The third subcategory for section (7) Programming responds directly to the recent trend among film festival scholars to scrutinize the ways in which festivals influence film production aesthetically. We believe that the new heading better represents the important work (in progress) on the notion of festival films and on the genre of international art cinema.
Andrews, David. “Art Cinema as Institution, Redux: Art Houses, Film Festivals, and Film Studies.” Scope: An Online Journal of Film & TV Studies, no. 18, 2010, www.scope.nottingham.ac.uk/article.php?issue=18&id=1245.
Andrews, David. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond, Univ. of Texas Press, 2013.
de Valck, Marijke. “Supporting Art Cinema at a Time of Commercialization: Principles and Practices, the Case of the International Film Festival Rotterdam.” Poetics, no. 42, 2014, pp. 40–59. doi:10.1016/j.poetic.2013.11.004.
Falicov, Tamara Leah. “‘Cine en Construcción’/‘Films in Progress’: How Spanish and Latin American Film-Makers Negotiate the Construction of a Globalized Art-House Aesthetic.” Transnational Cinemas, vol. 4, no. 2, 2013, pp. 253–71. doi:10.1386/trac.4.2.253_1.
Majumdar, Neepa. “Importing Neorealism, Exporting Cinema: Indian Cinema and Film Festivals in the 1950s.” Global Neorealism: The Transnational History of a Film Style, edited by Saverio Giovacchini and Robert Sklar, University Press of Mississippi, 2011, pp. 178–93.
Ostrowska, Dorota. “Making Film History at the Cannes Film Festivals.” Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck et al., Routledge, 2016, pp. 18–33.
Rastegar, Roya Zahra. “Authenticity, Biography, and Race: A Critique of the 2013 Film Festival Circuit.” American Quarterly, vol. 65, no. 4, 2013, pp. 905–13. doi:10.1353/aq.2013.0053.
(Last updated: 19 January 2021)