Our understanding of today’s film festivals and the contemporary international film festival circuit is tied to our knowledge of festival histories. Geopolitical interests held the first wave of (European) film festivals in a tight grip until the mid-1960s. The articles and books in this subcategory analyze certain parts of festival history in detail, such as the Fascist influence over the Venice Film Festival in the late 1930s (De Valck 2007, section 1.1), the Cold War agenda of the Berlin Film Festival (Fehrenbach 1995) and politically informed (programming) practices in Eastern Europe (Iordanova 2006; Karl 2007; Kötzing 2007a, b; Moine 2007). Although political agendas are discussed as powerful forces driving and shaping festivals, they are also shown to intersect with cultural objectives, economic interests and specific (inter)national historical circumstances. Other studies in this bibliography often also include historical passages or allusions to the formative role national legitimization played in the emergence of film festivals (Kuhlbrodt 2005, section 6.1). Attention has been devoted to the study of festivals as counter-public sphere, in particular for specific communities (see sections 9.1, 9.1.1, and 9.1.2 on queer and women’s film festivals). Finally, the question of political interventions is addressed in studies dealing with specific national cinemas. For example, censorship is central to the discussion of Iranian cinema by Azadeh Farahmand (2002, section 6.4).

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(Last updated: 07. April 2024)