The pieces in this section look at several aspects of the transnational nature of the film festival circuit in relation to Asia and Asian cinema.
Soyoung Kim highlights the political and cultural context of the emergence of several film festivals in South Korea in the 1990s. Kim explains that there are three different categories of festivals: 1) state/local government-organized film festivals (e.g. Pusan International Film Festival [PIFF] and Puchon International Fantastic Film Festival [PiFan]), 2) corporate-sponsored festivals (Q Channel Seoul Documentary Film and Video Festival) and 3) festivals organized by activist groups (Seoul Women’s Film Festival; Seoul Queer Film and Video Festival; Human Rights Watch Film Festival) (Kim 1998: 175). In her analysis, Kim gives insights into the relation between the launch of several film festivals in the context of a general cine-mania and the identity formation of new activists as well as a postmodern Korean identity. Kim’s piece offers a great contextualization for further analyses by SooJeong Ahn who looks at the development of PIFF and its strategic moves to establish a hub for Korean cinema, as well as Asian cinema in general, to enter a global market (Kim 1998: 183; Ahn 2008a, b; Ahn 2009).
Several other scholars have taken a look at the impact the international film festival circuit has had on the acknowledgement, praise and economic exploitation of Asian film (cf. Stringer 2001, section 3): with the perspectives on Chinese Cinema (Zhang 2002), Hong Kong Cinema (Wong 2007) and Taiwan Cinema (Wu 2007).
For further references to insightful festival reports on (East) Asian film festivals, which had to be omitted here, refer to the “Bibliography: Film Festivals and East Asia” (Fischer 2011).
Ahn, SooJeong (2009). “Placing South Korean Cinema into Pusan International Film Festival: Programming Strategy in the Global/Local Context.” What a Difference a Region Makes: Cultural Studies and Cultural Industries in North-East Asia. Eds. Chris Berry, Darren Aoki, and Nicola Liscutin. Hong Kong: Hong Kong Univ. Press.
Ahn, SooJeong (2008a). “The Pusan International Film Festival 1996-2005: South Korean Cinema in Local, Regional, and Global Context.” PhD Dissertation. Nottingham: Univ. of Nottingham, Faculty of Arts, School of American and Canadian Studies, Institute of Film Studies. (Jun. 2008). <http://etheses.nottingham.ac.uk/513/>. (15 Sep. 2010)
Ahn, SooJeong (2008b). “Re-imagining the Past: Programming South Korean Retrospectives at the Pusan International Film Festival.” Film International 6:4 (2008): 24–33.
Bao, Hongwei (2010). “Enlightenment Space, Affective Space: Travelling Queer Film Festivals in China.” Gender, Mobility and Citizenship in Asia. Ed. Mikako Iwatake. Helsinki: Department of World Cultures, University of Helsinki. pp. 174–205.
Bao, Hongwei (2010). “In Search of Lesbian Continuum: Lesbian Public Space through ‘Women 50 Minutes’.” New Perspectives from Japan and China. Ed. Mikako Iwatake. Helsinki: Department of World Cultures, University of Helsinki. pp. 136–164.
Bell, James (2011). “North Korea’s Pyongyang International Film Festival.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 166–174.
Berry, Chris (2009). “When is a Film Festival not a Festival? The 6th China Independent Film Festival.” Senses of Cinema 53 (2009). <http://www.sensesofcinema.com/2009/festival-reports/when-is-a-film-festival-not-a-festival-the-6th-china-independent-film-festival/>. (15 Sep. 2010)
Berry, Chris (2007). “10 Years Young: The Shanghai International Film Festival.” Senses of Cinema 45 (2007). <http://www.sensesofcinema.com/2007/festival-reports/shanghai-iff-2007/>. (15 Sep. 2010)
Berry, Chris (1999). “Bangkok’s Alternative Love Film Festival Raided: Chris Berry interviews Sopawan Boonimitra.” Intersections: Gender, History and Culture in the Asian Context 2 (1999). <http://intersections.anu.edu.au/issue2/Sidebar.html>. (23 Nov. 2008)
Berry, Chris (1999). “My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video Festival.” Intersections: Gender, History and Culture in the Asian Context 2 (1999). <http://intersections.anu.edu.au/issue2/Berry.html>. (23 Nov. 2008)
Beumers, Birgit (2011). “Between Europe and Asia? A Chronicle of the ‘Eurasia’ International Film Festival (Kazakhstan).” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 175–185.
