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).
1.2.1 Film Festival facing crises
1.2.1.1 Covid-19
12.1.2 War and conflict
1.2.2 Cold War
1.2.3 Cultural Diplomacy
1.2.4 Decolonizing Film Festivals
Altunbulak, Aylin. 2021. “Reimagining Queer Film Festival as a Counterpublic Space: A Case Study of Turkey’s Pink Life Queerfest.” Ekphrasis 25 (1): 143–55. https://doi.org/10.24193/ekphrasis.25.10.
Anton, Halina. 2008. “Die Auswirkungen der DEFA-Filmtage auf die Stadt und den Förderverein Kino Völkerfreundschaft e.V.” In Die Traumfabrik von gestern: Merseburger DEFA-Filmtage, edited by René Beyer and Alfred G. Frei, 53–64. Halle: Projekte.
Archibald, David, and Mitchell Miller. 2011. “From Rennes to Toronto: Anatomy of a Boycott.” Screen 52 (2): 274–79. https://doi.org/10.1093/screen/hjr015.
Armstrong, Kathryn. 2021. “Virtual Visibility and the Film Festival Circuit.” Afterimage 48 (1): 10–18. https://doi.org/10.1525/aft.2021.48.1.10.
Barrow, Sarah. 2016. “Constraints and Possibilities: Lima Film Festival, Politics and Cultural Formation in Peru.” New Review of Film and Television Studies 14 (1): 132–48. https://doi.org/10.1080/17400309.2015.1109354.
Batančev, Dragan. 2017. “The Belgrade FEST, or What Happened When Peckinpah Met Wajda.” In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War, edited by Andreas Kötzing and Caroline Moine, 153–66. Göttingen: Vandenhoeck & Ruprecht; V&R unipress.
Battaglia, Giulia. 2020. “The Development of Documentary Film Festivals in India: A Small-Media Phenomenon.” In Documentary Film Festivals Vol. 1: Methods, History, Politics, edited by Aida Vallejo and Ezra Winton, 221–39. New York: Palgrave Macmillan.
Bláhová, Jindřiška, ed. 2014. “Filmove Festivaly | Film Festivals.” Special issue, Iluminace 26, no. 1.
Spur Der Bären: 60 Jahre Berlinale. 94 min, 2010.
Brinkmann, Jens. 2011. “Das Internationale Forum Des Jungen Films: Vom ‘Anti-Festival’ Zur Profiliertesten Sektion Der Berlinale.” Zeitgeschichte-online, August 2011. https://zeitgeschichte-online.de/film/das-internationale-forum-des-jungen-films.
Bruch, Anne. 2017. “’Just Think of the Possibilities of Dissemination…’: The Film Festival Policy of the European Institutions in the 1950s and 1960s.” In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War, edited by Andreas Kötzing and Caroline Moine, 79–90. Göttingen: Vandenhoeck & Ruprecht; V&R unipress.
Câmara, Regina. 2017. “From Karlovy Vary to Cannes: Brazilian Cinema Novo at European Film Festivals in the 1960s.” In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War, edited by Andreas Kötzing and Caroline Moine, 63–77. Göttingen: Vandenhoeck & Ruprecht; V&R unipress.
Canova, Gianni. 2013. “Anche I Leoni Invecchiano, Anche Le Palme Ingialliscono.” [“Even lions get old, even palms become yellow…”]. 8 1/2 – Numeri, visioni e prospettive del cinema italiano (2): 4–5.
Canova, Gianni. 2013. “Editoriale: Porsi Le Domande Giuste Anche Quando Non Piacciono.” [“Editorial. Asking the right questions even when you don’t like them.”]. 8 1/2 -Numeri, visioni e prospettive del cinema italiano (2): 1.
Canova, Gianni. 2013. “Servono Ancora a Qualcosa I Festival Del Cinema? [“Are Film Festivals Still Necessary?”].” 8 1/2 -Numeri, visioni e prospettive del cinema italiano (2). http://www.8-mezzo.it/wp-content/uploads/2018/02/2_2013.pdf. Accessed March 26, 2020.
