{"id":147,"date":"2010-08-09T18:42:14","date_gmt":"2010-08-09T18:42:14","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-05-16T16:50:38","modified_gmt":"2025-05-16T14:50:38","slug":"9-4-online-film-festivals","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/9-specialized-film-festivals\/9-4-online-film-festivals\/","title":{"rendered":"9.4 Film Festivals and New Media Platforms"},"content":{"rendered":"

In a time when ‘media convergence’ is a general buzz phrase and when cinema operators fear that the wave of digitalization might extinguish cinephilia as we know it, there has been a proliferation of hybrid forms where film festivals make use of or altogether migrate to the Internet. The label “online film festival” is not an easy one to define. Many major festivals also show a selection of (short) films online (Sundance<\/em>, Berlinale<\/em>), some festivals only exist in the virtual world (e.g. Babelgum Online Film Festival<\/em>), and other ones let audiences vote online and then they screen the winning films in a conventional cinema (Bitfilm<\/em>, Hamburg). The pieces collected under this rubric provide different views on this issue.<\/span><\/p>\n

We renamed the former subsection (9.4) Online Film Festivals, which is now called Film Festivals and New Media Platforms. This change acknowledges the emergence of a number of film festivals dedicated to new media content and platforms, such as film festivals focusing on iPhone or mobile products. Although not many (academic) studies are available on this topic yet we anticipate a change in the near future.<\/span><\/p>\n

9.4.1 Film Festivals online<\/a>
9.4.2 Hybrid Film Festival<\/a>
9.4.3 VR (Film) Festival<\/a><\/p>\n

 <\/p>\n

Akser, Murat. 2015. \u201cNew Media and Film Festivals in the Middle East.\u201d cinej<\/i> 4 (1): 110\u201321. https:\/\/doi.org\/10.5195\/cinej.2014.120.<\/p>\n

Armstrong, Kathryn. 2021. \u201cVirtual Visibility and the Film Festival Circuit.\u201d Afterimage<\/i> 48 (1): 10\u201318. https:\/\/doi.org\/10.1525\/aft.2021.48.1.10.<\/p>\n

Aydemir, Aylin P\u0131nar. 2022. \u201cYeni D\u00f6nem, Yeni Festivaller?\u201d In Film Festivalleri E-Kitabi 1: 10-11 Kasim 2021, Ankara<\/i>, edited by Hakan Erk\u0131l\u0131\u00e7, 315\u201330. Ankara: De Ki Basim Yayim. [New Era, New Festivals?].<\/p>\n

Ayd\u0131n, Tuncer Mert. 2022. \u201cCovid-19 Pandemisi S\u00fcrecinde Almanya Ve Amerika Birle\u015fik Devletleri’nde Ulus\u00f6tesi T\u00fcrk Film Festivallerinin Yap\u0131s\u0131.\u201d In Film Festivalleri E-Kitabi 1: 10-11 Kasim 2021, Ankara<\/i>, edited by Hakan Erk\u0131l\u0131\u00e7, 99\u2013118. Ankara: De Ki Basim Yayim. [The Structure of Transnational Turkish Film Festivals in Germany and the United States of America during the Covid-19 Pandemic].<\/p>\n

Bakker, Norbert. 2015. \u201cUtopian Film Festivals: Space, Content and Business Matters in Early Online Film Festivals.\u201d Synoptique<\/i> 3 (2): 9\u201328. https:\/\/synoptiqueblog.files.wordpress.com\/2018\/07\/2-norbert-bakker-utopian-film-festivals-space-content-and-business-matters-in-early-online-film-festivals.pdf. Accessed May 31, 2020.<\/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

Bosma, Peter. 2015. \u201cThe Network of Intermediaries.\u201d In Film Programming: Curating for Cinemas, Festivals, Archives<\/i>, 33\u201350. Short cuts 59. New York: Wallflower.<\/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

Burgess, Diane, and Kirsten Stevens. 2023. \u201cLocating Buzz and Liveness: The Role of Geoblocking and Co-Presence in Virtual Film Festivals.\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 59\u201380. Cham: Palgrave Macmillan.<\/p>\n

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

Castle, Scott. 2000. \u201cWhat’s in a Name? Does the Term ‘Online Film Festival’ Mean Anything at All?\u201d Independent<\/i> 23 (6): 18\u201320.<\/p>\n