Beumers, Birgit (2011). “Table 10: Film Festivals in Central Asia and the Asian Part of the Former USSR.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 262.
Chan, Felicia (2011). “The International Film Festival and the Making of a National Cinema.” Screen 52:2 (2011): 253–260.
Chan, Felicia, and Dave Chua (2011). “Programming Southeast Asia at the Singapore International Film Festival.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 125–141.
Chen, Yun-hua (2011). “Table 6: Film Festivals in Taiwan.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 255–257.
Chen, Yun-hua (2011). “Taipeh Film Festival: Creation of a Global City.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 142–153.
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.
Cheung, Ruby (2011). “‘We Believe in ‘Film as Art’: An Interview with Li Cheuk-to, Artistic Director of the Hang Kong International Film Festival (HKIFF).” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 196–207.
Cheung, Ruby (2009). “Corporatising a Film Festival: Hong Kong.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova with Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 99–115.
Cheung, Ruby, and Alex Fischer (2011). “Table 2: East Asian Festivals by Decade.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 247–249.
Chua, Dave (2011). “Table 9: Film Festivals in Singapore.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 261.
Cui, Zi’en (2010). “The Communist International of Queer Film.” Transl. Petrus Liu. Positions: East Asia Cultures Critique 18:2 (2010): 417–423.
Davis, Darrell William and Emilie Yueh-yu Yeh (2008). “Festivals, Events and Players.” East Asian Screen Industries. London: BFI. pp. 140–164.
Dorman, Andrew, and Alex Fischer (2011). “Table 3: Festivals Featuring Significant East Asian Cinema Content.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 250–252.
Fischer, Alex (2011). “Bibliography: Film Festivals and East Asia.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 267–275.
Fischer, Alex (2011). “Do Vodka and Sake Really Mix? An Interview with Natalia Shakhnazarova, Executive Director of Pacific Meridian: Vladivostok International Film Festival of Asian Pacific Countries.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 234–238.
Fischer, Alex (2011). “Table 13: Monetary Value of Awards at Select Festivals in East Asia.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 265–266.
Fujiwara, Chris (2011). “‘It’s Very Simple. We Like to Give the Audience the Chance to See Good Films’: An Interview with Hayashi Kanako and Ichiyama Shozo of TOKIO FILMeX.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 214–233.
Gerow, Aaron (2010). “A Retrospective on Japanese Retrospectives.” Undercurrent 6 (2010). <http://www.fipresci.org/undercurrent/issue_0609/gerow_retro.htm>. (19. May 2010)
Guillen, Michael (2010). “Diasporas by the Bay: Two Asian Film Festivals in San Francisco.” Film Festival Yearbook 2: Film Festivals and Imagined Communities. Eds. Dina Iordanova with Ruby Cheung. St. Andrews: St. Andrews Film Studies. pp. 151–170.
Gündoğdu, Mustafa (2010). “Film Festivals in the Diaspora: Impetus to the Development of Kurdish Cinema?” Film Festival Yearbook 2: Film Festivals and Imagined Communities. Eds. Dina Iordanova with Ruby Cheung. St. Andrews: St. Andrews Film Studies. pp. 188–197.
Hwang, Yun Mi (2011). “Table 8: Film Festivals in South Korea.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 259–260.
Hwang, Yun Mi (2010). “Under the Migrant Lens: Migrant Worker Film Festival in South Korea.” Film Festival Yearbook 2: Film Festivals and Imagined Communities. Eds. Dina Iordanova with Ruby Cheung. St. Andrews: St. Andrews Film Studies. pp. 121–135.
