{"id":179,"date":"2010-08-09T19:45:01","date_gmt":"2010-08-09T17:45:01","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-03-29T15:56:20","modified_gmt":"2025-03-29T14:56:20","slug":"5-1-markets-and-funds","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/5-business-matters-industries-distribution-and-markets\/5-1-markets-and-funds\/","title":{"rendered":"5.1 Markets and Funds"},"content":{"rendered":"

The writings in this subcategory look at film festival markets and funds from a predominantly cultural perspective. Cultural diversity (instead of economic productivity and efficiency) is therefore at the heart of these reflections and analyses of the business side of festivals. Most authors display a concern for an inclusive cinema culture: stretching from first world national cinemas to cinema in developing countries, keeping standards of artistic quality high, and offering space for aesthetic experiments, adversary views or lifestyles, and marginal voices. Consequently, the hype and hustle surrounding the buying-and-selling at festivals, though considered inevitable, is more often than not discussed with a critical eye for its potentially corrupting effects of the festival ideal of fostering “true variety.” Of particular interest are those studies that deal with film festivals’ active role as producer<\/em> of world cinema through programming and funding (Steinhart 2006).<\/span><\/p>\n

\u00a0<\/span><\/p>\n

Abis, Mario. 2013. \u201cI Festival Come Impresa.\u201d [“Festivals as business.”]. 8 1\/2 – Numeri, visioni e prospettive del cinema italiano <\/i>(2): 13.<\/p>\n

Amiot-Guillouet, Julie. 2024. \u201cDu paternalisme au partenariat: l\u2019Europe et les cin\u00e9mas du Sud au prisme du Hubert Bals Fund.\u201d [From paternalism to partnership: Europe and the cinemas of the South through the prism of the Hubert Bals Fund]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 155\u201368. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n

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

Benghozi, Pierre-Jean, and Claire N\u00e9nert. 1995. \u201cCr\u00e9ation de Valeur Artistique ou \u00c9conomique: Festival International du Film de Cannes au March\u00e9 du Film.\u201d [Creation of Artistic or Economic Value: Cannes International Film Festival at the Film Market]. Recherche et Applications en Marketing<\/i> 10 (4): 65\u201376.<\/p>\n

Bento Ribeiro, Ana. 2018. \u201cCinelink, Sarajevo: Interactions D\u2019un March\u00e9 R\u00e9gional Aux Marges De L\u2019europe.\u201d [Cinelink, Sarajevo: interactions of a regional market at the margins of Europe]. entrelacs<\/i>, no. 14. https:\/\/doi.org\/10.4000\/entrelacs.4246.<\/p>\n

Berra, John. 2008. \u201cSelective Exhibition: The Sundance Film Festival and Its Significance to the Independent Sector.\u201d In Declarations of Independence: American Cinema and the Partiality of Independent Production<\/i>, 143\u201360. Bristol, UK, Chicago: intellect.<\/p>\n

Binimelis Adell, Mar. 2011. \u201cLa geopol\u00edtica de las coproducciones hispanoamericanas: Un an\u00e1lisis a trav\u00e9s de su presencia en los festivales de cine clase A (1997-2007).\u201d [The geopolitics of Spanish-American co-productions: An analysis through their presence in class A film festivals]. PhD Thesis, Departamento de Estudios de la Comunicaci\u00f3n, Universidad Rovira y Virgili. Accessed April 14, 2020. http:\/\/www.tdx.cat\/bitstream\/handle\/10803\/51762\/TESIS_DEF_COMPLETA.pdf.<\/p>\n

Broe, Dennis. 2011. \u201cThe Film Festival as a Site of Resistance: Pro or Cannes.\u201d Situations: Project of the Radical Imagination<\/i> 4 (1): 33\u201352. https:\/\/www.google.com\/url?sa=t&source=web&rct=j&opi=89978449&url=https:\/\/radicalimagination.institute\/wp-content\/uploads\/2017\/02\/broe-2011.pdf&ved=2ahUKEwi08beX78KIAxUl_QIHHSY8DMUQFnoECCIQAQ&usg=AOvVaw13PuozFuiZMaqYqzW8SzNS. Accessed September 14, 2024.<\/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

