20th NECS Graduate Workshop “Festival Cultures: New Ways to Study Networks, Circulation & Canon Production” (14-15 February 2023)

Organized by Lucy Pizaña, Maja Korbecka, Skadi Loist

Filmuniversität Babelsberg KONRAD WOLF
Marlene-Dietrich-Allee 11
14482 Potsdam

Filmmuseum Potsdam
Breite Str. 1A
14467 Potsdam


14 February 2023

9:00-10:00 Arrival with Coffee / Tour through Filmuni / Welcome
@ Filmuni “Flyer”

10:00-12:00 Panel 1 Oral Tradition, the Past and the Future
@ Filmuni “Flyer”

Chair: Karen Sztajnberg

  • Juliana Muylaert (Fluminense): Film Festival Studies and Oral History: Possibilities and Challenges
  • Sinclair Portis (Michigan State): Oral-Visual Worldmaking: Afrofuturity within Film Festivals
  • Saara Tuusa (Turku): Ethnography of Film: Film Festival as a Site of Embodied Authorship
  • Respondent: María Paz Peirano

12:00-13:30 Lunch

13:30-15:30 Panel 2 Investigating Survival Strategies
@ Filmuni “Flyer”

Chair: Lucy Pizaña

  • Onur Aytaç (Mersin): Festival Funds in Turkey and Independent Cinema
  • Katrina Ross A. Tan (Los Baños): Cinema Rehiyon Goes Digital: Audience Engagement Strategies in an Online Film Festival
  • Pedro Tinen (A.-v.-Humboldt-Stiftung/Oberhausen): The Film Markets as Film Forums: Debating Cultural and Audiovisual Policy
  • Respondent: Marijke de Valck

Break & transfer to Filmmuseum Potsdam (keynote location)

18:00-19:30 Keynote
@Filmmuseum Potsdam

Aida Vallejo
Documentary Film Ecosystems. Mapping Festivals, Institutes and Networks

15th February 2023

9:00-10:00 Speed Dating / Mentoring Rounds
@ Filmuni “Flyer”

10:00-12:00 Panel 3 Festival Ecosystem
@ Filmuni “Flyer”

Chair: Skadi Loist

  • Fengyun Zhang (UCLA): Film Festivals in Exile and the Remaking of Independent Chinese Cinema
  • Dianora Hollmann (Ca’ Foscari): The Transformative Dimension of Film Festivals: An Ecosystemic Approach to the European Case
  • Yulia Yurtaeva-Martens (Film University Babelsberg / Leibniz-Institute for Media Research | Hans-Bredow-Institut): And What about the TV Festivals?
  • Respondent: Senem Ayşe Duruel Erkılıç

12:00-13:30 Lunch

13:30-15:30 Panel 4 Screening the Canonisation Process
@ Filmuni “Flyer”

Chair: Maja Korbecka

  • Carine Bernasconi (Lausanne): “It’s a great day for Iranian Cinema!”: The Construction of a So-Called Iranian Cinema through the European Festival Network
  • Isadora Campregher Paiva (Frankfurt/Main): Constructing the Weimar Canon: The Role of Early Film Societies
  • Pengnan HU (Amsterdam): Making the Silk Road International Film Festival in Fuzhou: The Dynamics of Propaganda, Astute Actors, and Hidden Agendas
  • Respondent: Aida Vallejo

15:30-16:00 Coffee break

16:00-18:00 Final Round
@ Filmuni “Flyer”

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CFP: 3rd Film Festivals Symposium: “Film Festivals, Funds and Film Industry”

“Film Festivals, Funds and Film Industry”
3rd Film Festival Symposium
April 7-8-9, 2023
in cooperation with 42nd Istanbul Film Festival, April 7-17, 2023)
Istanbul, Turkey

As part of the project “Film Festivals in Turkey: Structure, Economy, Organization, Audience Profile (The case of Antalya, Adana, Istanbul, Ankara Film Festivals)” no. TUBITAK 1001 121K234, the 3rd FILM FESTIVALS SYMPOSIUM, organized by screenfest: The Journal of Film Festival Studies, will be held in cooperation with the Istanbul Film Festival on April 7-8-9, 2023 within and during the Istanbul Film Festival. The Symposium Organization Committee would like to thank the İstanbul Film Festival for their cooperation and support. The Symposium aims to provide an academic debating platform that embraces all aspects of film festivals.  We cordially invite you to the Film Festival Symposium.

Abstract and Panel Proposal Deadline: 15 February 2023


  • Marijke de Valck, Utrecht University/Netherlands
  • Skadi Loist, Film University Babelsberg Konrad Wolf/Germany
  • Tamara L. Falicov, University of Missouri-Kansas City/USA
  • Ana Vinuela, Sorbonne Nouvelle University/France


  • Jeske van der Slikke,/Hubert Bals Fund-International Film Festival Rotterdam/Netherlands



In the film industry, film festivals and funds play a significant role, especially for post-1990s independent cinema/arthouse films, in terms of both their increasing influence on the circulation of films across national borders and production activities (Wong, 2011). Given the fact that arthouse films/independent cinema generate limited box office revenues and face distribution problems festivals and their funding become increasingly important. This development has led to the emergence of a symbiotic relationship between films and festivals, with festivals occupying an important position in the global arthouse film economy (Valck, 2020). Funds serve a crucial function in the festival ecosystem in terms of creating a network for co-productions (Vinuela, 2018) in addition to production support.  In this context, particularly how arthouse films will be produced and distributed constitutes the main debate. It is worth discussing whether international film festivals and supranational funds as talent finders, play an increasingly active role as producers (Ostrowska, 2010; Loist, 2011; Valck, 2017) in the shaping and funding of independent cinema/arthouse film (Falicov, 2010; 2017; Chan, 2011; Ross, 2011; Vallejo, 2020) while at the same time enabling films to penetrate the global circuit (Iordanova, 2009). To this end, we seek answers to the following questions at the intersection of film festival studies and media industry studies:

Which (new) research methods do we need in the field of media industry studies? What research gaps need to be filled in studies on festivals and funds? What are the dominant approaches in the current debate? How do festivals and funds shape world cinema? How can we take the field of and the debates around film festival studies and media industry research further? Within the framework of these questions, the topics to be addressed in this symposium include but are not limited to the following:

  • network and circuit of national/regional/supranational funds,
  • film festivals, funds and global cinema culture,
  • state funds in the context of hegemony or cultural diplomacy,
  • funds as soft power of countries in hegemonic ascendancy,
  • supranational funds’ quest for authenticity and artistic quality,
  • critique on funds’ role in imposing Western aesthetic standards,
  • constructing national cinema by festivals’ film selection policies and supranational funds,
  • supranational funds, national specificity and the search for new solutions,
  • supranational funds’ role in promoting diverse cinema cultures and transnational cinema,
  • external factors on the decision-making processes of the funds,
  • data-driven research on industry practices in terms of funding,
  • funds’ contribution to theatrical distribution of arthouse films,
  • flexible/labor intensive working conditions in the context of sustainability of festivals and funds,

In this regard, we believe that there is a need for further collaboration between academics, industry professionals and executives. How can professionals, academics and filmmakers cooperate to achieve increased transparency on funding? In this framework, the criteria for selection and evaluation of funds (along decolonialized standards, ecological thresholds or detailed mission statements that may be fund-specific, etc.) can be put up for discussion.

