9.1.1 LGBT / Queer Film Festivals

As identity-based festivals, queer film festivals have a specific relationship to the audience to which they cater. More specifically, most of these festivals have had a strong connection to the political and social movement behind the lesbian and gay/queer agenda and try to maintain this relationship between cultural event and political framework (Jusick 2004; Stryker 1996; Ommert/Loist 2008). Because of this history, queer film festivals have a strong tradition of a nuanced critical inquiry into the interconnections of cultural event management, community politics, nation state politics, funding and marketing strategies, and organizational structures (cf. Rhyne 2007; Zielinski 2008).

Resulting from this is a cluster of pieces that deal with the relationship between film festivals and communities, focusing on the mutual formative processes between the two actors (festival and community/audience) (Gamson 1996; Rich 1993, 1999), and constantly updating the question of necessity (Schulman 1994). A strongly connected issue is the one of representation of the group/subculture in the films of the so-called (New) Queer Cinema and at the LGBT/queer film festivals (Rich 1993, 1999; Hohenberger/Jurschik 1994; Stryker 1996; Siegel 1998; Woitschig 2001; Loist 2008).

As a field that has been under more scrutiny than most other specialized festivals there has also been the attempt to show the dialog between the numerous actors at play in a festival. The three-part installment of a GLQ forum on Queer Film and Video Festivals approached the current queer festival landscape from the side of curators, critics/scholars, and filmmakers (Straayer/Waugh 2005, 2006, 2008).

A neglected field in the general film festival discussion (except for the attempt by Stringer 2008), the concept of the (counter) public sphere has been discussed in much detail in relation to LGBT film festivals (Rich 1993; KIM S. 1998; dossier ed. by Patricia White 1999; KIM S. 2003; Perspex 2006; Gorfinkel 2006; KIM J. 2007; Ommert/Loist 2008). As an extension of this discussion, special aspects such as the spatial elements of queer film festivals have been scrutinized (Brooke 1998, Zielinski 2008).

Andersen, Joceline. “From the Ground Up: Transforming the Inside Out LGBT Film and Video Festival of Toronto.” Canadian Journal of Film Studies | Revue Canadienne d’Études Cinématographiques, vol. 21, no. 1, 2012, pp. 38–57.

Bao, Hongwei. “Enlightenment Space, Affective Space: Travelling Queer Film Festivals in China.” Gender, Mobility and Citizenship in Asia, edited by Mikako Iwatake, Department of World Cultures, University of Helsinki, 2010, pp. 174–205.

Bao, Hongwei. “In Search of Lesbian Continuum: Lesbian Public Space through ‘Women 50 Minutes’.” New Perspectives from Japan and China, edited by Mikako Iwatake, Department of World Cultures, University of Helsinki, 2010, pp. 136–64.

Bao, Hongwei. “Queer as Catachresis: The Beijing Queer Film Festival in Cultural Translation.” Chinese Film Festivals: Sites of Translation, edited by Chris Berry and Luke Robinson, Palgrave Macmillan, 2017, pp. 79–100.

Bao, Hongwei. “’To the People’: Travelling Queer Film Festivals.” Queer Comrades: Gay Identity and Tongzhi Activism in Postsocialist China, NIAS Press, 2018, 149-173.

Becker, Edith. “The New York Lesbian and Gay Experimental Film Festival.” Jump Cut: A Review of Contemporary Media, No. 37, 1992, p. 74. www.ejumpcut.org​/​archive/​onlinessays/​JC37folder/​NYexptlGayLesFest.html.

Benson, Chloe. “Language Matters.” Senses of Cinema, no. 80, 2016, sensesofcinema.com​/​2016/​new-​directions/​language-​matters/​.

Berry, Chris. “Bangkok’s Alternative Love Film Festival Raided: Chris Berry interviews Sopawan Boonimitra.” Intersections: Gender, History and Culture in the Asian Context, no. 2, 1999, intersections.anu.edu.au​/​issue2/​Sidebar.html.

