FFRN get-together @ Berlinale 2015

Dear film festival researchers & 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, 7 February 2015 from 8pm at the Corroboree restaurant/bar located in the Sony Center at Potsdamer Platz. I have reserved a couch area (for up to appr. 12 people) 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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The Oberhausen Seminar 2015

Oberhausen, 6 November, 2014

Open Call for Applications

The second Oberhausen Seminar on contemporary artists’ moving image practice

61st International Short Film Festival Oberhausen, 30 April – 5 May 2015

The International Short Film Festival Oberhausen, in conjunction with LUX (London) and The Robert Flaherty Film Seminar (New York), is organising the second Oberhausen Seminar, which will be held during the 61st International Short Film Festival Oberhausen (30 April to 5 May, 2015). The Oberhausen Seminar is designed for international practitioners who work with moving images. Applications will be accepted now, the deadline for applications is 1 February, 2015.

The Oberhausen Seminar is an experimental course designed to explore contemporary artists’ moving image practice in the context of a renowned international film festival. International practitioners from various fields – artists and filmmakers, curators and researchers who work with the moving image – will use the Oberhausen Festival as a laboratory to discuss ideas in the curation of contemporary moving image media, the infrastructures which allow them to circulate, and the critical frames used to analyse them.

The second edition will be led by Chi-hui Yang, a film programmer, lecturer and writer based in New York. Yang sits on the selection committee for MoMA’s Documentary Fortnight and is the president of the board of directors of the Flaherty Film Seminar. From 2000 to 2010 he was the Director of the San Francisco International Asian American Film Festival. Yang is also the programmer of “Cinema Asian American”, an on-demand service offered by Comcast in the US, a Visiting Scholar at New York University’s Asian/Pacific/American Institute and an adjunct professor at Hunter College and Columbia University.

Opinions of participants of the first Oberhausen Seminar:

“I loved the entire framework of a seminar engaging in the festival together. I particularly liked Oberhausen, the setting.”

“Meeting filmmakers was a great idea. The diverse range of filmmakers, curators, and academics was nice and rare.”

Deadline for applications: 1 February, 2015
Seminar fee: Euro 200
Applications via:luxmovingimage.formstack.com/forms/the_oberhausen_seminar_2015
E-mail for enquiries: seminar@kurzfilmtage.de

Seminar fees cover all Seminar sessions, a Festival pass, and refreshments and lunch for the festival period (6 days). All Seminar activities will take place in English. A maximum of 30 applications will be selected.

The organisers:

The International Short Film Festival Oberhausen, founded in 1954, is one of the oldest short film festivals in the world and one of the major international platforms for the short form. Oberhausen is known for its prestigious competition programmes and extensive thematic programmes. In addition, the festival offers visitors a well-equipped Video Library, operates a non-commercial short film distribution service and owns an archive of short films from over 60 years of film history.

LUX is a public arts agency based in London that exists to support and promote artists’ moving image work, through distribution, exhibition, education, publishing and research. The particular focus of LUX is visual arts-based moving image work – a definition which includes experimental film, video art, installation art, performance art, personal documentary, essay films and animation, and is inclusive both in terms of context and critical discourse.

The annual Robert Flaherty Film Seminar, founded in 1955, provides media makers, users, teachers and students an opportunity to confront the core of the creative process, reaffirm the freedom of the independent artist to explore beyond known limits and renew the challenge to discover.

Press contact: Sabine Niewalda, Tel. +49 (0)208 825-3073, niewalda@kurzfilmtage.de

 

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CfP “Film Festival Origins and Trajectories”

Special issue of the peer-reviewed journal New Review of Film and Television Studies
Guest-edited by Lydia Papadimitriou and Jeffrey Ruoff

Oct. 1, 2014 deadline for submission of proposals
(For accepted proposals, the deadline for completed 6,000-9,000 word essays is December 15, 2014.)

This special issue of NRFTS explores the genesis of festivals, in different countries, to trace the distances festivals have travelled from their origins, how changes are sometimes intentional and at other times the results of socio-political and economic transformations. The guest editors are interested in proposals that break new historical, methodological, and theoretical grounds and, with certain regions already represented in the issue, are especially interested in proposals about festivals in Latin America, underrepresented areas of Asia, as well as North Africa and the Middle East.

Email an abstract of 100-200 words and a 50-word bio to L.Papadimitriou@ljmu.ac.uk  and Jeffrey.k.ruoff@dartmouth.edu no later than Oct. 1, 2014.

Please forward to others who may be interested in contributing.

Best wishes,
Lydia Papadimitriou and Jeffrey Ruoff

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Queer Film Culture: Queer Cinema and Film Festivals

International Conference

University of Hamburg, 14-15 October 2014
in conjunction with Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival (14-19 October 2014)QFC_Poster

The queer film and festival landscape has seen vast changes in the last 25 years. On the occasion of the 25th anniversary of the Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival we want to assess the status of queer film culture in the form of queer cinema and film festivals today. Considering the availability of queer images, are queer film festivals still necessary? The vast number of more than 200 active festivals worldwide suggests they are. Then, what are the tasks and functions that queer film festivals serve for today’s queer film culture? What is shown at these events? The buzz of recent arthouse releases such as Weekend and Blue Is the Warmest Color beckons the question: What is queer cinema today? Have we reached a post-gay era of global art cinema or has a the New Wave Queer Cinema arrived?