Canova, Gianni. 2013. “Viale del tramonto.” [“Sunset Bulevard”]. 8 1/2 – Numeri, visioni e prospettive del cinema italiano (2): 6.
Carvalho, Graça Fátima Pires de. 2002. Evolução Histórica Dos Festivais De Cinema E Vídeo No Maranhão. São Luis: UFMA. [Historical Evolution of Film and Video Festivals in Maranhão].
Casini, Silvia, Paolo Magaudda, and Federico Neresini. 2024. “Communicating Science Through Films: The Case of the International Festival of Scientific and Educational Film (1956-1975).” Science as Culture 34 (1): 89–113. https://doi.org/10.1080/09505431.2024.2375208.
Cazzaro, Davide, and Darcy Paquet. 2015. BIFF X BIFF. Busan: Busan International Film Festival. Foreword by Lee Chang-dong.
Chamberlain, Rose. 2009. “Film Festivals: Showing Our True Value.” Film & Festival (13): 18. http://content.yudu.com/Library/A17x6w/FilmFestivalsIssue13/resources/index.htm. Accessed June 13, 2009.
Cheung, Ruby. 2016. “Ever-Changing Readjustments: The Political Economy of the Hong Kong International Film Festival (HKIFF).” New Review of Film and Television Studies 14 (1): 59–75. https://doi.org/10.1080/17400309.2015.1107268.
Cordoba, Cyril. 2022. “Between Politics and Economics: The Locarno Film Festival from Tourism to Cinephilia (1946-1972).” Cinergie 11 (22): 41–53. https://doi.org/10.6092/issn.2280-9481/14350.
Cruz Melo, Izabel. “Jornada Internacional De Cinema Da Bahia: Espaço De Reflexão E Resistência (1972-1975).” [International Film Journey of Bahia: space for reflection and resistance (1972-1975)]. O Olhoda Historia 2004: 1–8.
Cruz Melo, Izabel. 2008. “História, Cinema E Prática Social: Jornadas De Cinema Da Bahia (1972-1978).” [History, Cinema and Social Practice: Jornadas de Cinema da Bahia (1972-1978)].
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.
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.
de Witt, Helen, Maria M. Delgado, Aduke King, Sarah Lutton, and Leigh Singer. 2022. “Sixteen Things We Learned About Programming for Film Festivals Under COVID.” Contemporary Theatre Review 32 (3-4): 305–9. https://doi.org/10.1080/10486801.2022.2119225.
DeRoo, Rebecca J. 2021. “Agnès Varda and Le Collectif 50/50 En 2020: Power and Protest at the Cannes Film Festival.” Camera Obscura: Feminism, Culture, and Media Studies 36 (1): 127–53. https://doi.org/10.1215/02705346-8838577.
Di Chiara, Francesco, and Valentina Re. 2011. “Film Festival/Film History: The Impact of Film Festivals on Cinema Historiography. Il Cinema Ritrovato and Beyond.” Cinémas 21 (2-3): 131–51. https://doi.org/10.7202/1005587ar.
Djagalov, Rossen, and Masha Salazkina. 2016. “Tashkent ’68: A Cinematic Contact Zone.” Slavic Review 75 (2): 279–98. https://doi.org/10.5612/slavicreview.75.2.279.
Dongiovanni, Francesco. 2024. “Il Nuovo Cinema E Il Problema Della Distribuzione: L’ipotesi Di Pesaro Nei Convegni ’65-‘67.” [The New Cinema and the Distribution Dilemma: The Hypothesis of the Pesaro Mostra Internazionale del Cinema Nuovo in the 1965-1967 Conferences]. Cinergie 13:173–89. https://doi.org/10.6092/issn.2280-9481/18183.
Ebbrecht-Hartmann, Tobias. 2017. “Socialist Competition or Window to the World? East German Student Films at International Festivals in the Context of the Cold War.” In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War, edited by Andreas Kötzing and Caroline Moine, 15–29. Göttingen: Vandenhoeck & Ruprecht; V&R unipress.