Iordanova, Dina (2011). “East Asia and Film Festivals: Transnational Clusters for Creativity and Commerce.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 1–33.
Iordanova, Dina (2011). “The Resources: Necessary Groundwork.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 189–195.
Iordanova, Dina, and Ruby Cheung, eds. (2011). Film Festival Yearbook 3: Film Festivals and East Asia. St. Andrews: St. Andrews Film Studies.
Kim, Jeongmin (2007). “Queer Cultural Movements and Local Counterpublics of Sexuality: A Case of Seoul Queer Films and Videos Festival.” Transl. Sunghee Hong. Inter-Asia Cultural Studies 8:4 (2007): 617–633.
Kim, Soyoung (2003). “The Birth of the Local Feminist Sphere in the Global Era: ‘Trans-Cinema’ and Yosongjang.” Inter-Asia Cultural Studies 4:1 (2003): 10–24.
Kim, Soyoung (1998). “‘Cine-Mania’ or Cinephilia: Film Festivals and the Identity Question.” UTS Review: Cultural Studies and New Writing 4:2 (1998): 174–187. | Reprinted (2005) in: New Korean Cinema. Eds. Chi-Yun Shin, and Julian Stringer. New York, NY: New York Univ. Press. pp. 79–91.
Knee, Adam, and Kong Rithdee (2011). “Tourism and the Landscape of Thai Film Festivals.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 154–165.
Lee, Nikki J. Y. (2009). “The 2008 Jeonju International Film Festival, 1 May–9 May 2008.” Film International 7:1 (2009): 90–94.
Lee, Nikki J. Y. (2005). “Travelling Films: Western Criticism, Labelling Practice and Self-Orientalised East Asian Films.” PhD Dissertation. London: Goldsmiths College, Univ. of London.
Lee, Sangjoon (2011). “Table 1: The Asia-Pacific Film Festival (from 1954).” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 242–246.
Lee, Seunghee (2011). “A Platform to the World: An Interview with Kim Ji-seok, Programme Director of the Pusan International Film Festival (PIFF).” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 208–213.
Ma, Ran (2012). “Celebrating the International, Disremembering Shanghai: The Curious Case of the Shanghai International Film Festival.” Culture Unbound: Journal of Current Cultural Research 4 (2012): 147–168. <http://www.cultureunbound.ep.liu.se/v4/a08/>. (31. Jan. 2012)
Ma, Ran (2011). “Table 4: Film Festivals in Mainland China.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 253.
Ma, Ran (2011). “Table 5: Film Festivals in Hong Kong.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 254.
Ma, Ran (2009). “Rethinking Festival Film: Urban Generation Chinese Cinema on the Film Festival Circuit.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova with Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 116–135.
Majumdar, Neepa (2011). “Importing Neorealism, Exporting Cinema: Indian Cinema and Film Festivals in the 1950s.” Global Neorealism: The Transnational History of a Film Style. Eds. Saverio Giovacchini, and Robert Sklar. Jackson: University Press of Mississippi. pp. 178–193.
Marlow-Mann, Alex (2011). “Table 7: Film Festivals in Japan.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 258.
Martin, Adrian (2011). “News for Whom? Critical Coverage of the 10th Jeonju International Film Festival.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 81–89.
Mediarta, Agus (2007). “Konfiden and the Promotion of Indonesian Short Films.” Inter-Asia Cultural Studies 8:2 (2007): 308–309.
Nornes, Abé Mark (2011). “Asian Film Festivals, Translation and the International Film Festival Short Circuit.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 37–39.
Nornes, Abé Mark (2011). “Table 11: Documentary Film Festivals in Asia.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 263.
Nornes, Abé Mark (2009). “Bulldozers, Bibles, and Very Sharp Knives: The Chinese Independent Documentary Scene.” Film Quarterly 63:1 (2009): 50–55. | Reprinted in: Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies, 2011. pp. 101–109.
Perspex (2006). “The First Asian Lesbian Film and Video Festival in Taipei Celebrates a New Form of Social Activism.” Inter-Asia Cultural Studies 7:3 (2006): 527–532.
