Download Free Research Methodology Of The International Festival Book in PDF and EPUB Free Download. You can read online Research Methodology Of The International Festival and write the review.

According to Wilson et al. (2017), festivals are events held at a particular point in time, repeated in a regular manner and open to the public. Festivals differ from special events as they occur on a regular basis, whereas ‘a special event is a onetime or infrequently occurring event outside the normal range/program or activities of the sponsoring or organising body’ (Getz 1997). Although festival types and themes may differ, they have some characteristics in common. For instance, regardless of the theme of a festival, all of themhave similar stakeholders, i.e. organisations, audiences, exhibitors, sponsors (financiers), media, etc. Despite growing research interest in festivals, little attention has been put on simultaneous exploration of the key stakeholders of a festival. The research and methodological focus of this scientific book is the analysis of the EU- China Literary Festival, which is conceived as the interaction of European and Chinese authors with the Chinese audience, and the promotion of European culture in Chinese metropolises. The goal of the Festival is to bring distant cultures closer by means of literature as a medium. This book focuses on the analysis of the four festivals organised by the Delegation of the European Union to China, the EU-China International Literary Festival. The Festival has been held twice a year in China since 2017. The audience could follow the Festival-related events at the venue (n = 1,623) or online (n = 56,621). Online visitors have outnumbered visitors who attended physical events, which strongly popularised European-Chinese cooperation, literature and authors through all levels of communication. The aim of this scientific book is to present the process of developing a research methodology and establishing assumptions for its wider application. The research methodology measures the views of three stakeholder groups involved in the EU-China International Literary Festival (n = 73), i.e. 1) Festival visitors, 2) European authors (international participants), and 3) Chinese authors (domestic participants). In addition, the book explores how successfully the EU-China International Literary Festival has achieved its goal, mission and vision (the exchange of ideas and interaction between authors and audiences, or dedication to cultural diversity of China and Europe), and whether it is possible to successfully measure Festival satisfaction in relation to all groups of respondents. Comparison and identification of similarities and differences among the three groups of respondents is one of the research goals. This scientific book contributes to the field by increasing the number of tested research instruments that are adequate for determining the attitudes and satisfaction of Festival stakeholders. Additionally, research contribution is reflected in harmonisation of the methodology used in festival research and in identifying both common and specific dimensions depending on the creative industry sector promoted by the festival in focus (for instance, literary, communication, film, and other festivals in particular creative industry sectors). Analysing the research results, statistically significant differences in the expectations and satisfaction with the Festival segments were determined with regard to the role of the respondent examined. Greater satisfaction was reported by the authors (panel participants), and a lower level of satisfaction was observed among visitors to the Festival. Based on a large number of media releases and live streamings, the Festival can be seen as a highly successful promotional product where the culture in the European Union was presented to Chinese visitors. The tested research methodology for researching international festivals can be used by future researchers of festival phenomena for developing an instrument for measuring success of a festival from a multiple stakeholder perspective. The efforts of this research study are ultimately aimed at a systematic increase in the quality of festivals, ensuring continued funding, and laying the groundwork for related festivals funded by the EU Delegation to China.
This is a multi-disciplinary scientific monograph referring to urban geography, urban regions management, event studies, tourism geography, cultural anthropology and sociology. It covers issues which are typically related to the most popular type of events: festivals. This book studies the origins, history, and the main factors of festival development, as well as the concept of a festival in the context of various scientific disciplines. It presents the existing festival typologies as well as the author's own comprehensive typology. The theoretical part concerns the basic research methods and approaches used in the analysis of these events, as well as their impacts on the urban space in the physical (festival facilities), social (a place where people may pursue their interests, meet with family and friends) and cultural aspect. The economic aspect of festivals (generating jobs and income from tourism, using festivals for city branding, etc.) is also discussed. The book presents practical examples in sub-chapters, references to literature (further reading) and the case study of the influence of festivals on urban space management and urban development, using the example of Łódź – a Polish post-socialist city. It may also be treated as a supplementary course book for students of urban geography, urban regions management, tourism, event management and, to a certain extent, anthropology of culture and sociology.
Within events management, events are commonly categorised within two axes, size and content. Along the size axis events range between the small scale and local, through major events, which garner greater media interest, to internationally significant hallmark and mega events such as the Edinburgh Festival and the Tour de France. Content is frequently divided into three forms – culture, sport or business. However, such frameworks overlook and depoliticise a significant variety of events, those more accurately construed as protest. This book brings together new research and theories from around the world and across sociology, leisure studies, politics and cultural studies to develop a new critical pedagogy and critical theory of events. It is the first research monograph that deals explicitly with the concept of critical event studies (CES), the idea that it is impossible to explore and understand events without understanding the wider social, cultural and political contexts. It addresses questions such as can the occupation and reclamation of specific spaces by activists be understood as events within its framework? And is the activity of activists in these spaces a leisure activity? If those, and other similar activities, can be read as events and leisure, what does admitting them into the scope of events management and leisure studies mean for our understanding of them and how the study of events management is to be conceptualised? This title will be of interest to undergraduate and postgraduate students on events management and related courses and scholars interested in understanding the ways in which events are constructed by the social, the cultural and the political.