This two-day international conference hosted by the University of Hamburg, taking place during and in conjunction with the Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival will bring together a stellar cast of international film and festival studies scholars, critics and festival programmers to discuss these issues. Two keynotes delivered by Prof. B. Ruby Rich (University of California, Santa Cruz) and Dr. Marijke de Valck (University of Amsterdam) will frame the conference and bring together the fields of film festival studies and queer cinema. In three panels we will approach Queer Film Culture from various angles. In a first panel, festival scholars will present current research on LGBT/Q film festivals. In a second panel, festival programmers will discuss the current tasks and challenges of LGBT/Q film festivals. In a third panel, film scholars will assess the current trends in queer cinema. In addition, the documentary film Queer Artivism,which is screened with the filmmakers in attendance, will provide audiovisual input from five LGBT/Q film festivals.

Conference language is English. Attendance is free.
Please register by 10 October 2014 at: conference[at]queerfilmculture.org.

More information is available on the conference website: www.queerfilmculture.org.

 

Organization & Contact

The conference is organized by Skadi Loist with support by the Körber Fonds Nachwuchsforschung and the Institut für Medien und Kommunikation, Universität Hamburg.

Skadi Loist
Universität Hamburg
Institut für Medien und Kommunikation
Von-Melle-Park 6, Postfach 20
20146 Hamburg
Germany

Email: skadi.loist[at]uni-hamburg.de
www.queerfilmculture.org

PROGRAM

 

Tuesday, 14 October 2014

Venue: Gästehaus der Universität, Rothenbaumchaussee 34, 20146 Hamburg

9.30-10.00h   Registration

10.00h  Welcome & Introduction

10.15-11.15h  Keynote: Film Festival Studies

“Film Festivals in Transition”
by Marijke de Valck (Amsterdam)

11.15-11.30h   Coffee Break

11.30-13.30h   Panel 1: Queer Film Festivals in Research

Chair: Laura Coppens (Berne)

  • Skadi Loist (Hamburg/Rostock): “Performativity and LGBT/Q Film Festivals”
  • Christian Klesse & Jon Binnie (Manchester): “Queer Solidarity and Spaces of Festivality: Queer Film Festivals in Europe”
  • Ger Zielinski (Trent): “When Film Was Film, and Video Was Video: On Queer Film Festival Programming and the Limits of Community Taste”
  • Pedro Marum & Sandra Palma Saleiro (Lisbon): “Queer Lisboa’s Audience in Research: How Queer Is the Queer Audience?”

13.30-14.30h   Lunch Break

14.30-16.30h  Panel 2: Roundtable: Queer Film Festivals in Practice

Chair: Dagmar Brunow (Hamburg)

  • João Ferreira (Queer Lisboa): “From LGBT to Queer: Defying Categorizations at Lisbon’s International Queer Film Festival”
  • Manny de Guerre (Side by Side): “LGBT Activism: Side by Side LGBT Film Festival”
  • Aleš Rumpel (Mezipatra): “Work Bitch: Volunteers and Professionals in the Context of Queer Film Festival Organization”
  • Joachim Post (LSF Hamburg): “LGBT Programming and Grassroots Democracy”
  • Antoine Damiens (Ecrans Mixtes & Queer Palm, Cannes): “Queering Cannes? A-list Festivals and Queer Cinema – the Case of the Queer Palm”
  • Michael Stütz (Xposed & Panorama, Berlinale): “Back to the Future? Queer Film Festivals and the Spaces They Inhabit”
Venue: Kampnagel, Jarrestraße 20, 22303 Hamburg

19.00h   Evening Program

Opening Night of 25th Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival

 

Wednesday, 15 October 2014

Venue: Medienzentrum Kino, Von-Melle-Park 5, 20146 Hamburg

10.00-11.30h   Film Screening in cooperation with the IMK

Queer Artivism
(Slovenia 2013, Maša Zia Lenárdič/Anja Wutej, 96’)

QueerArtivism_quer

12.00-14.00h   Lunch Break

Venue: Edmund-Siemers-Allee 1 Westflügel, Room 221, 20146 Hamburg

14.30-15.30h   Keynote: Queer Cinema

“The New Queer Cinema: Back To The Future”
by B Ruby Rich (Santa Cruz)

15.30-16.00h  Coffee Break

16.00-17.30h    Panel 3: Trends in Queer Cinema

Chair: Jan Pinseler (Magdeburg)

  • Marc Siegel (Frankfurt/Main): “How Do I Look (Now)?”
  • Rosalind Galt (King’s, London): “Returns to Nature: The Queer Pastoral in World Cinema”
  • Eliza Steinbock (Leiden): “Contemporary Trans* Cinema: Affective Tendencies, Communities, and Styles”
  • Natascha Frankenberg (Oldenburg): “Temporal Relations On and Off Documentary”

18.00h   Closing Remarks

 

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FFRN @ NECS 2014 Milano

As the NECS 2014 conference in Milano will kick off in a couple of days, here are a few updates on the final schedule.

The NECS 2014 Conference

Creative Energies » Creative Industries
Milan, Italy; 19-21 June 2014
Hosted by the Università Cattolica del Sacro Cuore
Organized by the Università Cattolica del Sacro Cuore and the University of Udine

The final program of the NECS 2014 conference in Milan is now online (with updated last-minute changes and cancellations): downoad the PDF here.

 

Film Festival Research at NECS 2014 Milan

The Film Festival Research Workgroup will kick off its incredibly productive year with the workgroup meeting on Thursday afternoon in session D.

