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).

References

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,
https://cinergie.unibo.it/article/view/6991/6725.

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,
UvA OMHP D0.0

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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FFRN get-together @ Berlinale 2018

 

 

 

 

 

 

 

Dear film festival folk & colleagues:

Keeping with the tradition of previous Berlinale editions we will again 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, 17 February 2018, 7-9pm at the Corroboree restaurant/bar located in the Sony Center at Potsdamer Platz.  I have reserved a couch area located in the back of the restaurant on the ground floor.

If you are interested feel free to RSVP or just show up on the day.

Looking forward to seeing some of you there.

Skadi

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CfP Korean Film and Festivals: Global Transcultural Flows

CFP – edited collection
Korean Film and Festivals: Global Transcultural Flows 

Film festivals for over seventy years have been the driving force behind the global circulation of cinema. Film festivals are also a place where cultures are translated and transported into other cultures. Work on film festivals is a burgeoning field of interest in Film Studies. Much cutting edge work is currently being published on film festivals in relation to world cinemas, yet the relationship between Korean cinema and film festivals so far has been relatively neglected.

Until recently, the work on this subject has mainly focused on European and North American Film Festivals, with presumptions and expectations about different global film cultures being shaped there. Asia is slowly becoming more prominent in the international festival world, and so it will be crucial to investigate how film festivals in Korea are engaging in this new global prominence of film festivals in Asia, and how this in turn is transforming what an international film festival is.

We hope the following volume will expand upon and enlarge the current work that has already been done on film festivals in Korea. There are also numerous small film festivals that are held in Korea, which would be beneficial to research to reveal the role they play in Korean film culture, and compare their structure and operations to the larger Korean film festivals.

Korean cinema has been making large waves in international film festivals for over a decade now, not to mention having had a long history at European film festivals that began in the 1960s. However there has not yet been a systematic study on the ideas and problems related to curating Korean films at international film festivals.

Along with this focus on the growing role of film festivals in relation to Korean cinema and lack of research on film festivals within Korea, this edited volume “Korean Film Festivals: Global Transcultural Flows” aims to address the following blind spots:

  • What constitutes the term ‘world cinema,’ and what issues are at stake when Korean cinema enters foreign lands with (different) values attached to it?
  • How are national narratives created around Korean cinema at international film festivals? Although Korean cinema has a long history of screenings at international film festivals, why is it that only in the past decade has Korean cinema started to win major festival prizes and gain a firm place within the rubric of ‘world cinema’?
  • If the film festival is the place that aims to exhibit certain kinds of films, what place does Korean cinema have within the exhibition network, and what type of cinema and images are being sought from Korea by international festival curators?
  • How is Korean cinema’s global success related to the film industry side of film festivals, where business deals are made for the worldwide distribution of Korean cinema?
  • How can issues of cultural translation be analyzed when looking at what exactly Korean cinema represents to international audiences, and what those audiences desire from it?
  • If we compare how Korean cinema is curated within film festivals in Korea itself and at international film festivals, what does this reveal about the transcultural flows that emanate from Korea to the rest of the world?
  • How is Korean culture translated through cinema via the festival distribution network?
  • On the other side of the scale, how do film festivals within Korea operate and fit into the international festival world?

The above questions will be explored in this edited volume. Other papers related to Korean cinema at international film festivals or Korean film festivals but with different angles will also be considered.

Call for Papers

Proposal should include an abstract of 300 words and the name, institutional affiliation, a 100 word biography of the author, and the title of the paper.

Please submit the abstract by 10 January 2018 to Dr. Hyunseon Lee: hs53[at]soas.ac.uk.

The deadline for full chapter submission is the 1 September 2018. The length of article should be 6000-8000 words including footnotes and bibliography.

Hyunseon Lee, PhD. Habilitation
(SOAS, University of London)

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Update of the Film Festival Research bibliography

After a long overdue overhaul, we are proud to announce that the Film Festival Research bibliography is again up to date and includes a couple hundred new entries in all sections of the annotated bibliography.  Included are several new books and anthologies devoted to film festivals, listing also their individual contributions in the appropriate sections, as well as numerous articles, book chapters and research studies that have come out in the last two years.

