Abstract
Through an examination of the case study of Tuvalu Live, this chapter addresses the reception of German film through festivals—specifically transnational engagement with German film through a live event. Tuvalu Live was an ambitious live cinema experience which fused an open-air festival screening environment, a live re-scored soundtrack and digitally-triggered audience participation via an online web-app. Central to the Motovun Film Festival programme in July 2017, Tuvalu Live was a transnational experience based upon a German film (1999, Dir: Veit Helmer) which was screened to an international audience in Croatia—with bi-lingual textual instructions and subtitles. Through a close consideration of screening environment, film and audience, this chapter pays particular attention to the interrelations between these three key factors in live-cinema-event design, through participant-observation of both the creative process and the audience experience. Observations and insights into the production process of the live event—from its conception through to its reception—are provided as well as an examination of the audience experience design. The event included opportunities for both physical interaction of audience members within the screening environment, as well as the integration and enhancement of these through specially designed digital technologies. I argue that the Tuvalu Live project advanced three key areas: first, the practical experimentation and extension of the creative practices of live re-scoring and participatory cinema; second, it was a highly effective and affective application of the codes and conventions of live cinema, including instruction, screen-centric interactions ensuring audience complicity, therefore both evolving and crystallising live cinema exhibition aesthetics; third, and crucially, through a participatory dimension that transcended European borders, the delivery of live cinema within a festival context opened up a fruitful space for transnational engagement with European film.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Similar content being viewed by others
Notes
- 1.
Tuvalu Live was later presented in Hull as part of Hull City of Culture 2017 to a sold-out audience at Mr. Lee & IvaneSky’s first UK live show.
- 2.
References
Atkinson, S., & Kennedy, H. W. (2016). From conflict to revolution: The secret aesthetic and narrative spatialisation in immersive cinema experience design. Participations: Journal of Audience & Reception Studies, 13(1), 252–279.
Atkinson, S., & Kennedy, H. W. (2018). Live cinema: Cultures, economies, aesthetics. New York: Bloomsbury.
Atkinson, S., & Kennedy, H. W. (2019). The live cinema paradox: Continuity and innovation in live film broadcast, exhibition, & production. In C. Batty, M. Berry, K. Dooley, B. Frankham, & S. Kerrigan (Eds.), The Palgrave handbook of screen production (pp. 335–346). Basingstoke: Palgrave Macmillan.
Auslander, P. (1999 and 2008). Liveness: Performance in a mediatized culture. New York: Routledge.
Austin, B. A. (1981). Portrait of a cult film audience: The rocky horror picture show. Journal of Communication, 31(2), 43–54.
Blankenship, J., & Nagl, T. (2014). Veit Helmer’s Tuvalu, cinema babel, and the (dis-) location of Europe. In J. Blankenship & T. Nagl (Eds.), European visions–small cinemas in transition (pp. 351–366). Nova Iorque: Columbia University Press.
Brook, L. (2016). Live Cinema in the UK report [online] http://livecinema.org.uk/wp-content/uploads/2019/04/Live-Cinema-Report-2016-web-res.pdf
Brook, L. (2017). Live Cinema in the EU report [online] http://livecinema.org.uk/wp-content/uploads/2018/02/CREATIVE-EUROPE-FINAL.pdf
Brownlow, K. (1982). Thames Silents. Sight and Sound, 4(51), 228–229.
Bryan, T. (2007). Diaries at the ready … The Guardian, Travel, 6th January 2007 [online] https://www.theguardian.com/travel/2007/jan/06/saturday2
Dayan, D. (2000). Looking for Sundance: The social construction of a film festival. In I. B. Bondebjerg (Ed.), Moving images, culture and the mind (pp. 43–52). Luton: University of Luton Press.
de Valck, M., Kredell, B., & Loist, S. (Eds.). (2016). Film festivals: History, theory, method, practice. Oxon: Routledge.
Dickson, L. A. (2018). Beyond film experience: Festivalizing practices and shifting spectatorship at Glasgow film festival. In S. Atkinson & H. W. Kennedy (Eds.), Live Cinema: Cultures, Economies, Aesthetics (pp. 83–100). New York: Bloomsbury.