Session D11:  Thursday 19th » 15:45-17:30

D11  Film Festival Research Work Group

 

For the 2014 NECS edition there will be a record number of 28 papers presented on film festivals within 9 panels.  For your conveniece here are all panels listed that feature film festival related research:

Session E:  Friday 20th » 9:00-10:45

E9 Images on Display. New and Old Festivals
Chair: Skadi Loist (Universität Rostock)

  • Christel Taillibert, John Wäfler (Université Nice Sophia Antipolis): On the Emergence of Film Festivals: Insights From France, Italy and Switzerland
  • Malte Hagener (Philipps-Universität Marburg): Towards an Expanded Cinema History. Expo 67 and the ‘Invention of Creativity’
  • Murat Akser (University of Ulster): Rise of the Queer Shorts: Turkish LGBT Festivals and the Short Narrative Film
  • Rosanna Maule (Concordia University): Women’s Festival 2.0, Between Grassroots Globalization and Neoliberal Feminism: the Birdseyeview Festival

Session F:  Friday 20th » 11:00-12:45

F1 Film Festival Origins
Chair:  Lydia Papadimitriou (Liverpool John Moores University)

  • James Udden (Gettysburg College): Festival des 3 Continents at Nantes: Expiation for the Sins of Omission
  • Kirsten Stevens (The University of Melbourne): Enthusiastic Amateurs: the Origins and Evolution of the Melbourne International Film Festival as Grassroots Celebration
  • Lydia Papadimitriou (Liverpool John Moores University): Thessaloniki (International) Film Festival: From Defining to Questioning Greek National Cinema

Session G:  Friday 20th » 13:45-15:30

G7 Unmapped Creativity. Asian Cinema and the Alternative Film Festival Network
Chair:  Ran Ma (Nagoya University)

  • Eija Niskanen (Helsingin Ylopisto): Small Asias in Europe: Asian Film Festivals Outside of Asia
  • Lydia Wu Dan (Newcastle University): Grassroots or International? The First China Women’s Film Festival
  • Ran Ma (Nagoya University): Kozoku and the Grassroots Film Network for Contemporary Japanese Independent Cinema
  • Ruby Cheung (Independent Scholar): The Mapping of the East Asian-related Film Festivals in the UK

Session H:  Friday 20th » 15:45-17:30

H2 Film Festivals and Politics: Challenges, Changes and Crises
Chair: David Archibald (University of Glasgow)

  • David Archibald (University of Glasgow): The Ethics and Politics of Human Rights Film Festivals
  • Dunja Jelenkovic (Université de Versailles Saint-Quentin-en-Yvelines): Yugoslav Documentary and Short Film Festival 1954-2000. From Yugoslav Socialism to Serbian Nationalism
  • Ger Zielinski (Trent University): Weg zum Nachbarn: On the Oberhausen Festival, Its Politics, and Its Crises

Session I:  Saturday 21st » 9:00-10:45

I1 Creative Energies and Queer Critical Voices: Alternative Frameworks of Cultural Production and Community Participation
Chair : Cindy Wong (CUNY)

  • Yuriy Zikratyy (Concordia University): It’s Free to Come Here—but You Have to Pay Fifty Cents!’: Money, Audience and Creative Energies in Jack Smith’s Artistic Practice
  • Giampaolo Marzi (Concordia University): The Crowd and the Community: Festival Crowd-Funding and the Communal Modes of Engaging Film Audiences
  • Antoine Damiens (Concordia University) Where’s the Audience? Understanding the Lesbian & Gay Film Festival Experience
  • Fulvia Massimi (Concordia University): ‘A Boy’s Best Friend is his Mother’: Quebec Matriarchy and Queer Nationalism in the Cinema of Xavier Dolan


I8 New Creativities: Visual Media Strategies in the Middle East and North Africa
Chair:  Boaz Hagin (Tel Aviv University)

  • Murat Akser (University of Ulster) New Media and Film Festivals in the Middle East
  • Alena Strohmaier (Philipps-Universität Marburg): Visual Media Strategies of the Iranian Diaspora
  • Stefanie Van de Peer (University of Stirling): New Media and Mainstream Cinema in Revolutionary North Africa

Session J:  Saturday 21st » 11:00-12:45

J7 Film Trade(s) at Film Festivals [1]
Chair:  Marijke de Valck (Universiteit van Amsterdam)

  • Cindy Wong (The City University of New York): Co-Production Markets in the Asian Context
  • Maria Paz-Peirano (University of Kent): Industry Labs and Markets: the Case of the ‘Newest’ Chilean Cinema in the International Film Festival Circuit
  • Dorota Ostrowska (Birkbeck, University of London) Producers’ Playground: the British Film Producers Association and International Film Festivals in the Post-war Period
  • Antonio Falduto (Universita degli Studi Internazionali di Roma): How Important are Film Festivals for Careers of Auteur Directors?

