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, eds. (2014). Geopolitical Strategies in Film Festivals between Activism and Cinephilia. Spec. Issue of Cinergie: Il cinema e le altre arti 6. <http://www.cinergie.it/?cat=178> (15 May 2015)

Acciari, Monia, and Roy Menarini (2014). “Geopolitical Strategies in Film Festivals between Activism and Cinephilia.” Cinergie: Il cinema e le altre arti 6 (2014): 6. <http://www.cinergie.it/?p=4901>. (15 May 2015)

Archibald, David, and Mitchell Miller, eds. (2011). “The Film Festival Dossier.” Screen 52:2 (2011): 249–285.

Bazin, André (2009). “The Festival Viewed as a Religious Order.” Dekalog 3: On Film Festivals. Ed. Richard Porton. London: Wallflower. pp. 13–19.

Bláhová, Jindřiška, ed. (2014). Filmove Festivaly | Film Festivals. Spec. Issue of Iluminace: časopis pro teorii, historii a estetiku filmu = Journal for Film Theory, History, and Aesthetics 26:1. Prague.

Bláhová, Jindřiška (2014). “Empirický výzkum festivalů je klíčový, ale téměř nemožný: Rozhovor s Dinou lordanovou.” [Empirical Research of Film Festivals is Crucial, but Almost Impossible. An Interview with Dina Iordanova.]  Filmove Festivaly | Film Festivals. Spec. Issue of Iluminace: časopis pro teorii, historii a estetiku filmu = Journal for Film Theory, History, and Aesthetics 26:1. Ed. Jindřiška Bláhová. Prague. pp. 99–105.

Burgess, Diane (2008). “Negotiating Value: A Canadian Perspective on the International Film Festival.” PhD Thesis. Vancouver: Simon Fraser University, School of Communication. <http://ir.lib.sfu.ca/bitstream/1892/10514/1/etd4165.pdf>. (24 Mar. 2010)

Burgess, Diane (2014). “Why Whistler Will Never Be Sundance, and What This Tells Us About the Field of Cultural Production.” Canadian Journal of Film Studies | Revue Canadienne d’Études Cinématographiques 23:1 (2014): 90–108.

Cousins, Mark (2013). “Widescreen on Film Festivals (2006) / Film Festival Form: A Manifesto (2012).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 167–172.

Dayan, Daniel (2000). “Looking for Sundance: The Social Construction of a Film Festival.” Moving Images, Culture and the Mind. Ed. Ib Bondebjerg. Luton: Univ. of Luton Press. pp. 43–52. | Reprinted in The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 45–58.

De Valck, Marijke (2006). “Film Festivals: History and Theory of a European Phenomenon that Became a Global Network.” Dissertation. Amsterdam: Univ. of Amsterdam, ASCA. (2006).

De Valck, Marijke (2007). Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam Univ. Press.

De Valck, Marijke (2013). “Film Festivals: Successful or Safe? (2007).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 97–108.

De Valck, Marijke (2014). “Film Festivals, Bourdieu, and the Economization of Culture.” Canadian Journal of Film Studies | Revue Canadienne d’Études Cinématographiques 23:1 (2014): 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 42 (2014): 40–59.

De Valck, Marijke, and Skadi Loist (2009). “Film Festival Studies: An Overview of a Burgeoning Field.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova, and Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 179–215.

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

Dovey, Lindiwe, Joshua McNamara, and Federico Olivieri (2013). “‘From, By, For’: Nairobi’s Slum Film Festival, Film Festival Studies, and the Practices of Development.” Jump Cut: A Review of Contemporary Media  55 (2013). <http://www.ejumpcut.org/currentissue/DoveySFFNairobi/index.html>. (24. Nov. 2013)

Dovey, Lindiwe (2015). Curating Africa in the Age of Film Festivals: Film Festivals, Time, Resistance. Framing Film Festivals 1. London, New York: Palgrave Macmillan.

