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.
Diepenbroick, Dorothée von, and Skadi Loist, editors. Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, Männerschwarm, 2009.
Dioli, Irene. “Back to a Nostalgic Future: The Queeroslav Utopia.” Sextures, vol. 1, no. 2, 2009, sextures.net/dioli-queeroslav-utopia.
Feistel, Felix. Der Teddy-Award: Der schwul-lesbisch-transidentische Filmpreis der Internationalen Filmfestspiele Berlin, VDM Verlag Dr. Müller, 2008.
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.
Ford, Akkadia. Transliteracy and the Trans New Wave: Independent Trans Cinema Representation, Classification, Exhibition. PhD Thesis, Southern Cross University, 2016, epubs.scu.edu.au/theses/508/.
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/.
Gamson, Joshua. “The Organizational Shaping of Collective Identity: The Case of Lesbian and Gay Film Festivals in New York.” Sociological Forum, vol. 11, no. 2, 1996, pp. 231–61.
Gann, Jon. “’Storyteller. Activist. Transformer.’: John Scagliotti, Director, Film Festival Founder and Organizer.” Behind the Screens: Programmers Reveal How Film Festivals Really Work, Reel Plan Press, 2012, pp. 49–56.
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.
Grundmann, Roy. “Politics Esthetics Sex: Queer Films and Their Festivals.” Cineaste, vol. 19, no. 1, 1992, 50-52, 62.
Han, Ju Hui Judy, and Marie K. Morohoshi. “Creating, Curating, and Consuming Queer Asian American Cinema.” Q & A: Queer in Asian America, edited by David L. Eng and Alice Y. Hom, Temple Univ. Press, 1998, pp. 81–94.
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.
Kajinic, Sanja. “Dismantling the Geotemporality of Europeanization: The First European Festival of Lesbian and Gay Film Was Yugoslav.” Southeastern Europe, vol. 40, no. 1, 2016, pp. 13–31. doi:10.1163/18763332-03903013.
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.
Kajinic, Sanja. Subversive Visuality Between Art and Activism: Post-Yugoslav Negotiations of Queer Art. PhD Thesis, Central European University, 2013, www.etd.ceu.hu/2014/kajinic_sanja.pdf.
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.
Loist, Skadi. “Queer Film and the Film Festival Circuit.” Curator’s Note. In Media Res, no. 14.9.2010, 2010, mediacommons.futureofthebook.org/imr/2010/09/14/queer-film-and-film-festival-circuit.
Loist, Skadi. “Queer Fun in Boy_Girl Shorts: Programmstrategien bei LGBT/Q-Filmfestivals.” Un/verblümt: Queere Ästhetiken und Theorien, edited by Josch Hoenes and Barbara Paul, Revolver, 2014, pp. 136–53.
Loist, Skadi. “Rêves transversaux: La circulation des films queer dans le réseau des festivals.” Transl. Brigitte Rollet. Diogène: Revue internationale des sciences humaines, no. 245, 2014, pp. 80–103. doi:10.3917/dio.245.0080.
Loist, Skadi. “Studying Queer Film Festivals: Tensions Between Research and Practice.” Screenfest: Queer Film Festivals Im Kontext, edited by Andrea B. Braidt et al., 2021, pp. 35–37.
Loist, Skadi. “The Queer Film Festival Phenomenon in a Global Historical Perspective (the 1970s-2000s).” Une histoire des festivals: XXe-XXIe siècle, edited by Anaïs Fléchet et al., Publications de la Sorbonne, 2013, pp. 109–21.
Loist, Skadi. Queer Film Culture: Performative Aspects of LGBT/Q Film Festivals. PhD Thesis, Universität Hamburg, 2015, ediss.sub.uni-hamburg.de/volltexte/2015/7333/.
Loist, Skadi. Queer Film Festivals globally (1977-2017). Google map, 2018, tinyurl.com/yaq8d3cf.
Loist, Skadi, and Marijke de Valck. “Trans* Film Festivals: An Interview with Eliza Steinbock.” NECSUS: European Journal of Media Studies, vol. 2, 2 (#4), 2013, pp. 579–88. doi:10.5117/NECSUS2013.2.LOIS.
Loist, Skadi, and Monika Treut. “Das Queer Cinema und die Bedeutung lesbisch-schwuler Filmfestivals: Monika Treut im Interview mit Skadi Loist.” Bildschön: 20 Jahre Lesbisch Schwule Filmtage Hamburg, edited by Dorothée von Diepenbroick and Skadi Loist, Männerschwarm, 2009, pp. 12–20. www.filmportal.de/material/interview-mit-monika-treut.
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.