Session K:  Saturday 21st » 13:45-15:30

K9 Film Trade(s) at Film Festivals [2]
Chair:  Dorota Ostrowska (Birkbeck, University of London)

  • Marijke de Valck (Universiteit van Amsterdam): What About Screening Fees? Film Festivals as Revenue Stream
  • Enrico Vannucci (Oxford Brookes University): Mapping Hubs and Flows: Distribution and Trade Systems in the Short Film Festival Network
  • Skadi Loist (Universität Rostock): Methodological Challenges in the Study of Film Circulation on the International Film Festival Circuit

Session L: Saturday 21st » 15:45-17:30

L9 Geopolitical Strategies in Film Festival Between Activism and Cinephilia
Chair : Enrico Vannucci (Oxford Brookes University)

  • Monia Acciari (University of Oxford): The Socio-Cultural Activism of Film Festivals: the Fluid Spaces of London and Florence
  • Ludovica Fales (Università degli Studi di Udine): Landscapes of Creative Dissent, Protest and Freedom of Speech. Witnessing, Testifying and Narrating Dissent in Human Rights Film Network Between 2011 and 2013
  • Giacomo Di Foggia (Università di Bologna): On the Need to Analyze the Lives and Ideas of Festival Founders
  • Roy Menarini (Università di Bologna): Respondent

 

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CfP “Film Festival Cartographies” Symposium

Call for papers

“Film Festival Cartographies” Symposium
University of Modena and Reggio Emilia
20-21 November 2014
Modena, Italy

The organisers invite prospective participants to submit abstracts for paper presentations at “Film Festival Cartographies”, a two-day symposium hosted by the Department of Linguistic and Cultural Studies, University of Modena and Reggio Emilia and promoted by the Film Festival Research Network (FFRN) and the Ozu Film Festival.

Film festival studies have been drawing the attention of numerous academics for more than a decade now. Since the end of the 2000s, following the release of landmark theoretical monographs and series (de Valck 2007, Iordanova 2009-2014, Wong 2011), these studies have prominently grown into an independent research field. Moreover, due to the establishment of several networks aimed to develop scholarly research (like the Film Festival Research Network, Chinese Film Festival Studies Research Network, and European Festival Research Project), film festival studies have extensively and intensely expanded both in academia and festival events.

While the majority of publications have focused on feature film festivals, other so-called specialised branches of research have also emerged, focusing on documentary, LGBT/queer, short film, and human rights festivals, among others. Additionally, scholars from different fields of academia such as History, Anthropology, Sociology, Economy, Gender, Media and Film Studies, have drawn on diverse theoretical approaches to analyse the film festival phenomenon, which has become a particularly fertile field for interdisciplinary research.

These multiple perspectives on film festivals reveal the richness of festival sites, in terms of their cultural, political and economic complexity. As a global phenomenon, the dynamic expansion of the festival circuit involves the analysis of multiple, overlapping connections, which push the festivals’ symbolic and material borders. The global reach of festivals is formed by an ever-shifting group of festivals, entwined in a number of transnational networks and ‘circuits’ that have enabled international film circulation. Thus, film festivals have helped to shape the landscape of world cinema, whose imaginary and material geographies tend to both reflect and discuss the socio-spatial power of global film production.

The Film Festival Cartographies symposium endeavours to reflect on issues of global distribution, transnationalism, and on the social imaginaries and political economies embedded in film festivals. The symposium looks for contributions seeking to tackle the ‘social production’ of festival spaces (Lefevre, Harvey, Massey). Based on the idea of ‘critical cartographies’ (Harley, Wood), the event aims to explore the ways in which the festival ecosystem is constituted and marked in the world chart, and how festival maps could be understood as sites of power and knowledge. This involves thinking critically about the mapping strategies of both the festivals and the people working in the festival world. It also implies addressing the ways in which the festival circuit is imbedded in a particular ‘geopolitical aesthetic’ (Jameson) and how they reproduce certain ‘geographical imaginaries’ (Said). The discussion will be open to reflect on the various articulations between the dynamic structures of festival circuits and subjective festival experiences. Thus, it seeks to tackle, for example, the overlapping ‘mental maps’ (Jodelet, Lynch) that come into play at the festivals, related both to the personal trajectories at the festivals (Benjamin, de Certeau), and the festival‘s global position.

Therefore, we are interested in contributions that aim to explore, or challenge, the maps of international and regional film festivals. This mapping can be theoretical (on the various socio-political, morphological and economic aspects of festivals), as well as methodological, introducing new research approaches to the festival ecosystem.

The symposium seeks to continue enhancing the field of film festival studies, promoting the encounter between professionals and scholars from different academic backgrounds, and encouraging an interdisciplinary debate.

Confirmed keynote speakers are Dina Iordanova (University of St Andrews) and Marijke de Valck (University of Amsterdam).

Suggested topics for paper presentations include, but are not limited to:

  • Circuits, geographies and hierarchies in international film festivals
  • Subjective festival experiences: film festivals’ mind maps and perception
  • Mapping the “international” circuits, structuring the festival ecosystem
  • “Cosmopolitan” and “world cinema” imaginaries and film festivals
  • “Regional”, “national”, “international” festival categories and transnational festival practices
  • Global and local festival audiences
  • Travel, transit, and movements through the film festival network
  • Political economies of film festivals
  • Methodological approaches in film festival research

Please send a 200-word abstract proposal, and 3-5 keywords, along with your full name, institutional affiliation and short biography (ca. 50 words) to Enrico Vannucci and María-Paz Peirano at modenasymposium@gmail.com by 4th July 2014.

English will be the only official language of the symposium.

Participating papers will be eligible for publication in a volume edited by “Mimesis International” in April 2015.

Registration for the symposium will be available on http://www.ozufilmfestival.com later in the year.

