{"id":100,"date":"2010-08-04T17:23:34","date_gmt":"2010-08-04T15:23:34","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-05-16T16:18:51","modified_gmt":"2025-05-16T14:18:51","slug":"1-1-1-film-festival-theory","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/1-film-festivals-the-long-view\/1-1-film-festival-studies\/1-1-1-film-festival-theory\/","title":{"rendered":"1.1.1 Film Festival Theory and Methodology"},"content":{"rendered":"

While it is true that film festivals need to be studied in greater detail and with more systematic rigor, it is no longer possible to maintain that there are not any comprehensive studies of film festivals available. The studies collected under the subcategory “1.1 a) Film Festival Theory” offer a solid introduction to the emerging field of film festival research, and constitute essential reading for anyone with an interest in film festivals. Due to the constraints of our format, we are limited to some brief introductory remarks. For more elaborate introductions we refer to Dina Iordanova’s editorial in the Film International<\/em> special edition on film festivals (2008), Dekalog 3: On Film Festivals <\/em>(2009) edited by Richard Porton, and the Film Festival Yearbook<\/em> series and The Film Festivals Reader<\/em> (2013) edited by Dina Iordanova.<\/p>\n

As one of the first critical studies of film festivals, Bill Nichols’ article “Global Image Consumption in the Age of Late Capitalism” (1994) takes up a central concern of film festival research, the local\/global dynamics: “Never only or purely local, festival films nonetheless circulate, in large part, with a cachet of locally inscribed difference and globally ascribed commonality. They both attest to the uniqueness of different cultures and specific filmmakers and affirm the underlying qualities of an ‘international cinema'” (Nichols 1994: 68). Media anthropologist Daniel Dayan introduced a second recurring theme in his study of the Sundance Film Festival: the engagement of distinctive groups with diverse interests. He described the festival as a set of divergent performances (by filmmakers, distributors, festival organizers, journalists, the audience etc.) and argues it is not limited to visual display, but above all a “verbal architecture” that is “made up of different versions, relaying different voices, relying on different sources of legitimacy” (Dayan 2000: 52). Several studies have attempted to make festivals’ versatility understandable. Julian Stringer (2003) explored film festivals as institutions, festival nations, festival cities, festival films and festival communities in his dissertation, developing theoretical approaches to fit each new angle. Kenneth Turan (2002, section 1) and Marijke de Valck (2007) tackled the diverse festival phenomenon with case studies that respectively take geopolitical, business and cultural\/aesthetic perspectives. Thomas Elsaesser (2005) and Janet Harbord (2002) offer valuable insights into festivals’ temporal and spatial dimensions. Other threads running through all festival theories include the festival network as an alternative distribution system, core-periphery relations, festival programming as agenda setting, value addition and distinction, spectacle, and the festival as a media event.<\/p>\n

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Acciari, Monia, and Roy Menarini. 2014. \u201cGeopolitical Strategies in Film Festivals Between Activism and Cinephilia: Editorial.\u201d Cinergie <\/i>(6): 6. http:\/\/www.cinergie.it\/?p=4901. Accessed March 29, 2019.<\/p>\n

Amiot-Guillouet, Julie, Pietsie Feenstra, and Julie Savelli. 2024. \u201cIntroduction.\u201d In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, xxv\u2013xxxiii. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n

Archibald, David, and Mitchell Miller. 2011. The Film Festival Dossier. Screen<\/i> 52, no. 2: 249\u201385.<\/p>\n

Archibald, David, and Mitchell Miller. 2011. \u201cThe Film Festival Dossier: Introduction.\u201d Screen<\/i> 52 (2): 249\u201352. https:\/\/doi.org\/10.1093\/screen\/hjr013.<\/p>\n

Barnes, Heather L. 2020. \u201cThe Data-Driven Festival: Recordkeeping and Archival Practices.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 53\u201359. New York: Palgrave Macmillan.<\/p>\n

Bazin, Andr\u00e9. 2009. \u201cThe Festival Viewed as a Religious Order.\u201d In Dekalog 3: On\u00a0Film Festivals<\/i>, edited by Richard Porton, 13\u201319. London: Wallflower.<\/p>\n