The last decade has witnessed an explosion of interest in film festivals, with the field growing to a position of prominence within the space of a few short years. Film Festivals: History, Theory, Method, Practice represents a major addition to the literature on this topic, offering an authoritative and comprehensive introduction to the area. With a combination of chapters specifically examining history, theory, method and practice, it offers a clear structure and systematic approach for the study of film festivals. Offering a collection of essays written by an international range of established scholars, it discusses well-known film festivals in Europe, North America and Asia, but equally devotes attention to the diverse range of smaller and/or specialized events that take place around the globe. It provides essential knowledge on the origin and development of film festivals, discusses the use of theory to study festivals, explores the methods of ethnographic and archival research, and looks closely at the professional practice of programming and film funding. Each section, moreover, is introduced by the editors, and all chapters include useful suggestions for further reading. This will be an essential textbook for students studying film festivals as part of their film, media and cultural studies courses, as well as a strong research tool for scholars that wish to familiarize themselves with this burgeoning field.
After three successful research studies and three scientific books, the EU-China International Literary Festival international project team focused on testing and applying the international festival research methodology. Based on previous research studies, reports and scientific books, the authors had sufficient knowledge of the methodological guidelines for conducting demanding multilingual and cross-cultural research. The research and methodological definition of the scientific book is the EU-China literary festival conceived as the interaction of European and Chinese authors with Chinese audiences and the promotion of European culture in Chinese cities. This book focuses on the analysis of the 4th EU-China International Literary Festival organised by the Delegation of the European Union to China. The goal of the Festival is to bring distant cultures closer by virtue of literature as a medium, and the Festival has been held twice a year in China since 2017. The audience could attend Festival events either at the venue (n = 6,914) or online (n = 377,098). The number of online attendees far exceeded the number of visitors who attended live events, which strongly popularised EU-China cooperation, cross-cultural differences, new media monitoring literary events, literature itself and the authors. The research methodology was used to measure the views of three groups of stakeholders in the EU-China International Literary Festival (n = 70), i.e. 1. Festival visitors, 2. European authors (international participants), and 3. Chinese authors (national participants). By analysing the views of the three groups of respondents, the book analyses the measure of both the success of the EU-China International Literary Festival and the level of satisfaction with the Festival. Comparison and identification of similarities and differences among the three groups of respondents is one of the research goals. Based on a large number of media releases and live streamings, the Festival can be seen as a highly successful promotional product where the culture of the European Union was presented to the Chinese visitors. In addition to the research methodology, the scientific book also provides the design of research procedures applied in multilingual research by international research teams. An enviable longitudinal series of data collected from the three groups of stakeholders was created by the fourth measurement of Festival success. The tested international festival research methodology can be used by future researchers of festival phenomena for developing an instrument for gathering the views of festival participants (authors, visitors and organisers) of literary and all other related festivals. The efforts of this research study are ultimately aimed at a systematic increase in the quality of festivals, ensuring continued funding, and laying the groundwork for related festivals funded by the EU Delegation to China.
Festival and Events Management: an international perspective is a unique text looking at the central role of events management in the cultural, tourism and arts industries. With international contributions from industry and academia, the text looks at the following: * Events & cultural environments * Managing the arts & leisure experience * Marketing, policies and strategies of art and leisure management Chapters include exercises, and additional teaching materials and solutions to questions are provided as part of an accompanying online resource.
This book is the first to take an in-depth examination of events and well-being, adopting a much-needed critical approach to the study of events. It uses empirical case studies to help us better understand how events foster positive well-being or counter negative well-being for event organisers, participants, spectators, volunteers and even non-attending local residents. While researchers have long understood socialisation as the major motivation to attend contemporary festivals and events, it is only just being acknowledged that well-being is also a key motivator. Those researching in the field of event studies are yet to clearly articulate "the how, why, where, and impacts of socialisation." This multidisciplinary book draws together empirical research across a range of event types and sizes, from music festivals to mega sports events, to provide a nuanced understanding of their contribution to the well-being of individuals and communities. Case studies are drawn from around the world and apply a diverse range of theoretical lenses to the conceptualisation of well-being as it applies to events and methodologies used to achieve research aims and objectives. This significant volume will be valuable reading for students and academics in the fields of sport studies, critical event studies, queer studies, cultural studies, tourism, music, sociology and end-of-life studies.