In addition to focusing on the main theme of “Film Festivals, Funds and Film Industry”, the 3rd Film Festivals Symposium is also open to papers based on both empirical and theoretical approaches with an interdisciplinary reading on the following topics:

  • the history and historiography of film festivals,
  • methodology in the studies on film festivals,
  • jury work and awards,
  • programming, curating,
  • film festivals – national cinema and cinema canon,
  • film festivals’ audience/cinephile,
  • funding of film festivals,
  • film policy and film festivals,
  • global festival circuit and film market
  • distribution and circulation in relation to film festivals
  • approach to short films in festivals (fiction, documentary, animation, experimental),
  • thematic festivals,
  • transnational film festivals,
  • online film festivals,
  • the COVID-19 pandemic and film festivals.

The Symposium welcomes academics, festival staff, film critics and film industry professionals. The Symposium will be held in Turkish and English.

The Symposium will be an in-person event taking place during the 42nd Istanbul Film Festival. It may, however, be held online depending on the course of the pandemic. We will share further information on this issue in the upcoming process.

Participants are required to cover their own travel and accommodation expenses. A list of local hotels as well as information regarding additional events will be posted on the symposium’s website.

For more information about the Symposium, please visit at http://www.screenfest.org/istanbul/

Feel free to reach out to us in case you have any questions info screenfest@gmail.com

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CFP: 20th NECS Graduate Workshop 2023 “Festival Cultures: New Ways to Study Networks, Circulation & Canon Production”

Call for Papers
20th NECS Graduate Workshop
Festival Cultures: New Ways to Study Networks, Circulation & Canon Production
February 14-15, 2023
Hosted by Film University Babelsberg KONRAD WOLF, Potsdam, Germany
Keynote speaker: Aida Vallejo

Deadline for submissions: November 1, 2022

Festival Cultures: New Ways to Study Networks, Circulation & Canon Production

Throughout the decades the number of film festivals has increased all over the world, contributing to the emergence of “new cinemas”, to making and shaping film history, and to the production and formation of (trans)national film canons (Vallejo 2020), and discovering new talent. They are a place for developing (trans)national networks of different actors – filmmakers, programmers, film critics, etc. – who contribute to shaping film cultures and the film industry (De Valck 2007). The exponential growth of the amount of film festivals worldwide has not gone unnoticed, contributing to the emergence of a specific area of scholarly interest: the field of film festival studies, which has gained strength and status, focusing entirely on understanding the functions, history and role of film festivals from within different scholarly fields (De Valck & Loist 2009; Iordanova & Rhyne 2009).

The 20th NECS Graduate Workshop seeks to explore new ways to study film festival networks, the circulation of knowledge, films, experiences, and the production of film canons within those networks. To this end, we consider it necessary to reevaluate different interdisciplinary methodologies and explore new ways to analyze film festivals as an integral part of film cultures. In light of the rapid technological progress, we must ask ourselves not only what is to be gained from these methods, but also what their limits are and how we can make these limits transparent and productive for a fruitful scholarship.

The study of film festivals and film culture at large presents methodological challenges. In recent years, new interdisciplinary methods that go beyond the classic film studies canon have been applied ranging from anthropology to social sciences (Vallejo & Peirano 2017), tourism, urban studies and qualitative analysis. The global history approach, with its focus on tracing back the transnational exchange of knowledge while taking into account hierarchies and power structures marked by Eurocentrism (Conrad 2016), offers tools to decolonize and question the taken-for-grantedness of the historical narratives, film canon included. With a recent turn to digital methods, new quantitative approaches have surfaced, especially relying on Digital Humanities tools for data collection and the visualization of research outputs and datasets, mostly through the mapping of networks and/or circulation of films or actors within the various film festivals networks (Loist 2022; Vanhaelemeesch 2021).

In our two-day workshop we want to mobilize multiple perspectives for the analysis of film festivals, where the following questions will be central for the discussion:

  • Which tools can help us analyze larger questions of film and festival culture?
  • What methods are needed and/or useful?
  • What can data collection, data analysis and a Digital Humanities’ perspective offer?
  • Which interactive approaches or results can be used?
  • How can one approach oral history in order to understand the ephemeral nature of such events?
  • How can we analyze the impact of a film program as a (curated) program beyond the individual films?
  • How can the touring of festival programs and its transfer of knowledge and experience be analyzed?
  • How can the global history approach be applied to film festival studies?

The workshop will take place in the form of in-depth conversations based on papers, which should be submitted and circulated ideally two weeks prior to the workshop. The presenters are invited to give brief 15 min presentations to prompt the discussion of the material with fellow early career researchers and a senior respondent within small panels.

Confirmed keynote: Aida Vallejo (University of the Basque Country) “Documentary Film Ecosystems. Mapping Festivals, Institutes and Networks”

Confirmed senior festival studies scholars in attendance: Marijke de Valck (Utrecht University), María Paz Peirano (Universidad de Chile), Senem Duruel Erkılıç (Mersin University), Skadi Loist (Film University Babelsberg KONRAD WOLF).

Submissions may include, but are not limited to, the following research fields/topics:

  • Film festivals networks & circuits
  • Film Circulation
  • Digital approaches/methodologies to film festival research
  • Event analysis
  • Film festival history
  • Film festivals and oral history
  • Film festivals and global history
  • Data analysis
  • (Trans)national networks of production and distribution of cinema
  • Micro-histories of film festivals
  • Film festivals and the global film market
  • Film festivals and transnational distribution and production
  • Film festivals and digital platforms
  • Film Festival Cartographies
  • Curating as world-making
  • Film canon: production, circulation, historization


Early-career researchers from cinema, visual and media studies are invited to submit proposals for contributions by November 1, 2022 to lucy.pizana@filmuniversitaet.de and maja.korbecka@fu-berlin.de. The submission should include the name and affiliation of the speaker/participant, an email address, a title and abstract for the paper (max. 300 words with up to 5 references) and a short bio (max. 150 words). Notification for participants will be sent out by November 21, 2022.

The 20th NECS Graduate Workshop is held in English and is planned as an in-person event only, taking place in presence in Potsdam. The workshop (February 14-15, 2023) is timed to take place right before the Berlin International Film Festival (February 16-26, 2023) so that people can easily attend the festival afterwards. Participants will need to cover their own travel and accommodation expenses. Travel information, as well as a list of affordable hotels and other accommodation will be provided. Workshop attendance is free, but valid NECS membership is required to participate. Participants must register with NECS at https://necs.org/user/register. For the terms of NECS membership, please also refer to our website: https://necs.org/faq.

