The question of trans/national cinema and the film festival circuit’s impact on it reaches European countries and beyond. As the cradle of film festivals, Europe’s encounter with trans/national relations between film and their showcases for (inter)national competition is as old as the festival phenomenon. Lucy Mazdon investigates the role of the Cannes festival as a transnational space (2006) and its relationship to French cinema (2007). The meaning of Cannes for German film (Fründt/Lepel 1987) or Hollywood (Jungen 2008) has also been scrutinized. Several historical studies with a focus on film history during the Cold War era also give insight into the history (of the study) of European film and the way it was discussed across borders at certain international film festivals, which did not conform to the general division of Western and Eastern bloc politics/art (Karl 2007; Kötzing 2007; Moine 2007). A special chapter in this history is the analysis of trans- or intra-national discussions of German film on either side of the Wall: East German film (Haase 2010) and children’s film at the Berlinale (Felsmann 2002), East German film at Oberhausen (Kuhlbrodt 2005), and discussions of (Western) international film in Leipzig (Martini 2007; Kötzing 2004; 2007)
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(Last updated: 18. April 2024)