Calder\u00f3n Acero, Camilo Andr\u00e9s. 2020. \u201cIndustria Cinematogr\u00e1fica Y Exhibici\u00f3n En Colombia: Apuntes Para Una Oferta Alternativa.\u201d [Film Industry and Exhibition in Colombia: Notes for an Alternative Exhibition]. Mediaciones<\/i> 16 (24): 8\u201321. https:\/\/doi.org\/10.26620\/uniminuto.mediaciones.16.24.2020.8-21.<\/p>\n

Campos, Minerva. 2012. \u201cEl circuito de financiaci\u00f3n de los cines latinoamericanos | Le circuit de financement des cin\u00e9mas latino-am\u00e9ricains: [The circuit of funding for Latin American cinema].\u201d En Cin\u00e9mas d’Am\u00e9rique Latine <\/i>(20): 172\u201380.<\/p>\n

Campos, Minerva. 2012. \u201cReconfiguraci\u00f3n de flujos en el circuito internacional de festivales de cine: El programa Cine en Construcci\u00f3n.\u201d [Reconfiguring flows in the international film festival circuit: The Films in Progress program]. Secuencias: Revista de Historia del Cine <\/i>(35). http:\/\/dialnet.unirioja.es\/servlet\/articulo?codigo=4141027. Accessed April 14, 2020.<\/p>\n

Campos, Minerva. 2013. \u201cLa Am\u00e9rica Latina de ‘Cine en Construcci\u00f3n’: Implicaciones del apoyo econ\u00f3mico de los festivales internacionales.\u201d [The Latin American ‘Films in Progress’: Implications of financial support from international festivals.]. Archivos de la filmoteca <\/i>(71): 13\u201326. http:\/\/www.archivosdelafilmoteca.com\/index.php\/archivos\/article\/view\/392. Accessed April 14, 2020.<\/p>\n

Campos, Minerva. 2015. \u201cFilm (Co)Production in Latin America and European Festivals: The Cases of Production Companies Fabula & Control Z.\u201d In \u201cDispositive der Kulturfinanzierung.\u201d edited by Steffen H\u00f6hne, Verena Teissl, and Martin Tr\u00f6ndle. Special issue, Zeitschrift f\u00fcr Kulturmanagement: Kunst, Politik, Wirtschaft und Gesellschaft<\/i> 1. (1): 95\u2013108.<\/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

Cheung, Ruby. 2011. \u201cEast Asian Film Festivals: Film Markets.\u201d In Film Festival Yearbook 3: Film Festivals and East Asia<\/i>, edited by Dina Iordanova and Ruby Cheung, 40\u201361. St. Andrews: St Andrews Film Studies.<\/p>\n

Chin, Daryl. 1997. \u201cFestivals, Markets, Critics: Notes on the State of the Art Film.\u201d PAJ<\/i> 19 (1): 61\u201375.<\/p>\n

Chin, Daryl, and Larry Qualls. 1998. \u201cTo Market, to Market.\u201d PAJ<\/i> 20 (1): 38\u201343.<\/p>\n

Chin, Daryl, and Larry Qualls. 2001. \u201cOpen Circuits, Closed Markets: Festivals and Expositions of Film and Video.\u201d PAJ<\/i> 23 (1): 33\u201347.<\/p>\n

Creton, Laurent. 1997. Cin\u00e9ma Et March\u00e9. <\/i>Paris: Armand Colin\/Masson.<\/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

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

Falicov, Tamara Leah. \u201cFilm Funding Opportunities for Latin American Filmmakers: A Case for Further North-South Collaboration in Training and Film Festival Initiatives.\u201d 85\u201398.<\/p>\n

Falicov, Tamara Leah. 2010. \u201cMigrating from South to North: The Role of Film Festivals in Funding and Shaping Global South Film and Video.\u201d In Locating Migrating Media<\/i>, edited by Greg Elmer, Charles H. Davis, Janine Marchessault, and John McCullough, 3\u201321. Lanham, MD: Lexington Books.<\/p>\n

Falicov, Tamara Leah. 2013. \u201c\u2018Cine En Construcci\u00f3n\u2019\/\u2018Films in Progress\u2019: How Spanish and Latin American Film-Makers Negotiate the Construction of a Globalized Art-House Aesthetic.\u201d TRAC<\/i> 4 (2): 253\u201371. https:\/\/doi.org\/10.1386\/trac.4.2.253_1.<\/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