 

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Kultureller Austausch und politische Konflikte. Filmfestivals im Kalten Krieg (Leipzig, 9-10 Mai 2014)

Konferenz

Kultureller Austausch und politische Konflikte. Filmfestivals im Kalten Krieg

Hannah-Arendt-Institut für Totalitarismusforschung e.V. (Dresden);
Centre d’histoire culturelle des sociétés contemporaines (Versailles)

09.-10.05.2014, Leipzig, Universitätsbibliothek “Albertina”,
Beethovenstr. 6, 04107 Leipzig

 

Filmfestivals sind häufig ein Politikum. Ihre Geschichte beinhaltet eine allgemeine, zeithistorisch interessante Komponente, da sich die Festivals nach dem Ende des Zweiten Weltkrieges mit den internationalen politischen und gesellschaftlichen Entwicklungen auseinandersetzen mussten. Während sich das Medium Film selbst zu einem Leitmedium des letzten Jahrhunderts entwickelte, etablierten sich in Europa zahlreiche Festivals, die als Schaufenster für Filmemacher und deren unterschiedliche Wahrnehmungen von Wirklichkeit dienten.

Als Untersuchungsfeld stehen nicht nur die Filme zur Diskussion, die aufgrund ihres Inhalts und ihrer künstlerischen Qualität von den Festivals ausgewählt oder aber gezielt abgelehnt wurden. Darüber hinaus ermöglicht auch der kulturpolitische Kontext der Festivals Rückschlüsse auf historisch interessante Prozesse, beispielsweise durch die Frage der Finanzierung eines Festivals, die Vergabe von Preisen oder die Rezeption in den zeitgenössischen Medien. Nicht zuletzt bieten sich die institutionellen und persönlichen Beziehungen zwischen den Festivals für Untersuchungen an, um mögliche Spannungen und Wechselwirkungen zwischen den rivalisierenden Machtblöcken aufzeigen zu können.

Im Rahmen der Konferenz wird die kulturpolitische Bedeutung von Filmfestivals vor dem Hintergrund des Kalten Krieges diskutiert. Die einzelnen Vorträge beleuchten politische oder künstlerische Konflikten im Rahmen der Festivals und deren gesellschaftliche Hintergründe. Darüber wird die Relevanz der Festivals für den künstlerischen Austausch innerhalb Europas thematisiert, zum Beispiel durch die Beteiligung von Regisseuren und Journalisten aus dem jeweils anderen Machtbereich.

 

Freitag, 9. Mai 2014

13:00 Dr. Caroline Moine/Dr. Andreas Kötzing: Begrüßung
13:15 Prof. Dr. Günther Heydemann: Begrüßung
13:30 Prof. Dr. Rüdiger Steinmetz (angefragt): Impulsreferat zur Eröffnung

14:00 Panel I: Ideologie, Filmpolitik und das Moskauer Festival
Moderation: Dr. Lars Karl (Leipzig)

14:00-14:40 Dr. Sergei I. Zhuk (Muncie, USA)
American Movies, Soviet Americanists und Moscow International Festivals during the Brezhnev Era

14:40-15:20 Prof. Dr. Oksana Bulgakowa (Mainz)
Die Preispolitik des Moskauer Filmfestivals in den 1970er-1990er Jahren

15:20 Kaffeepause

15:40 Panel II: Politische Spannungen bei Filmfestivals im Westen
Moderation: Tilman Pohlmann, M.A. (Dresden)

15:40-16:20 Elizabeth Ward, M.A. (Leeds)
The Cannes Film Festival as an Alternative Arena for Cold War Politics

16:20-17:00 Dr. Stefano Pisu (Cagliari)
A Dissidence Film Festival? The 1977 Venice Biennale of Cinema between Cultural Debate and Political Exploitation

Abendveranstaltung im „UT Connewitz“ (Wolfgang-Heinze-Str. 12A, 04277 Leipzig)

19:30 Uhr “Kurzer Draht und lange Leitung. Filmfestivals im Spannungsfeld zwischen Ost und West”. Interview-Film von Dietmar Hochmuth (Berlin 2014, ca. 45 Minuten)

20:30 Uhr Podiumsdiskussion: “Filmaustausch in politischen Krisenzeiten”.
Teilnehmer: Karola Gramann (Kinothek Asta Nielsen, Leiterin der Internationalen Kurzfilmtage Oberhausen von 1985-1989), Hans Michael Bock (Cinegraph – Hamburgisches Centrum für Filmforschung e.V.), Helmut Diller (Leiter des DEFA-Außenhandels von 1973-1990) und Dr. Grit Lemke (Leiterin des Dokumentarfilmprogramms bei DOK Leipzig)

22:00 Uhr “Der Aufenthalt” (DDR 1983, Regie: Frank Beyer, 95 Minuten)

 

Samstag, 10. Mai

9:00 Panel III: Alternative Akteure der Filmfestivalpolitik im Kalten Krieg
Moderation: Dr. Andreas Kötzing (Dresden)

9:00-9:40 Vaclav Smidrkal, M.A. (Prag)
Festivals of military films in the East and the West

9:40-10:20 Anne Bruch, M.A. (Hamburg)
Zwischen politischer Überzeugung und subtiler Werbung. Die Filmfestivalpolitik der europäischen Institutionen in den 1950er und 1960er Jahren

10:20 Kaffeepause

10:40 Panel IV: Internationaler Dialog? Diskurs und Realität
Moderation: Dr. Caroline Moine (Versailles)