Chura, Claudia, \u00c1ngel Torres Toukoumidis, Gerardo Karbaum, and Andrea de Jes\u00fas Or\u00e9. 2024. \u201cInnovative Strategies for Audiovisual Literacy at Film Festivals: The Case of Peru.\u201d Proceedings of the International Conference on Communication and Applied Technologies 2024 (ICOMTA 2024)<\/i> 28:480\u201392. https:\/\/doi.org\/10.2991\/978-94-6463-596-6_42.<\/p>\n

Corr\u00eaa, Paulo Vitor Luz. 2017. \u201cFestivais De Cinema E a Internet: Uma Breve An\u00e1lise Por Meio Dos Formatos De Submiss\u00e3o De Filmes.\u201d [Film Festivals and the Internet: A Brief Analysis Through Film Submission Formats]. Unpublished manuscript, last modified November 20, 2022. https:\/\/issuu.com\/pauloluzcorrea\/docs\/estudo_festivais_brasileiros_submis.<\/p>\n

de Valck, Marijke. 2008. \u201c’Screening’ the Future of Film Festivals? A Long Tale of Convergence and Digitization.\u201d Film International<\/i> 6 (4): 15\u201323.<\/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

Frassinelli, Pier Paolo. 2025. \u201cFESPACO @ Fifty: Forms, Formats, Platforms, and African Screen Media.\u201d In Contemporary African Screen Worlds<\/i>, edited by Lindiwe Dovey, A\u00f1ulika Agina, and Michael W. Thomas, 257\u201366. Durham, NC: Duke University Press.<\/p>\n

Gass, Lars Henrik, and Tanja C. Krainh\u00f6fer. 2022. \u201cInternationale Kurzfilmtage Oberhausen: ‘Unsere Vision Von Den Kurzfilmtagen Ist Etwas, Das Wir Noch Nicht Kennen’.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 284\u201397. M\u00fcnchen: edition text + kritik.<\/p>\n

Hanzl\u00edk, Jan, and Ewa Mazierska. 2022. \u201cEastern European Film Festivals: Streaming Through the Covid-19 Pandemic.\u201d Studies in Eastern European Cinema<\/i> 13 (1): 38-55. https:\/\/doi.org\/10.1080\/2040350X.2021.1964218.<\/p>\n

Helwig, Matthias, and Joachim Kurz. 2022. \u201cF\u00fcnf Seen Filmfestival: ‘Es Ist Definitiv Einfacher, Ein Filmfestival Im Urbanen Raum Zu Etablieren’.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 120\u201331. M\u00fcnchen: edition text + kritik.<\/p>\n

Hernandez, Eugene. 1999. \u201cThe Point of No Return: On-Line Film Festivals, Showcases & Distributors.\u201d Independent<\/i> 22 (9): 26\u201328. http:\/\/www.aivf.org\/node\/439. Accessed May 24, 2011.<\/p>\n

Homrighausen, Hanne, Joachim Post, and Jan K\u00fcnemund. 2022. \u201cHamburg International Queer Film Festival: ‘Tanzen Und Weiterdiskutieren!’.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 94\u2013101. M\u00fcnchen: edition text + kritik.<\/p>\n

Jones, Nicola, and Barbara Felsmann. 2022. \u201cDeutsches Kinder Medien Festival Goldener Spatz: Digitaler Wandel Braucht Nachhaltige Strukturen.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 132\u201351. M\u00fcnchen: edition text + kritik.<\/p>\n

Jurado Mart\u00edn, Montserrat. 2020. \u201cAproximaci\u00f3n a los cert\u00e1menes cinematogr\u00e1ficos de realidad virtual, aumentada e inmersiva en Am\u00e9rica Latina.\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): 132\u201343. [Latin American Film Festivals of Virtual, Augmented, and Immersive Reality: An Overview]. Accessed January 09, 2022. https:\/\/revistaestudiosarabes.uchile.cl\/index.php\/RCM\/article\/view\/56993\/68485.<\/p>\n

Jurado Mart\u00edn, Montserrat. 2020. \u201cFestivales De Cine Especializados En Realidad Virtual En Espa\u00f1a.\u201d [Festivals Specialized in Virtual Reality in Spain]. Sphera Publica. Revista de Ciencias Sociales y de la Comunicaci\u00f3n<\/i> 1 (20): 59\u201377. http:\/\/sphera.ucam.edu\/index.php\/sphera-01\/article\/view\/381. Accessed May 29, 2021.<\/p>\n

Jurado Mart\u00edn, Montserrat. 2020. \u201cLatin American Film Festivals of Virtual, Augmented, and Immersive Reality: An Overview.\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): 132\u201343. Accessed January 09, 2022. https:\/\/revistaestudiosarabes.uchile.cl\/index.php\/RCM\/article\/view\/56993\/68485.<\/p>\n