Edemen, Fatma. 2024. “Nation, film et festival transnationaux: Les festivals de films kurdes en Europe et la définition du cinéma kurde.” [Transnational Nation, Film and Festival: Kurdish Film Festivals in Europe on Defining the Kurdish Cinema]. In Festivals et dynamiques cinématographiques transnationales, edited by Amanda Rueda, 217–35. Champs visuels. Paris: L’Harmattan.
Fehrenbach, Heide. 1995. “Mass Culture and Cold War Politics: The Berlin Film Festival of the 1950s.” In Cinema in Democratizing Germany: Reconstructing National Identity After Hitler, 234–53. Chapel Hill, NC: Univ. of North Carolina Press.
Fehrenbach, Heide. 2020. “The Berlin International Film Festival: Between Cold War Politics and Postwar Reorientation.” Studies in European Cinema 17 (2): 81–96. https://doi.org/10.1080/17411548.2019.1631533.
Fenwick, James. 2021. “Urban Regeneration and Stakeholder Dynamics in the Formation, Growth and Maintenance of the Sheffield International Documentary Festival in the 1990s.” Historical Journal of Film, Radio and Television 41 (4): 838–63. https://doi.org/10.1080/01439685.2021.1922035.
Formenti, Cristina, Francesco Pitassio, and Sara Sampietro. 2022. ““What Am I Doing Here?”: Film Festivals, Awards Shows, and Stars During the COVID-19 Emergency.” Cinergie – Il Cinema e le altre Arti, no. 21: 21–33. https://doi.org/10.6092/issn.2280-9481/14491.
Frost, Jennifer. 2023. “Cinema as Cultural Diplomacy and the Cold War: U.S. Participation in International Film Festivals Behind the Iron Curtain, 1959-1971.” Journal of Cold War Studies 25 (1): 75–100. https://doi.org/10.1162/jcws_a_01122.
Gallinari, Pauline. 2007. “L’URSS au festival de Cannes 1946-1958: un enjeu des relations franco-soviétiques à l’heure de la « guerre froide ».” [The USSR at the Cannes Film Festival 1946-1958: a challenge for Franco-Soviet relations during the “Cold War”]. 1895 (51): 23–43.
Garcia Rivas, Carlos Daniel. 2020. “Estrategias de vigilancia policial en el Festival Internacional de Cine de Mar del Plata entre 1959 y 1960.” In “Festivales De Cine En América Latina: Historias Y Nuevas Perspectivas.”: Historias Y Nuevas Perspectivas [Film Festivals in Latin America: Histories and New Perspectives], edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicación y Medios 29. (42): 85-95. [Police Surveillance Strategies at the Mar del Plata Film Festival between 1959 and 1960]. https://revistaestudiosarabes.uchile.cl/index.php/RCM/article/view/57282/64244.
Garcia Rivas, Carlos Daniel. 2020. “Police Surveillance Strategies at the Mar Del Plata Film Festival Between 1959 and 1960.” In “Festivales De Cine En América Latina: Historias Y Nuevas Perspectivas.”: Historias Y Nuevas Perspectivas [Film Festivals in Latin America: Histories and New Perspectives], edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicación y Medios 29. (42): 83-93. Accessed January 09, 2022. https://revistaestudiosarabes.uchile.cl/index.php/RCM/article/view/57282/68414.
Gimello-Mesplomb, Frédéric. 2014. Objectif 49: Cocteau et la nouvelle avant-garde. Paris: Séguier. [Objectife 49: Cocteau and the new avant-garde].
Gimello-Mesplomb, Frédéric, and Loredana Latil. 2003. “Une politique de cinéma: La sélection française pour Cannes.” [A film policy: The French selection for Cannes]. Protée 31 (2): 17–28. https://doi.org/10.7202/008750ar.
Gœtschel, Pascale, and Patricia Hidiroglou. 2013. “Introduction: Le festival, objet d’histoire.” [Introduction: The festival, object of history]. In Une histoire des festivals: XXe-XXIe siècle, edited by Anaïs Fléchet, Pascale Gœtschel, Patricia Hidiroglou, Sophie Jacotot, Caroline Moine, and Julie Verlaine, 7–15. Paris: Publications de la Sorbonne.