Berg, Magnus. 2022. \u201cExpanding Trans Cinema Through the Tranny Fest Collection.\u201d JCMS: Journal of Cinema and Media Studies<\/i> 61 (2): 181\u201387. https:\/\/doi.org\/10.1353\/cj.2022.0003.<\/p>\n

Berry, Chris, and Luke Robinson, eds. 2017. Chinese Film Festivals: Sites of Translation. <\/i>New York: Palgrave Macmillan.<\/p>\n

Bl\u00e1hov\u00e1, Jind\u0159i\u0161ka. 2014. \u201cEmpirick\u00fd V\u00fdzkum Festival\u016f Je Kl\u00ed\u010dov\u00fd, Ale T\u00e9m\u011b\u0159 Nemo\u017en\u00fd: Rozhovor S Dinou Lordanovou.\u201d In \u201cFilmove Festivaly | Film Festivals.\u201d edited by Jind\u0159i\u0161ka Bl\u00e1hov\u00e1. Special issue, Iluminace: \u010dasopis pro teorii, historii a estetiku filmu = Journal for Film Theory, History, and Aesthetics<\/i> 26. (1): 99\u2013105. [Empirical Research of Film Festivals is Crucial, but Almost Impossible. An Interview with Dina Iordanova.].<\/p>\n

Bl\u00e1hov\u00e1, Jind\u0159i\u0161ka, ed. 2014. \u201cFilmove Festivaly | Film Festivals.\u201d Special issue, Iluminace<\/i> 26, no. 1.<\/p>\n

Bosma, Peter. 2015. Film Programming: Curating for Cinemas, Festivals, Archives. <\/i>Short cuts 59. New York: Wallflower.<\/p>\n

Bruckner, Franziska, Jana Koch, and Alexandra Valent. 2018. \u201cFilmfestivals, in Theory: Interaktion Von Filmwissenschaft Und Festivalbetrieb.\u201d Maske und Kothurn<\/i> 64 (3): 7\u201310.<\/p>\n

Burgess, Diane. 2008. \u201cNegotiating Value: A Canadian Perspective on the International Film Festival.\u201d PhD Thesis, School of Communication, Simon Fraser University. Accessed May 22, 2020. http:\/\/summit.sfu.ca\/system\/files\/iritems1\/9173\/etd4165.pdf.<\/p>\n

Burgess, Diane. 2014. \u201cWhy Whistler Will Never Be Sundance, and What This Tells Us About the Field of Cultural Production.\u201d CJFS<\/i> 23 (1): 90\u2013108.<\/p>\n

Burgess, Diane. 2015. \u201cWe Can Haz Film\u00a0Fest: Internet Cat Video Festival Goes Viral.\u201d NECSUS<\/i> 4 (1 (#7)): 261\u201368. https:\/\/doi.org\/10.5117\/NECSUS2015.1.VAL4.<\/p>\n

Burgess, Diane. 2020. \u201cCapturing Film Festival Buzz: The Methodological Dilemma of Measuring Symbolic Value.\u201d NECSUS<\/i> 9 (2): 225\u201347. https:\/\/doi.org\/10.25969\/mediarep\/15318.<\/p>\n

Burgess, Diane, and Brendan Kredell. 2016. \u201cPositionality and Film Festival Research: A Conversation.\u201d In Film Festivals: History, Theory, Method, Practice<\/i>, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 159\u201376. London, New York: Routledge.<\/p>\n

Campos, Minerva, and Pietsie Feenstra. 2024. \u201cLes festivals de cin\u00e9ma en Europe: La longue histoire d\u2019une \u00ab d\u00e9marche \u00bb anthropologique.\u201d [Film festivals in Europe: the long history of an anthropological ‘approach’]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 3\u201322. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n

Campos Rabad\u00e1n, Minerva. 2021. \u201cDel Cine De Festivales a Los Encuentros Con La Academia: Focos (Y Algunas Zonas De Penumbra) En Los Film Festival Studies<\/i>.\u201d [From festival cinema to meetings with the academy: Spotlights (and some grey areas) in Film Festival Studies]. In Un Destello Que Flota: Veinte A\u00f1os De Festival Internacional De Cine De Las Palmas G.C.<\/i> [A flash that floats: Twenty years of the International Film Festival of Las Palmas G.C.], edited by Jes\u00fas Garc\u00eda Hermosa, 32\u201343 20: Ediciones El Drago. Accessed February 24, 2025.<\/p>\n