Jurado Mart\u00edn, Montserrat. 2022. \u201cCredibilidad En Juego: An\u00e1lisis De Las Bases a Concurso De Los Festivales De Cine Online.\u201d [Credibility at stake: Analysis of the contest rules of online film festivals.]. Hist. Comun. Soc.<\/i> 27 (2): 533\u201345. https:\/\/doi.org\/10.5209\/hics.80771.<\/p>\n

Jurado-Mart\u00edn, Montserrat. 2024. \u201cThe Reception of Artificial Intelligence at Film Festivals.\u201d In Revolutionizing Communication: The Role of Artificial Intelligence<\/i>, edited by Raquel V. B. Rojas and Francisco-Juli\u00e1n Mart\u00ednez-Cano, 161\u201372. Boca Raton: CRC Press.<\/p>\n

Keilholz, Sascha, and Fr\u00e9d\u00e9ric Jaeger. 2022. \u201cInternationales FilmfestivalMannheim-Heidelberg (IFFMH): Festivals Als Organismus \u2014 Physische Dynamiken, Digitale Reize.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 152\u201373. M\u00fcnchen: edition text + kritik.<\/p>\n

Klimek, Caroline. 2018. \u201cFrom Programmer to Curator: How Film Festivals Are Pushing the Boundaries of New Media and Expanded Cinema.\u201d CJFS<\/i> 27 (1): 73\u201387. https:\/\/doi.org\/10.3138\/cjfs.27.1.2017-0016.<\/p>\n

Krainh\u00f6fer, Tanja, and Joachim Kurz, eds. 2022. Filmfestivals: Krisen, Chancen, Perspektiven. <\/i>M\u00fcnchen: edition text + kritik.<\/p>\n

Krainh\u00f6fer, Tanja C., and Joachim Kurz. 2022. \u201cEine Vorl\u00e4ufige Bilanz.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 362\u201377. M\u00fcnchen: edition text + kritik.<\/p>\n

Krainh\u00f6fer, Tanja C., and Joachim Kurz. 2022. \u201cEinleitung: Bewegungen Auf Dem Markt Der Bewegtbilder.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 20\u201336. M\u00fcnchen: edition text + kritik.<\/p>\n

Krainh\u00f6fer, Tanja C., and Joachim Kurz. 2022. \u201cFortschritt Statt Stillstand: Filmfestivals Als Innovationstreiber.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 60\u201379. M\u00fcnchen: edition text + kritik.<\/p>\n

Kufahl, Volker. 2022. \u201cFilmkunstfest Mecklenburg-Vorpommern: Jahr 2022 \u2026 Die \u00dcberleben Wollen.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 102\u201319. M\u00fcnchen: edition text + kritik.<\/p>\n

Kurtzke, Simone. 2007. \u201cWebfilm Theory.\u201d PhD Thesis, School of Social Sciences, Media and Communication, Queen Margaret University. Accessed May 24, 2011. http:\/\/etheses.qmu.ac.uk\/79\/1\/SimoneKurtzke.pdf.<\/p>\n

Kurz, Joachim. 2022. \u201cBiennale Bavaria International \u2014Festival Des Neuen Heimatfilms: Heimat! Film! Festival! \u00dcber Die Entstehung Eines Festivals Des Neuen Heimatfilms.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 242\u201359. M\u00fcnchen: edition text + kritik.<\/p>\n

Massarolo, Jo\u00e3o, Dario Mesquita, Andr\u00e9 Fischer, and Claudia Erthal. 2021. \u201cPlataformiza\u00e7\u00e3o Dos Festivais De Cinema E Audiovisual: A Experi\u00eancia Do MixBrasil.\u201d In \u201cFestivais E Mostras Audiovisuais: Olhares E Perspectivas.\u201d: Olhares E Perspectivas<\/i>, edited by Izabel Cruz Melo, Juliana Muylaert, and Tet\u00ea Mattos. Special issue, Rebeca – Revista Brasileira de Estudos de Cinema e Audiovisual<\/i> 10. (2): 219\u201343. [Platformization of Film and Audiovisual Festivals: The MixBrasil Experience].<\/p>\n

Nedyalkova, Maya. 2016. \u201cFestivals Gone Digital: A\u00a0Case-Study of Netcinema.Bg and the Online European Film Festival in Bulgaria.\u201d In Transformation Process in Post-Socialist Screen Media<\/i>, edited by Jana Dudkov\u00e1 and Katar\u00edna Mi\u0161\u00edkov\u00e1, 138\u201352. Bratislava.<\/p>\n

