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!

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

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

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

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

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

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

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

Saturday, July 1, 15.00-16.45, Room D27

Chair: Dorota Ostrowska, Birkbeck College, University of London


  • 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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New book: Film Festivals and Anthropology

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

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

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

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

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


Table of Contents

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


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

I.I. Curating Anthropology

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

I.II. Case Studies

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


  • Introduction: Ethnographies of Film Festivals: Reflections on Methodology
    Aida Vallejo
  • Insider/outsider Positions at Glasgow Film Festival: Challenges, Issues and Opportunities in Industry-Partnered Ethnographic Research
    Lesley-Ann Dickson
  • Travelling the Circuit: A Multi-sited Ethnography of Documentary Film Festivals in Europe
    Aida Vallejo
  • A Community at the Margins: An Ethnography of Chinese Independent Film Festivals
    Flora Lichaa
  • Programmer as Festival Spokesperson: Information Management Strategies at the Toronto International Film Festival
    SED Mitchell
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Study on the Programming Diversity of the Berlin International Film Festival (1980–2016)

Stories and Films Have (No) Boundaries

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

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

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

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

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FFRN get-together @ Berlinale 2017



Dear film festival folk & colleagues:

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

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

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

Looking forward to seeing some of you there.

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

Call for Papers

Multivoicedness and European Cinema: Representation, Industry, Politics

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

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

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

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

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

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

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

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

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

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

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

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

Conference email address: filmstudiesecrea[at]gmail.com

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


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

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


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

FilmFestivals_PromoFlyer_Seite_1About the Book

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

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

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

Table of Contents

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

Part I – History
Introduction Brendan Kredell

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

Part II – Theory
Introduction Marijke de Valck

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

Part III – Method
Introduction Skadi Loist

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

Part IV – Practice
Introduction Brendan Kredell

  • 10 Seeing Differently: The Curatorial Potential of Film Festival Programming
    Roya Rastegar
  • 11 Affective Labor and the Work of Film Festival Programming
    Liz Czach
  • 12 “The Festival Film”: Film Festival Funds as Cultural Intermediaries
    Tamara L. Falicov
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