1.1 a) Film Festival Theory and Methodology

While it is true that film festivals need to be studied in greater detail and with more systematic rigor, it is no longer possible to maintain that there are not any comprehensive studies of film festivals available. The studies collected under the subcategory “1.1 a) Film Festival Theory” offer a solid introduction to the emerging field of film festival research, and constitute essential reading for anyone with an interest in film festivals. Due to the constraints of our format, we are limited to some brief introductory remarks. For more elaborate introductions we refer to Dina Iordanova’s editorial in the Film International special edition on film festivals (2008), Dekalog 3: On Film Festivals (2009) edited by Richard Porton, and the Film Festival Yearbook series and The Film Festivals Reader (2013) edited by Dina Iordanova.

As one of the first critical studies of film festivals, Bill Nichols’ article “Global Image Consumption in the Age of Late Capitalism” (1994) takes up a central concern of film festival research, the local/global dynamics: “Never only or purely local, festival films nonetheless circulate, in large part, with a cachet of locally inscribed difference and globally ascribed commonality. They both attest to the uniqueness of different cultures and specific filmmakers and affirm the underlying qualities of an ‘international cinema'” (Nichols 1994: 68). Media anthropologist Daniel Dayan introduced a second recurring theme in his study of the Sundance Film Festival: the engagement of distinctive groups with diverse interests. He described the festival as a set of divergent performances (by filmmakers, distributors, festival organizers, journalists, the audience etc.) and argues it is not limited to visual display, but above all a “verbal architecture” that is “made up of different versions, relaying different voices, relying on different sources of legitimacy” (Dayan 2000: 52). Several studies have attempted to make festivals’ versatility understandable. Julian Stringer (2003) explored film festivals as institutions, festival nations, festival cities, festival films and festival communities in his dissertation, developing theoretical approaches to fit each new angle. Kenneth Turan (2002, section 1) and Marijke de Valck (2007) tackled the diverse festival phenomenon with case studies that respectively take geopolitical, business and cultural/aesthetic perspectives. Thomas Elsaesser (2005) and Janet Harbord (2002) offer valuable insights into festivals’ temporal and spatial dimensions. Other threads running through all festival theories include the festival network as an alternative distribution system, core-periphery relations, festival programming as agenda setting, value addition and distinction, spectacle, and the festival as a media event.

Acciari, Monia, and Roy Menarini. 2014. “Geopolitical Strategies in Film Festivals Between Activism and Cinephilia.” Cinergie (6): 6. http://www.cinergie.it/?p=4901. Accessed March 29, 2019.

Archibald, David, and Mitchell Miller. 2011. “The Film Festival Dossier: Introduction.” Screen 52 (2): 249–52. https://doi.org/10.1093/screen/hjr013.

Archibald, David, and Mitchell Miller. 2011. The Film Festival Dossier. Screen 52, no. 2: 249–85.

Barnes, Heather L. 2020. “The Data-Driven Festival: Recordkeeping and Archival Practices.” In Documentary Film Festivals Vol. 1: Methods, History, Politics, edited by Aida Vallejo and Ezra Winton, 53–59. New York: Palgrave Macmillan.

Bazin, André. 2009. “The Festival Viewed as a Religious Order.” In Dekalog 3: On Film Festivals, edited by Richard Porton, 13–19. London: Wallflower.

Berg, Magnus. 2022. “Expanding Trans Cinema Through the Tranny Fest Collection.” JCMS: Journal of Cinema and Media Studies 61 (2): 181–87. https://doi.org/10.1353/cj.2022.0003.

Berry, Chris, and Luke Robinson, eds. 2017. Chinese Film Festivals: Sites of Translation. New York: Palgrave Macmillan.

Bláhová, Jindřiška. 2014. “Empirický Výzkum Festivalů Je Klíčový, Ale Téměř Nemožný: Rozhovor S Dinou Lordanovou.” In “Filmove Festivaly | Film Festivals.” edited by Jindřiška Bláhová. Special issue, Iluminace: časopis pro teorii, historii a estetiku filmu = Journal for Film Theory, History, and Aesthetics 26. (1): 99–105. [Empirical Research of Film Festivals is Crucial, but Almost Impossible. An Interview with Dina Iordanova.].