Niederer, Sabine. 2008. \u201cThe Future of Festivals: Interview with Arjon Dunnewind.\u201d In Video Vortex Reader: Responses to YouTube<\/i>, edited by Geert Lovink and Sabine Niederer, 203\u20136. Amsterdam: Institute of Network Cultures.<\/p>\n

Odorico, Stefano. 2020. \u201cBeyond the Screen: Interactive Documentary Exhibition in the Festival Sphere.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 93\u2013111. New York: Palgrave Macmillan.<\/p>\n

Patmore, Chris. 2011. \u201cIPhone Film\u00a0Festivals.\u201d Film & Festival <\/i>(27): 16\u201317.<\/p>\n

Richter, Martina, Johannes Hensen, and Tanja C. Krainh\u00f6fer. 2022. \u201cFilm Festival Cologne: ‘Die Menschen W\u00fcnschen Sich Bei Der Zunehmenden Inhalte-Flut Orientierungshilfe’.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 230\u201341. M\u00fcnchen: edition text + kritik.<\/p>\n

Schubert, Gregor Maria, Johanna S\u00fc\u00df, Kenneth Hujer, and Pauline Klink. 2022. \u201cLICHTER Filmfest Frankfurt International: Zukunft Deutscher Film.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 340\u201361. M\u00fcnchen: edition text + kritik.<\/p>\n

See\u00dflen, Georg. 2022. \u201cVorwort: Transformationen Der Filmkultur \u2013 Und Was Festivals Damit Zu Tun Haben.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 8\u201319. M\u00fcnchen: edition text + kritik.<\/p>\n

Simons, Jan. 2011. \u201cBetween IPhone and YouTube: Movies on the Move?\u201d In Moving Images Beyond YouTube<\/i>, edited by Geert Lovink and Rachel Somers Miles, 95\u2013107. Amsterdam: Institute of Network Cultures.<\/p>\n

Slov\u00e1kov\u00e1, Andrea. 2020. \u201cConnecting Festivals, Distributing Films: An Interview with Diana Tabakov, Acquisitions Manager at Doc Alliance Films VOD Platform.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 201\u201310. New York: Palgrave Macmillan.<\/p>\n

Sponsel, Daniel. 2022. \u201cDOK.Fest M\u00fcnchen (InternationalesDokumentarfilmfestival M\u00fcnchen): Im Kino. Zuhause. Duale Filmfestivals Als Avantgarde: Paradigmenwechsel Oder Strukturwandel?\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 272\u201383. M\u00fcnchen: edition text + kritik.<\/p>\n

Sterritt, David. 2021. \u201cThe New York (Virtual) Film Festival.\u201d Quarterly Review of Film and Video<\/i> 38 (1): 1\u20134. https:\/\/doi.org\/10.1080\/10509208.2021.1839842.<\/p>\n

Stevens, Kirsten. 2018. \u201c’You Had to Be There’: Film\u00a0Festival ‘Liveness’ and the Digitally Connected Audience.\u201d In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes<\/i>, edited by Tricia Jenkins, 11\u201331. London, New York: I.B.Tauris.<\/p>\n

Strauven, Wanda. 2020. \u201cLet\u00b4s Go to Oberhausen! Some Notes on an Online Film Festival Experience.\u201d In Pandemic Media: Preliminary Notes Toward an Inventory<\/i>, edited by Philipp D. Keidl, Laliv Melamed, Vinzenz Hediger, and Antonio Somaini, 287\u201391. Configurations of Film 3. L\u00fcneburg: meson press.<\/p>\n

Taillibert, Christel. 2014. \u201cFestivales y patrimonio cinematogr\u00e1fico en la era digital: La situaci\u00f3n francesa.\u201d In \u201cFestivales Cinematogr\u00e1ficos [Film Festivals].\u201d edited by Aida Vallejo. Special issue, Secuencias: Revista de Historia del Cine. (<\/i>39): 83\u201399. [Festivals and film heritage in the digital age: The French situation.].<\/p>\n

Taillibert, Christel. 2014. \u201cPh\u00e9nom\u00e8nes De Circulations En Festival: L\u2019influence Des Nouvelles Technologies.\u201d [Phenomena of circulation in film festivals: The influence of new technologies.]. miranda<\/i>, no. 10. https:\/\/doi.org\/10.4000\/miranda.6330.<\/p>\n

