This new subsection collects works that deal with organizational aspects of film festivals. These entries pick up on the blind spot of questions concerning the organization and stakeholders behind the events and analyze issues of institutional backgrounds, funding, employment and industry patterns, missions statements and agendas. These questions are fundamental for an analysis of how festivals fit into the film industry, creative industries and the circulation of cinema. The specific institutional background and founding history gives insight into the workings and agendas of the respective festivals. For instance, festivals founded by municipal and state institutions to further political and diplomatic goals – here Cannes and Berlin immediately come to mind – work on a different agenda and with very different employment and funding structures than, say, minority festivals founded by activists (be it queer film festivals or diasporic ones).
While cultural festivals have been discussed in sociology, management and tourism studies, pieces specifically focusing on the organizational aspect of film festivals are still few. Kai Reichel-Heldt (2007) looked at the differences in organization and funding structures for the Berlinale and smaller German film festivals, and Ruby Cheung (2010) charted funding models for themed film festivals in the UK. Ragan Rhyne (2009) has analyzed film festivals as part of a cultural industry and charted the stakeholders influencing festival structures. Coming from the management angle, Charles-Clemens Rüling (2009) analyzed festivals as field-configuring events.
Cheung, Ruby (2010). “Funding Models of Themed Film Festivals.” Film Festival Yearbook 2: Film Festivals and Imagined Communities. Eds. Dina Iordanova with Ruby Cheung. St. Andrews: St. Andrews Film Studies. pp. 74–103.
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.
Dinkla, Lina (2012). “Festivals und digitale Filmeinreichungen“ | “Festivals and Digital Film Submissions.” [bilingual German | English]. Short Report: KurzfilmMagazin (2012): 62–67.
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.
Fischer, Alex (2013). Sustainable Projections: Concepts in Film Festival Management. St Andrews: St Andrews Film Studies.
Gamson, Joshua (1996). “The Organizational Shaping of Collective Identity: The Case of Lesbian and Gay Film Festivals in New York.” Sociological Forum 11:2 (1996): 231–261.
Gesell, Christian (2012). “Digitale Filmvorführung auf Filmfestivals: Eine einfache und qualitativ hochwertige Lösung des Internationalen Kurzfilmfestivals Berlin.” | “Digital Film Screenings at Film Festivals: Simple and High Quality Solution From the International Short Film Festival Berlin.” [bilingual German | English]. Short Report: KurzfilmMagazin (2012): 68–73.
Lang, Iain, Simon Clode, and Ann Vogel (2006). “2006 Survey of Film Festivals World-Wide.” Unpublished Study. Exeter: University of Exeter.
Leca, Bernard, Charles-Clemens Rüling, and Dominique Puthod (2015). “Animated Times: Critical Transitions and the Maintenance of Field-Configuring Events.” Industry and Innovation 22:3 (2015): 173–192.
Loist, Skadi (2011). “Precarious Cultural Work: About the Organization of (Queer) Film Festivals.” Screen 52:2 (2011): 268–273.
Mazza, Carmelo, and Jesper Strandgaard Pedersen (2008). “Who’s Last? Challenges and Advantages for Late Adopters in the International Film Festival Field.” Creative Encounters Working Papers 16. Institut for Interkulturel Kommunikation og Ledelse, Nov. 2008. <http://hdl.handle.net/10398/7782>. (29 Jun. 2009)
Oncins, Estella (2013). “The Process of Subtitling at Film Festivals: Death in Venice?.” International Journal of Humanities and Social Science 3:14 (2013): 70–80. <http://www.ijhssnet.com/journals/Vol_3_No_14_Special_Issue_July_2013/9.pdf>. (27 Nov. 2013)
Ooi, Can-Seng, and Jesper Strandgaard Pedersen (2010). “City Branding and Film Festivals: Re-Evaluating Stakeholder’s Relations.” Place Branding and Public Diplomacy 6:4 (2010): 316–332.
Redvall, Eva Novrup (2012). “More than Films and Dragon Awards: The Göteborg International Film Festival as a Meeting Place.” Journal of Scandinavian Cinema 2:2 (2012): 135–142.
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 with Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 9–39.
Rüling, Charles-Clemens (2011). “Event Institutionalization and Maintenance:: The Annecy Animation Festival 1960-2010.” Negotiating Values in the Creative Industries: Fairs, Festivals and Competitive Events. Eds. Brian Moeran, and Jesper Strandgaard Pedersen. Cambridge; New York: Cambridge Univ. Press. pp. 197–223.
Rüling, Charles-Clemens (2009). “Festivals as Field-Configuring Events: The Annecy International Animated Film Festival and Market.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova with Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 49–66.
Rüling, Charles-Clemens, and Jesper Strandgaard Pedersen (2010). “Film Festival Research from an Organizational Studies Perspective.” Scandinavian Journal of Management 26:3 (2010): 318–323.
Strandgaard Pedersen, Jesper, and Carmelo Mazza (2011). “International Film Festivals: For the Benefit of Whom?” Culture Unbound: Journal of Current Cultural Research 3 (2011): 139–165. <http://www.cultureunbound.ep.liu.se/v3/a12/>. (16 Jun. 2011)
(Last updated: 6 September 2015)