González Zarandona, José Antonio. 2016. “Making Heritage at the Cannes Film Festival.” International Journal of Heritage Studies 22 (10): 781–98. https://doi.org/10.1080/13527258.2016.1212388.
Gourmelen, Arnaud, and Ralph Eue. 2010. “Die Stunde Null der Cinephilie: Das Festival du Film Maudit (1949) und das Rendez-Vous de Biarritz (1950).” RFF (7+8): 58–71.
Gregor, Ulrich. 2008. “Filmfestival-Chronik des Jahres 1968: Berlin, Cannes, Venedig, Knokke.” RFF (3): 36–38.
Haase, Jürgen, ed. 2010. Zwischen uns die Mauer: DEFA-Filme auf der Berlinale. Berlin: Be.bra / Edition Q.
Hagener, Malte. 2014. “Institutions of Film Culture: Festivals and Archives as Network Nodes.” In The Emergence of Film Culture: Knowledge Production, Institution Building, and the Fate of the Avant-Garde in Europe, 1919-1945, edited by Malte Hagener, 283–305. New York: Berghahn.
Iordanova, Dina. 2006. “Showdown of the Festivals: Clashing Entrepreneurships and Post-Communist Management of Culture.” Film International 4 (5): 25–37.
Jiřiště, Jakub. 2014. “Iluzorní Obrodný Proces Karlovarského Filmového Festivalu: XVI. Mezinárodní Festival Karlovy Vary (1968) V Reflexi Dobového Tisku.” 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): 9–37. [The Illusive Revival Process of the Karlovy Vary Film Festival. A Reflection on the 16th Karlovy Vary Film Festival (1968) in the Period Press.].
Karl, Lars. 2007. “Zwischen politischem Ritual und kulturellem Dialog: Die Moskauer Internationalen Filmfestspiele im Kalten Krieg 1959-1971.” In Leinwand zwischen Tauwetter und Frost: Der osteuropäische Spiel- und Dokumentarfilm im Kalten Krieg, edited by Lars Karl, 279–98. Berlin: Metropol-Verl.
Kokotović, Sima. 2022. “The Subversive Film Festival as a Field of Resonance.” Screen 63 (4): 515–24. https://doi.org/10.1093/screen/hjac043.
Kötzing, Andreas. 2007. “Filmfestivals als historische Quelle.” Deutschland Archiv 41 (4): 693–99.
Kötzing, Andreas. 2007. “Zeigen oder nicht zeigen? Das ‘Prinzip der Selbstnominierung’ sozialistischer Filme auf der Leipziger Dokumentarfilmwoche.” In Leinwand zwischen Tauwetter und Frost: Der osteuropäische Spiel- und Dokumentarfilm im Kalten Krieg, edited by Lars Karl, 299–316. Berlin: Metropol-Verl.
Kötzing, Andreas. 2013. Kultur- und Filmpolitik im Kalten Krieg: Die Filmfestivals von Leipzig und Oberhausen in gesamtdeutscher Perspektive, 1954-1972. Göttingen: Wallstein.
Kötzing, Andreas. 2013. “Kultur- und Filmpolitik im Kalten Krieg: Die Filmfestivals von Oberhausen und Leipzig und die deutsch-deutschen Beziehungen.” In Asymmetrisch verflochten? Neue Forschungen zur gesamtdeutschen Nachkriegsgeschichte, edited by Detlev Brunner, Udo Grashoff, and Andreas Kötzing, 77–93. Berlin: Ch.Links.
Kötzing, Andreas. 2013. “Provozierte Konflikte: Der Club der Filmschaffenden und die Beteiligung der DEFA an der Mannheimer Filmwoche 1959/60.” In DEFA international: Grenzüberschreitende Filmbeziehungen vor und nach dem Mauerbau, edited by Michael Wedel, Barton Byg, Andy Räder, Skyler Arndt-Briggs, and Evan Torner, 369–84. Wiesbaden: Springer VS.