Make sure to browse the new bibliography.  You can either follow the links in the table of contents, which will bring you directly to specific topic sections.  Or you can search the site by title, authors or terms by using the top right-hand search box.

If you are missing any new titles that you have come across that should be included here, feel free to get in touch so we can add them.

Happy reading.

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CfP Film Festival in South Asia (Workshop) 7-8 September 2017, Hyderabad, India

Film Festival in South Asia: A Dialogic Approach (a two-day workshop)

Cinema and Television History Research Centre CATH at De Montfort University (DMU) in Leicester, UK and Department of Film Studies, at the English and Foreign Languages  University (EFL-U) in Hyderabad, India, are delighted to welcome you to this  transnational workshop on Film Festival Studies, which will be held 7 and 8 September  2017 at the EFL-U campus at Hyderabad, India.

The workshop, led by Dr Monia Acciari, a film scholar at DMU specialising on film festivals and South Asian cinema, in collaboration with Dr Hrishikesh Ingle at EFL-U, seeks to combine multiple skills, expertise, and approaches to broaden the interdisciplinary dialogue on film festivals.

This workshop seeks to bring together scholars, research students, and non-academic debating the evolution of methods, practical processes, policy issues, and politics in programming and organization of film festivals. Specifically, the workshop will encourage the discussion between the industry and the academic world, and leverage both the theory and practice of film festivals. By bringing together practicing film festival organisers, audience developers, academics, and curators the aim is to expose diverse mechanisms like acquiring films, censorship, publicity, developing curatorial notes, cataloguing etc., operating within and through film festivals, and study how many of these parameters can be ‘culturally’ motivated.

The workshop will provide ample scope for participants to engage with existing theories, historical approaches, and transnational trajectories of film festival studies. Participants would be presenting their ideas on organising a film festival, and learn from interactions with experts, practicing curators, and festival organisers. All the participants will have the unique opportunity to have hands-on experience with the practical aspects of  programming film festivals; this experience will be enhanced by the support of audience developers and film festival curators from India and the UK.
Call for Proposals:

1. The workshop intends to select a maximum 10 proposals from PhD research scholars, and independent researchers who have been awarded their PhD degrees in the last two years.

2. Your proposal should include a maximum 2 A4 pages write-up detailing: a) the concept of the film festival that you would like to organise, b) a curatorial note that explains where your idea is emerging from, your arguments for deciding which films to select, and a brief
explanation of how your festival idea contributes to theoretical/practical aspects of film festival research. Along with this include a one page cover-letter, and your latest CV.

3. Last date to receive proposals: August 10 2017. Email your complete application to monia.acciari[at]dmu.ac.uk and hrishikesh[at]efluniversity.ac.in.

4. The organisers are trying hard to fund travel by AC3 tier train of selected participants within India. However, this will be confirmed after the selection process is completed.

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Discount code for Activist Film Festivals book

On occasion of the upcoming NECS 2017 Paris conference Intellect has offered to announce its latest release on film festivals with a discount of 40% (valid until 1/1/2018) with the discount code ACTIVIST40 for the book ACTIVIST FILM FESTIVALS: TOWARDS A POLITICAL SUBJECT edited by Sonia Tascon and Tyson Wils.

£45, $64
ISBN 9781783206346
Paperback 245 pages

Film festivals are an ever-growing part of the film industry, but most considerations of them focus almost entirely on their role in the business of filmmaking.
This book breaks new ground by bringing scholars from a range of disciplines together with industry professionals to explore the concept of festivals as spaces through an activist lens, as spaces where the sociopolitical identities of communities and individuals are confronted and shaped. Tracing the growth of activist and human rights-focused films from the 1970s to the present, and using case studies from San Francisco, Brazil, Bristol, and elsewhere, the book addresses such contentious topics as whether activist films can achieve humanitarian aims or simply offer “cinema of suffering.” Ultimately, the contributors attack the question of just how effective festivals are at producing politically engaged spectators?

