Browsing Departments by Author "Svejenova, Silviya"
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Mezias, Stephen; Strandgaard Pedersen, Jesper; Svejenova, Silviya; Mazza, Carmelo (, 2008)[More information][Less information]
Abstract: This study seeks to untangle the impact of film festivals on the conception and action of industry actors. This study puts forward the argument that film festivals, seen as instances of tournament rituals and field configuring events, play a role in bridging art and commerce. It examines three instances of a particular tournament ritual, that of the three leading European premier film festivals, namely the Cannes Film Festival, the Berlin Film Festival, and the Venice International Film Festival, to untangle their role as mediators between art and commerce and their impact on the artistic classification system of the cinema field. For the purpose, it uses admissions data from 36 European countries for the period of 1996 to 2005. It examines the impact of festival participation and awards on admissions, and further artistic recognition at award ceremonies in the US. Based on the results of our study we argue that, similarly to the classification of art forms, there is a status ordering of tournament rituals (i.e. film festivals) with regard to their ability to act as a nexus of dichotomous categories for a particular cultural form (i.e. art and commerce in the case of film). URI: http://hdl.handle.net/10398/7781 Files in this item: 1
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towards optimal distinctivenes in European film makingAlvarez, José Luis; Mazza, Carmelo; Strandgaard Pedersen, Jesper; Svejenova, Silviya (København, 2003)[More information][Less information]
Abstract: Abstract. This paper advances a micro theory of creative action by examining how distinctive artists shield their idiosyncratic styles from the isomorphic pressures of a field. It draws on the cases of three internationally recognized, distinctive European film directors - Pedro Almodóvar (Spain), Nanni Moretti (Italy) and Lars von Trier (Denmark). We argue that in a cinema field, artistic pressures for distinctiveness along with business pressures for profits drive filmmakers’ quest for optimal distinctiveness. This quest seeks both exclusive, unique style and inclusive, audience-appealing artwork with legitimacy in the field. Our theory of creative action for optimal distinctiveness suggests that film directors increase their control by personally consolidating artistic and production roles, by forming close partnership with committed producer, and by establishing own production company. Ironically, to escape the iron cage of local cinema fields, film directors increasingly control the coupling of art and business, hence forging their own "iron cage". "[T]he unusual and paradoxical place that Pedro [Almodóvar] has been able to find: we are within the industry but we preserve our peculiarity." (Agustín Almodóvar, 2001). Optimal distinctiveness: "social identity is viewed as reconciliation of opposing needs for assimilation and differentiation from others." (Marilynn Brewer, 1991). URI: http://hdl.handle.net/10398/6672 Files in this item: 1
papers in oraganization, no.49 2003.pdf (302.8Kb)
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