Elsaesser, Thomas (2005). “Film Festival Networks: The New Topographies of Cinema in Europe.” European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam Univ. Press. pp. 82–107. | Reprinted in The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 69–96. | Translated: “Filmfestival-Netzwerke: Die neue Topografie des europäischen Kinos.” critic.de Nov. 25, 2010. <http://www.critic.de/special/thomas-elsaesser-filmfestival-netzwerke-die-neue-topografie-des-europaeischen-kinos-3237/>. (27. Nov. 2010)

Ethis, Emmanuel (2002). Avignon, le Public Réinventé: le Festival sous le Regard des Sciences Sociales. Paris: La Documentation Française.

Ethis, Emmanuel, ed. (2001). Aux Marchés du Palais: Le Festival de Cannes sous le Regard des Sciences Sociales. Paris: La Documentation Française.

Evans, Owen (2007). “Border Exchanges: The Role of the European Film Festival.” Journal of Contemporary European Studies 15:1 (2007): 23–33.

Farnel, Sean (2013). “Towards a Filmmaker’s Bill of Rights for Festivals (2012).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 223–229.

Fischer, Alex (2009). “Conceptualising Basic Film Festival Operation: An Open System Paradigm.” PhD Thesis. Gold Coast, QLD: Bond University, School of Humanities. (Dec. 2009). <http://epublications.bond.edu.au/cgi/viewcontent.cgi?article=1076&context=theses>. (15. Sep. 2010)

Fischer, Alex (2013). Sustainable Projections: Concepts in Film Festival Management. St Andrews: St Andrews Film Studies.

Frodon, Jean-Michel (2013). “The Cinema Planet (2010).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 205–215.

Fujiwara, Chris (2013). “On Film Festivals (2010).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 217–221.

Hagener, Malte (2014). “Institutions of Film Culture: Festivals and Archives as Network Nodes.” The Emergence of Film Culture: Knowledge Production, Institution Building, and the Fate of the Avant-garde in Europe, 1919-1945. Ed. Malte Hagener. New York: Berghahn. pp. 283–305.

Harbord, Janet (2009). “Film Festivals-Time-Event.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova, and Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 40–46. | Reprinted in The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 127–133.

Iordanova, Dina, ed. (2008). “Film Festivals. ” Special Issue of Film International 6:4 (2008): 4–81.

Iordanova, Dina (2009). “The Film Festival Circuit.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova with Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 23–39. | Reprinted in The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 109–126.

Iordanova, Dina (2010). “Mediating Diaspora: Film Festivals and ‘Imagined Communities’.” Film Festival Yearbook 2: Film Festivals and Imagined Communities. Eds. Dina Iordanova with Ruby Cheung. St. Andrews: St. Andrews Film Studies. pp. 12–44.

Iordanova, Dina (2011). “The Resources: Necessary Groundwork.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 189–195.

Iordanova, Dina, ed. (2013). The Film Festivals Reader. St Andrews: St Andrews Film Studies.

Iordanova, Dina (2015). “The Film Festival as an Industry Node.” Media Industries 1:3 (2015): 7–11. <http://www.mediaindustriesjournal.org/index.php/mij/article/view/98>. (2 Feb. 2015)

Iordanova, Dina with Ruby Cheung, eds. (2010). Film Festival Yearbook 2: Film Festivals and Imagined Communities. St. Andrews: St. Andrews Film Studies.

Iordanova, Dina, and Ruby Cheung, eds. (2011). Film Festival Yearbook 3: Film Festivals and East Asia. St. Andrews: St. Andrews Film Studies.

Iordanova, Dina with Ragan Rhyne, eds. (2009). Film Festival Yearbook 1: The Festival Circuit. St. Andrews: St. Andrews Film Studies.

Iordanova, Dina, and Leshu Torchin, eds. (2012). Film Festival Yearbook 4: Film Festivals and Activism. St Andrews: St Andrews Film Studies.