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Film Festivals Studies @ Circuits of Cinema conference (HoMER), Toronto

Circuits of Cinema: Histories of Movie and Media Distribution is a HoMER Network Conference on the History of Moviegoing, Exhibition and Reception hosted by Paul Moore and the Circuits of Cinema Project at Ryerson University, Toronto, Canada, 22 to 24 June 2017.

Circuits of Cinema will be a forum for presentations of historicized or comparative research on movie distribution and media infrastructures of cultural exchange.  Presenters at Circuits of Cinema will collectively provide a spectrum of critical analysis on aspects of media distribution ranging from classical Hollywood’s global circulation, to histories of local and regional film circuits, to conditions in today’s networked media spaces.

As part of the conference hosting 100 presentations by authors of research on movie and other media distribution, from all eras and places, there will be two panels specifically dedicated to film festivals:

Film Festival Networks: The Work of Organizing Outreach
Sat. 24 June: 10:30 AM- 12:15 PM | Location: POD-372

Moderator: Jonathan Petrychyn

  • Jonathan Petrychyn (York University): “200 dykes having fun”: Organizing Queer and Women’s Film Festivals on the Canadian Prairies
  • Claudia Sicondolfo (York University), Wendy Donnan (York University): When Circuits Go Local: Examining TIFF’s National Outreach Program Film Circuit
  • Umayyah Cable (Northwestern University): Queers in Contest: The Cultural Politics of Palestine in LGBT/Queer Film Festival Organizing
  • Chelsea McCracken (University of Wisconsin-Madison): Taking the “Gay” Show on the Road: LGBTQ Film Festivals and Networks of Distribution

Film Festival Circuits: Methodological Issues
Sat. 24 June: 1:45PM- 3:15PM | Location: POD-372

Moderator: Deb Verhoeven

  • Skadi Loist (University of Rostock): Film Festival Circuits: Studying the Hubs in the Festival Network
  • Diane Burgess (University of British Columbia): Reconfiguring the national cinema value chain: Methodological dilemmas related to measuring the impact of film festival screenings
  • Kirsten Stevens (Monash University): Women in their place: symbolic value and dynamics of circulation in the women’s film festival network
  • Deb Verhoeven (Deakin University), Respondent

 

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Film Festival Research @ NECS 2017 Paris

As this year’s NECS Conference in Paris is coming closer, here is a handy list of the panels and workshops sponsored by the Film Festival Research workgroup.  Listed below is also our workgroup meeting, taking place Thursday evening. Please swing by!

B13: FILM AUDIENCES & FESTIVAL EXPERIENCE I: SENSES, BODY & AFFECT
Thursday, June 29, 11.30-13.15, Room D39

Chair: Marijke De Valck, Utrecht University

  • Dorota Ostrowska, Birkbeck College, London: Embodied Celluloid Spectres: Photographing Stars at Cannes Film Festival
  • Peter Virginas, Babes-Bolyai University / Romanian Institute for Research on National Minorities: Rhythms on the Festival Screen
  • Lin Che, Chinese Academy of Social Sciences, Beijing: The Film Carnival Unit and Carnivalesque Experience in Beijing International Film Festival
  • Lesley-Ann Dickson, Queen Margaret University: Space-Text-Audience: Festivalisation Practices and Shifting Spectatorship at Glasgow Film Festival

C13: FILM AUDIENCES & FESTIVAL EXPERIENCE II: RITUALS, POLITICS & CINEPHILIA
Thursday, June 29, 13.30-15.15, Room D39

Chair: Lin Che, Chinese Academy of Social Sciences, Beijing

  • Sonia M. Tascón, Western Sydney University: The Human Rights Film Festival Spectator: Community, Phenomenology, and Social Change
  • Patricia Caillé, Université de Strasbourg: A Powerful and Ritualized Storytelling: FIFAK, or the Mise-En-Scène of the Political Resistance in Tunisia
  • Marijke de Valck, Utrecht University: Cinephiles in the Making? IFFR’s Light Users and Incidental Visitors

