European Jewels: Camerimage, the uniqueness of a festival devoted to the art of cinematography

Authors

DOI:

https://doi.org/10.4185/RLCS-2018-1272

Keywords:

Camerimage, cinema, film festival, cinematography, industry, strategy

Abstract

Camerimage is one of the scarce festivals devoted to cinematography that has received limited attention. Objectives. This research studies its strategies to promote cinematography; photographic styles boosted and impact on cinematographer’s professional career. Methodology. A mixed method approach is used with qualitative and quantitative techniques: participant observation; analysis of the programs and documents published by the festival; content analysis of the awarded films and analysis of the Internet movie database. Results and conclusions. Camerimage axes are cinematographers, audiovisual works excellent in cinematography and an audience concerned with the quality of cinematic images. Camerimage strategy is based on the awards given to excellence in cinematography, supporting continuous training, fostering networking among film creators; and building a community.This festival promotes a meticulous high contrast and scarce colour saturation cinematography adapted to each story, dominated by drama genre mainly focused in past time periods. Camerimage implies an impact in the professional career of men directors of photography from centre and north of Europe that get to increase their participation in the north American industry. 

Downloads

Download data is not yet available.

Author Biographies

Laura Cortés-Selva, Catholic University of Murcia

Associate Professor by ANECA. Graduated in Audiovisual Communication by Universidad de Navarra and in photography management by ESCAC (UB), since 2003 she is professor and researcher in the Area of Audiovisual Communication of Universidad Católica de Murcia.

Her research lines are focused on cinematogaphic photography, cinematographic style and methodology. She has published several papers and book chapters in publications of impact such as: Civic participation and interactive documentaries: a contribution to the open government modelEl sello del estilo visual de Dick Pope y Mike Leigh: análisis de su obra cinematográficaEn busca del VRCinema. Del cine proto-inmersivo al cine inmersivoPrincipales aplicaciones expresivas derivadas de la hibridación analógico-digital. El estilo visual realistaLa intencionalidad de los directores de fotografía en la evolución de la luz cinematográfica. Desde The kiss in the tunnel hasta AvatarViaje al centro de la inmersión cinematográfica. del cine primitivo al VRCinema

She also participated in several R+D+i national and European projects.

Montserrat Jurado-Martín, Miguel Hernánde University, Elche

Associate Professor by ANECA, she develops her teaching and research labor in the area of Journalism and Audiovisual Communication of Universidad Miguel Hernández de Elche where she is Projection Coordinator for the Graduate Studies in Audiovisual Communication and editor of the MHCJ (www.mhjournal.org

Graduate in Journalism by Universidad Complutense de Madrid, her main research lines are focused on cinema festivals, press and content analysis. Among her main publications there is: Los festivales de cine en España incidencia en los nuevos realizadores y análisis del tratamiento que reciben en los medios de comunicaciónLa Mostra de Valencia en el panorama nacional de los festivales de cine; Nuevas propuestas, viejos circuitos. El papel de los festivales de cine españoles en la consolidación de los nuevos realizadores.

Liudmila Ostrovskaya, University of Alicante

Associate Professor of Universidad de Alicante (Department of Marketing) and outsourcing consultant of marketing and commercial research. PhD by Universidad Miguel Hernández de Elche in Marketing and Strategic Business Marketing. Author of scientific papers such as A redefined measure of the tendency to use brand name in purchasing decisions, Effect of materialism on the use of the brand name in purchasing decisions from a cross-cultural perspective o ¿Es el nombre de la marca un criterio de elección más usado por los consumidores? Un estudio cross-cultural en España y Rusia,   she also participated as lecturer in international congresses in marketing, commmuniation and commercial research areas. Professor in MBA programs and Master’s Degree in Marketing and Strategic Management

References

Bazin, A. (2009). “The Festival Viewed as a Religious Order”, en VVAA, Dekalog 3: On Film Festivals. Ed., Porton, R. (pp. 13–19). London: Wallflower.

Cortés-Selva, L. (2014). “El director de fotografía en la producción cinematográfica: evolución, funciones y formación”, en VVAA, Nuevas culturas y sus nuevas lecturas. Colección Innovación y vanguardia universitaria, Coord., Rodríguez-Terceño, J. & Fernández-Paradas, A. (pp. 143-155). Madrid: McGraw-Hill.

Cortés-Selva, L. & Carmona-Martínez, M. M. (2014b). “Propuesta metodológica para el análisis del estilo visual de los filmes: Un acercamiento empírico”, en VVAA, Miscelánea sobre el entorno audiovisual en 2014, Coord., Ubierna-Gómez, F. & Sierra-Sánchez, J. (pp. 817-834). Madrid: Fragua.

de Valck, M. (2007). Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press. DOI: https://doi.org/10.1017/9789048506729

de Valck, M., Kredell, B. & Loist, S. (2016). Film Festivals: History, Theory, Method, Practice. New York: Routledge. DOI: https://doi.org/10.4324/9781315637167

Elsaesser, T. (2005). “Film Festival Networks: The New Topographies of Cinema in Europe”, en, VVAA, European Cinema: Face to Face with Hollywood, Ed., Elsaesser, T (pp. 82–107). Amsterdam: Amsterdam University Press. DOI: https://doi.org/10.1515/9789048505173-005

Evans, O. (2007). “Border Exchanges: The Role of the European Film Festival”. Journal of Contemporary European Studies, 15(1), 23–33. http://dx.doi.org/10.1080/14782800701273318 DOI: https://doi.org/10.1080/14782800701273318

Harbord, J. (2002). “Film Festivals: Media Events and the Spaces of Flow”, en VVAA, Film Cultures, Ed., Harbord, J. (pp. 59–75). London: Sage. DOI: https://doi.org/10.4135/9781446219591.n3

Heuring, D. (2012). “An A-Plus Event”. American Cinematographer, 93(12), pp. 78-88.