Iordanova, Dina, and Stefanie Van de Peer, eds. (2014). Film Festival Yearbook 6: Film Festivals and the Middle East. St Andrews: St Andrews Film Studies.

Jost, Jon (2010). “The Big Circus.” Undercurrent 6 (2010). <http://www.fipresci.org/undercurrent/issue_0609/jost_circus.htm>. (19. May. 2010)

Jungen, Christian (2009). Hollywood in Canne$: Die Geschichte einer Hassliebe, 1939-2008. Marburg: Schüren.

Jungen, Christian (2014). Hollywood in Cannes: The History of a Love-hate Relationship. Amsterdam: Amsterdam University Press.

Loist, Skadi (2013). “Konvergenzen im Filmfestival-Circuit: Filmfestivalforschung und Queer Studies.” Sexy Media? Gender/Queertheoretische Analysen in den Medien- und Kommunikationswissenschaften. Eds. Skadi Loist, Sigrid Kannengießer, and Joan Kristin Bleicher. Bielefeldt: transcript. pp. 187–205.

Loist, Skadi, and Marijke de Valck (2010). “Film Festivals / Film Festival Research: Thematic, Annotated Bibliography: Second Edition.” Medienwissenschaft / Hamburg: Berichte und Papiere 91 (2010). <http://www1.uni-hamburg.de/Medien//berichte/arbeiten/0091_08.html>. (19. May. 2010)

Marlow-Mann, Alex, ed. (2013). Film Festival Yearbook 5: Archival Film Festivals. St Andrews: St Andrews Film Books.

Mezias, Stephen, et al. (2008). “Much Ado about Nothing? Untangling the Impact of European Premier Film Festivals.” Creative Encounters Working Papers 14. Institut for Interkulturel Kommunikation og Ledelse, Sep. 2008. <http://hdl.handle.net/10398/7781>. (29 Jun. 2009)

Nichols, Bill (1994). “Global Image Consumption in the Age of Late Capitalism.” East-West Film Journal 8:1 (1994): 68–85. | Reprinted in The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 29–44.

Nornes‌, Abé Mark (2013). “Asian Film Festivals, Translation and the International Film Festival Short Circuit (2011).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 151–153.

Peranson, Mark (2008). “First You Get the Power, Then You Get the Money: Two Models of Film Festivals.” Cineaste 33:3 (2008): 37-43. | Reprinted in Dekalog 3: On Film Festivals. Ed. Richard Porton. London: Wallflower, 2009. pp. 23-37. | Reprinted in The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 191–203. | Translated: “Erst kommt die Macht, dann das Geld.” Revolver: Zeitschrift für Film 21 (2010): 116-131.

Porton,Richard, ed. (2009). Dekalog 3: On Film Festivals. London: Wallflower Press.

Rangan, Pooja (2010). “Some Annotations on the Film Festival as an Emerging Medium in India.” South Asian Popular Culture 8:2 (2010): 123–141.

Reichel-Heldt, Kai (2007). Filmfestivals in Deutschland: Zwischen kulturpolitischen Idealen und wirtschaftspolitischen Realitäten. Frankfurt am Main: Lang.

Rhyne, Ragan (2009). “Film Festival Circuits and Stakeholders.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova, and Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 9–39. | Reprinted in The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 135–150.

Robbins, Papagena, and Viviane Saglier, eds. (2015). Other Networks: Expanding Film Festival Perspectives. Spec. Issue of Synoptique 3:2.

Robbins, Papagena, and Viviane Saglier (2015). “Introduction: Other Networks: Expanding Film Festival Perspectives.” Synoptique 3:2 (2015): 1–8. <http://synoptique.hybrid.concordia.ca/index.php/main/article/view/90>. (12 Mar. 2015)

Roddick, Nick (2013). “Coming to a Server Near You: The Film Festival in the Age of Digital Reproduction (2005-2012).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 173–189.

