7.4 Films and Filmmakers on the Festival Circuit

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.

Corrêa, Paulo Vitor Luz. 2017. “Os Festivais Estudantis E Universitários Como Porta De Entrada À Prática Audiovisual.” [Student and University Festivals as a gateway to Audiovisual Practice]. FORCINE 3. https://issuu.com/pauloluzcorrea/docs/atualizado_iii_-_portas_de_entrada_. Accessed November 20, 2022.

de Cuir, Greg, Jr. 2012. “’Connect Me with Activism, and Film Practice, Not Activism and Film Festivals!’: An Interview with Želimir Žilnik, Filmmaker.” In Film Festival Yearbook 4: Film Festivals and Activism, edited by Dina Iordanova and Leshu Torchin, 245–52. St Andrews: St Andrews Film Studies.

de Valck, Marijke. 2013. “Sites of Initiation: Film Training Programs at Film Festivals.” In The Education of the Filmmaker in Europe, Australia, and Asia, edited by Mette Hjort, 127–45. New York: Palgrave Macmillan.

DeRoo, Rebecca J. 2021. “Agnès Varda and Le Collectif 50/50 En 2020: Power and Protest at the Cannes Film Festival.” Camera Obscura: Feminism, Culture, and Media Studies 36 (1): 127–53. https://doi.org/10.1215/02705346-8838577.

Farnel, Sean. 2012. “Towards a Filmmaker Bill of Rights for Festivals.” Point of View: Independent Documentary Media Culture. http://povmagazine.com/articles/view/towards-a-filmmaker-bill-of-rights-for-festivals. Accessed May 25, 2020.

Farnel, Sean. 2013. “Towards a Filmmaker’s Bill of Rights for Festivals (2012).” In The Film Festivals Reader, edited by Dina Iordanova, 223–29. St Andrews: St Andrews Film Studies.

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, 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.

Hagin, Boaz, and Raz Yosef. 2012. “Festival Exoticism: The Israeli Queer Film in a Global Context.” GLQ 18 (1): 161–78. https://doi.org/10.1215/10642684-1422188.

Hannemann, Mahelia. 2016. Accept Diversity! Accept Equality? Eine Analytische Untersuchung Des Anspruchs Und Der Realität Von Gleichstellung in Der Filmindustrie Mit Hinblick Auf Die Funktion Des Internationalen Filmfestivals Berlinale. Frankfurt am Main: Peter Lang.

Herrschner, Irina, and Kirsten Stevens. 2021. “Trans-National Encounters at the Berlinale: A Look from the Inside.” In Transnational German Cinema: Encountering Germany Through Film and Events, edited by Irina Herrschner, Kirsten Stevens, and Benjamin Nickl, 3-23. Cham: Springer.

Higgins, Nick. 2012. “’Tell Our Story to the World’: The Meaning of Success for ‘a Massacre Foretold’ – a Filmmaker Reflects.” In Film Festival Yearbook 4: Film Festivals and Activism, edited by Dina Iordanova and Leshu Torchin, 133–45. St Andrews: St Andrews Film Studies.

Hongisto, Ilona. 2022. “’in Europe, No One Was Paying Attention’: Honeyland on the Festival Circuit.” In Honeyland: A Docalogue, edited by Jaimie Baron and Kristen Fuhs, ##. New York: Routledge.

Isaza, Laura Rodriguez. 2012. “Branding Latin America: Film Festivals and the International Circulation of Latin American Films.” PhD Thesis, School of Modern Languages and Cultures, Centre for World Cinemas, University of Leeds. Accessed April 14, 2020. http://etheses.whiterose.ac.uk/id/eprint/3408.

Kocer, Suncem. 2013. “Making Transnational Publics: Circuits of Censorship and Technologies of Publicity in Kurdish Media Circulation.” American Ethnologist 40 (4): 721–33. https://doi.org/10.1111/amet.12050.

Lee, Nikki J. Y., and Julian Stringer. 2012. “Ports of Entry: Mapping Chinese Cinema’s Multiple Trajectories at International Film Festivals.” In A Companion to Chinese Cinema, edited by Yingjin Zhang, 239–61. Oxford: Wiley-Blackwell.