Kötzing, Andreas. 2017. “Cultural and Film Policy in the Cold War: The Film Festivals of Oberhausen and Leipzig and German-German Relations.” In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War, edited by Andreas Kötzing and Caroline Moine, 31–46. Göttingen: Vandenhoeck & Ruprecht; V&R unipress.
Kötzing, Andreas, and Caroline Moine, eds. 2017. Cultural Transfer and Political Conflicts: Film Festivals in the Cold War. Göttingen: Vandenhoeck & Ruprecht; V&R unipress.
Lee, Sangjoon. 2014. “The Emergence of the Asian Film Festival: Cold War Asia and Japan’s Reentrance to the Regional Film Industry in the 1950s.” In The Oxford Handbook of Japanese Cinema, edited by Daisuke Miyao, 226–44. Oxford, New York: Oxford University Press.
Loist, Skadi. 2014. “Cultural Transfer and Political Conflicts. Film Festivals During the Cold War: 09.05.2014-10.05.2014, Leipzig.” Conference report. H-Soz-Kult, September 11, 2014. http://hsozkult.geschichte.hu-berlin.de/tagungsberichte/id=5533.
Louis, Stéphanie. 2018. “Screens for Historical Awareness: Festivals and the Patrimonialization of Film Art in France Before 1968.” In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes, edited by Tricia Jenkins, 132–52. London, New York: I.B.Tauris.
Loukopoulou, Katerina. 2007. “’Films Bring Art to the People’: The Art Film Tour in Britain (1950–1980).” Film History: An International Journal 19 (4): 414–22. https://doi.org/10.1353/fih.2008.0009.
Ma, Ran. 2016. “A Genealogy of Film Festivals in the People’s Republic of China: ‘Film Weeks’ During the ‘Seventeen Years’ (1949–1966).” New Review of Film and Television Studies 14 (1): 40–58. https://doi.org/10.1080/17400309.2015.1107266.
Manetti, Daniela. 2013. “The Birth and Early Years of a Mega Event: The Venice International Film Festival (1932-1939).” Citta e Storia 8 (1): 107–36.
Moine, Caroline. 2005. “’Le fascisme ordinaire’ de Mikhaïl Romm au festival de Leipzig (1965).” In Caméra Politique: Cinéma Et Stalinisme, edited by Kristian Feigelson, 228–39. Theorem 8. Paris: Presse Sorbonne nouvelle. [Mikhail Romm’s ‘Ordinary Fascism’ at the Leipzig Festival (1965)].
Moine, Caroline. 2007. “Blicke über den Eisernen Vorhang: Die internationalen Filmfestivals im Kalten Krieg 1945-1968.” In Leinwand zwischen Tauwetter und Frost: Der osteuropäische Spiel- und Dokumentarfilm im Kalten Krieg, edited by Lars Karl, 255–78. Berlin: Metropol-Verl.
Moine, Caroline. 2009. “Une Allemagne malgré tout? Le festival international du film documentaire de Leipzig, 1955-1990.” In Une Europe malgré tout, 1945-1990: Contacts et réseaux culturels, intellectuels et scientifiques entre Européens dans la guerre froide | Cultural, lntellectual and Scientific Contacts and Networks among Europeans during the Cold War | Kulturelle, intellektuelle und wissenschaftliche Kontakte und Netze unter Europäern im Kalten Kriege, edited by Antoine Fleury and Lubor Jílek, 297–316. Bruxelles, Berlin, Frankfurt/M: P.I.E. Peter Lang. [A Germany after all? The Leipzig International Documentary Film Festival, 1955-1990.” A Europe in spite of everything, 1945-1990: Cultural, intellectual and scientific contacts and networks between Europeans in the Cold War].
Moine, Caroline. 2011. “La FIAPF, une Fédération de Producteurs au coeur des relations internationales après 1945.” In Les producteurs: Enjeux créatifs, enjeux financiers, edited by Laurent Creton, Yannick Dehée, Sébastien Layerle, and Caroline Moine, 249–66. Paris: Nouveau monde. [The FIAPF, a Federation of Film Producers at the Heart of International Relations after 1945].
