{"id":113,"date":"2010-08-09T18:28:05","date_gmt":"2010-08-09T16:28:05","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-05-16T16:36:16","modified_gmt":"2025-05-16T14:36:16","slug":"6-1-europe","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/6-transnational-cinemas\/6-1-europe\/","title":{"rendered":"6.1 Europe"},"content":{"rendered":"

The question of trans\/national cinema and the film festival circuit’s impact on it reaches European countries and beyond. As the cradle of film festivals, Europe’s encounter with trans\/national relations between film and their showcases for (inter)national competition is as old as the festival phenomenon. Lucy Mazdon investigates the role of the Cannes festival as a transnational space (2006) and its relationship to French cinema (2007). The meaning of Cannes for German film (Fr\u00fcndt\/Lepel 1987) or Hollywood (Jungen 2008) has also been scrutinized. Several historical studies with a focus on film history during the Cold War era also give insight into the history (of the study) of European film and the way it was discussed across borders at certain international film festivals, which did not conform to the general division of Western and Eastern bloc politics\/art (Karl 2007; K\u00f6tzing 2007; Moine 2007). A special chapter in this history is the analysis of trans- or intra-national discussions of German film on either side of the Wall: East German film (Haase 2010) and children’s film at the Berlinale (Felsmann 2002), East German film at Oberhausen (Kuhlbrodt 2005), and discussions of (Western) international film in Leipzig (Martini 2007; K\u00f6tzing 2004; 2007)<\/span><\/p>\n

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Alieva, Sitora, and Anton Dolin. 2021. \u201c2021: How Film Festivals and Women Will Defeat COVID-19.\u201d Critical Quarterly<\/i> 63 (3): 10\u201322. https:\/\/doi.org\/10.1111\/criq.12623.<\/p>\n

Allsopp, Jenna. 2022. \u201cBuilding Community Through Queer Learning Disability Amateur Filmmaking: Oska Bright Film Festival and Queer Freedom.\u201d Journal of Cultural Analysis and Social Change<\/i> 7 (2): 14. https:\/\/doi.org\/10.20897\/jcasc\/12755.<\/p>\n

Altunbulak, Aylin. 2021. \u201cReimagining Queer Film Festival as a Counterpublic Space: A Case Study of Turkey\u2019s Pink Life Queerfest.\u201d Ekphrasis<\/i> 25 (1): 143\u201355. https:\/\/doi.org\/10.24193\/ekphrasis.25.10.<\/p>\n

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Appels, Eddy. 2017. \u201c25 Years of Bleed Voor Bleed <\/i>Festival and Visual Anthropology in the Netherlands.\u201d In Film Festivals and Anthropology<\/i>, edited by Aida Vallejo and Maria-Paz Peirano, 223\u201333. Cambridge: Cambridge Scholars Publishing.<\/p>\n

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Atkinson, Justine. 2017. \u201cCurating an African Film Festival in Scotland: The Recognition of Difference.\u201d Third Text<\/i> 31 (5-6): 681\u201398. https:\/\/doi.org\/10.1080\/09528822.2018.1433115.<\/p>\n

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Batan\u010dev, Dragan. 2017. \u201cThe Belgrade FEST, or What Happened When Peckinpah Met Wajda.\u201d In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War<\/i>, edited by Andreas K\u00f6tzing and Caroline Moine, 153\u201366. G\u00f6ttingen: Vandenhoeck & Ruprecht; V&R unipress.<\/p>\n

Bauer, Olga. 2010. Fund-Raising for Film Festivals in Europe: A Comparative Study. <\/i>Saarbr\u00fccken: LAP LAMBERT Academic Publishing.<\/p>\n

Baumgarten, Oliver, and Svenja B\u00f6ttger. 2022. \u201cFilmfestival Max Oph\u00fcls Preis: Virale Filmfestivals. Zwei Pandemiebedingte Metamorphosen Eines Filmfestivals.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 174\u201393. M\u00fcnchen: edition text + kritik.<\/p>\n

Beyer, Ren\u00e9, and Alfred Georg Frei, eds. 2008. Die Traumfabrik von gestern: Merseburger DEFA-Filmtage. <\/i>Halle: Projekte. [The Dream-Factory of Yesterday. Merseburger DEFA-Film-Days].<\/p>\n

Binark, Mutlu. 2022. \u201cPandemi D\u00f6neminde G\u00fcney Kore’de Sinema End\u00fcstrisi Ve Film Festivalleri: Seyirciyle Sinema Salonunda Bulu\u015fma Yollar\u0131.\u201d In Film Festivalleri E-Kitabi 1: 10-11 Kasim 2021, Ankara<\/i>, edited by Hakan Erk\u0131l\u0131\u00e7, 119\u201348. Ankara: De Ki Basim Yayim. [Film Industry and Film Festivals in South Korea during the Pandemic: Ways to Meet with the Audience in the Movie Theater].<\/p>\n