Please address all inquiries to lucy.pizana@filmuniversitaet.de and maja.korbecka@fu-berlin.de.

20th NECS Graduate Workshop organizers:
Lucy Pizaña, Maja Korbecka, Skadi Loist

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Film Festival Research @ NECS Bucharest 2022

NECS Bucharest 2022
Epistemic Media: Atlas, Archive, Network

Main Conference Venue: Central Library of the Polytechnic University of Bucharest, Splaiul Independeței, no. 313, Bucharest, 060042, Romania

At this year’s NECS conference, taking place again in-person in Bucharest, Romania, there will be 8 panels and workshops featuring film festival research.

Thursday, 23 June 2022 » 9:00–10:45 EEST, Room B 3.1
A9 Writing and Accessing Film Festivals’ History: Difficulties, Goals, and Differences

Chair: Lucy Alejandra Pizaña Perez (Konrad Wolf Film University Babelsberg)

  • Lucia Leoni (University of Basel)
    How to Work on Film Festivals Research: Cinematic Archives of Switzerland
  • Cyril Cordoba (University of Fribourg)
    “Don’t Awaken a Sleeping Giant”: How Can/Should We Write about Locarno Film Festival’s History?
  • Pablo La Parra-Pérez (Elias Querejeta Zine Eskola)
    Out of the Box: Notes of the Archive and Research Project ‘Zinemaldia 70: All Possible Histories’ (2018-2022)
  • Juliana Muylaert (Federal Fluminense University)
    Film Festivals’ History and Studies in Brazil: An Overview

Thursday, 23 June 2022 » 11:00–12:45 EEST, Room B 2.2
B2 Film Festivals

Chair: Alkım Kutlu (Heinrich Heine University Düsseldorf)

  • Andrea Gelardi (University of St. Andrews)
    A Regional Archipelago: Mapping and Measuring the Apulian Film Festival System
  • Angela Bianca Saponari (University of Bari Aldo Moro)
    A Global Film Literacy Project: the Apulia Region between Film Festivals and European Networks
  • Vejune Zemaityte (Tallinn University), Andres Karjus (Tallinn University) et al.
    A Cultural Data Analysis of the International Film Festival Participation Network
  • Maria Francesca Piredda (Catholic University of the Sacred Heart)
    Transcultural Class. Typologies and Impacts of FESCAAAL Film Festival’s Educational Activities Aimed at Milanese Students

Thursday, 23 June 2022 » 15:00–16:45 EEST, Room 2.2
C2 Critical Perspectives on Film Festivals: Care, Precarity, Minority Work

Chair: Marijke de Valck (Utrecht University)

  • Dorota Ostrowska (Birckbeck, University of London) (virtual participation)
    Tell Me Why You Care? Ethics & Aesthetics of Care and Film Festival Cultures
  • Tânia Leão (University of Porto)
    Can we Openly Talk about Precarious and Voluntary Work at Film Festivals? Reflections on the Portuguese Case
  • Feng-Mei Heberer (New York University)
    The Power of Transcience: Film Festivals and Migrant Organizing
  • Siddharth Chadha (Uppsala University)
    Curating Precarity: Re-Thinking Queer Film Festivals Beyond Identity Politics

Friday 24 June 2022 » 11:00–12:45 EEST, Room A 2.1
E8 Community-based Film Festivals: From National to Transnational Networks

Chair: Juliana Muylaert (Federal Fluminense University)

  • Lucy Alejandra Pizaña Perez (Film University Babelsberg Konrad Wolf)
    Jewish Film Festivals: Network Nodes and the Development of ‘Jewish Film’
  • Egemen Kepekçi (University of Bayreuth)
    Counterhegemonic Potentials of Pembe Hayat KuirFest with its Function as a Transnational Network
  • Fatma Edemen (Jagiellonian University Kraków)
    Global Kurdish Film Festival: Opportunities and Challenges for a National Claim in an Online Transnational Network
  • Maja Korbecka (Free University of Berlin)
    A Leopard Sitting Still on the Yellow Earth: China’s Art Cinema at Locarno Film Festival

Friday 24 June 2022 » 14.15–16.00 EEST, Room B 4.3
F7  Film Festivals in Transformation: Audiences, Programming, Cinephilia

Chair: Sebastián González Itier (Universidad de los Andes)

  • María Paz Peirano (University of Chile)
    Transformations in documentary film festivals audiences: the case of FIDOCS
  • Eija Niskanen (University of Helsinki)
    Not Rivals, But Co-operators – Asian Cinema Education Project as a Film Festivals’ Co-Project
  • Csilla Kató (Babes Bolyai University)
    Programming Documentary Films for Film Festivals: Practices, Challenges, Perspectives
  • Sebastián González Itier (University of the Andes)
    National Film Festivals Circuits in the Latin American Sphere: Discussing Film Canon, Film Culture and Cinephilia

Friday 24 June 2022 » 16.15–18.00 EEST, Room B 2.1
G1  Network Epistemologies: Using Network Analysis to Analyze Film Industry Phenomena
(sponsored by the Film Festival Research Workgroup & the Media Industries Workgroup)

Chair: Vejune Zemaityte (Tallinn University)

  • Skadi Loist (Film University Babelsberg Konrad Wolf) & Zhenya Samoilova (Film University Babelsberg Konrad Wolf)
    From Film Circulation to Network Analysis: Using Social Network Analysis to Study the Film Festival Sector
  • Katharina Burgdorf (University of Mannheim)
    Empirical Approaches to the Study of Film Movements: The Case of the New Hollywood Movement
  • Deb Verhoeven (University of Alberta) & Pete Jones (University of Alberta) (virtual participation)
    Through a Glass Darkly: Gender Equity Policies and the Camera Department
  • Martha Emilie Ehrich (Film University Babelsberg Konrad Wolf), Elizabeth Prommer (University of Rostock) & Franziska Thiele (University of Greifswald)
    Gender Inequality in the Screen Industries: A Network Analysis of the Film Distribution Sector in Germany

Saturday Lunch, 25 June 2022 » 12:45–14:00 EEST, Room B 2.2

Film Festival Research Work Group

Saturday, 25 June 2022 » 14:15–16:00 EEST, B 2.3
J3 (merged with K3) Roundtable: Rethinking Film Festivals in the Pandemic Era

Chair: Estrella Sendra (SOAS University of London)

  • Antoine Damiens (York University)
  • Skadi Loist (Film University Babelsberg Konrad Wolf)
  • María Paz Peirano (University of Chile)
  • Alanna Thain (McGill University) (virtual participation)
  • Marijke de Valck (Utrecht University)
  • Aida Vellejo (University of the Basque Country UPV/EHU) (virtual participation)
  • Ger Zielinksi (Ryerson University)
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NECS Online event: Spotlight on film festivals in Ukraine today!