Falicov, Tamara Leah. 2019. Latin American Film Industries. <\/i>London, New York, NY: Bloomsbury; British Film Institute.<\/p>\n

Fallaux, Emile, Malu Halasa, and Nupu Press, eds. 2003. True Variety: Funding the Art of World Cinema. <\/i>Rotterdam, the Netherlands: International Film Festival Rotterdam.<\/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

Guigay, Caroline. 2024. \u201cCr\u00e9ations collectives et transnationales en festival: la factory, une exp\u00e9rimentation pour fair dialoguer les cin\u00e9matographies du sud.\u201d [Collective and Transnational Creations in Festivals: The Factory, a Dialogue between Filmmakers from the South]. In Festivals et dynamiques cin\u00e9matographiques transnationales<\/i>, edited by Amanda Rueda, 189\u2013216. Champs visuels. Paris: L’Harmattan.<\/p>\n

Havens, Timothy. 2011. \u201cInventing Universal Television: Restricted Access, Promotional Extravagance, and the Distribution of Value at Global Television Markets.\u201d In Negotiating Values in the Creative Industries: Fairs, Festivals and Competitive Events<\/i>, edited by Brian Moeran and Jesper Strandgaard Pedersen, 145\u201368. Cambridge, New York: Cambridge University Press.<\/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

Lauer, Jean Anne. 2013. \u201cFrom \u2018Expresi\u00f3n En Corto\u2019 to Guanajuato International Film Festival: The Rise of Regional Support for Mexican Cinema in National and International Contexts.\u201d TRAC<\/i> 4 (2): 273\u201393. https:\/\/doi.org\/10.1386\/trac.4.2.273_1.<\/p>\n

Lecler, Romain. 2015. \u201cNouvelles vagues: Le march\u00e9-festival de Cannes ou la fabrique fran\u00e7aise d\u2019un universel cin\u00e9matographique.\u201d [New Waves: The Festival-market of Cannes, or the French Making of a Cinematographic Universal]. Actes Rech. Sci. Soc.<\/i>, no. 206-207: 14\u201333. https:\/\/doi.org\/10.3917\/arss.206.0014.<\/p>\n

Lecler, Romain. 2016. \u201cLa Mont\u00e9e Des March\u00e9s \u00c0 Cannes: Le Circuit Des \u00c9changes Audiovisuels Internationaux, Sa Chronologie Et Ses Trajets Professionnels.\u201d [[How Markets Climbed the Steps in Cannes. On the International TV and Film Trade, its Circuit, its Chronology and its Professional Itineraries]]. R\u00e9seaux<\/i> 34 (6 (#200)): 209\u201342. https:\/\/doi.org\/10.3917\/res.200.0209.<\/p>\n

Mazars, Pierre, Aude Hespert, and H\u00e9l\u00e8ne Laurichesse. 2018. \u201cLes Festivals Et Les March\u00e9s Du Film.\u201d [Festivals and film markets]. entrelacs<\/i>, no. 14. https:\/\/doi.org\/10.4000\/entrelacs.4320.<\/p>\n

Mezias, Stephen, Jesper Strandgaard Pedersen, Ji-Hyun Kim, Silviya Svejenova, and Carmelo Mazza. 2011. \u201cTransforming Film Product Identities: The Status Effects of European Premier Film Festivals, 1996\u20132005.\u201d In Negotiating Values in the Creative Industries: Fairs, Festivals and Competitive Events<\/i>, edited by Brian Moeran and Jesper Strandgaard Pedersen, 169\u201396. Cambridge, New York: Cambridge University Press.<\/p>\n

Odabasi, Eren. 2023. \u201cBiennale College Cinema: Film Funding as a Financial and Educational Initiative.\u201d Quarterly Review of Film and Video<\/i>, 1\u201320. https:\/\/doi.org\/10.1080\/10509208.2023.2210983.<\/p>\n

Ostrowska, Dorota. 2010. \u201cInternational Film Festivals as Producers of World Cinema.\u201d Cinema & Cie<\/i> 10 (14-15): 145\u201350.<\/p>\n

