New book: Film Festivals and Anthropology

Cambridge Scholars Publishing has just published the book Film Festivals and Anthropology, edited by Aida Vallejo and María Paz Peirano.

You can get a 20% discount entering the code festivals20 in the online order.
You can order the book online and download the introduction for free.

This collection explores the intersections between anthropology and film festival studies. Film and anthropology scholars map ethnographic film festivals and ethnographic approaches to festivals worldwide. The book provides a historical reconstruction of most of the main festivals exhibiting ethnographic film, considering the parallel evolution of programming and organisational practices across the globe. It also addresses the great value and challenges of ethnographic research tools for studying the wide-ranging field of film festivals.This volume is the first to collect long-term experiences of curating and exhibiting ethnographic film, as well as new approaches to the understanding of film festival practices. Its contributions reflect on curatorial practices within visual anthropology and their implications for ethnographic filmmaking, and they shed light on problems of cultural translation, funding, festival audiences and the institutionalisation of ethnographic cinema.The book offers a novel perspective on film festivals as showcases for cinema, socio-cultural hubs and distribution nodes. Aimed at anthropologists, media scholars, festival organisers and documentary film professionals, it offers a starting point for the study of ethnographic film exhibition within its cultural and social contexts.

Aida Vallejo words as Adjunct Professor in Media Studies at the University of the Basque Country, Spain.

María Paz Peirano is Lecturer in Film Studies at University of Chile, with a PhD in Social Anthropology from the University of Kent, UK.

 

Table of Contents

  • Preface: Screening Anthropology across the Planet
    Faye Ginsburg
  • Introduction: Film Festivals and Anthropology
    María Paz Peirano and Aida Vallejo

Part I: MAPPING ETHNOGRAPHIC FILM FESTIVALS

  • Introduction: Mapping Ethnographic Film Festivals: a World Overview
    María Paz Peirano

I.I. Curating Anthropology

  • Festivals, Conferences, Seminars and Networks in Visual Anthropology in Europe
    Colette Piault
  • Ethnographic and Indigenous Film Festivals in Latin America: Constructing Networks of Film Circulation
    María Paz Peirano
  • Visual Anthropology in the USSR and Post-Soviet Russia: a History of Festival Practices
    Victoria Vasileva (Chistyakova) and Ekaterina Trushkina
  • The Artful Narrative of Anthropological Festivals: View from the Baltics
    Carlo A. Cubero

I.II. Case Studies

  • Between Familiar and Unfamiliar. Ethnographic Films in the Festival dei Popoli
    Vittorio Iervese
  • Temple University’s Conferences on Visual Anthropology: A First Person, Clearly Biased Report on an Experiment
    Jay Ruby
  • Margaret Mead Film Festival: Four Decades of World Picture(s)
    Neta Alexander
  • The Nordic Eye Revisited. NAFA, 1975 to 2015
    Peter I. Crawford
  • Les Regards Comparés and Le Bilan du Film Ethnographique: Jean Rouch’s initiatives
    Nadine Wanono
  • The Film Festival of the Royal Anthropological Institute: A Personal Memoir on its Thirtieth Anniversary
    Paul Henley
  • 25 Years of Beeld voor Beeld Festival and Visual Anthropology in the Netherlands
    Eddy Appels
  • Organisational Challenges when Programming an Ethnographic Film Festival: Lessons from Göttingen
    Beate Engelbrecht

Part II: ETHNOGRAPHIES OF FILM FESTIVALS

  • Introduction: Ethnographies of Film Festivals: Reflections on Methodology
    Aida Vallejo
  • Insider/outsider Positions at Glasgow Film Festival: Challenges, Issues and Opportunities in Industry-Partnered Ethnographic Research
    Lesley-Ann Dickson
  • Travelling the Circuit: A Multi-sited Ethnography of Documentary Film Festivals in Europe
    Aida Vallejo
  • A Community at the Margins: An Ethnography of Chinese Independent Film Festivals
    Flora Lichaa
  • Programmer as Festival Spokesperson: Information Management Strategies at the Toronto International Film Festival
    SED Mitchell
Posted in FFRN, film festival research, publication | Tagged , , , , , | Leave a comment

Study on the Programming Diversity of the Berlin International Film Festival (1980–2016)

Stories and Films Have (No) Boundaries

Study on the Programming Diversity of the Berlin International Film Festival (1980–2016)

Based on the assumption that film festivals have become a “key force” and “power grid” in the production, distribution, and reception processes of movies (Elsaesser 2005; cf. De Valck/Kredell/Loist 2016), this study exemplarily examines the diversity of the Berlin International Film Festival’s program over the last 37 years. Without any doubt, especially major competitive film festivals (such as Cannes, Venice, Shanghai, or, significantly, Berlin) play a substantial role in defining film culture by cultivating notions of quality, taste, and meaning. Moreover, given the exponential increase in the annual film production, these festivals must be considered as important steering instruments in film trade and policy, since they decide via their curatorial mechanisms which films the distributors see and possibly buy, and therefore, which filmic oeuvres are allowed to get public attention on the local and global screen.