NECS Film Festival Research workgroup & Film University Babelsberg KONRAD WOLF present

Spotlight on film festivals in Ukraine today! Accounts, responses, calls to action

Online talk with festival organizers from Ukraine

Wednesday April 6, 2022 19:00–20:30 CET; talk in English

More than a month ago, Russian troops invaded Ukraine. How is the war affecting the film festivals in Ukraine? What impact do the continuing hostilities have on everyday practices for film festivals and for local film and media professionals? This panel discussion brings together Ukrainian festival organizers of all regions in Ukraine to share their accounts of unfolding events and give insights into the current situation at home or in exile. What are responses to the uncertainty of when and how their festivals might be able to resume their work? What can and should be done at other festivals to help?


Moderation: Skadi Loist, Film University Babelsberg & Marijke de Valck, Utrecht University

Organized with Anastasia Puhach

Hosted by the Film Festival Research workgroup at NECS – European Network for Cinema and Media Studies & the Film University Babelsberg KONRAD WOLF

Register HERE to attend the Zoom event.


Viktoria Leshchenko

“I am a dreamer, maker and connector.” Victoria worked at Molodist KIFF from 2007 to 2011. In 2010 she joined the team of Docudays UA International Human Rights Documentary Film Festival, where she was promoted to program director in 2019. Docudays UA International Human Rights Documentary Film Festival is a regular event with the annual 20K attendance in Kyiv and 100K in the regions of Ukraine. In 2020 and 2021, both festival editions took place online at docuspace.org. Member of the IHRFN and DAE.    

Yevgeniya  Kriegsheim

Yevgeniya moved from Kharkiv to Berlin in 2008, where she co-founded the production company Boekamp & Kriegsheim GmbH. Since then, she has co-founded two other companies and set up a film festival in her home town Kharkiv: the Kharkiv MeetDocs Film Festival. In the 4 years of its existence, this festival has become the only and the largest venue in the east of the country, uniting Ukrainian and international filmmakers. Yevgeniya’s other companies are Media Frontline e.V, which creates projects and seminars for film-makers and journalists around the globe, and The Thursday Company GmbH, based in Berlin, which produces high-quality documentaries for international streamers and audiences.

Anna Machukh

Anna Machukh is co-founder and Executive director of the Ukrainian Film Academy. Since 2017 Ukrainian Film Academy hosts its main Ukrainian Film Award Golden Dzyga, also providing educational workshops and taking parts in processes in the Ukrainian Film Industry. Anna is also co-founder and the Head of project Dzyga MDB (the innovative platform that collect all information about Ukrainian films and filmmakers). Anna has worked as Head of Marketing at the film distribution company Arthouse Traffic as Head of Marketing for Odesa International Film Festival and has been the Executive director of Odesa International Film Festival since 2020.

Bohdan Zhuk 

Bohdan Zhuk is a programmer for the International Film Festival Molodist in Kyiv, Ukraine’s biggest film event. With education in linguistics and professional background as translator, journalist and radio host, he joined the Molodist team in 2014 as a press attaché and programmer. He has been programming the competition and non-competition sections of Molodist and curates its LGBT+ programme Sunny Bunny, Ukraine’s oldest regular LGBT+themed event (since 2001). Zhuk also manages international events of Molodist dedicated to Ukrainian films and sits on programming committees and jury of various film festivals.

Olha Raiter 

Olha is Programme director and co-founder of Lviv International Short Film Festival, one of the most visible and influential film events in Ukraine. She graduated from the Ivan Franko National University of Lviv in Slavic Philology, Cultural Studies, and Lviv Business School. She worked as a film commissioner, tourist-guide, copywriter and a waitress once. Currently a curator and program manager of America House Lviv, she is also an inspirator of the Big Short online cinema, a place for short films in Ukraine. Olha is a member of Ukrainian Film Academy, SOFA alumni, and part of the world’s Aspen Community Ukraine.

Anastasia Puhach

Born in Donetsk Anastasia escaped from war in 2014 and settled in Kyiv where she lived when Russia invaded Ukraine. She collaborated in various theatre projects with displaced people from Donbas and teenagers on the territory of Donetsk and Luhansk region near that time frontline. More recently she has been Program Director of the project Kinovernissage in Kyiv which promoted Ukrainian cinema. Anastasia also worked for two smaller regional film festivals in Ukraine.

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SCMS Conference 2022

SCMS Conference 2022
March 31-April 3: Virtual Conference

At this year’s SCMS conference 2022, there are three preconstituted panels on film festivals, sponsored by the Film and Media Festival SIG:

Saturday, April 2;
Session N – 3:00 PM Central Time

N11: At the Intersection of Art and Industry: Historical Case Studies of Festival Circuits

Chair: Chelsea McCracken, SUNY Oneonta Respondent: Roya Rastegar

  • Betsy Walters, Boston University, “Festival Diplomacy: CINE, American Nontheatrical Cinema, and the Film Festival Network, 1957–1977”
  • Chelsea McCracken, SUNY Oneonta, “‘A Pragmatic Move’: Festival Programming and LGBTQ Content”
  • Matt St. John, University of Wisconsin, Madison, “Movie-Made Utah: The Utah/US Film Festival, Regional Programming, and the Origins of the Sundance Film Festival”

Sunday, April 3;
Session P – 9:00 AM Central Time

P11: Empirical Approaches to Film Festivals: Theory/Method/Practice

Chair: Antoine Damiens, York University

Co-chair: Skadi Loist, Film University Babelsberg Konrad Wolf, Potsdam Respondent: Tamara Falicov, University of Kansas

  • Skadi Loist, Film University Babelsberg Konrad Wolf, Potsdam and Katharina Burgdorf, University of Mannheim, “Analyzing the Film Festival Network: Methodological Challenges”
  • Ritesh Mehta, Indian Film Festival of Los Angeles, “Diasporic filmmakers and curators on the shift to hybrid festivals: The example of South Asian festivals in the US”
  • Brad Limov, University of Texas at Austin, “Film Festivals and Community Activism: On the Potential for Affective Mobilizations”

Sunday, April 3;
Session S – 3:15 PM Central Time

S5: Critical Approaches to Online Film Festivals

Chair: Jonathan Petrychyn, Ryerson University

  • Ger Zielinski, Ryerson University, ”Pandemic Streaming: On COVID–19, Virtualized Film Festivals, and the Environmentalist Turn”
  • Laura U. Marks, Simon Fraser University, “The Small File Media Festival”
  • Jonathan Petrychyn, Ryerson University, “Streaming Censorship: Social Media Platforms and Content Moderation at the Toronto Queer Film Festival”
  • Antonio Peláez-Barceló, CEU San Pablo University, “Online vs offline cultural diversity in film festivals: Toronto and San Sebastian”


And there are five panels with festival papers:

