Allouche, Claire. 2024. \u201c2019, ann\u00e9e de condensation pour le cin\u00e9ma br\u00e9silien p\u00e9riph\u00e9rique ?\u201d [2019, a year of condensation for peripheral Brazilian cinema?]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 275\u201395. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n
Archibald, David. 2012. \u201cThe Angels\u2019 Share <\/i>at the 2012 Cannes Film Festival.\u201d NECSUS<\/i> 1 (2 (#2)): 299\u2013305. https:\/\/doi.org\/10.5117\/NECSUS2012.2.ARCH.<\/p>\n
Bangr\u00e9, Sambolgo. 2020. \u201cAfrican Cinema in the Tempest of Minor Festivals.\u201d Black Camera: The New Series<\/i> 12 (1): 90\u201394. https:\/\/doi.org\/10.2979\/blackcamera.12.1.06.<\/p>\n
Campos, Minerva. 2018. \u201cLo (Trans)Nacional Como Eje Del Circuito De Festivales De Cine: Una Aproximaci\u00f3n Hist\u00f3rica Al Di\u00e1logo Europa-Am\u00e9rica Latina.\u201d [The (trans)national as the axis of the film festival circuit: A historical approach to the Europe-Latin America dialogue]. Imagofagia <\/i>(17): 11\u201340. Accessed May 20, 2018.<\/p>\n
Cokinos, Katie. 2001. \u201cDear Sir: Unfortunately, I Have to Reject Your Festival.\u201d Independent<\/i> 24 (7): 13. https:\/\/independent-magazine.org\/wp-content\/uploads\/sites\/41\/2014\/09\/independentfilmv24foun1.pdf. Accessed June 19, 2024.<\/p>\n
de Cuir, Greg, Jr. 2012. \u201c’Connect Me with Activism, and Film Practice, Not Activism and Film Festivals!’: An Interview with \u017delimir \u017dilnik, Filmmaker.\u201d In Film Festival Yearbook 4: Film Festivals and Activism<\/i>, edited by Dina Iordanova and Leshu Torchin, 245\u201352. St Andrews: St Andrews Film Studies.<\/p>\n
de Valck, Marijke. 2013. \u201cSites of Initiation: Film Training Programs at Film\u00a0Festivals.\u201d In The Education of the Filmmaker in Europe, Australia, and Asia<\/i>, edited by Mette Hjort, 127\u201345. New York: Palgrave Macmillan.<\/p>\n
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
Diawara, Manthia. 2020. \u201cOn Tracking World Cinema: African Cinema at Film Festivals.\u201d (1994). Black Camera: The New Series<\/i> 12 (1): 48\u201358. https:\/\/doi.org\/10.2979\/blackcamera.12.1.04.<\/p>\n
Edemen, Fatma. 2023. \u201cProducing, Distributing and Screening the Statelessness: Kurdish Film Production and Festivals.\u201d Film International<\/i> 21 (4): 21\u201337. https:\/\/doi.org\/10.1386\/fint_00232_1.<\/p>\n
Farnel, Sean. 2012. \u201cTowards a Filmmaker Bill of Rights for Festivals.\u201d Point of View: Independent Documentary Media Culture<\/i>. http:\/\/povmagazine.com\/articles\/view\/towards-a-filmmaker-bill-of-rights-for-festivals. Accessed May 25, 2020.<\/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
Feal S\u00e1nchez, Laura. 2025. \u201cDocumenting the Territory in Saint-Louis (Senegal): An Interview with Mamadou Sellou Diallo.\u201d Alphaville<\/i>, no. 28: 34\u201347. https:\/\/doi.org\/10.33178\/alpha.28.02.<\/p>\n
Gonz\u00e1lez, Sebasti\u00e1n. 2020. \u201cFICValdivia and Its Role in Contemporary Chilean Cinema.\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): 94\u2013105. Accessed January 09, 2022. https:\/\/revistaestudiosarabes.uchile.cl\/index.php\/RCM\/article\/view\/57288\/68484.<\/p>\n
Hagin, Boaz, and Raz Yosef. 2012. \u201cFestival Exoticism: The Israeli Queer Film in a Global Context.\u201d GLQ<\/i> 18 (1): 161\u201378. https:\/\/doi.org\/10.1215\/10642684-1422188.<\/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
Herrschner, Irina, and Kirsten Stevens. 2021. \u201cTrans-National Encounters at the Berlinale: A Look from the Inside.\u201d In Transnational German Cinema: Encountering Germany Through Film and Events<\/i>, edited by Irina Herrschner, Kirsten Stevens, and Benjamin Nickl, 3-23. Cham: Springer.<\/p>\n
Higgins, Nick. 2012. \u201c’Tell Our Story to the World’: The Meaning of Success for ‘a Massacre Foretold’ – a Filmmaker Reflects.\u201d In Film Festival Yearbook 4: Film Festivals and Activism<\/i>, edited by Dina Iordanova and Leshu Torchin, 133\u201345. St Andrews: St Andrews Film Studies.<\/p>\n