Campos Rabad\u00e1n, Minerva. 2024. \u201cQuand les cin\u00e9astes, publics et industries locales p\u00e8sent sur le circuit international des festivals.\u201d [When Filmmakers, Audiences and Local Film Industries Matter within the International Festival Circuit]. In Festivals et dynamiques cin\u00e9matographiques transnationales<\/i>, edited by Amanda Rueda, 115\u201333. Champs visuels. Paris: L’Harmattan.<\/p>\n

Campos-Rabad\u00e1n, Minerva. 2020. \u201cInequalities Within the International Film Arena: A Framework to Studying Latin American Film Festivals.\u201d In \u201cFestivales De Cine En Am\u00e9rica Latina: Historias Y Nuevas Perspectivas.\u201d: Historias Y Nuevas Perspectivas<\/i> [Film Festivals in Latin America: Histories and New Perspectives], edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicaci\u00f3n y Medios<\/i> 29. (42): 70\u201382. Accessed January 09, 2022. https:\/\/revistaestudiosarabes.uchile.cl\/index.php\/RCM\/article\/view\/57224\/68413.<\/p>\n

Campos-Rabad\u00e1n, Minerva. 2020. \u201cTensiones en el circuito cinematogr\u00e1fico internacional: modelo para el estudio de los festivales latinoamericanos.\u201d In \u201cFestivales De Cine En Am\u00e9rica Latina: Historias Y Nuevas Perspectivas.\u201d: Historias Y Nuevas Perspectivas<\/i> [Film Festivals in Latin America: Histories and New Perspectives], edited by Maria P. Peirano and Aida Vallejo. Special issue, Comunicaci\u00f3n y Medios<\/i> 29. (42): 72-84. [Inequalities within the International Film Arena: A Framework to Studying Latin American Film Festivals]. Accessed June 02, 2021. https:\/\/comunicacionymedios.uchile.cl\/index.php\/RCM\/article\/view\/57224.<\/p>\n

Caneppele, Paolo. 2022. \u201cAmateur Film Festivals: Sources, History, and Perspectives.\u201d Studies in European Cinema<\/i> 19 (3): 191\u2013203. https:\/\/doi.org\/10.1080\/17411548.2022.2087051.<\/p>\n

Chadha, Siddharth. 2021. \u201cCurating Precarity: Swedish Queer Film Festivals as Micro-Activism.\u201d PhD Thesis, Department of Informatics and Media, Uppsala University. Accessed May 05, 2021. http:\/\/urn.kb.se\/resolve?urn=urn:nbn:se:uu:diva-432531.<\/p>\n

Cousins, Mark. 2013. \u201cWidescreen on Film Festivals (2006) \/\u00a0Film\u00a0Festival Form:\u00a0A\u00a0Manifesto (2012).\u201d In The Film Festivals Reader<\/i>, edited by Dina Iordanova, 167\u201372. St Andrews: St Andrews Film Studies.<\/p>\n

Czach, Liz. 2016. \u201cAffective Labor and the Work of Film Festival Programming.\u201d In Film Festivals: History, Theory, Method, Practice<\/i>, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 196\u2013208. London, New York: Routledge.<\/p>\n

Dalla Gassa, Marco, Andrea Gelardi, and Federico Zecca. 2022. \u201cReframing Film Festivals: Politics, Histories and Agencies.\u201d Cinergie<\/i> 11 (22): 1\u20136. https:\/\/doi.org\/10.6092\/issn.2280-9481\/16043.<\/p>\n

Damiens, Antoine. 2018. \u201cThe Queer Film Ecosystem: Symbolic Economy, Festivals, and Queer Cinema\u2019s Legs.\u201d Studies in European Cinema<\/i> 15 (1): 25\u201340. https:\/\/doi.org\/10.1080\/17411548.2018.1433001.<\/p>\n