10:40-11:20 John Wäfler, M.A. (Luzern)
Zwischen Förderung und Überwachung. Das Internationale Filmfestival von Locarno im Kalten Krieg

11:20-12:00 Dragan Batancev, M.A. (Belgrad)
The Belgrade FEST, or what happened when Peckinpah met Wajda

12:00-12:40 Dr. Andreas Kötzing (Dresden)
Zwischen Dialog und Abgrenzung. Die filmpolitischen Beziehungen zwischen den Kurzfilmfestivals von Oberhausen, Leipzig und Krakau in den 1960er Jahren

12:40 Mittagspause

13:30 Panel V: Filmaustausch zwischen Ost und West
Moderation: Dr. Fernando Ramos (Leipzig)

13:30-14:10 Dr. Regina Camara (Wien)
Von Karlovy Vary nach Cannes. Das brasilianische Cinema Novo auf den wichtigen europäischen Filmfestivals der 1960er Jahre

14:10-14:50 Dunja Jelenkovic, M.A. (Versailles)
Film Festival as an Arena for Political Debate – Black Wave Films at the Yugoslav Documentary and Short Film Festival in Belgrad and the West German Short Film Festival in Oberhausen from 1967 to 1973

14:50-15:30 Dr. Tobias Ebbrecht-Hartmann (Potsdam)
Sozialistische Leistungsschau oder Fenster zur Welt? Internationale Festivalbeiträge der Hochschule für Film und Fernsehen der DDR im Spannungsfeld des Kalten Krieges

15:30 Kaffeepause

15:45-16:30 Abschlussdiskussion

 

Die Teilnahme an der Konferenz ist kostenlos und nach vorheriger Anmeldung möglich. Bitte melden Sie Ihre Teilnahme bis zum 28. April 2014 an: hait@msx.tu-dresden.de.

 

 

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NECS 2014 Milan: Preliminary Program with Film Festival Research

The NECS 2014 Conference

Creative Energies » Creative Industries
Milan, Italy; 19-21 June 2014

Hosted by the Università Cattolica del Sacro Cuore
Organized by the Università Cattolica del Sacro Cuore and the University of Udine

The preliminary program of the NECS 2014 conference in Milan is now online: downoad the PDF here.

For the 2014 NECS edition we can happily report that there will be a record number of 28 papers presented on film festivals within 9 panels.  For your conveniece here are all panels listed that feature film festival related research:

Film Festival Research at NECS 2014 Milan

Session E:  Friday 20th » 9:00-10:45

E01 Images on Display. New and Old Festivals
Chair: tba

  • Christel Taillibert, John Wäfler (Université Nice Sophia Antipolis): On the Emergence of Film Festivals: Insights From France, Italy and Switzerland
  • Malte Hagener (Philipps-Universität Marburg): Towards an Expanded Cinema History. Expo 67 and the ‘Invention of Creativity’
  • Murat Akser (University of Ulster): Rise of the Queer Shorts: Turkish LGBT Festivals and the Short Narrative Film
  • Rosanna Maule (Concordia University): Women’s Festival 2.0, Between Grassroots Globalization and Neoliberal Feminism: the Birdseyeview Festival

Session F:  Friday 20th » 11:00-12:45

F01 Film Festival Origins
Chair:  Lydia Papadimitriou (Liverpool John Moores University)

  • James Udden (Gettysburg College): Festival des 3 Continents at Nantes: Expiation for the Sins of Omission
  • Kirsten Stevens (The University of Melbourne): Enthusiastic Amateurs: the Origins and Evolution of the Melbourne International Film Festival as Grassroots Celebration
  • Lydia Papadimitriou (Liverpool John Moores University): Thessaloniki (International) Film Festival: From Defining to Questioning Greek National Cinema

Session G:  Friday 20th » 13:45-15:30

G01 Unmapped Creativity. Asian Cinema and the Alternative Film Festival Network
Chair:  Ma Ran (Nagoya University)

  • Eija Niskanen (Helsingin Ylopisto): Small Asias in Europe: Asian Film Festivals Outside of Asia
  • Lydia Wu Dan (Newcastle University): Grassroots or International? The First China Women’s Film Festival
  • Ma Ran (Nagoya University): Kozoku and the Grassroots Film Network for Contemporary Japanese Independent Cinema
  • Ruby Cheung (Independent Scholar): The Mapping of the East Asian-related Film Festivals in the UK

Session H:  Friday 20th » 15:45-17:30

H01 Film Festivals and Politics: Challenges, Changes and Crises
Chair: David Archibald (University of Glasgow)

  • David Archibald (University of Glasgow): The Ethics and Politics of Human Rights Film Festivals
  • Dunja Jelenkovic (Université de Versailles Saint-Quentin-en-Yvelines): Yugoslav Documentary and Short Film Festival 1954-2000. From Yugoslav Socialism to Serbian Nationalism
  • Ger Zielinski (Trent University): Weg zum Nachbarn: On the Oberhausen Festival, Its Politics, and Its Crises

Session I:  Saturday 21st » 9:00-10:45

I01 Creative Energies and Queer Critical Voices: Alternative Frameworks of Cultural Production and Community Participation
Chair : tba