Paillard, J\u00e9r\u00f4me, and H\u00e9l\u00e8ne Laurichesse. 2018. \u201cLe March\u00e9 Du Film Du Festival De Cannes.\u201d [The Cannes Festival Film Market]. entrelacs<\/i>, no. 14. https:\/\/doi.org\/10.4000\/entrelacs.4325.<\/p>\n

Pan, Sevara. 2020. \u201cA Niche for Creativity: An Interview with Thierry Garrel, Director of the French Department of Documentary Film at TV ARTE (1991-2008).\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 191\u201399. New York: Palgrave Macmillan.<\/p>\n

Peranson, Mark. 2013. \u201cFirst You Get the Power, Then You Get the Money: Two Models of Film Festivals (2009).\u201d In The Film Festivals Reader<\/i>, edited by Dina Iordanova, 191\u2013203. St Andrews: St Andrews Film Studies.<\/p>\n

Perry, Simon. 1981. \u201cCannes, Festivals and the Movie Business.\u201d Sight & Sound<\/i> 50 (4): 226\u201332.<\/p>\n

Perspex. 2006. \u201cThe First Asian Lesbian Film and Video Festival in Taipei Celebrates a New Form of Social Activism.\u201d Inter-Asia Cultural Stud<\/i> 7 (3): 527\u201332.<\/p>\n

Pierre-Bouthier, Marie. 2024. \u201cDe fonds en festivals: rendre possibles d\u2019autres images documentaires du Maroc et de la Tunisie (depuis 2011).\u201d [Funds and festivals: Enabling other documentary images of Morocco and Tunisia (since 2011)]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 127\u201352. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n

Qualls, Larry, and Daryl Chin. 2004. \u201cThree Blind Mice: Fairs, Festivals, Expositions.\u201d PAJ <\/i>(78): 62\u201371.<\/p>\n

Razlogov, Kirill E. 2020. \u201cInternational Film Festivals: From Modernism to Post-Postmodern Age.\u201d The Art and Science of Television (AST)<\/i> 16 (1): 33\u201355. https:\/\/doi.org\/10.30628\/1994-9529-2020-16.1-33-55.<\/p>\n

Rhyne, Ragan. 2018. \u201cQueer Capital, Queer Culture: Gay and Lesbian Film Festivals in the 1990s.\u201d In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes<\/i>, edited by Tricia Jenkins, 153\u201378. London, New York: I.B.Tauris.<\/p>\n

Ross, Miriam. 2011. \u201cThe Film Festival as Producer: Latin American Films and Rotterdam\u2019s Hubert Bals Fund.\u201d Screen<\/i> 52 (2): 261\u201367. https:\/\/doi.org\/10.1093\/screen\/hjr014.<\/p>\n

Rueda, Amanda. 2018. \u201cFestival Et March\u00e9: Le R\u00f4le Du Festival Cin\u00e9latino De Toulouse Dans L\u2019industrie Du \u00ab Cin\u00e9ma D\u2019auteur \u00bb.\u201d [Festival and markets: The role of the Toulouse Cin\u00e9latino Festival in the “auteur cinema” industry]. entrelacs<\/i>, no. 14: 1\u201312. https:\/\/doi.org\/10.4000\/entrelacs.4265.<\/p>\n

Rueda, Amanda. 2019. \u201cNuevas Condiciones De La Internacionalizaci\u00f3n De Los Cines De Am\u00e9rica Latina Y Plataformas Profesionales De Festivales: El Caso De Cine En Construcci\u00f3n.\u201d [New conditions for the internationalization of Latin American cinemas and professional festival platforms: The case of Cine en Construcci\u00f3n]. Archivos de la Filmoteca <\/i>(77): 59\u201378. https:\/\/ut3-toulouseinp.hal.science\/hal-03682612v1\/document. Accessed February 04, 2025.<\/p>\n

Rueda, Amanda. 2024. \u201cCircuit festivalier et fictions du Sud: Digressions \u00e9pist\u00e9mologiques et m\u00e9thodologiques autour des \u00e9tudes sur les festivals de cin\u00e9ma.\u201d [Festival circuits and fictions of the South: Methodological and epistemological digressions around studies on film festivals]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 225\u201361. Film cultures vol. 12. Lausanne: Peter Lang. https:\/\/hal.science\/hal-04875502.<\/p>\n

