Le rôle des festivals de cinéma internationaux dans l'émergence du cinéma iranien

Jusqu’à la fin du vingtième siècle, les études sur le cinéma iranien ont tendance à aborder ce cinéma par rapport à la Révolution islamique de 1979, c’est-à-dire à le diviser en deux époques, prérévolutionnaire et postrévolutionnaire. Cette recherche s’inscrit dans une pensée récente qui étudie l’émergence de ce cinéma national en tant que cheminement continu et dominé par des politiques culturelles contradictoires et ambiguës. Dans cette étude, nous ferons au premier chapitre un survol de l’histoire du cinéma iranien, avec un intérêt particulier pour la culture des festivals. Il s’agira de décrypter les enjeux politiques et culturels qui dirigent les décisions du gouvernement et des professionnels de l’industrie. Le deuxième chapitre proposera un questionnement sur la notion de cinéma national, et appliquera cette notion au cinéma iranien. Une attention particulière sera portée à la Fondation du cinéma Farabi, une institution clé dans la promotion du cinéma national et dans l’émergence des films iraniens dans les festivals de films internationaux. Finalement, le troisième chapitre présentera le rôle des festivals dans l’industrie cinématographique ainsi qu’une analyse de l’évolution des films iraniens présentés au Festival des films du monde de Montréal afin de démontrer l’influence des politiques culturelles iraniennes floues sur la présence des films iraniens dans les festivals occidentaux.

Projects : Hallowe' en, Christmas, St. Valentine' s, April Fools Day : proyectos para estudiantes de inglés del primer ciclo de secundaria : inglés : English Festivals : (primer ciclo de secundaria obligatoria) : material para el profesor.

Estos proyectos van dirigidos a alumnos de primer y segundo curso del primer ciclo de secundaria obligatoria. Sus objetivos intentan que el alumno ponga en práctica las cuatro destrezas básicas (entender, hablar, leer y escribir) y, sobre todo, que comunique y se comunique aunque sea con pobreza lingüística. Se persigue también que el alumno reflexione sobre las similitudes y diferencias entre su propia cultura y la lengua objeto de su aprendizaje y profundice en ambas. Como material complementario estos proyectos pueden ser utilizados por profesores que usan libro de texto. La duración de cada proyecto es de una media de 7 sesiones, dejando la ampliación o reducción de los mismos a los criterios de necesidad de cada profesor y grupo de trabajo.

Festivals around the world.

A lo largo del año, en todos los lugares del mundo celebran festivales. Algunas fiestas están relacionadas con la religión, con la cosecha local, los planetas, el clima o acontecimientos importantes en las vidas de la gente. Aquí se examinan algunos de los más conocidos o los más espectaculares, que provienen de diferentes países, culturas y religiones. En las páginas impares de esta publicación hay instrucciones detalladas para hacer uno de los objetos que se muestran en la página par. Para saber más hay direcciones, una lista de libros útiles y glosario.

Festivals : St Patrick' s-Thanksgiving : unidades did??cticas de Ingl??s : primer ciclo de Educaci??n Primaria

Contiene dos unidades did??cticas de Ingl??s, que pretenden proporcionar al profesorado modelos de programaci??n y materiales did??cticos de apoyo a su pr??ctica docente. La primera unidad, St Patricks, trata sobre la fiesta y la leyenda de San Patricio, patr??n de Irlanda, y consta de cuatro sesiones. La segunda unidad, Thanksgiving, est?? dedicada a una celebraci??n t??pica de Estados Unidos, la fiesta de Acci??n de Gracias, y consta de cinco sesiones. Ambas unidades incluyen una introducci??n, la explicaci??n detallada de cada sesi??n y tres anexos con material fotocopiable, fichas de evaluaci??n y juegos.