Taillibert, Christel. 2015. \u201cLes Nouveaux Festivaliers Online: Une \u00c9tude Quantitative Du Public De My French Film Festival.\u201d In Les Nouvelles Pratiques Cin\u00e9philes<\/i>, edited by Jean-Paul Aubert and Christel Tallibert, 123\u201382. Champs visuels 12\/13. Paris: L’Harmattan. [The new festival attendees online. A quantitative study of the audience of My French Film Festival].<\/p>\n

Taillibert, Christel. 2018. \u201cNew Perspectives for Online Film Festivals.\u201d In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes<\/i>, edited by Tricia Jenkins, 32\u201348. London, New York: I.B.Tauris.<\/p>\n

Terhechte, Christoph, Angela Seidel, Katharina Franck, Tanja C. Krainh\u00f6fer, and Joachim Kurz. 2022. \u201cDOK Leipzig Und Cin\u00e9math\u00e8que Leipzig: Ein Filmkunsthaus F\u00fcr Leipzig Und Das Verh\u00e4ltnis Von Kinos Und Festivals.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 320\u201339. M\u00fcnchen: edition text + kritik.<\/p>\n

Utamachote, Sarnt, Rosalia Namsai Engchuan, Malve Lippmann, and Can Sungu. 2022. \u201cUn.Thai.Tled Filmfestival Und S\u0130NEMA TRANSTOPIA: Transnationale Verflechtungen Jenseits Von Eurozentrischer Dominanz Und Nationalstaatlichen Konzepten.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 298\u2013319. M\u00fcnchen: edition text + kritik.<\/p>\n

Uygun, Zeynep Merve, and Metin \u00c7avu\u015f. 2022. \u201cT\u00fcrkiye’de Covid-19 Sonras\u0131 Film Festivalleri.\u201d In Film Festivalleri E-Kitabi 1: 10-11 Kasim 2021, Ankara<\/i>, edited by Hakan Erk\u0131l\u0131\u00e7, 171\u201395. Ankara: De Ki Basim Yayim. [Post-Covid-19 Film Festivals in Turkey].<\/p>\n

Vallejo, Aida, and Christel Taillibert. 2023. \u201cFinding Allies in Pandemic Times: Documentary Film Festivals and Streaming Platforms.\u201d In Rethinking Film Festivals in the Pandemic Era and After<\/i>, edited by Marijke de Valck and Antoine Damiens, 101\u201327. Cham: Palgrave Macmillan.<\/p>\n

Van de Peer, Stefanie. 2014. \u201cDamascus and Beirut, or Why Arab Film Festivals Go on and Offline.\u201d In Film Festival Yearbook 6: Film Festivals and the Middle East<\/i>, edited by Dina Iordanova and Stefanie Van de Peer, 197\u2013212. St Andrews: St Andrews Film Studies.<\/p>\n

Wegenast, Ulrich. 2022. \u201cInternationales Trickfilm-FestivalStuttgart (ITFS): Die Transformation Des ITFS Vom Schlossplatz in Den VR Hub.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 210\u201329. M\u00fcnchen: edition text + kritik.<\/p>\n

Wiederspiel, Albert, Kathrin Kohlstedde, and Tanja C. Krainh\u00f6fer. 2022. \u201cFilmfest Hamburg: ‘Filmfestivals Mit Einer Klassischen Kinoauswertung Gleichzusetzen, so Weit Scheint Die Politik Leider Noch Nicht Zu Sein’.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 194\u2013209. M\u00fcnchen: edition text + kritik.<\/p>\n

Wilson, Gavin. 2014. \u201cCell\/ular Cinema: Individuated Production, Public Sharing and Mobile Phone Film Exhibition.\u201d PhD Thesis, University of Leeds. Accessed August 31, 2015. http:\/\/etheses.whiterose.ac.uk\/8475\/.<\/p>\n

Wink, Andrea. 2022. \u201cexground filmfest: Solidarit\u00e4t statt Konkurrenz. Die neue Kultur des Miteinander von Filmfestivals.\u201d In Filmfestivals: Krisen, Chancen, Perspektiven<\/i>, edited by Tanja Krainh\u00f6fer and Joachim Kurz, 80\u201393. M\u00fcnchen: edition text + kritik.<\/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

 <\/p>\n

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(Last updated: 16. May 2025)<\/span><\/p>\n\n\n

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In a time when ‘media convergence’ is a general buzz phrase and when cinema operators fear that the wave of digitalization might extinguish cinephilia as we know it, there has been a proliferation of hybrid forms where film festivals make … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":79,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-147","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/147","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=147"}],"version-history":[{"count":24,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/147\/revisions"}],"predecessor-version":[{"id":3334,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/147\/revisions\/3334"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/79"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=147"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}