Scharres, Barbara. 1990. \u201cStill Number One? The Cannes International Film Festival and Market.\u201d Independent<\/i> 13 (8): 16\u201319.<\/p>\n

Scherrer, Jean-Baptiste. 2018. \u201cLe Festival Et Le March\u00e9 International Du Film D\u2019animation D\u2019annecy, Un Exemple De R\u00e9conciliation Entre La Loi Du March\u00e9 Et L\u2019intervention Institutionnelle: [The Annecy International Animation Film Festival and Its Market (Mifa), an Example of Reconciliation Between the Law of the Market and Institutional Intervention].\u201d entrelacs<\/i>, no. 14. https:\/\/doi.org\/10.4000\/entrelacs.4290.<\/p>\n

Shaw, Deborah. 2014. \u201cFonds de financement europ\u00e9ens et cin\u00e9ma latino-am\u00e9ricain: Alt\u00e9risation et cin\u00e9philie bourgeoise dans La teta asustada <\/i>de Claudia Llosa.\u201d [European funding and Latin American cinema: Alterisation and bourgeois cinema in La teta asustada by Claudia Llosa]. Diog\u00e8ne<\/i>, no. 245: 125\u201341. https:\/\/doi.org\/10.3917\/dio.245.0125.<\/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

Steinhart, Daniel. 2006. \u201cFostering International Cinema: The Rotterdam Film Festival, CineMart, and the Hubert Bals Fund.\u201d Mediascape <\/i>(2): 1\u201313. http:\/\/www.tft.ucla.edu\/mediascape\/Spring06_FosteringInternationalCinema.pdf. Accessed April 14, 2020.<\/p>\n

Triana Toribio, Nuria. 2013. \u201cBuilding Latin American Cinema in Europe: Cine en Construcci\u00f3n\/Cin\u00e9ma en construction.\u201d In Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film<\/i>, edited by Stephanie Dennison, 89\u2013112 323. London: Tamesis Books.<\/p>\n

Vallejo, Aida. 2013. \u201cEl Efecto Domin\u00f3: Nuevas Estrategias De Financiaci\u00f3n Del Documental Creativo Ante La Crisis De La Televisi\u00f3n P\u00fablica En Europa.\u201d In Crisis y pol\u00edticas: Actas del II Congreso Internacional de comunicaci\u00f3n La radiotelevisi\u00f3n p\u00fablica en el punto de mira – audiovisual y publicidad, Bilboa 4 y 5 de octubre de 2012<\/i>, edited by Miguel \u00c1. Casado, Juan C. Miguel, Patxi Azpillaga, Ram\u00f3n Zallo, Edorta Arana, and Josu Amezaga, 99\u2013109. Leioa: Servicio Editorial de la Universidad del Pa\u00eds Vasco. [The Domino Effect. New Funding Strategies for Creative Documentary in Response to the Crisis of Public Television in Europe].<\/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

Vallejo, Aida. 2017. \u201cL\u2019impact \u00c9conomique Des Festivals De Cin\u00e9ma: Entre La Communaut\u00e9 Cin\u00e9phile Et L\u2019industrie Audiovisuelle.\u201d [The Economic Impact of Film Festivals: Between the Cinephile Community and the Audiovisual Industry]. Les cahiers de Champs Visuels <\/i>(14\/15): 61\u201398.<\/p>\n

Vallejo, Aida. 2024. \u201cL\u2019\u00e9cosysteme des festivals de films documentaires en Ib\u00e9ro-Am\u00e9rique: La carte, la chronologie et le r\u00e9seau.\u201d [The Ecosystem of Documentary Film Festivals in Ibero-America: Map, Chronology and Network]. In Festivals et dynamiques cin\u00e9matographiques transnationales<\/i>, edited by Amanda Rueda, 53\u201382. Champs visuels. Paris: L’Harmattan.<\/p>\n

Vinuela, Ana. 2018. \u201cLe March\u00e9 De La Coproduction De La Berlinale Dans L\u2019univers Du Cin\u00e9ma Du Monde.\u201d [The Berlinale co-production market within global cinema]. entrelacs<\/i>, no. 14: 1\u201311. https:\/\/doi.org\/10.4000\/entrelacs.4332.<\/p>\n