Bláhová, Jindřiška, ed. 2014. “Filmove Festivaly | Film Festivals.” Special issue, Iluminace 26, no. 1.

Bosma, Peter. 2015. Film Programming: Curating for Cinemas, Festivals, Archives. Short cuts 59. New York: Wallflower.

Bruckner, Franziska, Jana Koch, and Alexandra Valent. 2018. “Filmfestivals, in Theory: Interaktion Von Filmwissenschaft Und Festivalbetrieb.” Maske und Kothurn 64 (3): 7–10.

Burgess, Diane. 2008. “Negotiating Value: A Canadian Perspective on the International Film Festival.” PhD Thesis, School of Communication, Simon Fraser University. Accessed May 22, 2020. http://summit.sfu.ca/system/files/iritems1/9173/etd4165.pdf.

Burgess, Diane. 2014. “Why Whistler Will Never Be Sundance, and What This Tells Us About the Field of Cultural Production.” CJFS 23 (1): 90–108.

Burgess, Diane. 2020. “Capturing Film Festival Buzz: The Methodological Dilemma of Measuring Symbolic Value.” NECSUS 9 (2): 225–47. https://doi.org/10.25969/mediarep 15318.

Burgess, Diane, and Brendan Kredell. 2016. “Positionality and Film Festival Research: A
Conversation.” In Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 159–76. London, New York: Routledge.

Campos-Rabadán, Minerva. 2020. “Inequalities Within the International Film Arena: A Framework to Studying Latin American Film Festivals.” In “Festivales De Cine En América Latina: Historias Y Nuevas Perspectivas.”: Historias Y Nuevas Perspectivas, edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicación y Medios 29. (42): 70–82. Accessed January 09, 2022. https://revistaestudiosarabes.uchile.cl/index.php/RCM/article/view/57224/68413.

Campos-Rabadán, Minerva. 2020. “Tensiones en el circuito cinematográfico internacional: modelo para el estudio de los festivales latinoamericanos.” In “Festivales De Cine En América Latina: Historias Y Nuevas Perspectivas.”: Historias Y Nuevas Perspectivas, edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicación y Medios 29. (42): 72-84. [Inequalities within the International Film Arena: A Framework to Studying Latin American Film Festivals]. Accessed June
02, 2021. https://comunicacionymedios.uchile.cl/index.php/RCM/article/view/57224.

Chadha, Siddharth. 2021. “Curating Precarity: Swedish Queer Film Festivals as Micro-Activism.” PhD Thesis, Department of Informatics and Media, Uppsala University. Accessed May 05, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-432531.

Cousins, Mark. 2013. “Widescreen on Film Festivals (2006) / Film Festival Form: A Manifesto (2012).” In The Film Festivals Reader, edited by Dina Iordanova, 167–72. St Andrews: St Andrews Film Studies.

Czach, Liz. 2016. “Affective Labor and the Work of Film Festival Programming.” In Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 196–208. London, New York: Routledge.

Dalla Gassa, Marco, Andrea Gelardi, and Federico Zecca. 2022. “Reframing Film Festivals: Politics, Histories and Agencies.” Cinergie 11 (22): 1–6. https://doi.org/10.6092/issn.2280-9481/16043. Damiens, Antoine. 2018. “The Queer Film Ecosystem: Symbolic Economy, Festivals, and Queer Cinema’s Legs.” Studies in European Cinema 15 (1): 25–40. https://doi.org/10.1080/17411548.2018.1433001.

Damiens, Antoine. 2020. “Film Festivals of the 1970s and the Subject of Feminist Film Studies: Collaborations and Regimes of Knowledge Production.” Journal of Film & Video 72 (1-2): 21–32. https://doi.org/10.5406/jfilmvideo.72.1-2.0021.

Damiens, Antoine. 2020. LGBTQ Film Festivals: Curating Queerness. Amsterdam: Amsterdam University Press.

Damiens, Antoine. 2020. “Subtitles as Revoicing: Film Festivals and the Globalization of Film.” Journal of Common Market Studies 59 (4): 178–83. https://doi.org/10.1353/cj.2020.0056.

