There are only a few publications that explicitly deal with the transnational quality of film festivals in relation to South America. Julianne Burton, for instance, stresses the impact of the political, left-wing Italian film festival in Pesaro on the circulation of South American cinema in Europe and North America in her 1975 festival report. Clara Kriger (2004) and Núria Triana-Toribo (2007) examine Argentina’s Mar del Plata Film Festival.
Agosta, Diana, and Patricia Keeton. 1994. “One Way or Another: The Havana Film Festival and Contemporary Cuban Film.” Afterimage (Sept).
Allouche, Claire. 2024. “2019, année de condensation pour le cinéma brésilien périphérique ?” [2019, a year of condensation for peripheral Brazilian cinema?]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 275–95. Film cultures vol. 12. Lausanne: Peter Lang.
Araújo, Sérgio Onofre Seixas de, Ana Paula Flôres Carvalho, and Jony Peterson Valeriano Nunes. 2018. “O Festival De Cinema Universitário De Alagoas: O Olhar Da Comunidade E Do Turista.” [The Festival of University Cinema of Alagoas: Another Look of the Community and the Tourist]. Revista Extensão em Debate 4: 51–70. https://www.seer.ufal.br/index.php/extensaoemdebate/article/view/6259/4419.
Arredondo, Isabel. 2020. “Early International Super 8 Film Festivals: The Case of Caracas 1976–1980.” In Global Perspectives on Amateur Film Histories and Cultures, edited by Masha Salazkina and Enrique Fibla, 278–95. Bloomington, IN: Indiana University Press.
Barrow, Sarah. 2016. “Constraints and Possibilities: Lima Film Festival, Politics and Cultural Formation in Peru.” New Review of Film and Television Studies 14 (1): 132–48. https://doi.org/10.1080/17400309.2015.1109354.
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).” [The geopolitics of Spanish-American co-productions: An analysis through their presence in class A film festivals]. PhD Thesis, Departamento de Estudios de la Comunicación, Universidad Rovira y Virgili. Accessed April 14, 2020. http://www.tdx.cat/bitstream/handle/10803/51762/TESIS_DEF_COMPLETA.pdf.
Broyles, Y.J. 1993. “Chicano Film Festivals: An Examination.” In Chicano Cinema: Research, Reviews and Recources, edited by Gary Keller. 2. print., 116–20. Tempe, AZ: Bilingual Review Press. (1985).
Bueno, Zuleika de Paula. 2021. “Olhares Para a Infância E Juventude: Os Festivais De Cinema Para Crianças E Jovens Na América Do Sul.” In NUEVAS MUTACIONES DEL CONSUMO CULTURAL EN EL SIGLO XXI: TECNOLOGÍAS, ESPACIOS Y EXPERIENCIAS, edited by Rosario Radakovich and Ana Wortman, 107–16. Lima, Peru: Asociación Latinoamericana de Sociología. [Looking at Childhood and Youth: Film Festivals for Children and Youth in South America].
Burton, Julianne. 1975. “The Old and the New: Latin American Cinema at the (Last?) Pesaro Festival.” Jump Cut (9): 33–35. Accessed December 07, 2008.
Calderón Acero, Camilo Andrés. 2020. “Industria Cinematográfica Y Exhibición En Colombia: Apuntes Para Una Oferta Alternativa.” [Film Industry and Exhibition in Colombia: Notes for an Alternative Exhibition]. Mediaciones 16 (24): 8–21. https://doi.org/10.26620/uniminuto.mediaciones.16.24.2020.8-21.
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): 172–80.
Campos, Minerva. 2015. “Film (Co)Production in Latin America and European Festivals: The Cases of Production Companies Fabula & Control Z.” In “Dispositive der Kulturfinanzierung.” edited by Steffen Höhne, Verena Teissl, and Martin Tröndle. Special issue, Zeitschrift für Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft 1. (1): 95–108.
Campos, Minerva. 2018. “Lo (Trans)Nacional Como Eje Del Circuito De Festivales De Cine: Una Aproximación Histórica Al Diálogo Europa-América Latina.” [The (trans)national as the axis of the film festival circuit: A historical approach to the Europe-Latin America dialogue]. Imagofagia (17): 11–40. Accessed May 20, 2018.