With more than 400 films in the yearly program, nearly half a million tickets sold, over 16,000 accredited visitors from 122 countries and about 3,800 journalists from 86 countries (figures from 2016), the Berlinale stresses the societal, cultural and economic plurality as a guiding principle of its annual film selection. Following this awareness, a quantitative analysis of the Berlinale programme from 1980 to 2016, focusing on criteria such as origin, gender, age, and socialization, was just published by a Munich-based research team.  The sample includes all short to feature films presented across the festival’s six major sections (Competition, Panorama, Forum, Generation, Perspective German Cinema, Lola@Berlinale) from 1980 to 2016 (n=10,024).

The complete study is available for download at: www.filmfestival-studien.de

Posted in film festival research, publication | Tagged , , , | Leave a comment

FFRN get-together @ Berlinale 2017

 

 

Dear film festival folk & colleagues:

Following the success at previous Berlinale editions we will continue the tradition and have a little FFRN get-together during the festival.

Anyone interested in meeting and catching up on conference and festival gossip is welcome to join us on Saturday, 11 February 2017 from 7.30pm at the Corroboree restaurant/bar located in the Sony Center at Potsdamer Platz.  I have reserved a couch area (for up to appr. 16 people) located in the back of the restaurant on the ground floor.

If you are interested feel free to RSVP [skadi.loist[at]uni-rostock.de] or just show up on the day.

Looking forward to seeing some of you there.
Skadi

Posted in FFRN | Tagged , | Leave a comment

CfP “Multivoicedness and European Cinema: Representation, Industry, Politics” (Nov 2017, Cork)

Call for Papers

Multivoicedness and European Cinema: Representation, Industry, Politics

Conference date: Friday 10th and Saturday 11th November 2017
Venue: University College Cork, Ireland
Organised by: ECREA Film Studies Section
Deadline for abstracts: 2 May 2017
Conference website: https://ecreafilmstudies2017.wordpress.com

European cinema has evolved from a homogenous and selective object of study, mostly shaped by frameworks of national industry, identity and culture, to a much more diversified field, reflecting the shift to a post-colonial, post-communist, post-national, globalised Europe. In the context of an increasingly diverse but also split society, in which social polarisation is on the increase due to the crisis of the Eurozone and the decline of the welfare states, and in which populism and nationalisms are on the rise, resulting in the strengthening of the Fortress Europe project, this conference aims to turn the spotlight on the less-represented and less-audible voices in European cinema in all its forms: fiction, documentary, mainstream, art house, independent, exploitation, art film. With an inclusive focus encompassing issues of production, distribution and reception, of representation and of form, of dissent and of control, the conference invites contributions that engage from a wide range of theoretical perspectives and methodological approaches with the politics of difference and with the representation and/or expression of alternative viewpoints in European films / in films made in Europe.

Keynote Speakers:
Professor Ewa Mazierska (University of Central Lancashire)
Professor Chris Wahl (Film University Babelsberg Konrad Wolf)

Abstracts are invited on topics related to Multivoicedness in European Cinema, including but not limited to:

  • Multivoicedness in national and transnational European cinemas
  • Peripheries, borders, and grey areas: falling between the cracks, speaking from the margins
  • Ethics and/or aesthetics of alternative voices
  • Audiodescription, subtitling and dubbing of multivoiced films
  • Cultural and market negotiations: translating cultures, crossing borders
  • Participation, dissent, resistance: audiences, politics, and public discourse
  • Alternative European cinemas and the global market
  • Other voices: niche markets, new forms of consumption
  • Deterritorialising identities, becoming migrant/minoritarian
  • Polyglot cinema: speaking from multiple subject positions
  • Genders and genres: decentering and in-betweenness
  • Alternative film festivals and other cinemas
  • Speaking in tongues: the audiences of multivoiced films
  • Queering European cinema
  • Nonfiction and commitment: documenting the silenced subject
  • Speaking for oneself: multiple forms of first-person filmmaking
  • Transnational, cosmopolitan, global: what European cinema?
  • A continent in motion: multiple commitments, divided belongings
  • The “New Europeans” in films / making films
  • Margins of industrial practices, alternative forms of production, distribution and reception
  • Speaking parts: person, character, actor, star

The conference will also be the host to special panel sections prepared by the HoMER network (History of Moviegoing, Exhibition and Reception) and FFRN (Film Festival Research Network).