Thursday, March 31;
Session D – 3:00 PM Central Time

D18 Interrogating the “Virtual”: Case Studies of VR

Chair: Ivy Roberts, University of Maryland, College Park

  • Ivy Roberts, University of Maryland, College Park, “‘Virtual’ Realities: Reclaiming VR for the cinema, a history to 1990”
  • Da Ye Kim, New York University, “Capitalizing on the Potential of Virtual Reality?: Film Festivals and the Rhetoric of VR as the ‘New Cinematic Medium’”
  • Caroline Klimek, York University, “Artist-Run Centres and XR Media: How Canadian Artists are Making Tech Accessible”

Friday, April 1;
Session F – 9:00 AM Central Time

F20 Beyond the Movie Theater: Questions of Cultural Legitimacy

Chair: Anthony Enns, Dalhousie University

  • Tom Fallows, University of Maryland Global Campus, “‘Netflix for Lunatics’: Full Moon Features and the Non-Theatrical Business Model, from Video Store to Streaming Service”
  • Eren Odabasi, Western Washington University, “Institutionalized Cultural Capital in Film Festivals: The Cannes 2020 ‘Label’”
  • Anthony Enns, Dalhousie University, “The Half-Life of Ubik: Philip K. Dick’s Unmade Film”
  • Kaya Turan, Stony Brook University, “Ambivalent Light: Spectatorial Models in Thomas Wilfred’s Lumia Suite, Opus 158”

Saturday, April 2;
Session K – 9:00 AM Central Time

K15 Asian/Pacific American Activism Deconstucting Naturalized Tropes

Chair: Heshen Xie, University of Nottingham

  • Heshen Xie, University of Nottingham, “Reimagining Queer Asia and Rurality in Hong Kong: Examining Asia Pacific Queer Film Festival Alliance Shorts”
  • Woori Han, University of Pennsylvania, “Sticky queer collectivity: Attachment and detachment in social media activism for LGBTQ rights in Korea”
  • Hang Wu, University of Chicago, “From Techno-Orientalism to Information Processing: On Asian Cyberscapes in the Cyberpunk New Wave”

Saturday, April 2;
Session M – 1:00 PM Central Time

M2 Speculative Methods of Feminist Film History

Chair: Catherine Russell, Concordia University

  • Jane Gaines, Columbia University, “Counterfactual Speculation: What if Antonia Dickson Had Invented the Kinetoscope?”
  • Hayley O’Malley, University of Iowa, “A Speculative History of the First Black Women’s Film Festival”
  • Aurore Spiers, University of Chicago, “‘My Name Is Alice Guy:’ Role-Playing and Women’s Film History
  • Catherine Russell, Concordia University, “The File on Theresa Harris, Black Star of the Archive”

Sunday, April 3;
Session R – 1:15 PM Central Time

R18 Politics of Film Circuits International Production, Distribution and Festivals

Chair: Sangjoon Lee, Nanyang Technological University

  • Kajsa Niehusen, University of California, Santa Barbara, “Vying for Access: German films in Turkey during World War II”
  • Carol Chih-Ju Lin, Indiana University, Bloomington, “Representing China in Taiwan: Hollywood Negotiating Locations and Cold War Politics in The Sand Pebbles and The Chairman”
  • Sangjoon Lee, Nanyang Technological University, “Destination Hawaii: Projecting Southeast Asian Cinema to the World”
  • Jeff Solomon, Wake Forest University and Heather Barnes, Wake Forest University, “The Queer Repertory Project: Initial Findings”

Sunday, April 3;
Session S – 3:15 PM Central Time

S6 Global Voices of Women Auteurs

Chair: Yifen Beus, Brigham Young University-Hawaii

  • Yifen Beus, Brigham Young University-Hawaii, “Fragmented Solidarity: Filming Oceanian Women in Waru (2017) and Vai (2019)”
  • Carolyn Bailey, Harvard University, “Self-Circulation: Repetition and Reproduction in Julie Dash’s Daughters of the Dust
  • Raha Shojaei, San Jose State University, “The Absence of Her Voice”
    • Aga Skrodzka, Clemson University, “Feminist Worlding in World Cinema: The Case of Malgorzata Szumowska”

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Film Festival Research @ NECS 2022 Bucharest CFP

The NECS Film Festival Research Workgroup calls for papers and pre-constituted panels/workshops for the NECS 2022 Conference, Bucharest 22-26 June.

The Film Festival Research Workgroup of NECS is looking forward to reconnect in person with film festival scholars, festival practitioners and friends during the upcoming NECS conference in Bucharest. The NECS 2022 will be held at the National University of Theatre and Film in Bucharest from 22-26 June. The conference theme is ‘Epistemic Media: Atlas, Archive, Network.’ You can find the call for papers on the conference page.

The workgroup is both interested in submissions that deal with this year’s theme and papers, panels and workshops that survey the field of film festival studies at large. In particular, we invite PhD students and young scholars to respond to the call and join the workgroup. We are also eager to hear from the various (funded) projects on film festivals that are ongoing worldwide.

Papers, panels and workshop proposals need to be submitted by 31 January, 2022. The Film Festival Research Workgroup would like to facilitate and streamline festival research submissions by offering sponsorship of pre-constituted panels and creating panels from individual submissions (to be submitted as pre-constituted panels). Sponsorship enhances visibility.

  • If you have a pre-constituted panel or workshop dealing with festivals and would like sponsorship, please get in touch with Marijke (m.devalck[at]uu.nl).
  • If you are looking for panelists, workgroup participants or respondents to complete your pre-constituted panel, consider using the film festival research mailing list in your search along with the NECS workgroup.
  • If you would like to be in a film festival panel, please send your individual paper proposal to Marijke before 21 January, 2022 (m.devalck[at]uu.nl). We will form panels and ask appointed chairs to submit the panel before the 31 January deadline.

Submission details

  • Conference participants may deliver one paper and may only serve in a MAXIMUM of two capacities (paper presentation, workshop participation, panel/workshop chair, respondent)
  • Submissions have word limits for abstracts (300 words), bios (150 words) and bibliography references (200 words)
  • The submission form is only open to registered NECS members who paid the membership fee.

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NECS 2021 Palermo

Due to the Covid-19 pandemic the NECS 2020 “Transitions: Moving Images and Bodies” conference scheduled for June 2020 had to be postponed and is currently (7-13 June 2021) taking place as NECS 2021 Palermo online.

Nevertheless, there is a big number of film and media festival related events happening.

The conference also collaborates with the Sicilia Queer 2021 International New Visions Film Festival.