  • Yuriy Zikratyy (Concordia University): It’s Free to Come Here—but You Have to Pay Fifty Cents!’: Money, Audience and Creative Energies in Jack Smith’s Artistic Practice
  • Giampaolo Marzi (Concordia University): The Crowd and the Community: Festival Crowd-Funding and the Communal Modes of Engaging Film Audiences
  • Antoine Damiens (Concordia University) Where’s the Audience? Understanding the Lesbian & Gay Film Festival Experience
  • Fulvia Massimi (Concordia University): ‘A Boy’s Best Friend is his Mother’: Quebec Matriarchy and Queer Nationalism in the Cinema of Xavier Dolan


I10 New Creativities: Visual Media Strategies in the Middle East and North Africa
Chair:  tba

  • Murat Akser (University of Ulster) New Media and Film Festivals in the Middle East
  • Alena Strohmaier (Philipps-Universität Marburg): Visual Media Strategies of the Iranian Diaspora
  • Stefanie Van de Peer (University of Stirling): New Media and Mainstream Cinema in Revolutionary North Africa

Session J:  Saturday 21st » 11:00-12:45

J01 Film Trade(s) at Film Festivals [2]
Chair:  Marijke de Valck (Universiteit van Amsterdam)

  • Cindy Wong (The City University of New York): Co-Production Markets in the Asian Context
  • Maria Paz-Peirano (University of Kent): Industry Labs and Markets: the Case of the ‘Newest’ Chilean Cinema in the International Film Festival Circuit
  • Dorota Ostrowska (Birkbeck, University of London) Producers’ Playground: the British Film Producers Association and International Film Festivals in the Post-war Period
  • Antonio Falduto (Universita degli Studi Internazionali di Roma): How Important are Film Festivals for Careers of Auteur Directors?

Session K:  Saturday 21st » 13:45-15:30

K01 Film Trade(s) at Film Festivals [1]
Chair:  Dorota Ostrowska (Birkbeck, University of London)

  • Marijke de Valck (Universiteit van Amsterdam): What About Screening Fees? Film Festivals as Revenue Stream
  • Enrico Vannucci (Oxford Brookes University): Mapping Hubs and Flows: Distribution and Trade Systems in the Short Film Festival Network
  • Skadi Loist (Universität Rostock): Methodological Challenges in the Study of Film Circulation on the International Film Festival Circuit

Session L: Saturday 21st » 15:45-17:30

L01 Geopolitical Strategies in Film Festival Between Activism and Cinephilia
Chair : tba

  • Monia Acciari (University of Oxford): The Socio-Cultural Activism of Film Festivals: the Fluid Spaces of London and Florence
  • Ludovica Fales (Università degli Studi di Udine): Landscapes of Creative Dissent, Protest and Freedom of Speech. Witnessing, Testifying and Narrating Dissent in Human Rights Film Network Between 2011 and 2013
  • Giacomo Di Foggia (Università di Bologna): On the Need to Analyze the Lives and Ideas of Festival Founders
  • Roy Menarini (Università di Bologna): Respondent

 

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Film festival related panels at SCMS 2014 Seattle

The 2014 SCMS Conference Program is now available online here (opens as PDF).  For your convenience here are the panels and events listed that relate to film festival studies and the SCMS Film and Media Festivals Scholarly Interest Group:

SESSION F: THURSDAY, March 20, 2014, 11:00 am–12:45 pm

MEETING  Film & Media Festivals Studies Scholarly Interest Group
ROOM: Chelan First Floor, Lobby Level

SESSION I: THURSDAY, March 20, 2014, 5:00–6:45 pm

I8 Regional Film Festivals: Adapting and Transforming Identities

CHAIR: Diane Burgess – UNIVERSITY OF BRITISH COLUMBIA

  • Diane Burgess UNIVERSITY OF BRITISH COLUMBIA “A Tale of Two Cities: Local Exhibition, Regional Alliances, and the Development of Major Film Festivals in the Pacific Northwest”
  • Przemyslaw Suwart BAUHAUS UNIVERSITY WEIMAR “The Art of Mediation: Klaus Wildenhahn’s Film for Bossak and Leacock and the Oberhausen International Short Film Festival”
  • Enrico Vannucci OXFORD BROOKES UNIVERSITY “2.0 Could Be Cool, but Respectability Is Earned in the Real World: The ViaEmili@DocFest Case Study”
  • Ilona Hongisto UNIVERSITY OF TURKU “Differentiating Nations, Imagining the People: Post- Soviet North Eastern European Documentaries on the Festival Circuit”

SPONSOR: Film & Media Festivals Scholarly Interest Group

Meet-and-greet Dinner

There will also be a meet-and-greet dinner following the festival panel (Session I8: 5-6:45 PM, Thursday, March 20) on the same day with details on precisely which restaurant and time to be announced at the meeting and panel as well as over the SIG’s listserv that is enabled by joining the group on the SCMS website.