Damiens, Antoine. 2020. \u201cFilm Festivals of the 1970s and the Subject of Feminist Film Studies: Collaborations and Regimes of Knowledge Production.\u201d Journal of Film & Video<\/i> 72 (1-2): 21\u201332. https:\/\/doi.org\/10.5406\/jfilmvideo.72.1-2.0021.<\/p>\n

Damiens, Antoine. 2020. LGBTQ Film Festivals: Curating Queerness. <\/i>Amsterdam: Amsterdam University Press.<\/p>\n

Damiens, Antoine. 2020. \u201cSubtitles as Revoicing: Film Festivals and the Globalization of Film.\u201d Journal of Common Market Studies<\/i> 59 (4): 178\u201383. https:\/\/doi.org\/10.1353\/cj.2020.0056.<\/p>\n

Damiens, Antoine. 2023. \u201cFestivals, Covid-19, and the Crisis of Archiving.\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 291\u2013305. Cham: Palgrave Macmillan.<\/p>\n

Damiens, Antoine, and Marijke de Valck. 2023. \u201cWhat Happens When Festivals Can\u2019t Happen?\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 1\u201313. Cham: Palgrave Macmillan.<\/p>\n

Dawson, Leanne, and Skadi Loist. 2018. \u201cQueer\/ing Film Festivals: History, Theory, Impact.\u201d Studies in European Cinema<\/i> 15 (1): 1\u201324. https:\/\/doi.org\/10.1080\/17411548.2018.1442901.<\/p>\n

Dayan, Daniel. 2000. \u201cLooking for Sundance: The Social Construction of a Film Festival.\u201d In Moving Images, Culture and the Mind<\/i>, edited by Ib Bondebjerg, 43\u201352. Luton: Univ. of Luton Press.<\/p>\n

de Valck, Marijke. 2006. \u201cFilm Festivals: History and Theory of a European Phenomenon That Became a Global Network.\u201d Dissertation, ASCA, University of Amsterdam. Accessed March 29, 2020. http:\/\/dare.uva.nl\/record\/191926.<\/p>\n

de Valck, Marijke. 2007. Film Festivals: From European Geopolitics to Global Cinephilia. <\/i>Amsterdam: Amsterdam University Press.<\/p>\n

de Valck, Marijke. 2013. \u201cFilm\u00a0Festivals: Successful or Safe? (2007).\u201d In The Film Festivals Reader<\/i>, edited by Dina Iordanova, 97\u2013108. St Andrews: St Andrews Film Studies.<\/p>\n

de Valck, Marijke. 2014. \u201cFilm Festivals, Bourdieu, and the Economization of Culture.\u201d CJFS<\/i> 23 (1): 74\u201389.<\/p>\n

de Valck, Marijke. 2014. \u201cSupporting Art Cinema at a Time of Commercialization: Principles and Practices, the Case of the International Film Festival Rotterdam.\u201d Poetics<\/i>, no. 42: 40\u201359. https:\/\/doi.org\/10.1016\/j.poetic.2013.11.004.<\/p>\n

de Valck, Marijke. 2016. \u201cFostering Art, Adding Value, Cultivating Taste: Film Festivals as Sites of Cultural Legitimization.\u201d In Film Festivals: History, Theory, Method, Practice<\/i>, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 100\u2013116. London, New York: Routledge.<\/p>\n

de Valck, Marijke. 2016. \u201cIntroduction: What Is a Film Festival? How to Study Festivals and Why You Should.\u201d In Film Festivals: History, Theory, Method, Practice<\/i>, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 1\u201311. London, New York: Routledge.<\/p>\n

de Valck, Marijke. 2017. \u201cScreening World Cinema at Film Festivals: Festivalisation and (Staged) Authenticity.\u201d In Routledge Companion to World Cinema<\/i>, edited by Rob Stone, Paul Cooke, Stephanie Dennison, and Alex Marlow-Mann, 393\u2013403. Oxford: Routledge.<\/p>\n

de Valck, Marijke, and Antoine Damiens, eds. 2023. Rethinking Film Festivals in the Pandemic Era and After. <\/i>Cham: Palgrave Macmillan.<\/p>\n

