7.3 Film Festivals and Questions of Aesthetics

Andrews, David. 2010. “Art Cinema as Institution, Redux: Art Houses, Film Festivals, and Film Studies.” Scope (18). https://www.nottingham.ac.uk/scope/documents/2010/october-2010/andrews.pdf. Accessed April 14, 2020.

Andrews, David. 2013. Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond. Austin, TX: Univ. of Texas Press.

de Molli, Federica, Jeanne Mengis, and Alfons van Marrewijk. 2020. “The Aestheticization of Hybrid Space: The Atmosphere of the Locarno Film Festival.” Organization Studies 41 (11): 1491–1512. https://doi.org/10.1177/0170840619867348.

de Valck, Marijke. 2014. “Supporting Art Cinema at a Time of Commercialization: Principles and Practices, the Case of the International Film Festival Rotterdam.” Poetics, no. 42: 40–59. https://doi.org/10.1016/j.poetic.2013.11.004.

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.

Frodon, Jean-Michel. 2022. “Who’s Choice? Who’s Voice? Can Festival Programmers and Film Critics Stand Away from the Market Diktats but Not from Societal Issues?” Cinergie 11 (22): 97–103. https://doi.org/10.6092/issn.2280-9481/15640.

Majumdar, Neepa. 2011. “Importing Neorealism, Exporting Cinema: Indian Cinema and Film Festivals in the 1950s.” In Global Neorealism: The Transnational History of a Film Style, edited by Saverio Giovacchini and Robert Sklar, 178–93. Jackson: University Press of Mississippi.

Pabiś-Orzeszyna, Michał. 2015. “Conflict Management: The Camerimage Festival and the Dialectics of Prestige.” Iluminace 27 (3): 7–22.

Rastegar, Roya Zahra. 2013. “Authenticity, Biography, and Race: A Critique of the 2013 Film Festival Circuit.” American Quarterly 65 (4): 905–13. https://doi.org/10.1353/aq.2013.0053.

Tzouflas, Konstantinos. 2022. “Films from Countries in Crisis and Switzerland: The New Argentine Cinema, Greek New Wave and Swiss Film Institutions.” Cinergie 11 (22): 69–82. https://doi.org/10.6092/issn.2280-9481/14341.

 

(Last updated: 30. March 2025)