Here is a list of panels, either focusing as a whole on film festivals or featuring single papers on film and media festivals:

Tuesday 8th » 12.00-14.00 CEST, Panel A2
Post-National Approaches to French Audiovisual Production in the 21st Century: Questions of Industry, Genres and Authorship

Chair: Christopher Meir » University Carlos III of Madrid

  • Olivier Thévenin, Sabine Bosler » Sorbonne Nouvelle University – Paris 3; University of Lorraine
    The Globalization of Audiovisual Creation: Circulating Frenchness through Mainstream Series in the Séries Mania Festival
  • Reece Goodall » University of Warwick
    Alexandre Aja: A Post-national Genre Auteur?
  • Belén Vidal » King’s College London
    The Place of the Biopic in Recent French Film Production

Tuesday 8th » 14.00-16.00 CEST, Panel B7
Transgender Practices

Chair: Alice Pugliese » University of Palermo

  • Sergio Rigoletto » University of Oregon
    Refugees and the Demand for Recognition: Film, Video Art and Media Activism in the Mediterranean
  • Harper Shalloe » Brown University
    Trans/sexual Negativity and the Ethics of (S)Exploitation in Let Me Die a Woman
  • Zeynep Serinkaya » Koç University
    KuirFest in Transit
  • Antoine Damiens » McGill University (moved from Saturday)
    Curating Gay Film Studies: 1970s Gay Film Critics/Scholars as Festival Organizers

Thursday 10th » 14.00-16.00 CEST
Networking Time

Friday 11th, 10.00-12.00 CEST
Film Festival Research Workgroup
Workgroup room 2

Friday 11th » 16».00-18.00 CEST, Panel I9
Transfers and Collaboration within State Socialist Cinemas

Chair: Dorota Ostrowska » Birkbeck College, University of London

  • Elena Razlogova » Concordia University
    Cultural Transfer in Socialist Film Festival Networks: Third Cinema at Karlovy Vary, Leipzig, Moscow, and Tashkent
  • Jindřiška Bláhová » Charles University, Prague
    Karlovy Vary International Film Festival and Fantasy vs. Reality of Intra-East Bloc Cooperation during Early Cold War
  • Ewa Ciszewska » University of Łódź
    International Stars or Working Class Representatives? Polish Actors and Actresses at the Karlovy Vary Film Festival
  • Joanna Szczutkowska » Kazimierz Wielki University, Bydgoszcz
    The Presence of Polish Cinema at Film Festivals in Yugoslavia in the 1970s

Saturday 12th » 12.00-14.00 CEST, Panel J9
Film Festivals

Chair: Alexandra Schneider » Johannes Gutenberg University of Mainz

  • Elena Oroz » University Carlos III of Madrid
    Cocina de Imágenes: a Pioneer Event for Tasting and Testing the Ingredients and Recipes of Latin American Women’s filmmakers during the 70s and Early 80s
  • Dorota Ostrowska » Birkbeck College, University of London
    “Circuit Festive Chronotope”: the Presence of Indigenous Films on the International Film Festival Circuit
  • Philippe Meers, Jasper Vanhaelemeesch » University of Antwerp
    Cine Latino in the Low Countries. A Multimethod Analysis of Latin American Cinema at Belgian and Dutch Film Festivals
  • Ecem Yildirim » Concordia University
    Europeanizing the Turkish Film Industry: the International Istanbul Film Festival’s Coproduction Market Meetings on the Bridge

Saturday 12th » 14.00-16.00 CEST, Panel K9
Cultural and Political Engagement at Documentary Festivals

Chair: Skadi Loist » Film University Babelsberg Konrad Wolf

  • Aida Vallejo » University of the Basque Country UPV/EHU
    Documentary Circulation, Film Festivals and Cultural Hierarchies: the Basque Context
  • Maria Peirano » University of Chile
    Archiving the Present, Facing the Future: Documentary Film Festivals and the Chilean Social Explosion
  • Alexandra-Maria Colta » University of Glasgow / University of St Andrews
    Film Festivals as Cultural Intermediaries: Human Rights Cinema and Curatorial Ethics
  • Lalehan Öcal » Yeditepe University
    Small Thematic Festivals as Public Sphere: Bozcaada International Festival of Ecological Documentary, a Possible Alternative

cancelled: Saturday 12th » 16.00-18.00 CEST, Panel L8
Forgotten LGBTQ/Feminist Media and Queer Futurism: Ephemerality as a Strategy of Transitional Re-imagination

Chair: Rosanna Maule » Concordia University

  • Antoine Damiens » McGill University
    Curating Gay Film Studies: 1970s Gay Film Critics/Scholars as Festival Organizers
  • Theresa Heath » King’s College, London
    Bodies in Transit/Festivals in Transition: Crossing Boundaries at Women’s and Queer Film Festivals

Saturday 12th » 16.00-18.00 CEST, Panel L9
Micro- and Macro-Politics: Images and Affectivity

Chair: Luca Barra » University of Bologna

  • Hunter Hargraves » California State University, Fullerton
    Democracy’s Chimera: Reality Television and the Rise of Western Populism
  • Diego Hoefel » NOVA University Lisbon – FCSH
    A Light in the Dark: Comedy in the Rise of the Far-Right
  • Peter Virginas » Babes-Bolyai University / Romanian Institute for Research on National Minorities
    Films Festival Participation: (any) Body that Matters
  • Cristina Balma-Tivola, Giuliana Galvagno » Polytechnic of Turin
    “See Them Cross the Barriers / See Them Cross the Borders”. Music Videoclip on Migration.

Sunday 13th » 14.00-16.00 CEST, Panel M6
Practices of Resistance: Moving Images and the Postsocialist Transition

Chair: Sima Kokotovic » Concordia University

  • Paige Sarlin » SUNY University, Buffalo
    Transversal Montage: Editing Transition and the Articulations of Historical Time in Želimir Žilnik’s Among the People: Life and Acting (2018)
  • Tamara Vukov » University of Montréal
    Of transitions and time slips: Post-socialist temporalities, media forms, and political militant practices of documentary enunciation in the Tranzicija (Transition) project
  • Sima Kokotovic » Concordia University
    Subversive: Uprisings, Protests and Film Festival as a Field of Resonance
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CfP Reframing Film Festivals: Histories, Economies, Cultures

Call for Papers
Reframing Film Festivals: Histories, Economies, Cultures
International Film Studies Conference
Venice, 11-12 February, 2020
Bari, 25-26 March, 2020

Abstract Proposal Deadline: 15 October 2019

Confirmed Keynote Speakers:

  • Gian Piero Brunetta, Università degli Studi di Padova
  • Gian Battista Canova, IULM Libera Università di Lingue e Comunicazione
  • Marijke de Valck, Utrecht University
  • Jean-Michel Frodon, Sciences-Po
  • Dina Iordanova, University of St Andrews
  • Roy Menarini, Alma Mater Studiorum – Università di Bologna
  • Dorota Ostrowska, Birkbeck, University of London

Throughout the 2000s the number of film festivals has increased all over the world at a tremendous pace. In 2019 FilmFreeway lists about eight thousand festivals as currently active, about twice the amount of less than a decade ago. Various factors prompted such a terrific growth, such as: festivals orchestrating the (trans)national production and distribution of cinema (Acciari and Menarini 2014; Iordanova 2015; Loist 2014; Wong 2011); festivals pivotally stimulating the touristic and economic development of their hosting community (Ercolano, Gaeta and Parenti 2017; Fischer 2013; Moretti and Zirpoli 2016); festivals acting as cultural arbiters of taste and quality (Bills 1994; Di Chiara and
Re 2011; Sassatelli 2011); etc. The scale of festivals today has not passed unnoticed, contributing to the emergence of a specific area of scholarly interest. In the last decade, the field of film festival studies has gained strength and status, focusing entirely on understanding the functions, the history and the role of film festivals (de Valck 2007; Elsaesser 2005; Iordanova 2013).