Hongisto, Ilona. 2022. \u201c’in Europe, No One Was Paying Attention’: Honeyland <\/i>on the Festival Circuit.\u201d In Honeyland: A Docalogue<\/i>, edited by Jaimie Baron and Kristen Fuhs, ##. New York: Routledge.<\/p>\n
Isaza, Laura Rodriguez. 2012. \u201cBranding Latin America: Film Festivals and the International Circulation of Latin American Films.\u201d PhD Thesis, School of Modern Languages and Cultures, Centre for World Cinemas, University of Leeds. Accessed April 14, 2020. http:\/\/etheses.whiterose.ac.uk\/id\/eprint\/3408.<\/p>\n
Johnson, Rachel. 2025. \u201cDecolonising Through Co-Curation? Women Creators of the Future<\/i>, Festival Films Femmes Afrique and Leeds International Film Festival.\u201d Alphaville<\/i>, no. 28: 11\u201333. https:\/\/doi.org\/10.33178\/alpha.28.01.<\/p>\n
Kocer, Suncem. 2013. \u201cMaking Transnational Publics: Circuits of Censorship and Technologies of Publicity in Kurdish Media Circulation.\u201d American Ethnologist<\/i> 40 (4): 721\u201333. https:\/\/doi.org\/10.1111\/amet.12050.<\/p>\n
Lee, Nikki J. Y., and Julian Stringer. 2012. \u201cPorts of Entry: Mapping Chinese Cinema\u2019s Multiple Trajectories at International Film Festivals.\u201d In A Companion to Chinese Cinema<\/i>, edited by Yingjin Zhang, 239\u201361. Oxford: Wiley-Blackwell.<\/p>\n
Peirano, Maria Paz. 2020. \u201cConnecting and Sharing Experiences: Chilean Documentary Film Professionals at the Film Festival Circuit.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 55\u201372. New York: Palgrave Macmillan.<\/p>\n
Peirano, Mar\u00eda Paz. 2018. \u201cFilm Mobilities and Circulation Practices in the Construction of Recent Chilean Cinema.\u201d In Envisioning Networked Urban Mobilities: Art, Performances, Impacts<\/i>, edited by Aslak Kjaerulff, Sven Kesselring, Peter Peters, and Kevin Hannam, 135\u201347. New York, NY, Abingdon, Oxon: Routledge.<\/p>\n
Peirano, Mar\u00eda Paz. 2020. \u201cLearning to Be ‘Global’: Chilean Filmmakers at International Film Festivals.\u201d In Chilean Cinema in the Twenty-First-Century World<\/i>, edited by Vania Barraza and Carl Fischer, 33\u201349. Contemporary film and media series. Detroit, Baltimore, MD: Wayne State University Press.<\/p>\n
Pollacchi, Elena. 2019. \u201cPorous Circuits: Tsai Ming-Liang, Zhao Liang, and Wang Bing at the Venice International Film Festival and the Interplay Between the Festival and the Art Exhibition Circuits.\u201d Journal of Chinese Cinemas<\/i> 13 (2): 130\u201346. https:\/\/doi.org\/10.1080\/17508061.2019.1665239.<\/p>\n
Porton, Richard. 2009. \u201cA Director on the Festival Circuit: An Interview with Atom Egoyan.\u201d In Dekalog 3: On\u00a0Film Festivals<\/i>, edited by Richard Porton, 169\u201381. London: Wallflower.<\/p>\n
Rui Gra\u00e7a, Andr\u00e9. 2021. \u201cVisibility, Artistic Prestige, and Circulation.\u201d In Portuguese Cinema (1960\u20132010): Consumption, Circulation and Commerce<\/i>, 133\u201376. Monograf\u00edas A: Boydell & Brewer. Accessed February 25, 2025. https:\/\/www.jstor.org\/stable\/j.ctv136bxj0.10.<\/p>\n
Santana Espinosa, Maria Alejandra. 2024. \u201cInstitutionnaliser un regard: la circulation des films colombiens.\u201d [Institutionalizing a perspective: the circulation of Colombian films]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 245\u201361. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n
Savelli, Julie. 2024. \u201c\u00c0 l\u2019intersection du cin\u00e9ma et de l\u2019art contemporain: l\u2019acte d\u2019image post-documentaire de Wang Bing.\u201d [At the intersection of cinema and contemporary art: Wang Bing’s post-documentary image act]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 203\u201321. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n
Sendra, Estrella. 2025. \u201cTigritudes<\/i>: A Subjective Anthology of Pan-African Cinema to Decolonise the Gaze: An Interview with Dyana Gaye.\u201d Alphaville<\/i>, no. 28: 48\u201355. https:\/\/doi.org\/10.33178\/alpha.28.03.<\/p>\n
