Another reason for arguing SRIFF is still a film festival which is seeking for its positioning is that it has not yet made a clear decision on whether to be a “business festival” or an “audience festival” (Peranson 39). The concepts of “business festival” and “art festival” are explained in Mark Peranson’s article: First You get the Power, then You get the Money: Two Models of the Film Festivals. In this article, Peranson has listed the different characteristics of the two models of the film festivals. Two of the prominent features of the business film festival is it has “[major] cooperate sponsor” and “[market]/ business presence” (Peranson 38). Whereas undoubtedly, the audience is the “[major] concern” of the audience film festival; but it
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Additionally, from the attending celebrities and government leaders, it is not hard to guess that SRIFF has a strong backing from the political and financial aspects. Contradictorily, the selected screening from countries like Iran, Uzbekistan, Nepal and etc. is soundly speaking to the major concern of “[providing] the opportunity for the audiences to see films that, otherwise, they cannot see” (Pearson 38). Potentially, one could argue that there is never a clear cut between the two models of film festival which is true for the case of SRIFF too. Although many screenings were selected feature films from the countries that the general public audience might not feel familiar with, a large portion of the films such as the martial art film, Red Dragon, from Iran, the Italian Operas and more were well received by the Chinese audiences. As in the Chinses perspective, Song of the Phoenix would be the example of a phenomenally well-received art film for it ended up earning 86 million and 900 thousands of Chinese Yuan at the box …show more content…
In the 1st edition of SRIFF, the only form of advertisement about the festival highly relies on the physical presence of the attendees. Although the opening ceremony of the 1st SRIFF is designed for imitating the traditional etiquette of welcoming the foreign mission, there is not much information online for the interest followers to know the process of the festival. As for the 2nd edition of SRIFF, it already had better approaches to the Chinese audiences by creating the official Weibo homepage about the festival. As one of the most widely used client, many Chinse film lovers, journalists, and scholars were following, liking, and commenting the information that SRIFF has posted. This year, SRIFF applied, even more, Medias from the newspaper, TV, advertising video to the clients of Weibo, QR code, and its official website. Therefore, SRIFF becomes more approachable for the interested party and the followers to know and participate in the festival, at least in
Additionally, from the attending celebrities and government leaders, it is not hard to guess that SRIFF has a strong backing from the political and financial aspects. Contradictorily, the selected screening from countries like Iran, Uzbekistan, Nepal and etc. is soundly speaking to the major concern of “[providing] the opportunity for the audiences to see films that, otherwise, they cannot see” (Pearson 38). Potentially, one could argue that there is never a clear cut between the two models of film festival which is true for the case of SRIFF too. Although many screenings were selected feature films from the countries that the general public audience might not feel familiar with, a large portion of the films such as the martial art film, Red Dragon, from Iran, the Italian Operas and more were well received by the Chinese audiences. As in the Chinses perspective, Song of the Phoenix would be the example of a phenomenally well-received art film for it ended up earning 86 million and 900 thousands of Chinese Yuan at the box …show more content…
In the 1st edition of SRIFF, the only form of advertisement about the festival highly relies on the physical presence of the attendees. Although the opening ceremony of the 1st SRIFF is designed for imitating the traditional etiquette of welcoming the foreign mission, there is not much information online for the interest followers to know the process of the festival. As for the 2nd edition of SRIFF, it already had better approaches to the Chinese audiences by creating the official Weibo homepage about the festival. As one of the most widely used client, many Chinse film lovers, journalists, and scholars were following, liking, and commenting the information that SRIFF has posted. This year, SRIFF applied, even more, Medias from the newspaper, TV, advertising video to the clients of Weibo, QR code, and its official website. Therefore, SRIFF becomes more approachable for the interested party and the followers to know and participate in the festival, at least in