Berry, Chris. “My Queer Korea: Identity, Space, and the 1998 Seoul Queer Film & Video Festival.” Intersections: Gender, History and Culture in the Asian Context, no. 2, 1999, intersections.anu.edu.au​/​issue2/​Berry.html.

Bessa, Karla. “Os festivais GLBT de cinema e as mudanças estético-políticas na constituição da subjetividade: [GLBT movie festivals and the aesthetic-political changes in the constitution of subjectivity].” Cadernos Pagu, no. 28, 2007, pp. 257–83. doi:10.1590/S0104-83332007000100012.

Binnie, Jon, and Christian Klesse. “Comparative Queer Methodologies and Queer Film Festival Research.” Queer/ing Film Festivals, edited by Leanne Dawson and Skadi Loist, 2018, pp. 55–71. 15.

Binnie, Jon, and Christian Klesse. “The Politics of Age and Generation at the GAZE International LGBT Film Festival in Dublin.” The Sociological Review, 2017, doi:10.1177/0038026117721101.

Braidt, Andrea B., et al., editors. Screenfest: Queer Film Festivals Im Kontext. 1 Jan. 2021.

Brooke, Kaucyila. “Dividers and Doorways: How to (De)Personalize Your Lifestyle with Architectural Details.” Jump Cut: A Review of Contemporary Media, no. 42, 1998, pp. 50–57. www.ejumpcut.org​/​archive/​onlinessays/​JC42folder/​DividersDoorways.html.

Cardona Montoya, Claudia Cristina. Al Otro Lado Del Espejo: Representación Y Homosexualidad En El Festival De Cine LGBT “El Lugar Sin Límites” De Ecuador [On the other side of the mirror: Representation and homosexuality in the LGBT film festival “El Lugar sin límites” in Ecuador], MA Thesis, Flacso Ecuador, 2015, hdl.handle.net​/​10469/​8079.

Cascais, António Fernando, and João Ferreira, editors. Cinema e Cultura Queer | Queer Film and Culture: Queer Lisboa – Festival Internacional de Cinema Queer | International Queer Film Festival. 2014.

Clarke, Eric O. “Queer Publicity at the Limits of Inclusion.” [Queer Publicity: A Dossier on Lesbian and Gay Film Festivals]. GLQ: A Journal of Lesbian and Gay Studies, vol. 5, no. 1, 1999, pp. 84–89.

Crémieux, Anne. “Massimadi, festival des films LGBT de l’Afrique et de ses diasporas: Entretien d’Anne Crémieux avec l’équipe de Massimadi.” [Massimadi, festival of LGBT films from Africa and its diasporas: Interview of Anne Crémieux with the Massimadi team]. Homosexualités en Afrique, edited by Anne Crémieux, L’Harmattan, 2013, pp. 146–55.

Cui, Zi’en. “The Communist International of Queer Film.” Positions: East Asia Cultures Critique, vol. 18, no. 2, 2010, pp. 417–23. doi:10.1215/10679847-2010-008.

Damiens, Antoine. “Incestuous Festivals: Friendships, John Greyson, and the Toronto Scene.” Frames Cinema Journal, no. 13, 2018, framescinemajournal.com​/​article/​incestuous-​festivals-​friendships-​john-​greyson-​and-​the-​toronto-​scene/​.

Damiens, Antoine. “Queer Cannes: On Hanhardt, Christina B. “Founding New Beginnings: Passing the Torch at MIX.” A Closer Look: Media Arts 2001, edited by Helen de Michiel, National Alliance for Media Arts and Culture (NAMAC), 2001, pp. 39–48.

Damiens, Antoine. “The Queer Film Ecosystem: Symbolic Economy, Festivals, and Queer Cinema’s Legs.” Studies in European Cinema, vol. 15, no. 1, 2018, pp. 25–40. doi:10.1080/17411548.2018.1433001.