St. John, Matt. 2021. \u201cFrom Cannes to Cardboard: The Circulation and Promotion of Visages Villages <\/i>and the Auteur on Instagram.\u201d Camera Obscura: Feminism, Culture, and Media Studies<\/i> 36 (1): 155\u201385. https:\/\/doi.org\/10.1215\/02705346-8838589.<\/p>\n
Straayer, Chris, and Thomas Waugh. 2008. \u201cQueer Film and Video Festival Forum, Take Three: Artists Speak Out.\u201d GLQ<\/i> 14 (1): 121\u201337.<\/p>\n
Thomas, Erika. 2024. \u201cCin\u00e9matographies br\u00e9siliennes et visibilit\u00e9 festivali\u00e8re: enjeux d\u2019hier et d\u2019aujourd\u2019hui.\u201d [Brazilian cinematography and festival visibility: past and present issues]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 263\u201374. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n
Torchin, Leshu. 2012. \u201cHow to Leverage a Film Festival: An Interview with Judith Helfand, Filmmaker and Co-Founder of Chicken & Egg Pictures and Working Films.\u201d In Film Festival Yearbook 4: Film Festivals and Activism<\/i>, edited by Dina Iordanova and Leshu Torchin, 253\u201362. St Andrews: St Andrews Film Studies.<\/p>\n
Trias, Jean-Philippe. 2024. \u201cJosep<\/i>, from production to distribution: bringing to life and promoting an atypical animated film: Interview with Aurel, director, and Serge Lalou, producer.\u201d In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 45\u201371. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n
Tsai, Beth. 2018. \u201cVisible Art, Invisible Nations? On the Politics of Film Festivals, Hou Hsiao-Hsien, and Taiwan New Cinema.\u201d In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes<\/i>, edited by Tricia Jenkins, 179\u201396. London, New York: I.B.Tauris.<\/p>\n
Ulfsdotter, Boel, and Mats Bj\u00f6rkin. 2019. \u201cThe Gothenburg International Exile Film Fetival in Context.\u201d In Nordic Film Cultures and Cinemas of Elsewhere<\/i>, edited by Anna W. Stenport and Arne Lunde, 94\u2013102. Edinburgh: Edinburgh University Press.<\/p>\n
Vallejo, Aida. 2015. \u201cDocumentary Filmmakers on the Circuit: A Festival Career from Czech Dream <\/i>to Czech Peace<\/i>.\u201d In Post-1990 Documentary: Reconfiguring Independence<\/i>, edited by Camille Deprez and Judith Pernin, 171\u201387. Edinburgh: Edinburgh University Press.<\/p>\n
van Hemert, Tess. 2013. \u201cInternational Acclaim: The Role(S) Of the International Film\u00a0Festival in Supporting Emerging Women’s Cinema.\u201d PhD Thesis, Film, Screen and Animation;\u00a0School of Media, Entertainment and Creative Arts, Creative Industries Faculties, Queensland University of Technology. Accessed May 25, 2020. http:\/\/eprints.qut.edu.au\/63269\/1\/Tess_Van_Hemert_Thesis.pdf.<\/p>\n
Weinbaum, Batya. 2007. \u201cDesperately Seeking Women Directors: At the Santa Barbara International Film Festival.\u201d off our backs<\/i> 37 (1): 49\u201351.<\/p>\n
Wolf, Reinhard W. 2016. \u201c5 Jahre Festival Scope: Festivalfilme Online Vermarkten.\u201d [5 Years Festival Scope: Marketing Festival Films Online]. shortfilm.de<\/i>, October 23, 2016. http:\/\/www.shortfilm.de\/5-jahre-festival-scope-festivalfilme-online-vermarkten\/.<\/p>\n
Xu, Min, and Stijn Reijnders. 2018. \u201cGetting Close to the Media World? On the Attraction of Encountering Film Industry Professionals at Shanghai International Film Festival.\u201d Participations<\/i> 15 (1): 84\u2013104.<\/p>\n
Zerbib, Olivier. 2024. \u201cLes Festivals De Cin\u00e9ma Comme Agences D\u2019appariement: Distribuer, Exploiter, Programmer.\u201d [Film Festivals as Matching Agencies: Distribution, Exhibition, Screening]. Terrains & travaux<\/i> N\u00b0 44 (1): 79\u201397. https:\/\/doi.org\/10.3917\/tt.044.0079.<\/p>\n
<\/p>\n
<\/p>\n
(Last updated: 30. March 2025) \u00a0<\/span><\/p>\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" Allouche, Claire. 2024. \u201c2019, ann\u00e9e de condensation pour le cin\u00e9ma br\u00e9silien p\u00e9riph\u00e9rique ?\u201d [2019, a year of condensation for peripheral Brazilian cinema?]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel, edited by Julie Amiot Guillouet, Pietsie Feenstra, … Continue reading
<\/span><\/p>\n