The aim of this questionnaire is to explore cinema audience's opinions of films and experiences of film festivals. There was a time in which film festivals 'presented a seductive return to classical cinephilia with their promise of a unique, unrepeatable experience frequently offering a rare opportunity to view films on the big screen before they disappear into the ether or only reappear in DVD' (Czach, 2010, p. 141). But what have they become lately? After the technological development that we have witnessed over the years, are film festival still necessary? Why do we have to go to Venice or Cannes to see a film when, thanks to devices such as Sky on demand or Apple TV, we can have our own festival in our living room every night?. These are some of the questions I will ask to cinemagoers.
Questionnaire Design.
The design of the questionnaire is based on the descriptive survey format (Oppenheim, 2002); however, as it is just a first attempt at designing the questionnaire, I can predict that after having carried out the pilot work (ibid), the ordering of questions sequences could be changed.
The population taken in consideration in this research is cinema audience in the UK. As this category comprises a large scale of individuals (UK’s annual cinema admission is roughly over 150 million), it can be reduced to a random sample of 500 viewers who attended at least a show in one of the following cinemas in London: BFI, Curzon Soho, Prince Charles, Odeon West End, Coronet, Gate Picturehouse and Cineworld Haymarket. Both expensive and cheap cinema venues were selected to cover a wider range of audience.
The questionnaire will be conducted through the face to face method (Bryman, 2008) both on weekdays and weekends; this will allo...
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Bryant, A., Charmaz, K. (2007) The SAGE Handbook of Grounded Theory London: Sage
Bryman, A. (2008) Social Research Methods, Oxford: Oxford University Press
Corless K., Darke, K. (2007) CANNES Inside the World's Premier Film Festival, London: Faber & Faber Limited
Czach, L. (2010) Cinephilia, Stars and Film Festival, Cinema Journal, 49, 2, 2010, pp: 139-145
De Valck, M. (2007) Film Festivals. From European Geopolitics to Global Cinephilia, Amsterdam: Amsterdam University Press.
Foddy, W. (1994) Constructing Questions for Interviews and Questionnaires, Cambridge: Cambridge University Press
Glaser, B.G., Strauss, A.L. (1967), The Discovery of Grounded Theory: Strategies for Qualitative Research, Chicago: Aldine.
Oppenheiam, A.N. (2002) Questionnaire Design Interviewing and Attitude Measurement, Continum London: Continum
In the piece “Cinema/Ideology/Criticism,” Jean Luc-Comolli and Jean Narboni define the critic's job as the discernment of “which films, books and magazines allow the ideology a free, unhampered passage, transmit it with crystal clarity, serve as its chosen language” and which films “attempt to make it turn back and reflect itself, intercept it, make it visible by revealing its mechanisms, by blocking them” (753). Through their examination, seven film categories are outlined. Clue falls into the “E” category, which is defined as “films which seem at first sight to belong firmly within the ideology and to be completely under its sway, but which turn out to be so only in an ambiguous manner” (75...
Small, Pauline. (2005) New Cinemas: journal of Contemporary Film Volume 3, Queen Mary, University of London
Ellis contends that it is primarily the conditions of viewing that support a Mulveian response to cinema, and that the vastly different locale of TV viewing (the home) does not necessitate the same ‘gaze’. He argues that the physical setting of a theatre – with its dark atmosphere, gigantic screen, and coliseum seating – guarantees a “centered” viewer that automatically gives his or her full attention to the film. (Ellis 116/128). The life-sized (or larger) cinematic image encourages objectification and fetishization, as does its demanding narrative; with complicated narrative information and imagery, the film spectator must pay strict attention to plot progression and visual details throughout the course of a viewing.
Williams, Linda. "Film Bodies: Genre, Gender and Excess." Braudy and Cohen (1991 / 2004): 727-41. Print.
LeBlanc, Julie M.-A. “Film Theory and Criticism.” Ethnologies (2007): n. pag. www.highbeam.com. Web. 23 Apr. 2014.