Iordanova, D. & Rhyne, R. (eds.) (2009). Film Festival Yearbook 1: The festival Circuit. UK: St. Andrews Film Studies.

Iordanova, D. (2009). “The Film Festival Circuit”, en VVAA, Film Festival Yearbook 1: The Festival Circuit, Eds. Iordanova, D. & Rhyne, R. (pp. 23–39). St. Andrews, UK: St. Andrews Film Studies.

Iordanova, D. & Cheung, R. (eds.) (2010). Film Festival Yearbook 2: Film Festivals and Imagined Communities. St. Andrews: St. Andrews Film Studies.

Iordanova, D. & Cheung, R. (eds.) (2011). Film Festival Yearbook 3: Film Festivals and East Asia. St. Andrews: St. Andrews Film Studies.

Iordanova, D. & Leshu, T. (eds.) (2012). Film Festival Yearbook 4: Film Festivals and Activism. St. Andrews: St. Andrews Film Studies.

Iordanova, D. (ed.) (2013). The Film Festival Reader. St. Andrews: St. Andrews Film Studies.

Iordanova, D. & Van de Peer, S. (eds.) (2014). Film Festival Yearbook 6: Film Festivals and the Middle East. St. Andrews: St. Andrews Film Studies.

Jurado-Martín, M. (2003). Los festivales de cine en España incidencia en los nuevos realizadores y análisis del tratamiento que reciben en los medios de comunicación. Tesis de la Universidad Complutense de Madrid, Facultad de Ciencias de la Información, Departamento de Periodismo II. Acceso el 19 de diciembre de https://eprints.ucm.es/id/eprint/7306/

Jurado-Martín, M. (2004). La Mostra de Valencia en el panorama nacional de los festivales de cine. Valencia: Ayuntamiento de Valencia.

Jurado-Martín, M. & Nieto, A. (2014). “Nuevas propuestas, viejos circuitos. El papel de los festivales de cine españoles en la consolidación de los nuevos realizadores”. Secuencias. Revista de Historia del cine, 39, 100-122. http://hdl.handle.net/10486/675727

Marlow-Mann, A. (ed.) (2013). Film Festival Yearbook 5: Archival Film Festivals. St. Andrews: St. Andrews Film Books.

Nichols, B. (1994). “Global Image Consumption in the Age of Late Capitalism”. East-West Film Journal, 8(1), pp. 68–85.

Papadimitriou, L. & Ruoff, J. (2016). “Film Festivals: origins and trajectories”. New Review of Film and Television Studies, Special Issue: Film Festivals, origins and trajectories, 14(1), 1-4. https://dx.doi.org/10.1080/17400309.2015.1106686 DOI: https://doi.org/10.1080/17400309.2015.1106686

Porton, R. (ed.) (2009). Dekalog 3: On Film Festivals. London: Wallflower Press.

Sedeño-Valdellós, A. M. (2013). “Globalización y transnacionalidad en el cine: coproducciones internacionales y festivales para un cine de arte global emergente”. Fonseca, Journal of Communication, 6(2), 296-315. Acceso: http://revistas.usal.es/index.php/2172-9077/article/view/12129

Stringer, J. (2013). “Regarding Film Festivals: Introduction”, en VVAA, The Film Festival Reader, Ed., Iordanova, D. (pp. 59–68). St. Andrews: St. Andrews Film Studies.

Turan, K. (2002). Sundance to Sarajevo: Film Festivals and the World They Made. Berkeley: University of California Press. DOI: https://doi.org/10.1525/9780520930827

Vallejo-Vallejo, A. (2012). Festivales de cine documental: redes de circulación cultura en el este del continente europeo. Tesis doctoral. Facultad de Filosofía y letras. Universidad Autónoma de Madrid. Acceso: http://dialnet.unirioja.es/servlet/tesis?codigo=35752

Vallejo-Vallejo, A. (2014). “Festivales cinematográficos. En el punto de mira de la historiografía fílmica”. Secuencias. Revista de Historia del cine, 39, primer semestre, 13-42. Acceso: https://revistas.uam.es/secuencias/article/view/5838/6290

Vallejo-Vallejo, A. & Peirano, M. P. (2017). Film Festivals and Anthropology. Cambridge: Cambridge SP.

Wong, C. (2011). Film Festivals: Culture, People, and Power on the Global Screen. New Brunswick, NJ: Rutgers Univ. Press.

Published

2018-03-13

How to Cite

Cortés-Selva, L., Jurado-Martín, M., & Ostrovskaya, L. . (2018). European Jewels: Camerimage, the uniqueness of a festival devoted to the art of cinematography. Revista Latina de Comunicación Social, (73), 614–632. https://doi.org/10.4185/RLCS-2018-1272

Issue

Section

Miscellaneous