Reframing Film Festivals: Histories, Economies and Cultures – the conference organised by the Ca’ Foscari University of Venice and the Aldo Moro University of Bari, in collaboration with the the Apulia Film Commission, the Consulta Universitaria Cinema, and the Associazione Italiana per le Ricerche di Storia del Cinema – seeks to contribute to this field of research through a series of roundtables and debates involving film critics, practitioners and scholars. In particular, the conference is aimed at (re)framing the understanding of these institutions and their nature by proposing three approaches, different but interweaved:

  • A historiographical approach, one set to explore the ways film festivals contribute to
    shape the writing of film (and media) history, moulding the canon formation and
    informing aesthetic hierarchies.
  • A culturalist approach, one set to investigate how film festivals, by championing certain
    discourses of and on cinema and media, contribute to articulate and re-position specific national, cultural, gender identities.
  • An economic approach, one set to analyse the process by which film festivals add value within the film industry as much as to local touristic economies.

In this vein, Reframing Film Festivals: Histories, Economies, Cultures seeks to foster an
interdisciplinary and intersectional reading of film festivals, here conceived as a historiographic “dispositive”, as cultural formations and as financial institutions. Within a single and cohesive research framework, the Ca’ Foscari strand will be devoted to the critical-historic and historiographic dimension of film festivals, while at the University of Bari the focus will be placed on their cultural and economic dimension.

Therefore submissions, with both an empirical and/or a theoretical approach, are
welcomed across a range of topics including, but not limited to:

  • The festival-form: histories and theories
  • Film festivals and historiographic paradigms
  • Film festivals, aesthetic regimes and taste cultures
  • Micro-histories of film festivals
  • Politics of selection and programming in film festivals
  • Festival films/films for festivals
  • Artistic directors, jury members, selection boards
  • Editorial outputs of film festivals
  • The audiences of film festivals
  • Film festivals, cinephilia and criticism
  • Film festivals and national identities
  • Film festivals and geopolitics
  • Film festivals, ethnocentrism, exoticism
  • Film festivals and cultural consumption
  • Film festivals and gender
  • Film festivals and race
  • Thematic and retrospective film festivals
  • Archival film festival and contemporary historiography
  • TV and web festivals
  • Virtual reality festivals
  • “Small” film festivals: roles and functions
  • Film festivals and LGBTQI+ cultures
  • Erotic and pornographic film festivals
  • The films festivals’ circuit and the global film market
  • Film festivals: transnational distribution and production
  • Film festivals and film funds
  • Film festivals and digital platforms
  • Business models of film festivals
  • Film festivals and economic satellite activities
  • Film festivals and (cine)tourism
  • Film festivals and the fashion industry
  • Film festivals and celebrity culture
  • Fundraising for film festivals
  • Film festivals and sponsorship

We welcome proposals from scholars, film critics and film festival practitioners for traditional 20-minute individual presentations and panel proposals. The deadline for the submissions is 15 October 2019 and interested contributors should send a 300-500 word abstract and a short biographical note at the following email address: reframingfilmfestival@gmail.com. The accepted proposals will be
notified by 31 October 2019. The languages of the conference are Italian and English.

Organized by: Marco Dalla Gassa (University Ca’ Foscari, Venezia), Federico Zecca, Angela
Bianca Saponari (University of Bari “Aldo Moro”), Andrea Gelardi (University of St Andrews).


Abis, Mario, and Canova, Gianni (2014) I festival del cinema: Quando la cultura rende, Monza: Johan &Levi.

Acciari, Monica, and Menarini, Roy (eds.) (2014) “Geopolitical Strategies in Film Festivals between Activism and Cinephilia”, Cinergie: Il cinema e le altre arti, 6,

de Valck, Marijke (2007) Film Festivals: From European Geopolitics to Global Cinephilia, Amsterdam: Amsterdam University Press.

Di Chiara, Francesco and Re, Valentina (2011) “Film Festival/Film History: The Impact of Film Festivals on Cinema Historiography. Il Cinema Ritrovato and Beyond”, Cinémas: Revue d’Études Cinématographiques, Vol. 21 (2–3), pp. 131-151.

Elsaesser, Thomas (2005) “Film Festival Networks the New Topographies of Cinema in Europe”, European Cinema: Face to Face with Hollywood, Amsterdam: Amsterdam University Press, pp. 82–107.

Ercolano, Salvatore, Gaeta, Giuseppe Lucio and Parenti, Benedetta (2017) “Individual Motivations and Thematically-Oriented Film Festival Attendance: An Empirical Study Based on Spectators of the Artecinema International Documentary Festival in Naples (Italy)”, Quality and Quantity, Vol. 51 (2), pp. 709–727.

Fischer, Alex (2013) Sustainable Projections. Concepts in Film Festival Management. St Andrews: St Andrews Film Studies.

Iordanova, Dina (ed.) (2013) The Film Festival Reader, St Andrews: St Andrews Film Studies.

Iordanova, Dina (2015) “The Film Festival as an Industry Node”, Media Industries Journal, Vol. 1 (3), pp. 7–11.

Loist, Skadi (2014) “The Film Festival Circuit. Networks, Hierarchies, and Circulation”, in: de Valck, Marijke, Kredell, Brendan, and Loist, Skadi (eds.) Film Festivals. History, Theory, Method, Practice, London and New York: Routledge, pp. 49–43.

Moretti, Anna and Zirpoli, Francesco (2016) “A Dynamic Theory of Network Failure: The Case of the Venice Film Festival and the Local Hospitality System”, Organization Studies, Vol. 37 (5), pp. 607–633.

Nichols, Bill (1994) “Discovering Form, Inferring Meaning: New Cinemas and the Film Festival Circuit”, Film Quarterly, Vol. 47 (3), pp. 16–30.

Ongaro, Daniele (2005) Lo Schermo Diffuso: Cento Anni di Festival Cinematografici in Italia, Bologna: Libreria Universitaria Tinnarelli.

Sassatelli, Monica (2011) “Urban Festivals and the Cultural Public Sphere”, in: Delanty, Gerard, Giorgi, Liana, and Sassatelli, Monica (eds.) Festivals and the Cultural Public Sphere, London: Routledge, pp. 108–123.

Wong, Cindy Hing-Yuk (2011) Film Festivals. Culture, People, and Power on the Global Screen, London: Rutgers University Press.