Respondent: Dina Iordanova, University of St. Andrews

D13: FILM AUDIENCE & FESTIVAL EXPERIENCE III: REFRAMING HISTORICAL EVENTS
Thursday, June 29, 15.30-17.15, Room D39

Chair: Patricia Caillé, Université de Strasbourg

  • Carlos Daniel and Garcia Rivas, In the Same Shot: Surveillance at the Mar del Plata International Film Festival in 1959
  • Elena Razlogova, Concordia University: “They Mob the Pix”: Soviet Fans Assail Foreign Senses at Moscow and Tashkent Film Festivals
  • Tanja Krainhöfer and Thomas Wiedemann, Filmfestival Studien.de: Do Movies and Stories Really Have No Boundaries? Examining the Diversity of the Berlin International Film Festival (1980–2016)

WORKGROUP MEETING Film Festival Research
Thursday, June 29, 17.15-18.00, Université Sorbonne Nouvelle – Paris 3, D Building

F11: FILM FESTIVALS AND HISTORY/IES: ARCHIVES, MEMORY, AND TRACES
Friday, June 30, 11.00-12.45, Room D35

Chair: David Archibald, University of Glasgow

  • Alexandra Colta, University of Glasgow: Historicising the Festival and the Self
  • María Paz Peiran, Universidad de Chile: Mapping Histories and Archiving Ephemeral Landscapes: Challenges and Strategies Researching Film Festivals
  • Dunja Jelenkovic, Université Versailles Saint-Quentin-en-Yvelines: Film Festival Histories: From Archives to Programs, and Back
  • Katharina Kamleitner, University of Glasgow: The Epistemological and Methodological Challenges of Researching Women’s Film Festivals

F13: RESONANCE, MEMORY AND SOLIDARITY: QUEER FILM FESTIVALS AND AUDIENCE ENGAGEMENT
Friday, June 30, 11.00-12.45, Room D39

Chair: Saige Walton, University of South Australia

  • Stuart Richards, University of Melbourne: Queer Outwardly Australian Films and the Film Festival Circuit
  • Antoine Damiens, Concordia University: Visualising Queerness: LGBT Festivals as Archives and Cultural Memory
  • Clinton Glenn, McGill University: “We Are Not Errors”: Documentary Film and LGBT Activist Narratives in Russia

Respondent: Skadi Loist, University of Rostock

G2: THE USES OF FILM FESTIVALS
Friday, June 30, 13.00-14.45, Room D3

Chair: Pierre Barrette, Université du Québec à Montréal

  • Frédéric Gimello-Mesplomb, Université d’Avignon: Examining the Heritagization Process of Film Festivals as a Method of Approach
  • Pierre Barrette, Université du Québec à Montréal: Mapping the Current Offer of Audiovisual Festivals and Their Audiences in Montreal: Re-Thinking the Movie-Going Experience
  • Jean-Marc Leveratto, Université de Lorraine: Cinema Festivals and Ethnicity
  • Olivier Moeschler, Université de Lausanne: Reconstructing the Body, Augmenting the Senses. Integrating Film Festivals into Swiss Cultural Statistics

J12: INTERNATIONAL FESTIVAL OF AUDIOVISUAL PROGRAMS: THE CURRENT TRANSFORMATIONS OF SCREENS AND THE AUDIENCES
Saturday, July 1, 13.00-14.45, Room D37

Chair: Frédéric Gimello-Mesplomb,  Université d’Avignon

  • Kira Kitsopanidou, Université Sorbonne Nouvelle – Paris 3: Television and New Media Festivals and the Attention Economy
  • Mariana Medeiros Seixas, Université d’Avignon: The Fashion Synesthesia : Spectatorship Experience and the Fashion Film Festivals
  • Olivier Thevenin, Université Sorbonne Nouvelle – Paris 3: The Paris Virtual Film Festival and Its Relation to Human Sensory Experience
  • Christophe Cariou, Université Sorbonne Nouvelle – Paris 3: The Place of the Festival for Crowdfunded Films and Documentaries