Damiens, Antoine. 2023. “Festivals, Covid-19, and the Crisis of Archiving.” In Rethinking Film Festivals in the Pandemic Era and After, edited by Marijke de Valck and Antoine Damiens, 291–305. Cham: Palgrave Macmillan.

Damiens, Antoine, and Marijke de Valck. 2023. “What Happens When Festivals Can’t Happen?” In Rethinking Film Festivals in the Pandemic Era and After, edited by Marijke de Valck and Antoine Damiens, 1–13. Cham: Palgrave Macmillan.

Dawson, Leanne, and Skadi Loist. 2018. “Queer/ing Film Festivals: History, Theory, Impact.” Studies in European Cinema 15 (1): 1–24. https://doi.org 10.1080/17411548.2018.1442901.

Dayan, Daniel. 2000. “Looking for Sundance: The Social Construction of a Film Festival.” In Moving Images, Culture and the Mind, edited by Ib Bondebjerg, 43–52. Luton: Univ. of Luton Press.

de Valck, Marijke. 2006. “Film Festivals: History and Theory of a European Phenomenon That Became a Global Network.” Dissertation, ASCA, University of Amsterdam. Accessed March 29, 2020. http://dare.uva.nl/record/191926.

de Valck, Marijke. 2007. Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press.

de Valck, Marijke. 2013. “Film Festivals: Successful or Safe? (2007).” In The Film Festivals Reader, edited by Dina Iordanova, 97–108. St Andrews: St Andrews Film Studies.

de Valck, Marijke. 2014. “Film Festivals, Bourdieu, and the Economization of Culture.” CJFS 23 (1): 74–89.

de Valck, Marijke. 2014. “Supporting Art Cinema at a Time of Commercialization: Principles and Practices, the Case of the International Film Festival Rotterdam.” Poetics, no. 42: 40–59. https://doi.org/10.1016/j.poetic.2013.11.004.

de Valck, Marijke. 2016. “Fostering Art, Adding Value, Cultivating Taste: Film Festivals as Sites of Cultural Legitimization.” In Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 100–116. London, New York: Routledge.

de Valck, Marijke. 2016. “Introduction: What Is a Film Festival? How to Study Festivals and Why You Should.” In Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 1–11. London, New York: Routledge.

de Valck, Marijke. 2017. “Screening World Cinema at Film Festivals: Festivalisation and (Staged) Authenticity.” In Routledge Companion to World Cinema, edited by Rob Stone, Paul Cooke, Stephanie Dennison, and Alex Marlow-Mann, 393–403. Oxford: Routledge.

de Valck, Marijke, and Antoine Damiens, eds. 2023. Rethinking Film Festivals in the Pandemic Era and After. Cham: Palgrave Macmillan.

de Valck, Marijke, Brendan Kredell, and Skadi Loist, eds. 2016. Film Festivals: History, Theory, Method, Practice. London, New York: Routledge.

de Valck, Marijke, and Skadi Loist. 2009. “Film Festival Studies: An Overview of a Burgeoning Field.” In Film Festival Yearbook 1: The Festival Circuit, edited by Dina Iordanova and Ragan Rhyne, 179–215. St. Andrews: St Andrews Film Studies.

de Valck, Marijke, and Ger Zielinski. 2023. “Greening Film Festivals.” In Rethinking Film Festivals in the Pandemic Era and After, edited by Marijke de Valck and Antoine Damiens, 307–28. Cham: Palgrave Macmillan.

Di Foggia, Giacomo. 2014. “Cinephilia and Festivals: On the Need to Analyze the Lives and Ideas of Festival Founders.” Cinergie (6): 42–49. http://www.cinergie.it/?p=4929. Accessed May 15, 2015.

Dickson, Lesley-Ann. 2014. “Film Festival and Cinema Audiences: A Study of Exhibition Practice and Audience Reception at Glasgow Film Festival.” PhD Thesis, University of Glasgow. Accessed May 31, 2020. http://theses.gla.ac.uk/id/eprint/5693.

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Dovey, Lindiwe. 2015. Curating Africa in the Age of Film Festivals: Film Festivals, Time, Resistance. Framing Film Festivals. London, New York: Palgrave Macmillan.

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(Last updated: 02. February 2024)