Dawson, Leanne, and Skadi Loist. “Queer/ing Film Festivals: History, Theory, Impact.” Studies in European Cinema, vol. 15, no. 1, 2018, pp. 1–24. doi:10.1080/17411548.2018.1442901.

Dhaenens, Frederik. “How Queer Is ‘Pink’ Programming? On the Representational Politics of an Identity-Based Film Program at Film Fest Gent.” Sexualities, vol. 33, no. 3, 2017, doi:10.1177/1363460717699780.

Dhaenens, Frederik. “Pink Programming across Europe: Exploring Identity Politics at European LGBT Film Festivals.” Queer/ing Film Festivals, edited by Leanne Dawson and Skadi Loist, 2018, pp. 72–84. 15.

Diepenbroick, Dorothée von, and Maren Kroymann. “Brauchen wir lesbisch-schwule Filmfestivals? Maren Kroymann im Interview mit Dorothée von Diepenbroick.” Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, edited by Dorothée von Diepenbroick and Skadi Loist, Männerschwarm, 2009, pp. 34–39.

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Ford, Akkadia. “Curating a Regional, Queer Film Festival.” Fusion, no. 4, 2014, www.fusion-journal.com​/​issue/​004-​fusion-​the-​town-​and-​the-​city/​curating-​a-​regional-​queer-​film-​festival/​

Ford, Akkadia. “Regional & Queer: Refusing to Be Invisible, Creating Queer Space in a Non-Queer World.” Cybergeo: European Journal of Geography, 2017, journals.openedition.org​/​cybergeo/​pdf/​27952.

Ford, Akkadia. “The Queer Film Festival as a Gender-Diverse Space: Positioning the ‘L’ in GLBTIQ Screen Content.” Lesbian Geographies: Gender, Place and Power, edited by Kath Browne and Eduarda Ferreira, Ashgate, 2015, pp. 177–90.

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Fung, Richard. “Programming the Public.” [Queer Publicity: A Dossier on Lesbian and Gay Film Festivals]. GLQ: A Journal of Lesbian and Gay Studies, vol. 5, no. 1, 1999, pp. 89–93.

Galt, Rosalind, and Karl Schoonover. “Minds, Bodies, and Hearts: Flare London LGBT Film Festival 2014.” Festival review. NECSUS: European Journal of Media Studies, vol. 3, 2 (#6), 2014, pp. 217–24. www.necsus-ejms.org​/​minds-​bodies-​hearts-​flare-​london-​lgbt-​film-​festival-​2014/​.

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Gorfinkel, Elena. “Wet Dreams: Erotic Film Festivals of the Early 1970s and the Utopian Sexual Public Sphere.” Framework: The Journal of Cinema and Media, vol. 47, no. 2, 2006, pp. 59–86.

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Hanhardt, Christina B. “Founding New Beginnings: Passing the Torch at MIX.” A Closer Look: Media Arts 2001, edited by Helen de Michiel, National Alliance for Media Arts and Culture (NAMAC), 2001, pp. 39–48.

Heath, Theresa. “Neoliberalism, Politics and Resistance: Queer film festivals and the Fight against Urban Erasure.” Alre Modernità, no. 20, 2018, pp. 118–35. doi:10.13130/2035-7680/10827.

Heath, Theresa. “Saving Space: Strategies of Space Reclamation at Early Women’s Film Festivals and Queer Film Festivals Today.” Studies in European Cinema, vol. 15, no. 1, 2018, pp. 41–54. doi:10.1080/17411548.2018.1432924.

Hohenberger, Eva, and Karin Jurschick. “As women, as people of color, as lesbians…: Diskussionen und Filme über race und gender bei den Gay and Lesbian Film Festivals in New York und San Francisco 1993.” Frauen und Film, 54/55, 1994, pp. 149–64.

June, Jamie L. “Defining Queer: The Criteria and Selection Process for Programming Queer Film Festivals.” CultureWork, vol. 8, no. 2, 2004, aad.uoregon.edu​/​culturework/​culturework26.html.