Festivals are events that are planned in advance and that provide an opportunity to network, discuss, and present projects/products/services, but also to popularise festival themes with the possibility of social and cultural interaction between stakeholders taking part in the festival. Festival stakeholders can be observed through several groups, i.e. organisers, participants (exhibitors), visitors, sponsors, volunteers, policy makers, media and the public. Festivals and events are often applied by stakeholders in the creative industry sector. According to Throsby’s concentric circles model (2008), together with music and visual and performing arts, literature is a fundamental cultural expression that brings achievements of the greatest artistic value. The aim of the book Research Study on Festival and Events is to examine the role and satisfaction of a large number of stakeholders in an international festival. In addition, the results are intended to encourage the process of developing and validating a research methodology for researching festivals on different samples. The research study examines the specifics of an international festival aimed at the publishing sector and analyses the 3rd EU-China International Literary Festival. The EU-China International Literary Festival is held twice a year in China, and a number of events are attended by Chinese and European Union authors, and authors from China and the European Union take part in a number of events. The Festival programme is aimed at Chinese audiences, and events take place in two Chinese cities. Previous research indicates the existence of a research gap in the research on festival events which is reflected in the failure to simultaneously examine multiple stakeholder groups at a selected festival. This research study presents the results of three separate studies conducted after the 3rd EU-China International Literary Festival (n = 78): Chinese Festival visitors and two groups of authors representing experts of the Literary Festival (i.e. European and Chinese authors). As the audience was able to follow the Festival at the venue (n = 4,288) or online (n = 112,059), an online questionnaire was prepared for both groups and attitudes towards the Festival events of both groups of visitors were collected and analysed. After the analysis of research findings, guidelines and recommendations were derived to improve the quality/success of the festival. The research methodology can be used in the study of festival phenomena and measuring the success of a festival from the perspective of different stakeholders. The methodology and findings summarised in this research study make an additional contribution to the promotion and popularisation of EU literature and authors in order to encourage cross-cultural cooperation. 摘要 文化节是提前策划的系列活动，提供了一个交流、讨论和展示项目/产品/服务的机会， 同时通过参与活动的利益相关者之间的互动，扩大文化节的影响力。文化节利益相关者 包括诸多群体，如组织者、参与者(参展方)、参观者、赞助商、志愿者、政策制定 者、媒体和公众。创意产业利益相关者经常举办文化节和活动。根据 Throsby 同心圆模 型(2008)，与音乐、视觉和表演艺术一起，文学作为一种基本的文化表现形式，能够 实现艺术价值的最大化。 本书旨在研究国际文化节中利益相关者发挥的作用和其对项目的满意度。此外，研究目 标还包括促进形成适用于不同文化节样本的研究方法。本书有助于促进国际文化节出版 业方面的研究，同时本书分析了第三届中欧国际文学节的效果。中欧国际文学节每年在 中国举办两次，邀请欧洲和中国作家参与其丰富的文化活动。中欧国际文学节的目标受 众是中国观众，活动通常在中国两个城市线下举办。 过往研究存在的问题是缺乏对选定的文化节进行利益相关者的深入研究。本研究分析了 第三届中欧国际文学节涉及的三组利益相关者(n = 78):文学节的中国观众及参加文 学节的两组作家代表(即欧洲和中国作者)。由于观众既可以在现场(n = 4,288)也 可以在线上(n = 112,059)参与文学节，本研究设置了在线问卷，用于收集和分析两 类观众群体对文学节活动的评价。 分析研究数据所产生的指导方针和建议，有助于提高文化节的质量/效果。本研究方法 适用于从不同利益相关者的角度评估文化节的效果。本研究总结的方法及成果，有助于 推广欧盟文学和作家，从而对跨文化合作产生积极的影响。 关键词:文化节利益相关者，创意产业，研究报告，国际文化节
The second annual volume of the International Place Branding Yearbook; this collection looks at the case for applying brand and marketing strategies and to the economic, social, political and cultural development of cities, towns and regions around the world to help them compete in the global, national and local markets.
The global COVID-19 pandemic, the resulting lockdown imposed in many countries, as well as related safety measures taken by governments and authorities, have posed significant challenges to classical music culture. However, they may also have had a stimulating effect on music festivals and opera houses’ streaming offerings. This book brings together experts from the fields of musicology and music management to share their current empirical research findings on the pandemic-evoked digital transformation of the classical music scene, addressing either the institutional or the reception perspective. Furthermore, it documents discussions with opera dramaturgs and artistic directors, as well as music managers and event producers in the classical field, to share their practical lockdown experiences and current strategies in dealing with the digital transformation of opera. In this way, the volume combines the perspective of academic researchers with that of practitioners in the field. This book is particularly useful for students and researchers in music and media management, as well as musicology. It is also intended to help practitioners from concert houses and opera management, such as dramaturges, artistic directors, marketing and communication directors.