SESSION J: FRIDAY, March 21, 2014, 9:00–10:45 am

J2 Cultural Brokers and Critics

CHAIR: Kevin Hall UNIVERSITY OF CALIFORNIA, LOS ANGELES

  • Jinhee Park UNIVERSITY OF SOUTHERN CALIFORNIA “The Subjectivity of Filmmakers in the International Film Festival Industry: Case Study of Talent Campus Tokyo”
  • Lia Wolock UNIVERSITY OF MICHIGAN “New Media, New Communities: Digital Cultural Brokers in the South Asian Diaspora”
  • Jason Kelly Roberts NORTHWESTERN UNIVERSITY “’A Naturally Expectable Thing’: Bosley Crowther and the Convergence of Film and Television”
  • Kevin Hall UNIVERSITY OF CALIFORNIA, LOS ANGELES “Everyone’s a Critic: Intertextuality and Parody in The Critic

J17 The State of Black Independent Film

CHAIR: Christine Acham UNIVERSITY OF SOUTHERN CALIFORNIA

  • Mark Cunningham AUSTIN COMMUNITY COLLEGE “California Dreamin’, California Stuntin’: The Metamorphosis of Black Independent Film in the Debut Features of John Singleton and Ryan Coogler”
  • Christine Acham UNIVERSITY OF SOUTHERN CALIFORNIA “The New Chitlin’ Circuit: Independent Black Filmmaking and Black Film Festivals”
  • Zeinabu Davis UNIVERSITY OF CALIFORNIA, LOS ANGELES “Old School Meets New School: Developing and Maintaining Audiences for Black Independent Film from Killer of Sheep to Free Angela and All Political Prisoners
  • Eric Pierson UNIVERSITY OF SAN DIEGO “My Film Is Great because Sundance Says So!”

SPONSORS: Oscar Micheaux Society and Film & Media Festivals Scholarly Interest Groups

SESSION K: FRIDAY, March 21, 2014, 12:15–2:00 pm

K17 Mediations of Place-based Youth Identities

CHAIR: Margaret Zeddies WESTERN MICHIGAN UNIVERSITY
CO-CHAIR: Candice Haddad UNIVERSITY OF MICHIGAN

  • Sara Bernstein UNIVERSITY OF CALIFORNIA, DAVIS and Elise Chatelain UNIVERSITY OF CALIFORNIA, DAVIS“Werewolf Bar Mitzvah: Coming of Age on the Fringes of America”
  • Bonnie Tilland UNIVERSITY OF WASHINGTON “The Film Festival in Translation: Youth as Interpreters of Layers of Meaning at the Jeonju International Film Festival (JIFF)”
  • Margaret Zeddies WESTERN MICHIGAN UNIVERSITY “A More United Planet?: Global Community and Representations of Youth on a Voluntourism Website”
  • Candice Haddad UNIVERSITY OF MICHIGAN “Sh*t Arabs in Dearborn Do: The Frictions of Arab-American Youths’ Self-representational Strategies”

SESSION R: SUNDAY, March 23, 2014, 9:00–10:45 am

R9 Film, Civic Activism, and Education

CHAIR: Zeynep Yasar INDIANA UNIVERSITY

  • Hongwei Chen UNIVERSITY OF MINNESOTA “Mapping the Educational Dominant: Cinema’s Use-values between Shanghai and Nanjing in the 1930s”
  • David Scott Diffrient COLORADO STATE UNIVERSITY “From Johannesburg to Nürnberg: Global Cities, ‘Inhuman’ Pasts, and Human-rights Film Festivals”
  • Zeynep Yasar INDIANA UNIVERSITY “Gezi Park as Open-air Theater: Film Exhibition, Spectatorship, and Civic Activism in Istanbul”

SPONSORS: Middle East Caucus and Media Literacy + Pedagogical Outreach Scholarly Interest Group

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CfP “Distribution & Festivals” Special Issue Studies in Australasian Cinema

Studies in Australasian Cinema
ISSN: 1750-3175 (Print), 1750-3183 (Online)

Themed Issue 8.3: Distribution & Festivals (Nov-Dec 2014)

Abstracts of 300 words by April 30, 2014
Article submission deadline for 8.3: August 30, 2014

Edited by Greg Dolgopolov (UNSW), Kirsten Stevens (Monash) and Lauren Carroll Harris (UNSW).

Cinema distribution in Australasia is in crisis. Too many films are produced with substantial government investment in development and production but scant attention to distribution. Predictably they bomb at the box office and rarely find their audience. Australian cinema in particular appears largely bereft of innovative distribution ideas of how to meaningfully connect with audiences without a massive advertising budget. At the same time, film festivals in Australia are growing exponentially and films are frequently sold out amidst positive buzz. Hence, there is an audience for Australian/ Australasian screen content but it cannot be understood in extant framings of the commercial audience-production relationship.

This issue of Studies in Australasian Cinema suggests the need for a conceptual focus on the impact of distribution on lived film culture in Australasia today, around the three broad areas of screen business and policy, festival and exhibition, and audiences and production. Such a wide-ranging approach encourages a comprehensive look at the expanded role of distribution, not cast simply as a discrete sector or series of commercial exchanges, allowing scholars to recast current trajectories in film studies through the lens of distribution and film festival study. The goal is to show how the exertion of the distribution sector in festival and ongoing exhibition venues is critical in maintaining film’s presence or exclusion in popular culture. Currently, research into film distribution is not fully connected with questions of how audiences are constructed and the formative links between exhibition and distribution circuits and film production. This is the limited way of thinking we want to challenge.

Questions might include but are not limited to: What is the impact of Adelaide Film Festival’s production branch? What types of screen projects and cultures are new digital models of distribution like YouTube and VOD currently advancing and producing? In this digital sphere, crowd funding is most commonly thought of as a new financing model, but how does it affect distribution and what kinds of projects and genres are most clearly benefiting? What is the relationship between film festivals, policy and distribution? And what is the future of film festivals and distribution in Australia?

Email inquiries and submissions for 8.3 to Greg Dolgopolov.

All general questions regarding Studies in Australasian Cinema should be emailed to: Anthony Lambert.

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