Jusick, Stephen Kent. “Gay Art Guerrillas: Interview with Jim Hubbard and Sarah Schulman.” That’s Revolting! Queer Strategies for Resisting Assimilation, edited by Matt Bernstein [Mattilda] Sycamore, Soft Skull Press, 2004, pp. 39–58.

Kajinic, Sanja. “’Battle for Sarajevo’ as ‘Metropolis’: Closure of the First Queer Sarajevo Festival according to Liberal Press.” Anthropology of East Europe Review, vol. 28, no. 1, 2010, pp. 62–82. scholarworks.iu.edu​/​journals/​index.php/​aeer/​article/​view/​654/​747.

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Kajinic, Sanja. “The Queer Zagreb Festival and Its Intersectional Manifestos.” New Subjectivities: Negotiating Citizenship in the Context of Migration and Diversity, edited by Dorota Golańska and Aleksandra M. Różalska, Wydawnictwo Uniwersytetu Łódzkiego | Lodz University Press, 2008, pp. 187–202.

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Kim, Jeongmin. “Queer Cultural Movements and Local Counterpublics of Sexuality: A Case of Seoul Queer Films and Videos Festival.” Transl. Sunghee Hong. Inter-Asia Cultural Studies, vol. 8, no. 4, 2007, pp. 617–33. doi:10.1080/14649370701568086.

Leung, Helen Hok-sze. “#festies: Notes from the Vancouver Queer Film Festival.” TSQ: Transgender Studies Quarterly, vol. 2, no. 4, 2015, pp. 689–94. doi:10.1215/23289252-3151628.

Lindner, Katharina. “No Longer Niche: How LGBTI Film Festivals Came of Age.” The Conversation, 23 Sep. 2015, theconversation.com​/​no-​longer-​niche-​how-​lgbti-​film-​festivals-​came-​of-​age-​48054.

Lindner, Katharina. “Review of Queer Film Culture: Queer Cinema & Queer Film Festivals International Conference.” Transnational Cinemas, vol. 6, no. 1, 2015, pp. 97–103. doi:10.1080/20403526.2015.1014176.

Loist, Skadi. “A Complicated Queerness: LGBT Film Festivals and Queer Programming Strategies.” Coming Soon to a Festival Near You: Programming Film Festivals, edited by Jeffrey Ruoff, St Andrews Film Books, 2012, pp. 157–72.

Loist, Skadi. “Crossover Dreams: Global Circulation of Queer Film on the Film Festival Circuits.” Diogenes, vol. 62, no. 1, 2015, pp. 57–72. doi:10.1177/0392192116667014.

Loist, Skadi. “Frameline XXX: Thirty Years of Revolutionary Film: Der Kampf um queere Repräsentationen in der Geschichte des San Francisco International LGBT Film Festival.” Medien – Diversität – Ungleichheit: Zur medialen Konstruktion sozialer Differenz, edited by Ulla Wischermann and Tanja Thomas, VS Verlag für Sozialwissenschaften, 2008, pp. 163–81.

Loist, Skadi. “Konvergenzen im Filmfestival-Circuit: Filmfestivalforschung und Queer Studies.” Sexy Media? Gender/Queertheoretische Analysen in den Medien- und Kommunikationswissenschaften, edited by Skadi Loist et al., transcript, 2013, pp. 187–205. Critical Media Studies 3.

Loist, Skadi. “Precarious Cultural Work: About the Organization of (Queer) Film Festivals.” Screen, vol. 52, no. 2, 2011, pp. 268–73. doi:10.1093/screen/hjr016.

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Loist, Skadi, and Ger Zielinski. “On the Development of Queer Film Festivals and Their Media Activism.” Film Festival Yearbook 4: Film Festivals and Activism, edited by Dina Iordanova and Leshu Torchin, St Andrews Film Studies, 2012, pp. 49–62.

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(Last updated: 11 March 2022)