Abstract submission: Please submit your abstract (max 300 words) along with key references, institutional affiliation and a short bio (max 150 words) or a panel proposal, including a panel presentation (max 300 words) along with minimum 3, maximum 4 individual abstracts.

Submission deadline: May 2nd 2017.
Proposal acceptance notification: June 23rd 2017.
Please send your abstract/panel proposals to the conference email address: filmstudiesecrea[at]gmail.com

Submissions for the HoMER section should be sent to Daniela Treveri Gennari: dtreveri-gennari[at]brookes.ac.uk and
submissions for the FFRN section should be sent to Skadi Loist: skadi.loist[at]uni-rostock.de.

ECREA membership is not required to participate in the conference. Delegates will be required to contribute towards administrative and catering costs.

Conference details: The Conference is hosted and supported by the Department of Film and Screen Media, University College of Cork, Ireland

Conference organisers: Laura Rascaroli (University College Cork), Sergio Villanueva Baselga (Universitat de Barcelona), Helle Kannik Haastrup (University of Copenhagen), Anders Marklund (University of Lund), Gertjan Willems (Ghent University).

Conference email address: filmstudiesecrea[at]gmail.com

Conference website:  https://ecreafilmstudies2017.wordpress.com

 

Posted in call for papers, conferences, FFRN | Tagged , , , | Leave a comment

Out now “Film Festivals: History, Theory, Method, Practice”

9780415712477_FFsWe’re happy to announce that Routledge has just published the textbook Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck (Utrecht University, Netherlands), Brendan Kredell (Oakland University, USA) and Skadi Loist (University of Rostock, Germany).

 

The book is available in different formats (hardcover, paperback & ebook).  For a 20% DISCOUNT enter the code FLR40 at checkout when ordering from the Routledge website.

FilmFestivals_PromoFlyer_Seite_1About the Book

The last decade has witnessed an explosion of interest in film festivals, with the field growing to a position of prominence within the space of a few short years. Film Festivals: History, Theory, Method, Practice represents a major addition to the literature on this topic, offering an authoritative and comprehensive introduction to the area. With a combination of chapters specifically examining history, theory, method and practice, it offers a clear structure and systematic approach for the study of film festivals.

Offering a collection of essays written by an international range of established scholars, it discusses well-known film festivals in Europe, North America and Asia, but equally devotes attention to the diverse range of smaller and/or specialized events that take place around the globe. It provides essential knowledge on the origin and development of film festivals, discusses the use of theory to study festivals, explores the methods of ethnographic and archival research, and looks closely at the professional practice of programming and film funding. Each section, moreover, is introduced by the editors, and all chapters include useful suggestions for further reading.

This will be an essential textbook for students studying film festivals as part of their film, media and cultural studies courses, as well as a strong research tool for scholars that wish to familiarize themselves with this burgeoning field.

Table of Contents

  • Preface
    The Film Festival and Film Culture’s Transnational Essence
    Dina Iordanova
  • Introduction
    What is a Film Festival? How to Study Festivals and Why You Should
    Marijke de Valck

Part I – History
Introduction Brendan Kredell

  • 1 Making Film History at the Cannes film festival
    Dorota Ostrowska
  • 2 Film Festivals in Asia: Notes on History, Geography and Power from a Distance
    Julian Stringer
  • 3 The Film Festival Circuit: Networks, Hierarchies, and Circulation
    Skadi Loist

Part II – Theory
Introduction Marijke de Valck

  • 4 Contingency, Time and Event: An Archaeological Approach to the Film Festival
    Janet Harbord
  • 5 Publics and Counterpublics: Rethinking Film Festivals as Public Spheres
    Cindy Hing-Yuk Wong
  • 6 Fostering Art, Adding Value, Cultivating Taste: Film Festivals as Sites of Cultural Legitimization
    Marijke de Valck

Part III – Method
Introduction Skadi Loist

  • 7 Being There, Taking Place: Ethnography at the Film Festival
    Toby Lee
  • 8 On Studying Film Festival Ephemera: The Case of Queer Film Festivals and Archives of Feelings
    Ger Zielinski
  • 9 Positionality and Film Festival Research: A Conversation
    Diane Burgess and Brendan Kredell