de Valck, Marijke, Brendan Kredell, and Skadi Loist, eds. 2016. Film Festivals: History, Theory, Method, Practice. <\/i>London, New York: Routledge.<\/p>\n

de Valck, Marijke, and Skadi Loist. 2009. \u201cFilm\u00a0Festival Studies: An Overview of a Burgeoning Field.\u201d In Film\u00a0Festival Yearbook 1: The Festival Circuit<\/i>, edited by Dina Iordanova and Ragan Rhyne, 179\u2013215. St. Andrews: St Andrews Film Studies.<\/p>\n

de Valck, Marijke, and Ger Zielinski. 2023. \u201cGreening Film Festivals.\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 307\u201328. Cham: Palgrave Macmillan.<\/p>\n

Di Foggia, Giacomo. 2014. \u201cCinephilia and Festivals: On the Need to Analyze the Lives and Ideas of Festival Founders.\u201d Cinergie <\/i>(6): 42\u201349. http:\/\/www.cinergie.it\/?p=4929. Accessed May 15, 2015.<\/p>\n

Dickson, Lesley-Ann. 2014. \u201cFilm Festival and Cinema Audiences: A\u00a0Study of Exhibition Practice and Audience Reception at Glasgow Film Festival.\u201d PhD\u00a0Thesis, University of Glasgow. Accessed May 31, 2020. http:\/\/theses.gla.ac.uk\/id\/eprint\/5693.<\/p>\n

Dickson, Lesley-Ann. 2017. \u201cInsider\/Outsider Positions at Glasgow Film Festival: Challenges, Issues and Opportunities in Industry-Partnered Ethnographic Research.\u201d In Film Festivals and Anthropology<\/i>, edited by Aida Vallejo and Maria-Paz Peirano, 261\u201376. Cambridge: Cambridge Scholars Publishing.<\/p>\n

Diestro-D\u00f3pido, Mar. 2014. \u201cFilm Festivals: Cinema and Cultural Exchange.\u201d PhD Thesis, Queen Mary, University of London. Accessed April 03, 2016. http:\/\/qmro.qmul.ac.uk\/jspui\/handle\/123456789\/8900.<\/p>\n

Diestro-D\u00f3pido, Mar. 2021. Film Festivals: Cinema and Cultural Exchange. <\/i>Cambridge: Legenda; Modern Humanities Research Association.<\/p>\n

Dovey, Lindiwe. 2015. Curating Africa in the Age of Film Festivals: Film Festivals, Time, Resistance. <\/i>Framing Film Festivals. London, New York: Palgrave Macmillan.<\/p>\n

Dovey, Lindiwe, and Estrella Sendra. 2023. \u201cToward Decolonized Film Festival Worlds.\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 269\u201389. Cham: Palgrave Macmillan.<\/p>\n

Duki\u0107, Nenad. 2021. \u201cVrste Filmskih Festivala.\u201d [Types of Film Festivals]. Anthology of Essays by Faculty of Dramatic Arts: Journal of the Institute of Theatre, Film, Radio and Television – \u0417\u0431\u043e\u0440\u043d\u0438\u043a \u0440\u0430\u0434\u043e\u0432\u0430 \u0424\u0430\u043a\u0443\u043b\u0442\u0435\u0442\u0430 \u0434\u0440\u0430\u043c\u0441\u043a\u0438\u0445 \u0443\u043c\u0435\u0442\u043d\u043e\u0441\u0442\u0438<\/i>, no. 40: 135\u201354. https:\/\/doi.org\/10.18485\/fdu_zr.2021.40.8.<\/p>\n

Edemen, Fatma. 2024. \u201cNation, film et festival transnationaux: Les festivals de films kurdes en Europe et la d\u00e9finition du cin\u00e9ma kurde.\u201d [Transnational Nation, Film and Festival: Kurdish Film Festivals in Europe on Defining the Kurdish Cinema]. In Festivals et dynamiques cin\u00e9matographiques transnationales<\/i>, edited by Amanda Rueda, 217\u201335. Champs visuels. Paris: L’Harmattan.<\/p>\n