Festivals, art and mentoring : disseminating knowledge, enhancing skills and developing networks in regional Victoria

Many regional festivals use art as a vehicle to engage with a broader cross-section of the community; highlight the artistic talent of their region; introduce art to their region; and to distinguish theirs from others. Regional Arts Victoria and Arts Victoria recently piloted a mentoring program, Directions, for regional festivals that indicated an interest in developing their artistic direction. Three experienced artistic directors were selected to participate in the program as mentors, and each of these mentored two festival directors whose festivals are located in Regional Victoria. The aim of this paper is to highlight the potential of mentoring within the context of festival management by exploring the outcomes of Directions. A case study approach is used, and although this limits the generalisability of the results to other festivals, the information gained provides insights into managing festivals within the context of artistic direction. A number of themes emerged from the study that appear to have broadened the perspective of 'art' in those festivals participating in the program. Furthermore, the program has highlighted that while festivals and artistic directors in regional locations experience varying degrees of isolation, they have a great deal of creativity and skill. Directions provided organisers of the festivals with the confidence to make decisions that enable them to capitalise on their extant creativity and skills. Festivals are then able to be marketed against their competitors with unique selling positions, which is important for sustainability. The results obtained through the evaluation of this pilot program provide Regional Arts Victoria and Arts Victoria opportunities to effectively assess the need for such programs for festivals in regional Victoria in the future.

Space : the final frontier : festivals, community and place in Darwin Northern Territory, Australia

The ethnographies of two festive public events are used to analyse some aspects of community and place in Darwin, Northern Territory, Australia. Place entails layers of physical and imaginal geographies and involves local and extra-local factors. Discourses about place among those who lived in Darwin are interwoven with discourses about community. A framework of border spaces and intersections are used to look at tensions and accommodations in presenting sometimes conflicting versions/visions of Darwin.

Festivals and music : negotiating culture, identity and place

It is noted in the introduction to this book that ' Festivals are believed to recreate and emphasize relationships that are normally submerged; of being built in structures whilst following unstructured codes, of creating a separate world with its own rules, personnel and expectations; of encompassing contradictory ideas and practices while involving formal and informal institutions: So what is this 'separate world'? What relationships, normally unseen or unnoticed, are made apparent within the space of the festival? While the origins of festivals lie in the close relationship of the quotidian and ritual aspects of traditional communities, how do contemporary festivals relate to the diversity of multicultural societies? Conversely, how are they inflected by the forces of globalization, by the festivalization of culture that in recent years has become a widespread tactic for the promotion of cities and regions? While many traditional festivals still exist, increasing urbanization, improved communications and diversified migration have meant that many contemporary festivals are of recent origin, the products of what Giddens refers to as the post-traditional state of present societies (Giddens 1994). This description highlights the self-conscious nature of dealing with culture in a world of competing and overlapping world views. While cultural identity and authenticity are still used to infer the existence of qualities intrinsic to communities, ethnicities or nations, the fragmentation and interconnectedness of contemporary societies have long made assertions of essence untenable. Meanings have become dependent on performativity and context. Cultural identity, while traditionally applied to those sharing a particular geographic, linguistic, ethnic or religious background, has become extended to other senses of belonging, to communities based on sexuality, physicality or simply shared experience and taste. The notion that festivals might create separate worlds suggests that part of the reason for their recent proliferation in recent times is that they provide the ideal medium for both performance and participation in this diffuse and shifting environment.

Festivals as a tool to integrate cultural identities in the city of Belfast

During the past few decades Belfast has witnessed a growing interest in festivals celebrating local cultural and historical traditions. In order to understand the context of festival development in Belfast an understanding of the city's history is essential. Belfast has around half a million inhabitants of two ethnic backgrounds, Irish nationalist (predominately Catholic) and British Unionist (predominately Protestant) (Russell 2005). Ethnicity in Northern Ireland mainly refers to the Catholic and Protestant populations. The people of Northern Ireland are predominantly white, with only o.8s per cent of them having non-Irish backgrounds. This percentage increases slightly to 1.3 per cent in Belfast, with 29 per cent of these being of Chinese origins.

Festivals, artists and entrepreneurialism : the role of the Adelaide Fringe Festival

This paper addresses the role of the Adelaide Fringe Festival in facilitating entrepreneurialism amongst participating artists. Tracing the discursive development of the notion of the entrepreneur, the paper identifies how entrepreneurialism has been taken up by the discourses of the creative industries. While we note that entrepreneurialism is a key strategy within the creative industries framework, it would appear for artists the concept does not necessarily connote the achievement of commercial outcomes. The paper argues that these cultural entrepreneurs are defined by self-reliance, the focus on the development of their craft, and the cultural value of their work.