Dockhorn, K. (2000). Veits Tanz in der Erfolgsspur: Heute startet Tuvalu, der erste Spielfilm des Wahlberliners Veit Helmer,” Die Welt, 22 June 2000, 143.
Eco, U. (1984). Faith in fakes: Travels in Hyperreality. New York: Random House.
Es, K. (2016). The future of live. Cambridge: Polity.
Flaig, P., & Groo, K. (2016). New silent cinema. New York: Routledge.
Harbord, J. (2016). Contingency, time, and event: An archaeological approach to the film festival. In M. de Valck, S. Loist, & B. Kredell (Eds.), Film festivals: History, theory, method, practice (pp. 87–100). New York: Routledge.
Iordanova, D. (2013). The film festival reader. St. Andrews: St. Andrews Film Studies.
Jerslev, A. (2007). Semiotics by instinct: Cult films as a signifying practice between film and audience. In X. Mendik & E. Mathijs (Eds.), The cult film reader (pp. 88–99). Maidenhead: Open University Press.
Klinger, B. (2008). Say it again, Sam: Movie quotation, performance, and masculinity. Participations. Journal of Audience and Reception Studies, 5(2).
Lee, T. (2016). Being there, taking place: Ethnography at the film festival. In M. de Valck, S. Loist, & B. Kredell (Eds.), Film festivals: History, theory, method, Practice (pp. 122–137). New York: Routledge.
Peranson, M. (2009). First you get the power, then you get the money: Two models of film festivals. In R. Porton (Ed.), Dekalog 3: On Film Festivals (pp. 23–37). London: Wallflower Press.
Stevens, K. (2018). You had to be there: Film festival “liveness” and the digitally connected audience. In T. Jenkins (Ed.), International film festivals: Contemporary cultures and history beyond Venice and Cannes (pp. 11–31). New York: Bloomsbury.
Turan, K. (2002). Sundance to Sarajevo: Film festivals and the world they made. Berkeley: University of California Press.
Valck, M. (2007). Film festivals: From European geopolitics to global Cinephilia. Amsterdam: Amsterdam University Press.
Vivar, R. (2016). A film bacchanal: Playfulness and audience sovereignty in san Sebastian horror and fantasy film festival. Participations, 13, 234–251.
Wong, C. (2011). Film festivals: Culture, people, and power on the global screen. New Brunswick, NJ; London: Rutgers University Press.
Yates, S. (2008). Stories from the movie mountain: The Motovun international film festival, 23-27 July 2007. Film International, 6(1), 87–95.
Youngblood, G. (1970). Expanded cinema. New York: Dutton.
Acknowledgments
Lisa Brook and Live Cinema UK; Creative Media EU; Department of Culture, Media & Creative Industries (CMCI), King’s College London; Media School, University of Brighton; Helen W. Kennedy; Motovun Film Festival—Matko Burić, Igor Mirkovic, Vanessa Biljan, Vanda Volić, Campus Motovun, all the Motovun Film festival helpers, and CMCI student Katie Merriman.
Author information
Authors and Affiliations
Corresponding author
Editor information
Editors and Affiliations
Rights and permissions
Copyright information
© 2021 The Author(s), under exclusive license to Springer Nature Switzerland AG
About this chapter
Cite this chapter
Atkinson, S. (2021). Tuvalu Live!: Live Re-Scoring, Transnational Digital Participation and Audience Engagement in a Film Festival Context. In: Herrschner, I., Stevens, K., Nickl, B. (eds) Transnational German Cinema. Global Germany in Transnational Dialogues. Springer, Cham. https://doi.org/10.1007/978-3-030-72917-2_5
Download citation
DOI: https://doi.org/10.1007/978-3-030-72917-2_5
Published:
Publisher Name: Springer, Cham
Print ISBN: 978-3-030-72916-5
Online ISBN: 978-3-030-72917-2
eBook Packages: Social SciencesSocial Sciences (R0)