Peirano, Maria Paz. 2020. “Connecting and Sharing Experiences: Chilean Documentary Film Professionals at the Film Festival Circuit.” In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives, edited by Aida Vallejo and Ezra Winton, 55–72. New York: Palgrave Macmillan.

Peirano, María Paz. 2018. “Film Mobilities and Circulation Practices in the Construction of Recent Chilean Cinema.” In Envisioning Networked Urban Mobilities: Art, Performances, Impacts, edited by Aslak Kjaerulff, Sven Kesselring, Peter Peters, and Kevin Hannam, 135–47. New York, NY, Abingdon, Oxon: Routledge.

Peirano, María Paz. 2020. “Learning to Be ‘Global’: Chilean Filmmakers at International Film Festivals.” In Chilean Cinema in the Twenty-First-Century World, edited by Vania Barraza and Carl Fischer, 33–49. Contemporary film and media series. Detroit, Baltimore, MD: Wayne State University Press.

Pollacchi, Elena. 2019. “Porous Circuits: Tsai Ming-Liang, Zhao Liang, and Wang Bing at the Venice International Film Festival and the Interplay Between the Festival and the Art Exhibition Circuits.” Journal of Chinese Cinemas 13 (2): 130–46. https://doi.org/10.1080/17508061.2019.1665239.

Porton, Richard. 2009. “A Director on the Festival Circuit: An Interview with Atom Egoyan.” In Dekalog 3: On Film Festivals, edited by Richard Porton, 169–81. London: Wallflower.

St. John, Matt. 2021. “From Cannes to Cardboard: The Circulation and Promotion of Visages Villages and the Auteur on Instagram.” Camera Obscura: Feminism, Culture, and Media Studies 36 (1): 155–85. https://doi.org/10.1215/02705346-8838589.

Straayer, Chris, and Thomas Waugh. 2008. “Queer Film and Video Festival Forum, Take Three: Artists Speak Out.” GLQ 14 (1): 121–37.

Torchin, Leshu. 2012. “How to Leverage a Film Festival: An Interview with Judith Helfand, Filmmaker and Co-Founder of Chicken & Egg Pictures and Working Films.” In Film Festival Yearbook 4: Film Festivals and Activism, edited by Dina Iordanova and Leshu Torchin, 253–62. St Andrews: St Andrews Film Studies.

Tsai, Beth. 2018. “Visible Art, Invisible Nations? On the Politics of Film Festivals, Hou Hsiao-Hsien, and Taiwan New Cinema.” In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes, edited by Tricia Jenkins, 179–96. London, New York: I.B.Tauris.

Vallejo, Aida. 2015. “Documentary Filmmakers on the Circuit: A Festival Career from Czech Dream to Czech Peace.” In Post-1990 Documentary: Reconfiguring Independence, edited by Camille Deprez and Judith Pernin, 171–87. Edinburgh: Edinburgh University Press.

van Hemert, Tess. 2013. “International Acclaim: The Role(S) Of the International Film Festival in Supporting Emerging Women’s Cinema.” PhD Thesis, Film, Screen and Animation; School of Media, Entertainment and Creative Arts, Creative Industries Faculties, Queensland University of Technology. Accessed May 25, 2020. http://eprints.qut.edu.au/63269/1/Tess_Van_Hemert_Thesis.pdf.

Weinbaum, Batya. 2007. “Desperately Seeking Women Directors: At the Santa Barbara International Film Festival.” off our backs 37 (1): 49–51.

Wolf, Reinhard W. 2016. “5 Jahre Festival Scope: Festivalfilme Online Vermarkten.” [5 Years Festival Scope: Marketing Festival Films Online]. shortfilm.de, October 23, 2016. http://www.shortfilm.de/5-jahre-festival-scope-festivalfilme-online-vermarkten/.

Xu, Min, and Stijn Reijnders. 2018. “Getting Close to the Media World? On the Attraction of Encountering Film Industry Professionals at Shanghai International Film Festival.” Participations 15 (1): 84–104.

(Last updated: 21. April 2024)


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