Moine, Caroline. 2012. “Festivals de cinéma et politiques culturelles dans l’Europe de la guerre froide: diversité des enjeux et des acteurs.” [Film festivals and cultural policies in Europe during the Cold War: diversity of issues and actors.]. Territoires contemporains (3). http://tristan.u-bourgogne.fr/CGC/publications/Festivals_societes/C_Moine.html. Accessed April 06, 2020.
Moine, Caroline. 2014. Cinéma et guerre froide: Histoire du festival de films documentaires de Leipzig (1955-1990). Histoire contemporaine. Paris: Publications Sorbonne. [Cinema and Cold War: History of the Leipzig Documentary Film Festival (1955-1990)].
Moine, Caroline. 2014. “Z Cannes Přes Karlovy Vary Do Západního Berlína a Benátek: Mezinárodní Filmové Festivaly V Bouřlivém Roce 1968.” 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): 39–48. [From Karlovy Vary to West Berlin and Venice. International Film Festivals in the Turbulent Year of 1968].
Morante, Adriana. 2024. “Dall’invisibile Al Visibile: Mappatura Dei Proto-Festival Omosessuali Tra Anni Settanta E Ottanta.” [From the Invisible to the Visible: Mapping Homosexual Proto–Festival from Seventies to Eighties]. Cinergie – Il Cinema e le altre Arti 26:135–47. https://doi.org/10.6092/issn.2280-9481/19466.
Niskanen, Eija. 2020. “Finding a Position on the Global Map of Film Festivals: The Yamagata International Documentary Film Festival.” In Documentary Film Festivals Vol. 1: Methods, History, Politics, edited by Aida Vallejo and Ezra Winton, 143–63. New York: Palgrave Macmillan.
Odabasi, Eren. 2016. “Gezici Festival: Multiple Identities of a Traveling Film Festival in Turkey.” New Review of Film and Television Studies 14 (1): 149–63. https://doi.org/10.1080/17400309.2015.1110881.
Oliveira, Janaina Perreira de. 2016. “Descolonizando Telas: O FESPACO E Os Primeiros Tempos Do Cinema Africano.” [Decolonising Screens: FESPACO and the Early Days of African Cinema]. ODEERE 1 (1): 50-74. https://doi.org/10.22481/odeere.v0i1.1533.
Ostrowska, Dorota. 2014. “Polish Films at the Venice and Cannes Film Festivals: The 1940s, 1950s and 1960s.” In Polish Cinema in a Transnational Context, edited by Ewa Mazierska and Michael Goddard, 77–94. Rochester, NY: University of Rochester Press.
Ostrowska, Dorota. 2017. “Cosmopolitan Spaces of International Film Festivals: Cannes Film Festival and the French Riviera.” Alphaville (14): 94–110. http://alphavillejournal.com/Issue14/ArticleOstrowska.pdf. Accessed June 21, 2021.
Pabiś-Orzeszyna, Michał. 2015. “Conflict Management: The Camerimage Festival and the Dialectics of Prestige.” Iluminace 27 (3): 7–22.
Papadimitriou, Lydia. 2016. “The Hindered Drive Toward Internationalization: Thessaloniki (International) Film Festival.” New Review of Film and Television Studies 14 (1): 93–111.
Papadimitriou, Lydia, and Jeffrey Ruoff. 2016. “Film Festivals: Origins and Trajectories.” New Review of Film and Television Studies 14 (1): 1–4. https://doi.org/10.1080/17400309.2015.1106686.
Peirano, María Paz. 2016. “Pursuing, Resembling, and Contesting the Global: The Emergence of Chilean Film Festivals.” New Review of Film and Television Studies 14 (1): 112–31. https://doi.org/10.1080/17400309.2015.1109345.
Peralta García, Lidia, and Lhoussain Simour, eds. 2025. Migration Film Festivals: Social Functions, Expectations and Challenges. Framing Film Festivals. Cham: Palgrave Macmillan Cham.