Part IV – Practice
Introduction Brendan Kredell

  • 10 Seeing Differently: The Curatorial Potential of Film Festival Programming
    Roya Rastegar
  • 11 Affective Labor and the Work of Film Festival Programming
    Liz Czach
  • 12 “The Festival Film”: Film Festival Funds as Cultural Intermediaries
    Tamara L. Falicov
Posted in FFRN, publication | Tagged , , , | Leave a comment

Film Festival Research at 2016 SCMS Conference Atlanta

SCMSAt the 2016 SCMS conference, happening in Atlanta March 30-April 3, there are a number of panels and events related to film festival research.  Here are the events endorsed by the Film and Media Festivals SIG of SCMS:

The annual business meeting of the Film and Media festivals SIG will be held on Wednesday, March 30 from 2:00pm-3:45pm in Room 410 (Fourth Floor).

9780415712477_FFsThe Film and Media festivals SIG will be hosting a happy hour on Thursday, March 31 at 5:30pm at Max Lager’s Wood-Fired Grill & Brewery (a short walk from the conference hotel), at which we will toast the release of Film Festivals: History, Theory, Method, Practice, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist.

We encourage you to check out the following Film & Media Festival SIG-sponsored panels at SCMS 2016:

B3: Festival Mobilities: Movement, Movements, Publics

  • CHAIR Bernard Cook • Georgetown University
  • Vincent Pham • California State University San Marcos • “Drive Outs to ‘Drive By Cinema’: Public Modality and Space in an Irregular Film Festival Project”
  • Ran Ma • Nagoya University • “The Asian Documentary Connections: From Yamagata International Documentary Film Festival (YIDFF) to Asian Network of Documentary (AND)”
  • Bernard Cook • Georgetown University • “Reality Circuits: The Documentary Film Festival and the Mode of Production of Documentary”
  • Olivier Thevenin • University of Upper Alsace • “Auteur Cinema at Cannes Film Festival and the Directors’ Fortnight”

K15: Film Festivals, Cultural Memory, and Politics of the (In)visible

  • CHAIR Antoine Damiens • Concordia University
    CO-CHAIR John Lessard • University of the Pacific
  • John Lessard • University of the Pacific • “The East German Amateur Film Festival as Archive”
  • Kristine Kotecki • Ball State University • “Re-collecting Yugoslavia: Curatorial Politics at Regional Film Festivals”
  • Beth Tsai • SUNY, University at Stony Brook • “Visible Art, Invisible Nations?: On the Politics in Film Festivals and the Case of Taiwanese Cinema”
  • Antoine Damiens • Concordia University • “Screening Festivals: Queer Film Festivals as Visual Architecture”

While not officially sponsored by the SIG, we also encourage you to check out the following festival-related panels:

C19: Strange Bedfellows: Questioning the Strategic Value of Intra-Industry Relationships

  • Chair: Joshua Coonrod (Indiana University)
  • Joshua Coonrod (Indiana University), “”I Wanted To See Your Movie, But The Line To Meet Tom Savini Was SO LONG”: Intersections of Film Festivals and Fan Conventions”
  • Anne Major (University of Texas, Austin), “Powering Premium Content: An Analysis of Ooyala’s Online Video Services”
  • Jesse Balzer (Indiana University), ““Honoring the Stars Who Make the Stars Shine”: The Prestige Economy and Labor of The Hollywood Reporter’s Key Art Awards”

F15: Paratextual Analysis and Global Circulation

  • Chair: Lisa Patti (Hobart and William Smith Colleges)
    Co-Chair: David Richler (Carleton University)
  • David Richler (Carleton University), “Film Festival Paratexts, Digital Circulation, and the Idea of World Cinema”
  • Pavitra Sundar (Kettering University), “Sound and Subtitles: The Paratexts of Lunchbox”
  • Melissa Gelinas (University of Michigan, Ann Arbor), “Trailers and the Transnational Circulation of Multilingual Films”
  • Fan Yang (University of Maryland, Baltimore County), “House of Cards in China: Paratexts and Transnational Circulation”

M15: French Cinema at the Margins: Forgotten Sites, Practices, and Discourses, 1920-1960

  • Chair: Eric Smoodin (University of California, Davis)
  • Eric Smoodin (University of California, Davis), “The Last Amateurs of Pure Cinema: Ciné-Clubs and French Film Culture, 1927-1945”
  • Annie Fee (University of Washington, Seattle), “Educational Cinema Between Art and Social Activism: Competing Cinephilias in 1920s Paris”
  • Jennifer Wild (University of Chicago), “Beyond the Margin: Against Avant-Garde Film c. 1930”
  • Brian Jacobson (University of Toronto), “Industrial Film Festivals and the Cultural Politics of Postwar Business”