Ruoff, Jeffrey, ed. (2012). Coming Soon to a Festival Near You: Programming Film Festivals. St. Andrews: St Andrews Film Books.

Segal, Jérôme (2008). “Film Festivals.” European Public Culture and Aesthetic Cosmopolitanism: Main Report. Ed. Monica Sassatelli. Report completed in the framework of the EURO-FESTIVAL project. (30 Oct. 2008) pp. 111–118. <http://www.euro-festival.org/docs/Euro-Festival_D1_MainReport.pdf>. (27 Feb. 2009)

Segal, Jérôme (2010). “Film Festivals.” European Arts Festivals: Cultural Pragmatics and Discursive Identity Frames. Ed. Liana Giorgi. EURO-FESTIVAL Project. pp. 150–221. <http://www.euro-festival.org/docs/Euro-Festival_D3.pdf>. (20. Jan. 2011)

Stringer, Julian (2003). “Regarding Film Festivals.” Dissertation. Indiana University, Department of Comparative Literature. (Aug. 2003)

Stringer, Julian (2013). “Regarding Film Festivals: Introduction (2003).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 59–68.

Tascon, Sonia M. (2015). Human Rights Film Festivals: Activism in Context. London, New York: Palgrave Macmillan.

Taillibert, Christel (2009). Tribulations festivalières: Les festivals de cinéma et audiovisuel en France. Paris: Harmattan.

Torche, Stéphanie (2008). “Les logiques économiques et culturelles dans les festivals de films: Analyse et représentation.” Dissertation. Fribourg: Université de Fribourg, Faculté des Sciences économiques et sociales. (Dec. 2008)

Wäfler, John (2013). “Changing Festival Definitions: A Brief History of the Fribourg International Film Festival in Switzerland.” Une histoire des festivals: XXe-XXIe siècle. Eds. Anaïs Fléchet, Pascale Gœtschel, Patricia Hidiroglou, Sophie Jacotot, Caroline Moine, and Julie Verlaine. Paris: Publications de la Sorbonne. pp. 99–108.

Vallejo, Aida (2012). “Festivales de cine documental: Redes de circulación cultural en el este del continente europeo. [Documentary Film Festivals: Networks of Cultural Circulation in the Eastern Part of Europe].” PhD Thesis. Madrid: Universidad Autónoma de Madrid, Facultad de Folosofía y Letras.

Vallejo, Aida (2014). “Etnografías del cine: nuevas aproximaciones al estudio de festivales.” [Ethnographies of Cinema: New Approaches to the Study of Film Festivals.]. Espacios de comunicación: Actas del IV Congreso Internacional de la Asociación Española de Investigación de la Comunicación. Ed. Itxaso Fernández-Astobiza. Bilbao. pp. 1751–1763.

Vallejo, Aida, ed. (2014). Festivales cinematográficos. [Film Festivals] Spec. Issue of Secuencias: Revista de Historia del Cine 39.

Vallejo, Aida (2014). “Festivales cinematográficos: En el punto de mira de la historiografía fílmica. [Film Festivals. In the Focus of Film Historiography].” Festivales cinematográficos [Film Festivals]. Spec. Issue of Secuencias: Revista de Historia del Cine 39. Ed. Aida Vallejo. pp. 13–42.

Willemen, Paul (2013). “On Pesaro (1981/1985).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 19–27.

Wong, Cindy Hing-Yuk (2011). Film Festivals: Culture, People, and Power on the Global Screen. New Brunswick, NJ: Rutgers Univ. Press.

Zielinski, Ger, ed. (2014). Film Festival Pedagogy: Using the Film Festival in or as a Film Course. Spec. Issue of Scope: An Online Journal of Film & TV Studies 26. Nottingham. <http://www.nottingham.ac.uk/scope/documents/2014/february/zielinksi.pdf> (15 May 2015)

 

(Last updated: 11 June 2015)