The writings in this subcategory look at film festival markets and funds from a predominantly cultural perspective. Cultural diversity (instead of economic productivity and efficiency) is therefore at the heart of these reflections and analyses of the business side of festivals. Most authors display a concern for an inclusive cinema culture: stretching from first world national cinemas to cinema in developing countries, keeping standards of artistic quality high, and offering space for aesthetic experiments, adversary views or lifestyles, and marginal voices. Consequently, the hype and hustle surrounding the buying-and-selling at festivals, though considered inevitable, is more often than not discussed with a critical eye for its potentially corrupting effects of the festival ideal of fostering “true variety.” Of particular interest are those studies that deal with film festivals’ active role as producer of world cinema through programming and funding (Steinhart 2006).
Benghozi, Pierre-Jean, and Claire Nénert (1995). “Création de Valeur Artistique ou Économique: Festival International du Film de Cannes au Marché du Film.” Recherche et Applications en Marketing 10:4 (1995): 65–76.
Cheung, Ruby (2011). “East Asian Film Festivals: Film Markets.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 40–61.
Campos, Minerva (2012). “El circuito de financiación de los cines latinoamericanos | Le circuit de financement des cinémas latino-américains. [The circuit of funding for Latin American cinema].” En Cinémas d’Amérique Latine 20 (2012): 172–180.
Chin, Daryl (1997). “Festivals, Markets, Critics: Notes on the State of the Art Film.” Performing Arts Journal 19:1 (1997): 61–75.
Chin, Daryl, and Larry Qualls (2001). “Open Circuits, Closed Markets: Festivals and Expositions of Film and Video.” Performing Arts Journal 23:1 (2001): 33–47.
Chin, Daryl, and Larry Qualls (1998). “To Market, to Market.” Performing Arts Journal 20:1 (1998): 38–43.
Creton, Laurent (1997). Cinéma et Marché. Paris: Armand Colin/Masson.
Falicov, Tamara (2010). “Migrating from South to North: The Role of Film Festivals in Funding and Shaping Global South Film and Video.” Locating Migrating Media. Eds. Greg Elmer, Charles H. Davis, Janine Marchessault, and John McCullough. Lanham, MD: Lexington Books. pp. 3–21.
Fallaux, Emile, Malu Halasa, and Nupu Press, eds. (2003). True Variety: Funding the Art of World Cinema. Rotterdam: International Film Festival Rotterdam.
Fischer, Alex (2012). “‘The Fully Clickable Submission’: How Withoutabox Captured the Hearts and Minds of Film Festivals Everywhere.” Digital Disruption: Cinema Moves On-line. Eds. Dina Iordanova, and Stuart Cunningham. St Andrews Film Studies. pp. 153–166.
Havens, Timothy (2011). “Inventing Universal Television: Restricted Access, Promotional Extravagance, and the Distribution of Value at Global Television Markets.” Negotiating Values in the Creative Industries: Fairs, Festivals and Competitive Events. Eds. Brian Moeran and Jesper Strandgaard Pedersen. Cambridge; New York: Cambridge University Press. pp. 145–168.
Mezias, Stephen, et al. (2011). “Transforming Film Product Identities: The Status Effects of European Premier Film Festivals, 1996–2005.” Negotiating Values in the Creative Industries: Fairs, Festivals and Competitive Events. Eds. Brian Moeran, and Jesper Strandgaard Pedersen. Cambridge; New York: Cambridge University Press. pp. 169–196.
Ostrowska, Dorota (2010). “International Film Festivals as Producers of World Cinema.” Cinéma & Cie: International Film Studies Journal 10:14-15 (2010): 145–150.
Perry, Simon (1981). “Cannes, Festivals and the Movie Business.” Sight & Sound 50:4 (Autumn 1981): 226–232.
Qualls, Larry, and Daryl Chin (2004). “Three Blind Mice: Fairs, Festivals, Expositions.” Performing Arts Journal 78 (2004): 62–71.
Ross, Miriam (2011). “The Film Festival as Producer: Latin American films and Rotterdam’s Hubert Bals Fund.” Screen 52:2 (2011): 261–267.
Scharres, Barbara (1990). “Still Number One? The Cannes International Film Festival and Market.” The Independent: Film and Video Monthly 13:8 (1990): 16–19.
Steinhart, Daniel (2006). “Fostering International Cinema: The Rotterdam Film Festival, CineMart, and Hubert Bals Fund.” Mediascape no. 2 (Spring 2006): 1–13. <http://www.tft.ucla.edu/mediascape/Spring06_FosteringInternationalCinema.pdf> (7 Dec. 2008)
(Last updated: 29 January 2013)