Elsaesser, Thomas. 2005. \u201cFilm Festival Networks: The New Topographies of Cinema in Europe.\u201d In European Cinema: Face to Face with Hollywood<\/i>, 82\u2013107. Amsterdam: Amsterdam University Press. Accessed April 11, 2007. http:\/\/home.hum.uva.nl\/oz\/elsaesser\/essay-EuropeanCinema-festival.pdf.<\/p>\n

Elsaesser, Thomas. 2010. \u201cFilmfestival-Netzwerke: Die neue Topografie des europ\u00e4ischen Kinos.\u201d critic.de<\/i>, November 25, 2010. http:\/\/www.critic.de\/special\/thomas-elsaesser-filmfestival-netzwerke-die-neue-topografie-des-europaeischen-kinos-3237\/.<\/p>\n

Erk\u0131l\u0131\u00e7, Hakan, ed. 2022. Film Festivalleri E-Kitabi 1: 10-11 Kasim 2021, Ankara<\/i>. With the assistance of S. Dikkol. Ankara: De Ki Basim Yayim. [Film Festivals E-Book 1]. Accessed August 06, 2022.<\/p>\n

Erkin, Onur. 2022. \u201cSalg\u0131n D\u00f6neminde Film Festivallerinin D\u00f6n\u00fc\u015f\u00fcm\u00fc Ve Paravan Film Festivalleri.\u201d In Film Festivalleri E-Kitabi 1: 10-11 Kasim 2021, Ankara<\/i>, edited by Hakan Erk\u0131l\u0131\u00e7, 149\u201369. Ankara: De Ki Basim Yayim. [The Transformation of Film Festivals during the Pandemic and Mock Film Festivals].<\/p>\n

Ethis, Emmanuel. 2001. Aux marches du palais: Le festival de Cannes sous le regard des sciences sociales. <\/i>Questions de culture. Paris: Documentation fran\u00e7aise. [On the steps of the Palace. The Cannes Film Festival under the social sciences gaze].<\/p>\n

Ethis, Emmanuel. 2002. Avignon, le public r\u00e9invent\u00e9: Le Festival sous le regard des sciences sociales. <\/i>Questions de culture. Paris: Documentation fran\u00e7aise. [Avignon, the public reinvented. The festival under the gaze of the social sciences].<\/p>\n

Evans, Owen. 2007. \u201cBorder Exchanges: The Role of the European Film Festival.\u201d Journal of Contemporary European Studies<\/i> 15 (1): 23\u201333.<\/p>\n

Falicov, Tamara Leah. 2016. \u201cThe ‘Festival Film’: Film Festival Funds as Cultural Intermediaries.\u201d In Film Festivals: History, Theory, Method, Practice<\/i>, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 209\u201329. London, New York: Routledge.<\/p>\n

Farnel, Sean. 2013. \u201cTowards a Filmmaker’s Bill of Rights for Festivals (2012).\u201d In The Film Festivals Reader<\/i>, edited by Dina Iordanova, 223\u201329. St Andrews: St Andrews Film Studies.<\/p>\n

Farrar, Ruth. 2021. \u201cCreating Impact Through Participatory Action Research: A Film Festival Framework Case Study.\u201d Research for All<\/i> 5 (1): 118\u201333. https:\/\/doi.org\/10.14324\/RFA.05.1.10.<\/p>\n

Fischer, Alex. 2009. \u201cConceptualising Basic Film Festival Operation: An Open System Paradigm.\u201d PhD Thesis, School of Humanities, Bond University. Accessed September 15, 2010. http:\/\/epublications.bond.edu.au\/cgi\/viewcontent.cgi?article=1076&context=theses.<\/p>\n

Fischer, Alex. 2013. Sustainable Projections: Concepts in Film Festival Management. <\/i>St Andrews: St Andrews Film Studies.<\/p>\n