Brinkmann, Jens. 2011. \u201cDas Internationale Forum Des Jungen Films: Vom ‘Anti-Festival’ Zur Profiliertesten Sektion Der Berlinale.\u201d Zeitgeschichte-online<\/i>, August 2011. https:\/\/zeitgeschichte-online.de\/film\/das-internationale-forum-des-jungen-films.<\/p>\n

Brose, Sebastian, and Joachim Kurz. 2022. \u201cAchtung Berlin Filmfestival: ‘Wenn Du Zuh\u00f6rst, Lernst Du Was Neues, Wenn Du Sprichst, Wiederholst Du Nur, Was Du Schon Wei\u00dft.’.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 260\u201371. M\u00fcnchen: edition text + kritik.<\/p>\n

Bruch, Anne. 2017. \u201c’Just Think of the Possibilities of Dissemination\u2026’: The Film Festival Policy of the European Institutions in the 1950s and 1960s.\u201d In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War<\/i>, edited by Andreas K\u00f6tzing and Caroline Moine, 79\u201390. G\u00f6ttingen: Vandenhoeck & Ruprecht; V&R unipress.<\/p>\n

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Caill\u00e9, Patricia. 2010. \u201cA Tunisian Film Festival in Paris: Issues in Reception at the Intersection of French and Anglo-American Approaches to Cultural Analysis of the Diasporas.\u201d French Cultural Studies<\/i> 21 (2): 85\u201396. https:\/\/doi.org\/10.1177\/0957155810361807.<\/p>\n

C\u00e2mara, Regina. 2017. \u201cFrom Karlovy Vary to Cannes: Brazilian Cinema Novo at European Film Festivals in the 1960s.\u201d In Cultural Transfer and Political Conflicts: Film Festivals in the Cold War<\/i>, edited by Andreas K\u00f6tzing and Caroline Moine, 63\u201377. G\u00f6ttingen: Vandenhoeck & Ruprecht; V&R unipress.<\/p>\n

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Campos Rabad\u00e1n, Minerva. 2024. \u201cLa Festivalizaci\u00f3n On\/off-Line De La Cultura Cinematogr\u00e1fica: Una Tendencia Afectada Por Las Plataformas Y La COVID-19.\u201d [The on\/off-line festivalization of film culture: A trend affected by platforms and COVID-19]. In Redes Sociales Y Medios Digitales En Iberoam\u00e9rica: Las Nuevas Tendencias Comunicacionales<\/i> [Social Networks and Digital Media in Ibero-America. New Communication Trends], edited by Karen Pinto-Garz\u00f3n, Jorge L. C. Dur\u00e1n, and Julia Fontenla, 257\u201375: Tirant lo Blanch.<\/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

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Chadha, Siddharth. 2022. \u201cMirror, Mirror on the Wall: AKS International Minorities Festival Pakistan 2021.\u201d NECSUS_European Journal of Media Studies<\/i> 11:336\u201343. https:\/\/doi.org\/10.25969\/mediarep\/18829.<\/p>\n

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Cordoba, Cyril. 2022. \u201cBetween Politics and Economics: The Locarno Film Festival from Tourism to Cinephilia (1946-1972).\u201d Cinergie<\/i> 11 (22): 41\u201353. https:\/\/doi.org\/10.6092\/issn.2280-9481\/14350.<\/p>\n

Cort\u00e9s-Selva, Laura, Montserrat Jurado-Mart\u00edn, and Luidmila Ostrovskaya. 2018. \u201cEuropean Jewels: Camerimage, the Uniqueness of a Festival Devoted to the Art of Cinematography.\u201d Revista Latina de Comunicaci\u00f3n Social<\/i>, no. 73: 614\u201332. https:\/\/doi.org\/10.4185\/RLCS-2018-1272en.<\/p>\n

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DeRoo, Rebecca J. 2021. \u201cAgn\u00e8s Varda and Le Collectif 50\/50 En 2020: Power and Protest at the Cannes Film Festival.\u201d Camera Obscura: Feminism, Culture, and Media Studies<\/i> 36 (1): 127\u201353. https:\/\/doi.org\/10.1215\/02705346-8838577.<\/p>\n

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 <\/p>\n

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

The question of trans\/national cinema and the film festival circuit’s impact on it reaches European countries and beyond. As the cradle of film festivals, Europe’s encounter with trans\/national relations between film and their showcases for (inter)national competition is as old … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":72,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-113","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/113","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/comments?post=113"}],"version-history":[{"count":80,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/113\/revisions"}],"predecessor-version":[{"id":3311,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/113\/revisions\/3311"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/72"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=113"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}