N11: British Film Cultures

  • Chair: Lindsey Decker (Syracuse University)
  • Robert Shail (Leeds Beckett University), “John Krish and British Art Cinema”
  • Rachel Fabian (University of California, Santa Barbara), ““What Are We Left With?”: The London Women’s Film Group and the Limits of 1970s British Alternative Film Culture”
  • Lindsey Decker (Syracuse University), “The British Are (or Aren’t) Coming: Transnational Influence, Film Festivals, and Middle-Class British Film Culture”
  • Justin Smith (University of Portsmouth), “Ploughing a lonely furrow?: “A Field in England” (2013) and alternative distribution in the UK”
Posted in conferences, FFRN, film festival research, SCMS SIG Film and Media Festivals | Tagged , , , , , | Leave a comment

CfP Queer/ing Film Festivals

Call for contributions

Queer/ing Film Festivals
Special Issue for Studies in European Cinema (Taylor & Francis)

Editors:
Leanne Dawson (Film and German Studies, University of Edinburgh and Scottish Queer International Film Festival) and
Skadi Loist (Media Studies, University of Rostock, Film Festival Research Network and Hamburg Queer Film Festival)

The first LGBT/Q film festival started in San Francisco in 1977 and in the early years, such festivals served as a safe haven, offering a counterpublic space to create community and discuss representation at a time when so few – and often negative – images of LGBT/Q people were available in the mainstream.

Although the first wave of LGBT/Q film festivals were predominantly found in North America and Western Europe, Slovenia helped to lead the way on this side of the Atlantic, with the creation of a gay and lesbian film festival in Ljubljana in 1984. LGBT/Q people in Germany were pioneers with the LesbenFilmFestival Berlin taking place from 1985 to 2004, while the Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival – the latter four words of the name a relatively recent and inclusive addition – has just celebrated its 26th edition. In the UK, Gay’s Own Pictures launched in 1986, was renamed the London Lesbian and Gay Film Festival in 1988, and is now known as BFI Flare. Like the UK, Italy has hosted LGBT/Q film festivals since 1986, with others launching in the Netherlands, Denmark, Belgium and France before the end of the decade.

Indeed the 1980s brought about many changes: the AIDS crisis spurred queer activism and artistic output, including films that B. Ruby Rich would later label the ‘New Queer Cinema’ (1992), which paved the way for the development of the LGBT/Q film market and significant growth of LGBT/Q film festivals, which – with approximately 260 active events – now covers most regions of the globe (see ‘Queer Film Festivals Globally’ map, Loist 2015).

The start of the 1990s saw the arrival of LGBT/Q festivals in Ireland, Norway, Finland, Hungary and Austria. Spain has made up for its slightly later entrance to the LGBT/Q film festival scene – with Fire! in 1995 – by hosting numerous queer film festivals on the mainland as well as the Balearic and Canary Islands. Portugal and Switzerland both launched lesbian and gay film festivals in 1997. Two years later, Greece founded an LGBT/Q film festival as part of Thessaloniki’s International Film Festival, while queer festivals launched in the Czech Republic in 2000, Croatia in 2003, and Romania in 2004. The latter half of the decade saw the start of festivals in Latvia, Poland, Sweden, Slovakia, Hungary, Russia, Bosnia & Herzegovina and Serbia, with Lithuania and Ukraine hosting events from 2011.

Alongside the festivals in this potted overview, there is the Pride of the Ocean GLBT Film Festival on the High Seas, which takes place as part of a cruise ship’s entertainment programme, and LGBT/Q awards as part of A-list mainstream festivals, such as the Teddy Award, which just celebrated its 30th anniversary at the Berlinale; the Sunny Bunny at Kyiv in Ukraine; the Queer Palm at Cannes; and the Queer Lion at the Venice International Film Festival.

The queer film and festival landscape has clearly seen huge changes in the last 39 years, with the growing number of festivals allowing for more diverse programmes, ranging from mainstream to avant-garde and pornographic content, and further consideration of intersections of identity, such as Glitch QTIPOC Film Festival, which, like the Scottish Queer International Film Festival, launched last year in Glasgow. Recently, festivals have also been founded in Africa and the Middle East.

