5.1 Markets and Funds

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).


Abis, Mario (2013). “I festival come impresa.” [“Festivals as business.”]. 8 1/2 – Numeri, visioni e prospettive del cinema italiano  2 (2013): 13.

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.

Berra, John (2008). “Selective Exhibition: The Sundance Film Festival and Its Significance to the Independent Sector.” Declarations of Independence: American Cinema and the Partiality of Independent Production. Bristol, UK, Chicago: intellect. pp. 143–160.

Binimelis Adell, Mar (2011). “La geopolítica de las coproducciones hispanoamericanas: Un análisis a través de su presencia en los festivales de cine clase A (1997-2007).” PhD Thesis. Tarragona: Universidad Rovira y Virgili, Departamento de Estudios de la Comunicación. (2011). <http://www.tdx.cat/bitstream/handle/10803/51762/TESIS_DEF_COMPLETA.pdf>. (15 May 2015)

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.

Campos, Minerva (2012). “Reconfiguración de flujos en el circuito internacional de festivales de cine: El programa Cine en Construcción. [Reconfiguring flows in the international film festival: The Films in Progress program]” Secuencias: Revista de Historia del Cine  35 (2012). <http://dialnet.unirioja.es/servlet/articulo?codigo=4141027>. (9 Jul. 2013)

Campos, Minerva (2013). “La América Latina de ‘Cine en Construcción’: Implicaciones del apoyo económico de los festivales internacionales.” [The Latin American ‘Films in Progress’: Implications of financial support from international festivals.]. Archivos de la filmoteca: Revista de estudios históricos sobre la imagen  71 (2013): 13–26. <http://www.archivosdelafilmoteca.com/index.php/archivos/article/view/392>. (9 Jul. 2013)

Campos, Minerva (2015). “Film (Co)Production in Latin America and European Festivals: The Cases of Production Companies Fabula & Control Z.” Dispositive der Kulturfinanzierung. Spec. Issue of Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft 1:1. Eds. Steffen Höhne, Verena Teissl, and Martin Tröndle. Bielefeld: transcript. pp. 95–108.

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.

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.

De Valck, Marijke (2013). “Sites of Initiation: Film Training Programs at Film Festivals.” The Education of the Filmmaker in Europe, Australia, and Asia. Ed. Mette Hjort. New York: Palgrave Macmillan. pp. 127–145.

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.

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.

Falicov, Tamara L. (2013). “‘Cine en Construcción’/‘Films in Progress’: How Spanish and Latin American Film-Makers Negotiate the Construction of a Globalized Art-House Aesthetic.” Transnational Cinemas  4:2 (2013): 253–271.

Falicov, Tamara (2016). “The ‘Festival Film’: Film Festival Funds as Cultural Intermediaries.” Film Festivals: History, Theory, Method, Practice. Eds. Marijke de Valck, Brendan Kredell, and Skadi Loist. London, New York: Routledge. pp. 209–229.

Falicov, Tamara (2017). “Film Funding Opportunities for Latin American Filmmakers: A Case for Further North-South Collaboration in Training and Film Festival Initiatives.” A Companion to Latin American Cinema. Eds. Maria M. Delgado, Stephen M. Hart, and Randal Johnson. Chichester, W. Sussex: Wiley Blackwell. pp. 85–98.

Fallaux, Emile, Malu Halasa, and Nupu Press, eds. (2003). True Variety: Funding the Art of World Cinema. Rotterdam: International Film Festival Rotterdam.

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.

Lauer, Jean Anne (2013). “From ‘Expresión en Corto’ to Guanajuato International Film Festival: The Rise of Regional Support for Mexican Cinema in National and International Contexts.” Transnational Cinemas  4:2 (2013): 273–293.

Lecler, Romain (2015). “Nouvelles vagues: Le marché-festival de Cannes ou la fabrique française d’un universel cinématographique.” [New Waves: The Festival-market of Cannes, or the French Making of a Cinematographic Universal]. Actes De La Recherche En Sciences Sociales  206-207 (2015): 14–33.

Lecler, Romain (2016). “La montée des marchés à Cannes: Le circuit des échanges audiovisuels internationaux, sa chronologie et ses trajets professionnels.” [How Markets Climbed the Steps in Cannes. On the International TV and Film Trade, its Circuit, its Chronology and its Professional Itineraries] Réseaux  34:6 (#200) (2016): 209–242. <http://www.cairn.info/revue-reseaux-2016-6-page-209.htm>. (25 Jul. 2017)

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.

Shaw, Deborah (2014). “Fonds de financement européens et cinéma latino-américain: Altérisation et cinéphilie bourgeoise dans La teta asustada de Claudia Llosa.” Transl. Brigitte Rollet. Diogène 245 (2014): 125–141.

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)

Triana Toribio, Nuria (2013). “Building Latin American Cinema in Europe: Cine en Construcción/Cinéma en construction.” Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film. Ed. Stephanie Dennison. London: Tamesis Books. pp. 89–112.

Vallejo, Aida (2013). “El efecto dominó: Nuevas estrategias de financiación del documental creativo ante la crisis de la televisión pública en Europa.” [The Domino Effect. New Funding Strategies for Creative Documentary in Response to the Crisis of Public Television in Europe]. Crisis y políticas. La radiotelevisión pública en el punto de mira: Actas del II Congreso Internacional de comunicación audiovisual y publicidad, Bilboa 4 y 5 de octubre de 2012. Eds. Miguel Ángel Casado, Juan Carlos Miguel, Patxi Azpillaga, Ramón Zallo, Edorta Arana, and Josu Amezaga. Leioa: Servicio Editorial de la Universidad del País Vasco. pp. 99–109.

Vallejo, Aida (2015). “Documentary Filmmakers on the Circuit: A Festival Career from Czech Dream to Czech Peace.” Post-1990 Documentary: Reconfiguring Independence. Eds. Camille Deprez, and Judith Pernin. Edinburgh: Edinburgh University Press. pp. 171–187.


(Last updated: 26 July 2017)