{"id":136,"date":"2010-08-09T18:38:34","date_gmt":"2010-08-09T18:38:34","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-03-31T17:43:27","modified_gmt":"2025-03-31T15:43:27","slug":"9-2-a-film-genre","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/9-specialized-film-festivals\/9-2-genre-based-festivals\/9-2-a-film-genre\/","title":{"rendered":"9.2.1 Film Genre"},"content":{"rendered":"<p>Hunter, Russ. 2022. \u201cCapturing European Crime: European Crime Cinema at European Film Festivals.\u201d <i>Alphaville<\/i>, no. 22: 31\u201341. https:\/\/doi.org\/10.33178\/alpha.22.02.<\/p>\n<p>McVitie, Anne. 2018. \u201cThe Democratisation of Film Noir: A Case Study of the Noir City Film Festival, San Francisco, USA.\u201d PhD Thesis, University of the West of Scotland.<\/p>\n<p>Rak, Julie. 2025. \u201cFestival Obscura: Gender in Festival-Driven Mountaineering Documentaries.\u201d In <i>Global Mountain Cinema<\/i>, edited by Christian Quendler, Caroline Schaumann, and Kamaal Haque, 209\u201324. Edinburgh: Edinburgh University Press. http:\/\/www.jstor.org\/stable\/10.3366\/jj.25700631.18.<\/p>\n<p>Rath, Linda L. 2017. \u201cBuilding a DIY Genre Film Festivals Web Resource to Empower Digital Scholarship and Cultural Heritage Participation.\u201d <i>Moving Image<\/i> 17 (1): 29\u201351.<\/p>\n<p>Stringer, Julian. 2008. \u201cGenre Films and Festival Communities: Lessons from Nottingham, 1991-2000.\u201d <i>Film International<\/i> 6 (4): 53\u201360.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #333333;\"><strong><em>9.2.1.1 Fantasy Film Festivals<\/em><\/strong><\/span><\/p>\n<p>Dellert, Frederike. 2011. \u201cKontroverse Pioniere: Zur Kuration des Fantasy Filmfest.\u201d <i>Schnitt <\/i>(2 (#62)): 35\u201336.<\/p>\n<p>Gann, Jon. 2012. \u201c&#8217;Select. Build. Party.&#8217;: Patrick Van Hauwaert, Razor Reel Fantastic Film Festival.\u201d In <i>Behind the Screens: Programmers Reveal How Film Festivals Really Work<\/i>, 39\u201348. Washington, DC: Reel Plan Press.<\/p>\n<p>Mendik, Xavier. 2004. \u201cThe Fantastik Film Festival: An Overview and Interview with Magnus Paulsson.\u201d In <i>Alternative Europe: Eurotrash and Exploitation Cinema Since 1945<\/i>, edited by Ernest Mathijs and Xavier Mendik, 232\u201335. London: Wallflower.<\/p>\n<p>van Extergem, Dirk. 2004. \u201cThe Brussels International Festival of Fantastic Film.\u201d In <i>Alternative Europe: Eurotrash and Exploitation Cinema Since 1945<\/i>, edited by Ernest Mathijs and Xavier Mendik, 216\u201327. London: Wallflower.<\/p>\n<p>Vivar Navas, Rosana. 2017. \u201cNever Seen a Shot Like That Before! Playfulness and Participatory Audiences in San Sebastian Horror and Fantasy Film Festival.\u201d In <i>Live Cinema: Cultures, Economies, Aesthetics<\/i>, edited by Sarah Atkinson and Helen W. Kennedy, 117\u201332. New York: Bloomsbury Academic &amp; Professional.<\/p>\n<p>&nbsp;<\/p>\n<p><span style=\"color: #333333;\"><em><strong>9.2.1.2 Horror Film Festivals<\/strong><\/em><\/span><\/p>\n<p>Hills, Matt. 2010. \u201cAttending Horror Film Festivals and Conventions: Liveness, Subcultural Capital and &#8216;Flesh-and-Blood Genre Communities&#8217;.\u201d In <i>Horror Zone: The Cultural Experience of Contemporary Horror Cinema<\/i>, edited by Ian Conrich, 87\u2013101. London, New York: I.B. Tauris.<\/p>\n<p>Vivar, Rosana. 2019. \u201c\u2018You\u2019re Sick If That Turns You on!\u2019: Female Participation and Gender Identities at San Sebastian Horror and Fantasy Film Festival.\u201d In <i>Gender and Contemporary Horror in Comics, Games and Transmedia<\/i>, edited by Robert Shail, Steven Gerrard, and Samantha Holland, 151\u201365: Emerald Publishing Limited.<\/p>\n<p>Vivar Navas, Rosana. 2016. \u201cA Film Bacchanal: Playfulness and Audience Sovereignty in San Sebastian Horror and Fantasy Film Festival.\u201d <i>Participations<\/i> 13 (1): 234\u201351. http:\/\/www.participations.org\/Volume%2013\/Issue%201\/S1\/6.pdf.<\/p>\n<p>Vivar Navas, Rosana. 2017. \u201cNever Seen a Shot Like That Before! Playfulness and Participatory Audiences in San Sebastian Horror and Fantasy Film Festival.\u201d In <i>Live Cinema: Cultures, Economies, Aesthetics<\/i>, edited by Sarah Atkinson and Helen W. Kennedy, 117\u201332. New York: Bloomsbury Academic &amp; Professional.<\/p>\n<p>&nbsp;<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" src=\"http:\/\/vg07.met.vgwort.de\/na\/6bccdcfdb20744408a545db758893f24\" alt=\"\" width=\"1\" height=\"1\" \/><span style=\"color: #333333;\">(Last updated: 30. March 2025)<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Hunter, Russ. 2022. \u201cCapturing European Crime: European Crime Cinema at European Film Festivals.\u201d Alphaville, no. 22: 31\u201341. https:\/\/doi.org\/10.33178\/alpha.22.02. McVitie, Anne. 2018. \u201cThe Democratisation of Film Noir: A Case Study of the Noir City Film Festival, San Francisco, USA.\u201d PhD Thesis, &hellip; <a href=\"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/9-specialized-film-festivals\/9-2-genre-based-festivals\/9-2-a-film-genre\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":133,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-136","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/136","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=136"}],"version-history":[{"count":29,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/136\/revisions"}],"predecessor-version":[{"id":3276,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/136\/revisions\/3276"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/133"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=136"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}