Fr\u00edas, Luis Gerardo, and Felipe Mara\u00f1\u00f3n. 2022. \u201cDiversidad Cultural, Coproducciones Y Tendencias F\u00edlmicas En Tres Festivales Europeos De Cine Clase A.\u201d In Producci\u00f3n Y Consumo De Contenidos Audiovisuales. Coordinadores: Abordajes Desde La Comunicaci\u00f3n Social<\/i>, edited by Brenda A. Mu\u00f1oz, Antonio Corona, and Gabriel P\u00e9rez Salazar, 15\u201349: Universidad Aut\u00f3noma de Coahuila. [Cultural diversity, co-productions and film trends at three European class A film festivals.].<\/p>\n

Frodon, Jean-Michel. 2013. \u201cThe Cinema Planet (2010).\u201d In The Film Festivals Reader<\/i>, edited by Dina Iordanova, 205\u201315. St Andrews: St Andrews Film Studies.<\/p>\n

Frost, Nicola. 2015. \u201cAnthropology and Festivals: Festival Ecologies.\u201d Ethnos<\/i>, 1\u201315. https:\/\/doi.org\/10.1080\/00141844.2014.989875.<\/p>\n

Fujiwara, Chris. 2010. \u201cOn Film Festivals, Edited by Richard Porton (London: Wallflower Press, 2009) Reviewed.\u201d Undercurrent <\/i>(6). http:\/\/www.fipresci.org\/undercurrent\/issue_0609\/fujiwara_festivals.htm. Accessed May 19, 2010.<\/p>\n

Hagener, Malte. 2014. \u201cInstitutions of Film Culture: Festivals and Archives as Network Nodes.\u201d In The Emergence of Film Culture: Knowledge Production, Institution Building, and the Fate of the Avant-Garde in Europe, 1919-1945<\/i>, edited by Malte Hagener, 283\u2013305. New York: Berghahn.<\/p>\n

Hannemann, Mahelia. 2016. Accept Diversity! Accept Equality? Eine Analytische Untersuchung Des Anspruchs Und Der Realit\u00e4t Von Gleichstellung in Der Filmindustrie Mit Hinblick Auf Die Funktion Des Internationalen Filmfestivals Berlinale. <\/i>Frankfurt am Main: Peter Lang.<\/p>\n

Harbord, Janet. 2009. \u201cFilm Festivals \u2013 Time \u2013 Event.\u201d In Film\u00a0Festival Yearbook 1: The Festival Circuit<\/i>, edited by Dina Iordanova and Ragan Rhyne, 40\u201346. St. Andrews: St Andrews Film Studies.<\/p>\n

Harbord, Janet. 2016. \u201cContingency, Time, and Event: An Archaeological Approach to the Film Festival.\u201d In Film Festivals: History, Theory, Method, Practice<\/i>, edited by Marijke de Valck, Brendan Kredell, and Skadi Loist, 69\u201382. London, New York: Routledge.<\/p>\n

H\u00f6gerle, Erin Franziska. 2020. Asian American Film Festivals: Frames, Locations, and Performances of Memory. <\/i>Media and cultural memory. Berlin, Boston: De Gruyter. Dissertation.<\/p>\n

Iordanova, Dina, ed. 2008. \u201cFilm Festivals.\u201d Special issue, Film International<\/i> 6, no. 4.<\/p>\n

Iordanova, Dina. 2009. \u201cThe Film Festival Circuit.\u201d In Film\u00a0Festival Yearbook 1: The Festival Circuit<\/i>, edited by Dina Iordanova and Ragan Rhyne, 23\u201339. St. Andrews: St Andrews Film Studies.<\/p>\n

Iordanova, Dina. 2010. \u201cMediating Diaspora: Film Festivals and \u2018Imagined Communities\u2019.\u201d In Film Festival Yearbook 2: Film Festivals and Imagined Communities<\/i>, edited by Dina Iordanova and Ruby Cheung, 12\u201344. St. Andrews: St Andrews Film Studies.<\/p>\n

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Zielinski, Ger. 2025. \u201cSteps to a Greener Film Festival Studies: A Multidisciplinary Subfield and the Environmental Turn.\u201d In Shaping Film Festivals in a Changing World: Practice and Methods<\/i>, edited by Dorota Ostrowska and Tamara Falicov, 165\u201377. Amsterdam: Amsterdam University Press.<\/p>\n

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\"\"(Last updated: 16. May 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"

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