K6: TRACES: FILM FESTIVALS AND HISTORY  (Workshop)
Saturday, July 1, 15.00-16.45, Room D27

Chair: Dorota Ostrowska, Birkbeck College, University of London

Participants:

  • Philippe Meers, University of Antwerp
  • Dorota Ostrowska, Birkbeck College, University of London
  • Malte Hagener, Philipps-Universität Marburg
  • Dina Iordanova, University of St Andrews
  • Caroline Moine, Université de Versailles
  • Elena Razlogova, Concordia University
  • Aida Vallejo, University of the Basque Country

 

In addition there are a few panels which also feature individual papers related to film festivals:

A4: Live and Experiential Cinema: Sensorial Excess in Immersive and Participative Film Spectatorship
Thursday, June 29, 9.30-11.15, Room D39

Chair: Lesley-Ann Dickson, Queen Margaret University

  • Rosana Vivar, University of Granada Spain: “Nowadays Is Not Only the Girlfriends That Come”: Exploring Gender Roles at San Sebastian Horror and Fantasy Film Festival
  • Sarah Atkinson, King’s College London: An Electric Shock to The Tongue – Fusing Cinema, Theatre, and Sensorial Augmentation
  • Helen W. Kennedy, University of Brighton: Funfear Attractions: the Playful Affects of Carefully Managed Terror in Immersive 28 Days Later Live Experiences
  • Brendon Wocke, University of Perpignan: Eating With Your Eyes: Edible Cinema and Participatory Synaesthesia

E7: Between Documentary and Experimental Realms: Avant-Doc, Past and Present
Friday, June 30, 9.00-10.45, Room D29

Co-sponsored by the Workgroups “Documentary Film” and “Cinema & Contemporary Visual Arts”

  • Chair: María Paz Peirano, Instituto de la Comunicación y la Imagen, Universidad de Chile
  • Greg de Cuir Jr, Independent Researcher/Curator, Belgrade: Circles, Lines, and Documentary Designs: Tomislav Gotovac’s Belgrade Trilogy
  • Juliana Froehlich, University of Antwerp/CAPES – Ministry of Education of Brazil (UA/CAPES): The Sensorial Reality abstraction and the Experimental Practice in A Margem | The Margin (1967), Ozualdo Candeias
  • Chris Cagle, Temple University: Structural Documentary on the Festival Circuit
  • Aida Vallejo, University of the Basque Country UPV/EHU: From the Festival to the Museum. Expanded Formats in Documentary Film.

H14: Queer Sensibilities
Saturday, July 1, 9.00-10.45, Room D32

Chair: tba

  • Fanni Feldmann, University of Debrecen: See With Your Tongue: Taste as an Alternative Gaze in Abdellatif Kechiche’s Blue is the Warmest Color (2013)
  • Theresa Heath, King’s College, London: Queer Film Festivals and New Sexual Geographies: The Mobilization of the Queer Body as a Tool of Space Reclamation
  • Jules O’Dwyer, University of Cambridge: Ekphrasis and the Queer Sensibilities of French Experimental Cinema
  • Ger Zielinski, Ryerson University: Queer Scenes in Transmedial Adaptations from Paris to Vancouver to Toronto

L2: Touching, Performing, Sharing, Curating: A Compilation of Cinematic Gestures
Saturday, July 1, 17.00-18.45, Room D3
Sponsored by the Workgroup “Cinema & Contemporary Visual Arts”

Chair: Kevin B. Lee, Art Institute of Chicago

  • Julian Ross, University of Westminster: Artist Moving Image in the Age of Swipe and Scroll
  • Miriam De Rosa, Coventry University: On Gesturality: Cinematic Images En Train De Se Faire.
  • Thomas Pringle, Brown University: Machine Intimacy: Habits of Sharing and the Mediation of Climate at Scale
  • David Richler, Carlton University: The Unifying Discourse of “World Cinema” at International Film Festivals and the Curatorial Gesture of Audiovisual Criticism
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