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Film Festival Research workgroup @ NECS 2018 Amsterdam

The NECS 2018 Conference “media tactics and engagement” taking place in Amsterdam, Netherlands » June 27-29, 2018 is only a few days away.

Here is a list of all festival related papers and panels at this year’s NECS conference.

Panels Sponsored by Film Festival Research Workgroup

A7 Festivals’ History from 1950s to 1970s
Wednesday 27th » 9.00-10.45; UvA OMHP D1.18A

  • Chair: Stefano Pisu »University of Cagliari/University of Roma Tre
  • Caroline Moine »University of Versailles St-Quentin-en-Yvelines
    The International Federation of Film Producers Associations Backstage at International Film Festivals during the Cold War
  • Stefano Pisu »University of Cagliari/University of Roma Tre
    The “Giornata del film europeo” in Venice: Between Film Festivals and European Media Policies, 1956-1960
  • Gabrielle Chomentowski »National Institute for Oriental Languages and Civilizations, Paris
    African and Arab Filmmakers at Moscow and Tashkent Film Festivals: Foreign Policy and Professional Strategy during the Cold War
  • Elena Razlogova »Concordia University, Montreal
    Translation as Surveillance and Curation at the Moscow International Film Festival in the 1960s

B7  Festival Strategies: Top down / Bottom up
Wednesday 27th » 11.00-12.45, UvA OMHP D1.18A

  • Chair: Eija Niskanen »University of Helsinki
  • Melis Behlil »Kadir Has University
    Antalya in Istanbul: An Alternative “National Competition”
  • Ann Breidenbach »Stephens College
    Sightlines and Shadows: Citizen Jane, Activism, and Women’s Film Festivals
  • Diane Burgess »University of British Columbia
    #SeeTheNorth: Re-curating the National After TIFF at Canada’s Top Ten Film Festival
  • Ger Zielinski »Ryerson University
    Film Festivals as Media Practice: On Community Tactics and Strategies of Influence

C7  Film Festivals in the Global South
Wednesday 27th » 13.45-15.30, UvA OMHP D1.18A

  • Chair: Marijke de Valck »Utrecht University
  • Julia González de Canales »University of Vienna
    European Film Festivals’ production strategies in the Global South
  • Juliana Muylaert Mager »Universidade Federal Fluminense
    Brazilian documentaries in IDFA’s Bertha Fund: discussing the place for non-European cinemas in a globalized film festivals circuit
  • Konstantinos Tzouflas »University of Zurich
    Timely opportunities or poisoned gifts? The New Argentine Cinema, the Greek New Wave & the festival funding/prod. Instruments

D8  Queer Film Festivals
Wednesday 27th » 15.45-17.00, UvA OMHP E0.12

  • Chair: Skadi Loist »Film University Babelsberg
  • Frederik Dhaenens »Ghent University
    Moderately Queer Programming at an Established LGBTQ Film Festival: A case study of BFI Flare-London LGBT Film Festival
  • Theresa Heath »King’s College, London
    ‘Revolution sometimes happens because everyone refuses to go home’ Precarity and resistance at queer film festivals
  • Jonathan Petrychyn »York University
    Happy Queers in a ‘Market without Imagination’: Canadian Queer Film Festival Programming Tactics, 1995-2005

E2  Film Festivals after Netflix
Thursday 28th » 9.00-10.45, UvA OMHP A1.18D

  • Chair: Susan S. Kerns »Columbia College Chicago
  • Aleksandra Milovanovic »Faculty of Dramatic Arts in Belgrade, Serbia
    (Re)thinking Distribution, Exhibition and Spectatorship: Sustainability of Balkan Film Festivals
  • Eija Niskanen »University of Helsinki
    Positing animation film festivals in the film festival circle
  • Pete Porter »University of Amsterdam
    Okja, satire, and Netflix: this giant piggy went to market; this giant piggy came home
  • Kirsten Stevens »Monash University
    Film Festivals After Netflix: Rethinking contemporary film festival engagement and programming tactics

F  Film Festival Research Workgroup meeting
Thursday, 28 June 2018, 11-12.45,

I13  Film Festivals  (HoMER)
Friday 29th » 11.00-12.45, VU Main Building 14A20

  • Chair: Paul Moore
  • Sezen Kayhan »Koc University, Istanbul
    Alternative Exhibition Strategies of Film Festivals in Turkey
  • María Paz Peirano »Universidad de Chile
    Audience Formation”: Film Festivals and the Expansion of the Cinematic Field in Chile
  • Vincent Baptist »University of Amsterdam
    Curated Circulation: Exploring the Consecutive Dissemination of Feature Films by Festivals, Distributors and Cinemas
  • Maria A. Velez-Serna »University of Stirling
    Fringe festivals and DIY film exhibition in Scotland


Panels and Papers that might also be of Interest

F3  Queer Tactics, On and Behind the Screen: Practices of Coalition and Refusal in Cinema’s Queer Commons
Thursday 28th » 11.00-12.45, UvA OMHP C1.05

  • Chair: Ger Zielinski »Ryerson University
  • Antoine Damiens »Concordia University
    Cineffable’s invisible labour: Paris International lesbian film festivals’ subtitles, translation, and solidarity
  • Emma Flavian »McGill University
    Screening the Tear: Black Counter-Cinema, Bad Parolees, and Spectatorships of Empathy
  • Clinton Glenn »McGill University
    Murderers of the Patriarchy: Reframing the (Queer) Nation in Romas Zabarauskas’ Porno Melodrama and You Can’t Escape Lithuania

G1  How to Teach European Cinema: the European University Film Award and Beyond
Thursday 28th » 13.45-15.30, UvA OMHP A1.18C

  • Chair: Skadi Loist »Film University Babelsberg
  • Workshop participants:
    Kathrin Kohlstedde »Filmfest Hamburg
  • Dagmar Brunow »Linnaeus University
  • Lydia Papadimitriou »Liverpool John Moores University
  • Laura Copier »Universiteit Utrecht
  • Melis Behlil »Kadir Has University
  • Michał Pabiś-Orzeszyna »University of Lodz

G7  Engaging in Cultural Democracy: Pedagogy, Curatorship, Artistic Practice

Thursday 28th » 13.45-15.30, UvA OMHP D1.18A

  • Chair: Synne Tollerud Bull »University of Oslo, Norway
  • Andrea Pócsik »Pázmány Péter Catholic University
    “We, Europeans…” Challenges of socially engaged art, curatorship and teaching practice
  • Miriam De Rosa »Coventry University
    Curating Moving Images in the Postdigital Age
  • Paula Albuquerque »University of Amsterdam / Gerrit Rietveld Academy
    Beyond the Violet End of the Spectrum – Specter Visualization in the Age of CCTV and Drones
  • Susan Kerns »Columbia College Chicago
    Embodying Pedagogy and Contradiction in Film Festival Planning and Curation
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