Peyer, Siri (2010). “Unreal Asia: Interview with Gridithiya Gaweewong and David Teh.” OnCurating.org 3 (2010): 7–9. <http://www.on-curating.org/issue_03.html>. (18 Sep. 2010)
Rangan, Pooja (2010). “Some Annotations on the Film Festival as an Emerging Medium in India.” South Asian Popular Culture 8:2 (2010): 123–141.
Ratna, Lulu (2010). “Indonesian Local Film Festivals.” Undercurrent 6 (2010). <http://www.fipresci.org/undercurrent/issue_0609/ratna_indonesian.htm>. (19. May. 2010)
Rhyne, Ragan (2011). “Comrades and Citizens: Gay and Lesbian Film Festivals in China.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 110–124.
Rhyne, Ragan (2011). “Table 12: Gay and Lesbian Film Festivals in East Asia.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 264.
Stafford, Roy (2010). “Bite the Mango: Bradford’s Unique Film Festival.” Film Festival Yearbook 2: Film Festivals and Imagined Communities. Eds. Dina Iordanova with Ruby Cheung. St. Andrews: St. Andrews Film Studies. pp. 106–120. (Asia, African, Carribean diaspora combined)
Stringer, Julian (2002). “Japan 1951–1970: National Cinema as Cultural Currency.” Tamkang Review (Taiwan) 33:2 (winter 2002): 31–53. | Reprinted in: Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies, 2011. pp. 62–80.
Tan Ye and Zhang Yimou (2000). “From the Fifth to the Sixth Generation: Interview with Zhang Yimou.” Film Quarterly 53:2 (1999/2000): 2–13.
Tang, Denise Tse Shang (2009). “Demand for Cultural Representation: Emerging Independent Film and Video on Lesbian Desires.” Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures. Eds. Olivia Khoo, and Sean Metzger. Bristol/Chicago: intellect. pp. 169–190.
Teh, David (2008). “The Art of Interruption: Notes on the 5th Bangkok Experimental Film Festival.” Theory, Culture & Society 25:7-8 (2008): 309–320.
Teo, Stephen (2009). “Asian Film Festivals and Their Diminishing Glitter Domes: An Appraisal of PIFF, SIFF and HKIFF.” Dekalog 3: On Film Festivals. Ed. Richard Porton. London: Wallflower. pp. 109–121.
Vick, Tom (2011). “Washington, Pusan, Rotterdam, Udine and Back: Programming East Asian Films for American Audiences.” Film Festival Yearbook 3: Film Festivals and East Asia. Eds. Dina Iordanova, and Ruby Cheung. St. Andrews: St Andrews Film Studies. pp. 90–98.
Wong, Cindy Hing-Yuk (2007). “Distant Screens: Film Festivals and the Global Projection of Hong Kong Cinema.” Hong Kong Film, Hollywood and New Global Cinema: No Film Is an Island. Eds. Gina Marchetti, and Tan See Kam. London/New York: Routledge. pp. 177–192.
Wu, Chia-chi (2007). “Festivals, Criticism and International Reputation of Taiwan New Cinema.” Cinema Taiwan: Politics, Popularity, and State of the Arts. Eds. Darrell William Davis, and Ru-shou Robert Chen. Abingdon: Routledge. pp. 75–91.
Zahlten, Alexander (2010). “Meta-, Hyper-, Inter-, Super-, Anime, World Creation, and the Role of Film Festivals.” Imaginary Japan: Japanese Fantasy in Contemporary Popular Culture. Ed. Eija Niskanen. Turku: International Institute for Popular Culture. pp. 20–25. <http://iipc.utu.fi/imaginaryjapan/Zahlten.pdf> (14 July 2011)
Zhang, Yingjin (2002). “Chinese Cinema and Transnational Cultural Politics: Reflections on Film Festivals, Film Productions, and Film Studies.” Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor, MI: Center for Chinese Studies. pp. 15–42.
(Last updated: 31 January 2012)