se estes festivais exercem influência sobre a(s) identidade(s) dos espectadores e se são responsáveis pela geração de comunidades de consumo. O estudo empírico realizado consistiu na incursão em dois campos de pesquisa (Fantastic Fest, em Austin, Estados Unidos, em 2010 e Fantaspoa, em Porto Alegre, Brasil, em 2012), na realização das duas etapas de observação participante e na realização de uma série de 60 entrevistas filmadas nos dois eventos. As entrevistas foram utilizadas para gerar uma videografia e também foram transcritas para a análise dos resultados. O conteúdo transcrito das entrevistas foi codificado e dividido em itens e esta codificação gerou conceitos a partir dos dados, a fim de analisar o seu conteúdo com rigor acadêmico. O enquadramento desta tese no paradigma interpretativista visou compreender a complexidade dos fenômenos sociais de maneira integrada, a partir dos significados atribuídos pelas pessoas, partindo das relações sociais e culturais estabelecidas no campo de estudo. Constatou-se que, durante os festivais, a parcela dos espectadores mais assíduos desenvolve o que poderia ser denominado de “identidade-para-o-festival”. Tais eventos não apenas influenciam no desenvolvimento da identidade dos seus consumidores, mas também propiciam fortes vínculos emocionais com eles. Pode-se confirmar que a maioria dos espectadores pode ser considerada fã, por transformar o ato de ir ao festival em uma atividade cultural, dividindo sentimentos e pensamentos e tornando-se membro de uma comunidade de indivíduos, na qual há um forte sentimento de aceitação e valorização. Verificou-se que esta interação gera contatos que aumentam o interesse e o conhecimento dos espectadores, desenvolvendo relações que podem gerar comunidades de consumo. / This dissertation is an exploratory analysis of fanatic consumption. This is set within the framework of Consumer Culture Theory (CCT), analyzing other relevant themes, such as experience consumption, symbolic distinction and the development of identities and communities. As a locus of study, the environment of genre film festival was chosen, aiming at studying individuals that have a high involvement with their consumption object, through their own point of view. The main goal of this dissertation is to analyze if these festivals exert influence on the identity(ies) of their attendees and if they are responsible for the development of communities of consumption. The empirical study consisted in the incursion in two research fields (Fantastic Fest, Austin, USA, on 2010 and Fantaspoa, Porto Alegre, Brasil, on 2012). Two participant observations were made, as well as 60 filmed interviews in the two events. The interviews were used to create a videography and they were also transcribed for the analysis of results. The transcribed content was codified and separated in items. The coding techniques were used to generate concepts based on the data, aiming at analyzing their content with academic rigor. The framing of this dissertation on the interpretativist paradigm aimed at understanding the complexity of the social phenomenon in a integrated way, being based on the meanings attributed by the festival’s attendees and their social and cultural relationships established on the field of research. It is noteworthy that the most assiduous attendees create what might be called of “identity-for-the-festival”. Such events not only cause influence on the development of the identities of its consumers, but also assist on the development of strong emotional bonds among them. It was confirmed that the majority of the attendees might be considered a fan, because they transform their festival attendance in a cultural activity, sharing thoughts and feelings and becoming a member of a community, in which there is a strong feeling of acceptance and belongingness. It was verified that this interaction, within time, generate contacts that enhance the interest and the knowledge of the attendees, developing relationships that might become communities of consumption.

Esta tese é uma análise exploratória do consumo fanático e se enquadra no âmbito da Consumer Culture Theory (CCT), analisando outras temáticas pertinentes, tais como o consumo de experiências, distinções simbólicas e a formação de identidades e comunidades. Como lócus de estudo, foi escolhido o ambiente dos festivais de cinema fantástico, buscando investigar indivíduos altamente envolvidos com o objeto de consumo, através do ponto de vista dos próprios pesquisados. O objetivo principal desta tese é analisar se estes festivais exercem influência sobre a(s) identidade(s) dos espectadores e se são responsáveis pela geração de comunidades de consumo. O estudo empírico realizado consistiu na incursão em dois campos de pesquisa (Fantastic Fest, em Austin, Estados Unidos, em 2010 e Fantaspoa, em Porto Alegre, Brasil, em 2012), na realização das duas etapas de observação participante e na realização de uma série de 60 entrevistas filmadas nos dois eventos. As entrevistas foram utilizadas para gerar uma videografia e também foram transcritas para a análise dos resultados. O conteúdo transcrito das entrevistas foi codificado e dividido em itens e esta codificação gerou conceitos a partir dos dados, a fim de analisar o seu conteúdo com rigor acadêmico. O enquadramento desta tese no paradigma interpretativista visou compreender a complexidade dos fenômenos sociais de maneira integrada, a partir dos significados atribuídos pelas pessoas, partindo das relações sociais e culturais estabelecidas no campo de estudo. Constatou-se que, durante os festivais, a parcela dos espectadores mais assíduos desenvolve o que poderia ser denominado de “identidade-para-o-festival”. Tais eventos não apenas influenciam no desenvolvimento da identidade dos seus consumidores, mas também propiciam fortes vínculos emocionais com eles. Pode-se confirmar que a maioria dos espectadores pode ser considerada fã, por transformar o ato de ir ao festival em uma atividade cultural, dividindo sentimentos e pensamentos e tornando-se membro de uma comunidade de indivíduos, na qual há um forte sentimento de aceitação e valorização. Verificou-se que esta interação gera contatos que aumentam o interesse e o conhecimento dos espectadores, desenvolvendo relações que podem gerar comunidades de consumo. / This dissertation is an exploratory analysis of fanatic consumption. This is set within the framework of Consumer Culture Theory (CCT), analyzing other relevant themes, such as experience consumption, symbolic distinction and the development of identities and communities. As a locus of study, the environment of genre film festival was chosen, aiming at studying individuals that have a high involvement with their consumption object, through their own point of view. The main goal of this dissertation is to analyze if these festivals exert influence on the identity(ies) of their attendees and if they are responsible for the development of communities of consumption. The empirical study consisted in the incursion in two research fields (Fantastic Fest, Austin, USA, on 2010 and Fantaspoa, Porto Alegre, Brasil, on 2012). Two participant observations were made, as well as 60 filmed interviews in the two events. The interviews were used to create a videography and they were also transcribed for the analysis of results. The transcribed content was codified and separated in items. The coding techniques were used to generate concepts based on the data, aiming at analyzing their content with academic rigor. The framing of this dissertation on the interpretativist paradigm aimed at understanding the complexity of the social phenomenon in a integrated way, being based on the meanings attributed by the festival’s attendees and their social and cultural relationships established on the field of research. It is noteworthy that the most assiduous attendees create what might be called of “identity-for-the-festival”. Such events not only cause influence on the development of the identities of its consumers, but also assist on the development of strong emotional bonds among them. It was confirmed that the majority of the attendees might be considered a fan, because they transform their festival attendance in a cultural activity, sharing thoughts and feelings and becoming a member of a community, in which there is a strong feeling of acceptance and belongingness. It was verified that this interaction, within time, generate contacts that enhance the interest and the knowledge of the attendees, developing relationships that might become communities of consumption.

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