Lomasko, Viktoria. “Side by Side: Homosexuals and Homophobes.” Other Russias: Stories and Drawings from the Age of Putin, Particular Books, 2017, www.penguin.co.uk/articles/find-your-next-read/extracts/2017/jun/other-russias-homosexuals-and-homophobes/.
Macleod, Allison. “Embodying Counter-Public Space and Performing Queer Culture: The Inaugural Scottish Queer International Film Festival 2015.” Screen Bodies, vol. 1, no. 2, 2016, pp. 92–98. doi:10.3167/screen.2016.010207.
McWilliam, Kelly. “’We’re Here All Week’: Public Formation and the Brisbane Queer Film Festival.” Queensland Review, vol. 14, no. 2, 2007, pp. 79–91. test.eprints.qut.edu.au/12149/1/12149.pdf.
Mokkil, Navaneetha. “Queer Encounters: Film Festivals and the Sensual Circuits of European Cinema in India.” Studies in European Cinema, vol. 15, no. 1, 2018, pp. 85–100. doi:10.1080/17411548.2018.1433984.
Money, John, and Harvey Alexander. “Films for Sex Education: The Baltimore Human Sexuality Film Festival and Continuing Medical Education Course.” Journal of Sex Education and Therapy, vol. 1, no. 1, 1975, pp. 48–53. doi:10.1080/01614576.1975.11074482.
Murray, Virginia, and Katya Johanson. “The Cut-Through Concept: 52 Tuesdays, Festivals and the Distribution of Independent Australian Films.” Studies in Australasian Cinema, vol. 9, no. 1, 2015, pp. 52–65. doi:10.1080/17503175.2014.1002270.
Olson, Jenni. “Film Festivals.” glbtq: An Encyclopedia of Gay, Lesbian, Bisexual, Transgender, and Queer Culture, 2002, www.glbtq.com/arts/film_festivals.html.
Ommert, Alek, and Skadi Loist. “featuring interventions: Zu queer-feministischen Repräsentationspraxen und Öffentlichkeiten.” Im Zeichen des Geschlechts: Repräsentationen – Konstruktionen – Interventionen, edited by Celine Camus et al., Ulrike Helmer, 2008, pp. 124–40.
Paramaditha, Intan. “Q! Film Festival as Cultural Activism: Strategic Cinephilia and the Expansion of a Queer Counterpublic.” Visual Anthropology, vol. 31, 1-2, 2018, pp. 74–92. doi:10.1080/08949468.2018.1428015.
Peach, Ricardo. Queer Cinema as a Fifth Cinema in South Africa and Australia. PhD Thesis, University of Technology, 2005, epress.lib.uts.edu.au/dspace/bitstream/2100/425/5/02whole.pdf.
Perriam, Chris, and Darren Waldron. “LGBTQ Film Festivals and Their Audiences.” French and Spanish Queer Film: Audiences, Communities and Cultural Exchange, Edinburgh University Press, 2016, pp. 41–67.
Perriam, Christopher. “Festivals.” Spanish Queer Cinema, Edinburgh University Press, 2013, pp. 112–22.
Perspex. “The First Asian Lesbian Film and Video Festival in Taipei Celebrates a New Form of Social Activism.” Inter-Asia Cultural Studies, vol. 7, no. 3, 2006, pp. 527–32.
Petrychyn, Jonathan. “Film Festivals in the White Cube: Queer City Cinema as Artistic Practice.” Canadian Journal of Film Studies | Revue Canadienne d’Études Cinématographiques, vol. 27, no. 1, 2018, pp. 59–72. doi:10.3138/cjfs.27.1.2017-0015.
Petrychyn, Jonathan. “The Queer Film Festival Quandary.” Briarpatch, vol. 46, no. 3, 2017, pp. 24–28. briarpatchmagazine.com/articles/view/the-queer-film-festival-quandary.
Ponomareva, Galina. Das internationale lesbisch-schwule Filmfestival “Bok o Bok”: Zur Konstruktion von LGBT-Öffentlichkeit im politischen Kontext der Russischen Föderation, Avinus, 2014.
Qin, Qin. “The Beijing Rainbow Film Festival: Between Depoliticisation and Performative Activism.” Culture, Health & Sexuality, 2021, pp. 1–13. doi:10.1080/13691058.2021.1965218.
Rastegar, Roya Zahra. “The De-Fusion of Good Intentions: Outfest’s Fusion Film Festival.” GLQ: A Journal of Lesbian and Gay Studies, vol. 15, no. 3, 2009, pp. 481–97.