Pisu, Stefano. 2013. “Les festivals internationaux de cinéma dans l’URSS du second stalinisme, ou brèves histoires de contre-festivals ‘fantômes’.” In Une histoire des festivals: XXe-XXIe siècle, edited by Anaïs Fléchet, Pascale Gœtschel, Patricia Hidiroglou, Sophie Jacotot, Caroline Moine, and Julie Verlaine, 55–62. Paris: Publications de la Sorbonne. [International film festivals in the USSR of Second Stalinism, or short stories of ‘ghost’ counter-festivals].
Pisu, Stefano. 2013. Stalin a Venezia: L’Urss alla Mostra del cinema fra diplomazia culturale e scontro ideologico (1932-1953). Soveria Mannelli: Rubbettino. [Stalin in Venice: The USSR at the Venice Film Festival between cultural diplomacy and ideological clash (1932-1953)].
Pisu, Stefano. 2013. “The USSR and East-Central European Countries at the Venice International Film Festival (1946–1953).” Iluminace 25 (3): 51–63.
Pisu, Stefano. 2014. “Prestigio de la nación vs mirada deconstruyente: las imágenes de Italia en el Festival Internacional de Cine de Venecia desde el final de la Segunda Guerra Mundia hasta el “milagro económico [Nation’s Prestige vs Deconstructive Gaze: The Images of Italy since the End of the Second World War until the “Economic Miracle”].” In “Festivales Cinematográficos [Film Festivals].” edited by Aida Vallejo. Special issue, Secuencias: Revista de Historia del Cine. (39): 43–64.
Pisu, Stefano. 2017. “Transnational Mobilization and Domestic Political Exploitation: The 1977 Venice Biennale of Dissent.” In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War, edited by Andreas Kötzing and Caroline Moine, 123–40. Göttingen: Vandenhoeck & Ruprecht; V&R unipress.
Pisu, Stefano. 2018. “A Transnational Love–Hate Relationship: The FIAPF and the Venice and Cannes Film Festivals (1950-1970).” In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes, edited by Tricia Jenkins, 109–31. London, New York: I.B.Tauris.
Rae, Ian, and Jessica Thom. 2016. “The Rise and Fall of the Stratford International Film Festival.” CJFS 25 (1): 67–87.
Ramírez Llorens, Fernando. 2019. “Cine, Autoritarismo Y Política De Medios En Argentina: El Festival De Mar Del Plata De 1968.” [Cinema, Authoritarianism and Media Policy in Argentina: The Mar del Plata Film Festival of 1968]. Hist. Crit., no. 72: 139–60. https://doi.org/10.7440/histcrit72.2019.07.
Rasmi, Jacopo. 2022. “How to Build an Ecosystem for the Non-Fiction Cinema? The History and Politics of Lussas Documentary Film Festival.” Studies in European Cinema 19 (3): 252–64. https://doi.org/10.1080/17411548.2022.2064160.
Razlogov, Kirill E. 2020. “International Film Festivals: From Modernism to Post-Postmodern Age.” The Art and Science of Television (AST) 16 (1): 33–55. https://doi.org/10.30628/1994-9529-2020-16.1-33-55.
Razlogova, Elena. 2014. “Listening to the Inaudible Foreign: Simultaneous Translators and Soviet Experience of Foreign Cinema.” In Sound, Speech, Music in Soviet and Post-Soviet Cinema, edited by Lilya Kaganovsky and Masha Salazkina, 162–78. Bloomington: Indiana University Press.
Ribas, Daniel. 2012. “Anatomia De Um Festival / Anatomy of a Festival Curtas Vila Do Conde (1993-2012).” In Puro Cinema: Curtas Vila Do Conde 20 Anos Depois = Pure Cinema: Curtas Vila De Conde 20 Years After, edited by Daniel Ribas and Mario Micaelo, 5–13. Vila do Conde: Curtas Metragens, CRL.
Rich, B. Ruby. 2018. “Film Festival, Fall Launch, 2018: The TIFF Edition.” Film Quarterly 72 (2): 92–99. https://doi.org/10.1525/fq.2018.72.2.92.
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(Last updated:16. May 2025)