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A publicação pode ser exportada nos seguintes formatos: referência da APA (American Psychological Association), referência do IEEE (Institute of Electrical and Electronics Engineers), BibTeX e RIS.

Exportar Referência (APA)
Saleiro, Sandra Palma & Pedro Marum (2014). Queer Lisboa’s audience in research: How queer is the queer audience. Queer Film Culture: Queer Cinema and Film Festivals. International Conference.
Exportar Referência (IEEE)
S. M. Saleiro and P. Marum,  "Queer Lisboa’s audience in research: How queer is the queer audience", in Queer Film Culture: Queer Cinema and Film Festivals. Int. Conf., Hamburgo, 2014
Exportar BibTeX
@misc{saleiro2014_1766450004708,
	author = "Saleiro, Sandra Palma and Pedro Marum",
	title = "Queer Lisboa’s audience in research: How queer is the queer audience",
	year = "2014",
	howpublished = "Outro",
	url = "http://queerfilmculture.org/"
}
Exportar RIS
TY  - CPAPER
TI  - Queer Lisboa’s audience in research: How queer is the queer audience
T2  - Queer Film Culture: Queer Cinema and Film Festivals. International Conference
AU  - Saleiro, Sandra Palma
AU  - Pedro Marum
PY  - 2014
CY  - Hamburgo
UR  - http://queerfilmculture.org/
AB  - Lisbon Gay and Lesbian Film Festival, now designated as Queer Lisboa - International Queer Film Festival, had its first edition in 1997, is the oldest film festival in the Portuguese capital. Facing new challenges transversal to the queer film festivals, such as a bigger circulation of images in platforms out of the LGBT/Q circuits, it becomes more pertinent to get to know its audience along with its motivations and opinions regarding the Festival. During its 15th edition, in 2011, the Festival engaged in a collaboration with CIES – Centre for Research and Studies in Sociology of the University Institute of Lisbon to coordinate a study with the aim of identifying and characterizing the Festival´s audience and to collect information regarding its evaluation and opinions on the Festival. This study, conducted by questionnaire surveys available during the Festival among its venues, was applied in all subsequent editions, and allows for a detailed and comparative analysis of the audience – gender, age, sexual and gender identity, qualifications, occupations, etc. It also allows us to understand the motivations behind their attendance, regarding the organization dynamics or favourite sections, and finally, the assessment of the audience on several aspects related to the Festival such as its design and the organization of the event – programming schedules, parallel activities, ticket prices, etc. – working as a useful guide for future editions. With this study we aim to get to know our audience better, to discuss how/or if it represents the LGBT/Q community and to understand its expectations and perspectives on the Festival.
ER  -