The proposed special issue of the peer-reviewed journal Studies in European Cinema, to be published in celebration of 40 years of LGBT/Q film festivals, is part of a series exploring Queer European Cinema, past and present. We invite articles examining the relation between queer cinema and film festivals today, as well as the function that these festivals serve. Contributions of approximately 6,000 words by academics and/or industry professionals should have a European focus (although content does not need to be exclusively European) and may include, but are not limited to:

  • film festival history, trends, memory;
  • queer film exhibition and curation;
  • queering mainstream film festivals;
  • film festivals and knowledge exchange;
  • community building and/or activism;
  • audience research;
  • other art and performance within LGBT/Q film programmes.

Abstracts of 400 words and a 150 word biography including key publications should be submitted by Monday 4 April 2016 to: Leanne Dawson and Skadi Loist. Final articles are due on Wednesday 31 August 2016.

 

Posted in Call for Papers, publication | Tagged , , | Leave a comment

Queer Academy Film Summit / TEDDY 30 / Berlinale 2016

On the occasion of the 30th anniversary of the TEDDY award, the LGBT/Q film award at the Berlin International Film Festival (Berlinale) the Queer Academy put on a Film Summit to discuss queer archiving and queer film festivals in practice on February 17, 2016 at the Station Berlin,  Luckenwalder Str. 4-6, 10963 Berlin. (See the program below or view the booklet online.)

The Queer Academy is an annual convention of international filmmakers and
festival organizers in the gay-lesbian-transgender context (2015 figures: 180
persons/institutions) at the Berlinale. The Queer Academy aims to establish
itself as an institute of queer cultural memory. The Academy will become an
archive of queer culture and history that binds together queer cultural productions
and cooperates with other organizations. Since memories are essential for
the identity construction, the Queer Academy will offer an opportunity for queer
people to form and find their identity in queer memory.

Summit Programme

10.00am  Opening Wieland Speck, Berlin, Curator of the Panorama at the Berlinale

10.15am  Keynote: Bob Hawk, Film and Festival Advisor

10.30am  Keynote Jan-Christopher Horak, Los Angeles, Director of the UCLA Film & Television Archive

10.45am  Panel 1: Re-imagining the Queer Archive

PANEL 1: Re-imagining the Queer Archive

While researching for the TEDDY 30 retrospective, it only became too clear: Feature films, video art and amateur movies around the world are about to vanish and need to be restored, digitized and distributed. Archives are facing a challenge in order to prevent the analogue film stock from decay. Furthermore, it will be a crucial task to re-invent models of distribution to make our queer film heritage part of our cultural memory.

Participants:

  • Dr. Nanna Heidenreich, host, Institute for Media Studies, Braunschweig University of Art; Arsenal-Berlin, Forum Expanded, Berlin
  • Alice Royer, Legacy Project Manager, Outfest Los Angeles; American Archive for Television and Film, University of California, Los Angeles
  • Prof. Martin Koerber, Head of the Archive at the “Deutsche Kinemathek – Museum für Film und Fernsehen”, Berlin
  • Prof. Dr. Andreas Kraß, Department of German Literature, Humboldt University; Director of the Archive of Sexology, Humboldt University, Berlin
  • Dr. Dagmar Brunow, Institute for Film Studies, Linnaeus University, Vaxjö, Sweden
  • Cheryl Dunye, Filmmaker, Department of Cinema, San Francisco State University, Liberia/San Francisco

1.30pm In Conversation with Christine Vachon, New York, film producer, moderated by Toby Ashraf

Christine Vachon is an “Independent Spirit Award” and “Gotham Award” winner who co-founded indie powerhouse “Killer Films” with partner Pamela Koffler in 1995. Over the past decade and a half, the two have produced some of the most celebrated American indie features including “Far From Heaven” (nominated for four Academy Awards), STILL ALICE (Academy Award winner), “Boys Don´t cry” (Academy Award winner),”One Hour Photo”, “Kids”, “Hedwig and The Angry Inch”,”Happiness”, “Velvet Goldmine”, “Safe”, “I Shot Andy Warhol”, “Camp”, “Swoon” and “I’m Not There” (Academy Award nominated). In television, Vachon recently executive-produced the “Emmy” and “Golden Globe” winning miniseries “Mildred Pierce” for HBO and an upcoming series on Amazon based on the life of Zelda Fitzgerald. Other recent work includes: “Kill Your Darlings”, “Magic Magic”, “Carol” directed by Todd Haynes and “Wiener-Dog” written and directed by Todd Solondz.