Vinuela, Ana. 2024. \u201cLe \u00ab film de festival \u00bb au prisme du march\u00e9.\u201d [The ‘Festival Film’ in the Prism of the Market]. In Festivals et dynamiques cin\u00e9matographiques transnationales<\/i>, edited by Amanda Rueda, 25\u201351. Champs visuels. Paris: L’Harmattan.<\/p>\n

Wiedemann, Thomas, and Tanja C. Krainh\u00f6fer. 2020. \u201cThe Berlin International Film Festival: A Powerful Springboard and Gatekeeping Mechanism for Domestic Filmmaking.\u201d Communications<\/i> 45 (4): 389\u2013413. https:\/\/doi.org\/10.1515\/commun-2019-2052.<\/p>\n

Wolf, Reinhard W. 2017. \u201cLaurels for Greenbacks: Making Money with Short Films in a Thriving Festival Scene.\u201d shortfilm.de<\/i>, December 11, 2017. https:\/\/www.shortfilm.de\/en\/lorbeeren-fuer-kohle-in-einer-bluehenden-festivallandschaft-mit-kurzfilmen-geld-verdienen\/.<\/p>\n

Wolf, Reinhard W. 2017. \u201cLorbeeren F\u00fcr Kohle: In Einer Bl\u00fchenden Festivallandschaft Mit Kurzfilmen Geld Verdienen.\u201d shortfilm.de<\/i>, December 11, 2017. https:\/\/www.shortfilm.de\/lorbeeren-fuer-kohle-in-einer-bluehenden-festivallandschaft-mit-kurzfilmen-geld-verdienen\/.<\/p>\n

Wolf, Reinhard W. 2018. \u201cFilm Festivals in Cinema Programmes of Major Cities: A New Global Business Model.\u201d shortfilm.de<\/i>, June 19, 2018. https:\/\/www.shortfilm.de\/en\/filmfestivals-im-kinoprogramm-grosser-staedte-ein-neues-globales-geschaeftsmodell\/.<\/p>\n

Wolf, Reinhard W. 2018. \u201cFilmfestivals Im Kinoprogramm Gro\u00dfer St\u00e4dte: Ein Neues Globales Gesch\u00e4ftsmodell.\u201d shortfilm.de<\/i>, June 19, 2018. https:\/\/www.shortfilm.de\/filmfestivals-im-kinoprogramm-grosser-staedte-ein-neues-globales-geschaeftsmodell\/.<\/p>\n

Wong, Cindy Hing-Yuk, and Gary W. McDonogh. 2024. \u201cCuration, coproduction et pouvoir: Les festivals de cin\u00e9ma europ\u00e9ens et la cr\u00e9ation mondiale.\u201d [Curation, Co-Production and Power: European Film Festivals and Global Creation]. In Festivals et dynamiques cin\u00e9matographiques transnationales<\/i>, edited by Amanda Rueda, 161\u201387. Champs visuels. Paris: L’Harmattan.<\/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

Zachar, Gerald, and Michael Paul. 2016. \u201cFilmfestivalreport \u00d6sterreich: Zur Situation Der \u00d6sterreichischen Filmfestivals: Finanzierung, Effekte & Strategische Aussichten.\u201d http:\/\/film-festivals.at\/media\/presse\/Filmfestivalreport_Oesterrei.pdf. im Auftrag des Forums \u00f6sterreichischer Filmfestivals.<\/p>\n

Zachar, Gerald, and Michael Paul. 2018. \u201cEvidencing the Economics of Film Festival Funding: Do Government Subsidies Help?\u201d In Handbook of State Aid for Film: Finance, Industries and Regulation<\/i>, edited by Paul C. Murschetz, Roland Teichmann, and Matthias Karmasin, 481\u2013505. Cham: Springer International.<\/p>\n

 <\/p>\n

(Last updated: 29. March 2o25)<\/span><\/p>\n

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<\/p>\n","protected":false},"excerpt":{"rendered":"

The writings in this subcategory look at film festival markets and funds from a predominantly cultural perspective. Cultural diversity (instead of economic productivity and efficiency) is therefore at the heart of these reflections and analyses of the business side of … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":65,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-179","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/179","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=179"}],"version-history":[{"count":44,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/179\/revisions"}],"predecessor-version":[{"id":3179,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/179\/revisions\/3179"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/65"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=179"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}