Campos-Rabadán, Minerva. 2020. “Inequalities Within the International Film Arena: A Framework to Studying Latin American Film Festivals.” In “Festivales De Cine En América Latina: Historias Y Nuevas Perspectivas.”: Historias Y Nuevas Perspectivas [Film Festivals in Latin America: Histories and New Perspectives], edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicación y Medios 29. (42): 70–82. Accessed January 09, 2022. https://revistaestudiosarabes.uchile.cl/index.php/RCM/article/view/57224/68413.
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Carvalho, Graça Fátima Pires de. 2002. Evolução Histórica Dos Festivais De Cinema E Vídeo No Maranhão. São Luis: UFMA. [Historical Evolution of Film and Video Festivals in Maranhão].
Cerquera, Natalia López. 2023. “From the Festival-as-Event to the Festival-as-Process: A Journey Through Community Film Festivals in Colombia.” In Small Cinemas of the Andes: New Aesthetics, Practices and Platforms, edited by Diana Coryat, Christian León, and Noah Zweig, 179–96. Cham: Palgrave Macmillan.
Chávez Carvajal, Hugo. 2017. “Circulación Y Distribución De Cine Etnográfico En América Latina.” [Circulation and Distribution of Ethnographic Films in Latin America]. Universitas XV (27): 19–43. https://doi.org/10.17163/uni.n27.2017.01.
Chura, Claudia, Ángel Torres Toukoumidis, Gerardo Karbaum, and Andrea de Jesús Oré. 2024. “Innovative Strategies for Audiovisual Literacy at Film Festivals: The Case of Peru.” Proceedings of the International Conference on Communication and Applied Technologies 2024 (ICOMTA 2024) 28:480–92. https://doi.org/10.2991/978-94-6463-596-6_42.
Corrêa, Paulo Vitor Luz. 2019. “Os Festivais/ Mostras Audiovisuais Em 2018: Geografia E Virtualização.” https://issuu.com/pauloluzcorrea/docs/v1_os_festivais-mostras_audiovisuai. [The Festivals/Audiovisual Shows in 2018: Geography and Virtualization].
Cruz Melo, Izabel. “Jornada Internacional De Cinema Da Bahia: Espaço De Reflexão E Resistência (1972-1975).” [International Film Journey of Bahia: space for reflection and resistance (1972-1975)]. O Olhoda Historia 2004: 1–8.
Diestro-Dópido, Mar. 2017. “The Film Festival Circuit: Identity Transactions in a Translational Economy.” In A Companion to Latin American Cinema, edited by Maria M. Delgado, Stephen M. Hart, and Randal Johnson, 99–113. Chichester, W. Sussex: Wiley Blackwell.
Diestro-Dópido, Mar. 2021. “BAFICI, Buenos Aires Festival Internacional De Cine Independiente: The Festival as International Platform.” In Film Festivals: Cinema and Cultural Exchange, 33–86. Cambridge: Legenda; Modern Humanities Research Association.
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Duarte, Donária Coelho, and Kezya Silva Coelho Lima. 2019. “Turismo Responsável E Eventos: Uma Análise Sobre a Responsabilidade No Festival Internacional De Cinema E Video Ambiental (FICA) – Goiás/GO.” [Responsible Tourism and Events: An Analysis on Responsibility at the International Festival of Cinema and Environmental Video (FICA) – Goiás / GO]. Revista Cenário 7 (12): 73–89. https://doi.org/10.26512/revistacenario.v7i12.21188.
Dylan, Emerson. 2019. “O Festival E a Cidade: A Mostra Internacional De Cinema De São Paulo Como Um Espaço De Sociabilidade Na Capital Paulista.” [The Festival and the City: the São Paulo International film festival as a space of sociability in the paulista capital]. CSOnline, no. 29: 33-44. https://doi.org/10.34019/1981-2140.2019.26382.