Moreover, the purpose of this chapter is to talk about the Dr. Presence (2016) “contemporary oppositional British film culture” (p. 103) has Dr. Presence stated; realizing that the other side of the film culture in Britain is being ignored by the mainstream. He goes on by saying that it is important to recover the history of the “underground” film scene to understand the nature of contemporary film and what direction it will take in the future. There is confidence in Dr. Presence’s work because of his work relating to film, politics and avant-garde. Along with a current project he is working on which is a book version of his thesis, The Political Avant-garde: Oppositional Documentary in Britain since 1990 which touches on similar topics such as this chapter, he was been an active member in the film studies and radical film festival settings. Dr. Presence’s professional title is a Research Associate at CMIR, teaching interested minds in undergraduate and postgraduate studies. Dr. Presence has also worked with other industry professionals in his field on research
No need to fly to Cannes, Rotterdam, Berlin or Toronto. For three weeks each winter, the Melbourne International Film Festival screens acclaimed movies from all t...
The research carried on both quantitative approach and qualitative approach. It began with quantitative approach—questionnaire. Bryman and Bell (2003) asserted that mail or postal questionnaires are most popular forms of questionnaires. Another form—self-completion questionnaire was also common because of the overlap with postal questionnaire to some extent.
The concept of ‘cinema of attractions’ encompasses the development of early cinema, its technology, industry and cultural context. The explanation of how it is perceived by early cinema audiences is closely related to the effects of history at that time. How Gunning coined the term ‘cinema of attractions’ pertains to the history of the film industry at the turn of the 20th century and his interpretation of the audience and their reaction film technology. Single shots, the process of creating a moving picture and the juxtaposition of limited techniques, coupled with a new invention of showing a moving picture.
Filmmaker Martin Scorsese believes that cinema as he knows it is gone or dying, and that the latest generations don’t understand or appreciate the cinema like he does. While the current movie-going experience has certainly changed as time has gone by, I believe Scorsese is over exaggerating the plight of cinema. The movies have been a prominent part of our culture for around a decade, and while the way in which we indulge in this form of entertainment may not be exactly the same as it was years ago, it is certainly not a dead art form.
Going to the movies is probably one of the most enjoyable pastimes throughout the world. From western society to the Asian countries, watching movies is pleasant for nearly anybody. I currently work at the local cinema. Therefore I have decided to study the culture of moviegoers. I looked at many different aspects within the past months. I took time for myself in small, little, breaks to study and document the actions of the people. From their attitudes entering and leaving the cinemas, to the way they behaved and even the way they clothed themselves. I will be going into the field with a general question in mind of what I wish to learn. “How do individuals respond to each other in a moving going experience?” I will also look into how families communicate to each other compared to how a group of friends interact. In contrast to that outsider or etic outlook at our moviegoers, I will take an insider or emic perspective of the site and actually go out on my days off work and watch a movie portraying an actual moviegoer while no one in this culture within Stars will suspect a thing.
Gallagher, T. 2002. Senses of Cinema – Max Ophuls: A New Art – But Who Notices?. [online] Available at: http://sensesofcinema.com/2002/feature-articles/ophuls/ [Accessed: 8 Apr 2014].
(2012, p. 173) can be generally defined “as a plan on how a researcher will go about answering her or his research questions.” In other words, while choosing our research strategy, we will try to explain how we are going to answer our research questions. Because we have incorporated quantitative and qualitative method, there are some issues that arise in the research strategy. Our research strategies will be principally linked with our quantitative and qualitative method research design and will be associated with our research philosophies and deductive approach. In this case the researcher use surveys questionaaires that will be administered and structured interviews as it is linked with the necessity to understand the reasons of for the participants’ attitudes or opinions regarding a specific issue and in this case ‘Accounting for RM, CG and EB in FIs
Barsam, R. M., Monahan, D., & Gocsik, K. M. (2012). Looking at movies: an introduction to film (4th ed.). New York: W.W. Norton & Co..
The aim of this research is to explore cinema audience's, festival goers' and workers in cinema views and experiences of film festivals, trying to understand what values they give to them and trying to figure out if they believe that in difficult times, such as the one we are living through, a film exhibition is still necessary.