2.15pm Panel 2: Queer Film Festivals in Practice – Programming and Curating Strategies

PANEL 2: Queer Film Festivals in Practice

Almost four decades ago, the first Gay Film Festival opened back in the day in San Francisco. Since then much has happened and those now called Queer or LGBTQI* Film Festivals have flourished and expanded in all cultural backgrounds all over the world, most recently new festivals have been founded in Africa and also the Middle East. The growing number of festivals also fostered different and more diverse programs within the Queer Film Festival Circuit. From classical queer/LGBTQI*content to pornography and from the avant-garde to activism; six programmers from different cultural backgrounds will talk about their view on curating and activism on this panel.

Participants:

  • Dr. Skadi Loist, host, Department of Media Studies, University of Rostock; Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival
  • Desiree Buford, Frameline – San Francisco International LGBTQ Film Festival
  • João Ferreira, Queer Lisboa – International Queer Film Festival
  • Alexandra Carastoian, FAQiff – Feminist and Queer International Film Festival, Bucharest
  • Xiaogang Wei, Beijing Queer Film Festival
  • Nosheen Khwaja, GLITCH QTIPoC Film Festival Glasgow
  • Saadat Munir, AKS Film – Art – Dialogue Festival, Pakistan and Denmark
  • Jürgen Brüning, Porn Film Festival, Berlin

3.45pm Break

4.00pm Programmers/Queer Academy Meeting + the Queer Connection

Following the Panel discussions, the annual Programmers/Queer Academy Meeting will take place. This is the place where new festivals are presented, new cooperations established, as well as, organisational and content practices are discussed. Filmmakers and distributors are invited to discuss their works directly with festival makers in the framework of the Queer Connection and therefore to already set the first festival screenings during this event. In addition to filmmakers and distributors, who present the films included in the current Berlinale programme, local Berlin filmmakers and producers are welcome to personally show their projects.

 

Posted in conferences, film festival practice, film festival research | Tagged , , , , | Leave a comment

NECS 2015 Update

The NECS 2015 Conference “Archives of/for the Future” taking place in Łódź, Poland, June 18-20, 2015 is featuring a number of papers and panels by members of the NECS Film Festival Research workgroup.

The final program finds some changes to the preliminary program published earlier.  Please refer to the final program here.

Please take note of the Film Festival Research workgroup meeting on Saturday, June 20, 11:00-12:45 in room 2.55, which was added after program finalization and is not listed in the printed program.

necs2015

Here is a thematic schedule:

Festival-related papers and panels

C 07 Politics of Archiving and the Writing of Transnational Cultural History
Thursday, June 18, 13:45-15:30h, room 2.51

  • Petr Szczepanik – Chair
  • Rosa Olmos (Bibliothèque de Documentation Internationale Contemporaine): The Living Memories. Audio-Visual Archives of the BDIC Library, Research Material on International Conflicts
  • Caroline Moine (University of Versailles Saint-Quentin-en-Yvelines): Transnational History of Solidarity Movements in Europe during the Cold War: New Sources, New Archives
  • Viviane Saglier (Concordia University): Diasporic Film Festivals and Trans-Historical Film Economies
  • Dunja Jelenkovic (University of Versailles Saint-Quentin-en-Yvelines): The Politics of Archiving – The Politics and Archiving: The Case of Yugoslav Documentary and Short Film Festival (1954-today)

F 01 Queer Cinema
Friday, June 19, 11:00-12:45h, room 2.20

  • Dagmara Rode – chair
  • Katharina Lindner (University of Stirling): Intangible Archives? Queer Embodiment and Affect in Cinema
  • Antoine Damiens (Concordia University, Montreal): The Festivals that did not Matter: Queer Film Festivals and their Scattered Archives
  • Nanna Heidenreich (HBK Braunschweig): “Once upon a Future”. Traversing the Archive

H 07 Personal Archives and Documentary Practice
Friday, June 19, 15:45-17:30h, room 2.51

  • Andrea Pócsik – Chair
  • Efrén Álvarez (Universidad de Navarra, Spain): The Archive Effect in the Appropriation of Home Movies in Documentary Films. The Case of “Stories We Tell”
  • Debra Beattie (Griffith University, Australia): The New Woman and Gender Disruption: On Researching the Archives of Daphne Mayo
  • Andrea Pócsik (Pázmány Péter Catholic University, Budapest): Installing, “Inscening” Found Footages
  • Aida Vallejo (University of the Basque Country(UPV/EHU)): Film Festivals and the Documentary Archive

 

Added after program finalization:

J  Film Festival Research workgroup meeting

Saturday, June 20, 11:00-12:45h
Room 2.55

 

K 09 Spaces, Bodies, and Things: On Archives of Emotions
Saturday, June 20, 13:45-15:30h, room 2.54