Rhyne, Ragan. “Comrades and Citizens: Gay and Lesbian Film Festivals in China.” Film Festival Yearbook 3: Film Festivals and East Asia, edited by Dina Iordanova and Ruby Cheung, St Andrews Film Studies, 2011, pp. 110–24.
Rhyne, Ragan. “Table 12: Gay and Lesbian Film Festivals in East Asia.” Film Festival Yearbook 3: Film Festivals and East Asia, edited by Dina Iordanova and Ruby Cheung, St Andrews Film Studies, 2011, p. 264.
Rhyne, Ragan. Pink Dollars: Gay and Lesbian Film Festivals and the Economy of Visibility. PhD Thesis, New York University, 2007.
Rhyne, Ragan. “Queer Capital, Queer Culture: Gay and Lesbian Film Festivals in the 1990s.” International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes, edited by Tricia Jenkins, I.B.Tauris, 2018, pp. 153–78.
Rich, B. Ruby. “Collision, Catastrophe, Celebration: The Relationship between Gay and Lesbian Film Festivals and Their Publics.” [Queer Publicity: A Dossier on Lesbian and Gay Film Festivals]. GLQ: A Journal of Lesbian and Gay Studies, vol. 5, no. 1, 1999, pp. 79–84.
Rich, B. Ruby. “Reflections on a Queer Screen.” GLQ: A Journal of Lesbian and Gay Studies, vol. 1, no. 1, 1993, pp. 83–91.
Richards, Stuart James. The Queer Film Festival: Popcorn and Politics, Palgrave Macmillan, 2016. Framing Film Festivals.
Richards, Stuart. “Frameline’s Conservative Hoax: Smashing Frameline’s Homonormative Image to Reveal a Socially Empowering Organisation.” antiTHESIS: A Postgraduate Journal of Interdisciplinary Studies, no. 22, 2012, pp. 123–37.
Richards, Stuart. “Proud in the Middleground: How the Creative Industries Allow the Melbourne Queer Film Festival to Bring Queer Content to Audiences.” Studies in Australasian Cinema, vol. 10, no. 1, 2016, pp. 129–42. doi:10.1080/17503175.2016.1140467.
Richards, Stuart. “’Would You Like Politics with That?’: Queer Film Festival Audiences as Political Consumers.” Activist Film Festivals: Towards a Political Subject, edited by Sonia M. Tascon and Tyson Wils, intellect, 2017, pp. 229–45.
Schoonover, Karl, and Rosalind Galt. “A Worldly Affair: Queer Film Festivals and Global Space.” Queer Cinema in the World, Duke University Press, 2016, 79–117.
Schoonover, Karl. “Queer or Human? LGBT Film Festivals, Human Rights and Global Film Culture.” Screen, vol. 56, no. 1, 2015, pp. 121–32. doi:10.1093/screen/hjv012.
Schulman, Sarah. “What is the Role of Gay Film Festivals?” My American History: Lesbian and Gay Life during the Reagan/Bush Years, Routledge, 1994, pp. 253–55.
Searle, Samantha. “Film and Video Festivals: Queer Politics and Exhibition.” Meanjin, vol. 55, no. 1, 1996, pp. 47–59.
Searle, Samantha. “Politics of Exhibition: Queer Film and Video Festivals.” Queer-Ing the Screen: Sexuality and Australian Film and Television. Australian Teachers of Media, 1997, pp. 78–95. The Moving Image 5.
Searle, Samantha. Queer-ing the Screen: Sexuality and Australian Film and Television, Australian Teachers of Media, 1997. The moving image, vol. 5.
Siegel, Marc. “Spilling out onto Castro Street.” Jump Cut: A Review of Contemporary Media, no. 41, 1997, pp. 131–36. www.ejumpcut.org/archive/onlinessays/JC41folder/OnCastroStreet.html.
Silva, Marcos Aurélio da. “Cinema, Antropologia e a construção de mundos possíveis: o caso dos festivais de cinema da diversidade sexual.” [Cinema, Anthropology and the Making of Possible Worlds: The Case of Film Festivals of Sexual Diversity.]. Aceno: Revista de Antropologia do Centro-Oeste, vol. 2, no. 3, 2015, pp. 17–40.
Silva, Marcos Aurélio da. “Da Performance À Performatividade: Possíveis Diálogos Com Judith Butler Na Antropologia De Um Festival De Cinema.” [From performance to performativity: possible dialogues with Judith Butler in the anthropology of a film festival.]. Periódicus: Revista de Estudos Indisciplinares em Gêneros e Sexualidades, vol. 1, no. 3, 2015, pp. 64–84.