Dylan, Emerson, and Luis Ferla. 2021. “Festivais De Cinema E Georreferenciamento: Um Estudo Sobre O Território Ocupado Pela Mostra Internacional De Cinema De São Paulo Em Seus Primeiros Anos.” [Film festivals and georeferencing: A study on the territory occupied by Mostra São Paulo International Film Festival in its first years]. REBECA 10 (2): 99–122. https://doi.org/10.22475/rebeca.v10n2.791.
Falicov, Tamara Leah. “Film Funding Opportunities for Latin American Filmmakers: A Case for Further North-South Collaboration in Training and Film Festival Initiatives.” 85–98.
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Falicov, Tamara Leah. 2013. “‘Cine En Construcción’/‘Films in Progress’: How Spanish and Latin American Film-Makers Negotiate the Construction of a Globalized Art-House Aesthetic.” TRAC 4 (2): 253–71. https://doi.org/10.1386/trac.4.2.253_1.
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González, Sebastián. 2020. “FICValdivia and Its Role in Contemporary Chilean Cinema.” In “Festivales De Cine En América Latina: Historias Y Nuevas Perspectivas.”: Historias Y Nuevas Perspectivas [Film Festivals in Latin America: Histories and New Perspectives], edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicación y Medios 29. (42): 94–105. Accessed January 09, 2022. https://revistaestudiosarabes.uchile.cl/index.php/RCM/article/view/57288/68484.
Gutiérrez, Carlos A., and Monika Wagenberg. 2013. “Meeting Points: A Survey of Film Festivals in Latin America.” TRAC 4 (2): 295–305. https://doi.org/10.1386/trac.4.2.295_1.
Harris, Audrey A. 2018. “Perspectives from a Mexican Newcomer: An Interview with Daniela Michel and Chloë Roddick of the Morelia International Film Festival.” In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes, edited by Tricia Jenkins, 237–57. London, New York: I.B.Tauris.
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Jenkins, Tricia. 2018. “Building IFF Panama from the Ground up: An Interview with Executive Director Pituka Ortega-Heilbron and Artistic Director Diana Sánchez.” In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes, edited by Tricia Jenkins, 223–36. London, New York: I.B.Tauris.
Jurado Martín, Montserrat. 2020. “Aproximación a los certámenes cinematográficos de realidad virtual, aumentada e inmersiva en América Latina.” In “Festivales De Cine En América Latina: Historias Y Nuevas Perspectivas.”: Historias Y Nuevas Perspectivas [Film Festivals in Latin America: Histories and New Perspectives], edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicación y Medios 29. (42): 132–43. [Latin American Film Festivals of Virtual, Augmented, and Immersive Reality: An Overview]. Accessed January 09, 2022. https://revistaestudiosarabes.uchile.cl/index.php/RCM/article/view/56993/68485.
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Lopes Wanderley, Natália. 2016. “O Que Porra É Cinema De Mulher? A Mostra De Cinema De Mulher E O Desvelar Do Machismo No Audiovisual Pernambucano.” [What the Fuck is Women’s Cinema? The Exhibition of Women’s Cinema and the Unveiling of Machismo in Pernambuco’s Audiovisual Sector]. MA Thesis, Centro de Artes e Comunicação, Universidade Federal de Pernambuco. https://repositorio.ufpe.br/bitstream/123456789/23077/1/Dissertacao_biblioteca%20central_reduzida.pdf.
Lora Krstulovic, Rosa Claudia, Bianca Salles Pires, Ana Isabel León Fernández, Ana Rosa Marques, and Estrella Sendra. 2025. “The Muestra De Cine Afrodescendencias in Costa Chica: Intersections of Afrodescendance and Decoloniality in Curatorial Practice.” Alphaville, no. 28: 71–90. https://doi.org/10.33178/alpha.28.05.
Mattos, Tetê. 2018. “O Festival Do Rio E as Configurações Da Cidade Do Rio De Janeiro.” Doktorarbeit, The Rio Festival and the Configurations of the City of Rio de Janeiro, The Rio Festival and the Configurations of the City of Rio de Janeiro. Accessed December 04, 2022. https://www.bdtd.uerj.br:8443/handle/1/8843.
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(Last updated: 16. May 2025)