  • Skadi Loist – Chair
  • Tomasz Basiuk (University of Warsaw): Body’s Archive: Karol Radziszewski’s Homage to Andy Warhol
  • Saige Walton (University of South Australia): Versailles: Archives of Luxury in “Marie Antoinette” (2006) and “The Bling Ring” (2013)
  • Ger Zielinski (Trent University): On Queer Film Festivals as Archives of Feelings

L 04 Critical Film Festival Studies
Saturday, June 20, 15:45-17:30h, room 2.33

  • Liz Czach – Chair
  • Skadi Loist (University of Rostock): Mapping the Circuit: Methodological Considerations of New Empiricism and the Spatial Turn
  • Kirsten Stevens (RMIT): Clutching at Ephemera: Archives, Big Data and Methodological Challenges in Multi-Event Film Festival Research
  • Liz Czach (University of Alberta): Affective Labour and the Work of Film Festival Programming
  • Tess Van Hemert (QUT): Farewelling the Regent: Considering ‘Festival Memory’ in the Face of Change and Innovation
Posted in Uncategorized | Leave a comment

Festival related papers and panels at NECS 2015

The NECS 2015 Conference “Archives of/for the Future” taking place in Łódź, Poland, June 18-20, 2015 will again feature a number of papers and panels by members of the NECS Film Festival Research workgroup.

necs2015

Here is a thematic schedule:

Festival-related papers and panels

B 08 Queer Cinema
Thursday, June 18, 11:00-12:45h

  • Katharina Lindner (University of Stirling): Intangible Archives? Queer Embodiment and Affect in Cinema
  • Antoine Damiens (Concordia University, Montreal): The Festivals that did not Matter: Queer Film Festivals and their Scattered Archives
  • Nanna Heidenreich (HBK Braunschweig): “Once upon a Future”. Traversing the Archive

C 09 Politics of Archiving and the Writing of Transnational Cultural History
Thursday, June 18, 13:45-15:30h

  • Rosa Olmos (Bibliothèque de Documentation Internationale Contemporaine): The Living Memories. Audio-Visual Archives of the BDIC Library, Research Material on International Conflicts
  • Caroline Moine (University of Versailles Saint-Quentin-en-Yvelines): Transnational History of Solidarity Movements in Europe during the Cold War: New Sources, New Archives
  • Viviane Saglier (Concordia University): Diasporic Film Festivals and Trans-Historical Film Economies
  • Dunja Jelenkovic (University of Versailles Saint-Quentin-en-Yvelines): The Politics of Archiving – The Politics and Archiving: The Case of Yugoslav Documentary and Short Film Festival (1954-today)

H 07 Personal Archives and Documentary Practice
Friday, June 19, 15:45-17:30h

  • Andrea Pócsik – Chair
  • Efrén Álvarez (Universidad de Navarra, Spain): The Archive Effect in the Appropriation of Home Movies in Documentary Films. The Case of “Stories We Tell”
  • Debra Beattie (Griffith University, Australia): The New Woman and Gender Disruption: On Researching the Archives of Daphne Mayo
  • Andrea Pócsik (Pázmány Péter Catholic University, Budapest): Installing, “Inscening” Found Footages
  • Aida Vallejo (University of the Basque Country(UPV/EHU)): Film Festivals and the Documentary Archive

 

J  Film Festival Research workgroup meeting

Saturday, June 20, 11:00-12:45h
Room 2.55

 

K 09 Spaces, Bodies, and Things: On Archives of Emotions
Saturday, June 20, 13:45-15:30h

  • Skadi Loist – Chair
  • Tomasz Basiuk (University of Warsaw): Body’s Archive: Karol Radziszewski’s Homage to Andy Warhol
  • Saige Walton (University of South Australia): Versailles: Archives of Luxury in “Marie Antoinette” (2006) and “The Bling Ring” (2013)
  • Ger Zielinski (Trent University): On Queer Film Festivals as Archives of Feelings

L 04 Critical Film Festival Studies
Saturday, June 20, 15:45-17:30h

  • Liz Czach – Chair
  • Skadi Loist (University of Rostock): Mapping the Circuit: Methodological Considerations of New Empiricism and the Spatial Turn
  • Kirsten Stevens (RMIT): Clutching at Ephemera: Archives, Big Data and Methodological Challenges in Multi-Event Film Festival Research
  • Liz Czach (University of Alberta): Affective Labour and the Work of Film Festival Programming
  • Tess Van Hemert (QUT): Farewelling the Regent: Considering ‘Festival Memory’ in the Face of Change and Innovation
Posted in conferences, NECS film festival research Workgroup | Tagged , , | Leave a comment