Silva, Marcos Aurélio da. Territórios do Desejo: Performance, Territoralidade e Cinema no Festival Mix Brasil da Diversidade Sexual [Territories of Desire: Performance, Territoriality and Cinema at Mix Brazil Festival of Sexual Diversity], PhD Thesis, Universidade Federal de Santa Catarina, 2012, repositorio.ufsc.br/bitstream/handle/123456789/96283/310141.pdf?sequence=1&isAllowed=y.
Smart, Scott. Being Seen Making Scenes: An Archival Exploration of Ottawa’s First Gay and Lesbian Film and Video Festival. Master Thesis, Carleton University, 2020.
Spencer, Norman A. “Ten Years of Queer Cinema in China.” Positions: East Asia Cultures Critique, vol. 20, no. 1, 2012, pp. 373–83.
Stanciu, Elena-Larisa. “Urban Space and Queer Identities: The LGBTQ Film Festival as Heterotopia.” Analize: Journal of Gender and Feminist Studies, no. 3, 2014, pp. 159–77. www.analize-journal.ro/library/files/numarul_3/elena_stanciu.pdf.
Straayer, Chris, and Thomas Waugh. “Queer Film and Video Festival Forum, Take One: Curators Speak Out.” GLQ: A Journal of Lesbian and Gay Studies, vol. 11, no. 4, 2005, pp. 579–603.
Straayer, Chris, and Thomas Waugh. “Queer Film and Video Festival Forum, Take Three: Artists Speak Out.” GLQ: A Journal of Lesbian and Gay Studies, vol. 14, no. 1, 2008, pp. 121–37.
Stryker, Susan. “A Cinema of One’s Own: A Brief History of the San Francisco International Lesbian & Gay Film Festival.” The Ultimate Guide to Lesbian & Gay Film and Video, edited by Jenni Olson, Serpent’s Tail, 1996, pp. 364–70.
Tadeo Fuica, Beatriz, and Skadi Loist. “Table 3: Lesbian, Gay, Bisexual, Transgender and Queer Film Festivals.” Film Festival Yearbook 4: Film Festivals and Activism, edited by Dina Iordanova and Leshu Torchin, St Andrews Film Studies, 2012, pp. 291–95.
Tang, Denise Tse Shang. “Demand for Cultural Representation: Emerging Independent Film and Video on Lesbian Desires.” Futures of Chinese Cinema: Technologies and Temporalities in Chinese Screen Cultures, edited by Olivia Khoo and Sean Metzger, intellect, 2009, pp. 169–90.
White, Patricia. “Queer Publicity: A Dossier on Lesbian and Gay Film Festivals.” GLQ: A Journal of Lesbian and Gay Studies, vol. 5, no. 1, 1999, pp. 73–93.
Williams, Jonathan Rachel. Trans Cinema, Trans Viewers. PhD Thesis, University of Melbourne, 2011.
Woitschig, Britta Madeleine. “Raus aus dem Klischee: Transgender-Filmfestivals seit 1996 als selbstbestimmte Darstellung trans- und intersexueller Lebensformen.” Querschnitt – Gender Studies: Ein interdisziplinärer Blick nicht nur auf Homosexualität, edited by Paul M. Hahlbohm and Till Hurlin, Ludwig, 2001, pp. 182–201.
Xie, Heshen. “Commercialisation as a Tool: The Commercial Transformation of the Hong Kong Lesbian and Gay Film Festival.” Frames Cinema Journal, no. 13, 2018, framescinemajournal.com/article/commercialisation-as-a-tool-the-commercial-transformation-of-the-hong-kong-lesbian-and-gay-film-festival/.
Zielinski, Ger. “Ger Zielinski in Conversation with Stephen Kent Jusick, Executive Director of MIX Festival of Queer Experimental Film and Video.” Fuse, vol. 33, no. 3, 2010, pp. 16–22.
Zielinski, Ger. “On Studying Film Festival Ephemera: The Case of Queer Film Festivals and Archives of Feelings.” Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck et al., Routledge, 2016, pp. 138–58.
Zielinski, Ger. “On the Production of Heterotopia, and Other Spaces, in and around Lesbian and Gay Film Festivals.” Jump Cut: A Review of Contemporary Media, no. 54, 2012, www.ejumpcut.org/archive/jc54.2012/gerZelinskiFestivals/.
Zielinski, Ger. “Queer Film Festivals.” LGBTQ America Today: An Encyclopedia, edited by John C. Hawley and Emmanuel S. Nelson, Greenwood Press, 2009, pp. 980–84.
Zielinski, Ger[ald James]. Furtive, Steady Glances: On the Emergence and Cultural Politics of Lesbian & Gay Film Festivals. PhD Thesis, McGill University, 2008.
(Last updated: 11 March 2022)