Curating the Cinematic Muse: The Role of Programming in the Film Festival Experience - The 40th Toronto International Film Festival
Notice bibliographique
Résumé
International film festivals are clearly about something beyond the appreciation of cinema; they are forums for the collective exploration and celebration of films, showcasing the newest films, the exotic and forgotten cinematic productions. Within a contemporary context, they represent the ultimate celebration of cinema and films as a collection of creative texts. They engage participants in a celebratory environment that pays homage to film as an artform. \n \nThe research examines an international film festival with a focus on the role of programming, through the exploration of the understated elements of this multidimensional phenomenon that impacts the festival event. The significance and original contribution of the research is found in its methodological intervention into the burgeoning field of film festival research through a specific investigation of a non-competitive international film festival. The research explores how programming impacts the festival event and the emergent experience. Furthermore, the research is approached from a supply-side perspective with summative insights that provided pathways to conceptualize an international film festival as a field-configuring event, with discourse on the less encompassing areas of organizing, programming and curating the festival event. \n \nThe conceptual framework positions the research within an interdisciplinary context with theoretical perspectives from institutional theory, field configuring events and film festival studies to offer a broader lens to nuance the gleanings from film festival professionals. The research utilizes the qualitative research strategy of the case study augmented by research methods such as in-depth interviews with participants, textual analysis and secondary research to collect and analyze data to situate this investigation within a contemporary and historical context. The interview gives a distinct focus to the film festival programmers to share perspectives to understand the contexts and settings; how they navigate the programming and the elements that impact the festival event. Textual analysis is used as a corollary to understand and provide meanings from the setting, the related activities, voices and the film festival context. \n \nThe research is on the Toronto International Film Festival (TIFF), its diverse programming practices and discursive positioning of films in an inclusive and influential event. The researcher problematizes festival programming to examine the film festival and uncover from festival professionals, their perspectives from an immersive and participatory lens in relation to organizing, programming and curating the festival event that embolden its raison d’etre. \n \nThe research findings revealed that there are multiple elements to programming an international film festival and curating the festival event and the emergent experience. The participants demonstrated their knowledge and expertise and how as a collective they understood the issues that are significant facets which are central to the film festival’s identity, status and reputation. Additionally, the discourse on the curation of the festival event and the emergent experience revealed characteristics of a field-configuring film festival event through several factors that were primarily connected to the multidimensional nature of the film festival - partnerships, collective sensemaking and information exchange that emerged as plausible and integral aspects both in a local and global context. \n \nThe overall findings highlighted that there is need for further understanding of film festival as a phenomenon and the multidimensionality of programming; therefore the research suggests additional areas for scholarly investigation that can contribute to our understanding of film festivals and their interconnectedness in relation to our cultures and societies.
Récupéré en direct depuis OpenAlex et désinversé. Les résumés ne sont pas conservés dans cette base de données : les index inversés représentent 8,6 Go des 9,3 Go de texte de la base, et le serveur dispose de 13 Go libres.
Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,003 | 0,006 |
| Méta-épidémiologie (sens strict) | 0,001 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,012 | 0,018 |
| Communication savante | 0,012 | 0,004 |
| Science ouverte | 0,001 | 0,008 |
| Intégrité de la recherche | 0,001 | 0,002 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,007 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».