{"id":188,"date":"2010-08-09T19:48:49","date_gmt":"2010-08-09T17:48:49","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-05-16T16:30:22","modified_gmt":"2025-05-16T14:30:22","slug":"5-5-festivals-as-organizations","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/5-business-matters-industries-distribution-and-markets\/5-5-festivals-as-organizations\/","title":{"rendered":"5.5 Festival (as) Organization"},"content":{"rendered":"

This new subsection collects works that deal with organizational aspects of film festivals. These entries pick up on the blind spot of questions concerning the organization and stakeholders behind the events and analyze issues of institutional backgrounds, funding, employment and industry patterns, missions statements and agendas. These questions are fundamental for an analysis of how festivals fit into the film industry, creative industries and the circulation of cinema. The specific institutional background and founding history gives insight into the workings and agendas of the respective festivals. For instance, festivals founded by municipal and state institutions to further political and diplomatic goals \u2013 here Cannes and Berlin immediately come to mind \u2013 work on a different agenda and with very different employment and funding structures than, say, minority festivals founded by activists (be it queer film festivals or diasporic ones).<\/span><\/p>\n

While cultural festivals have been discussed in sociology, management and tourism studies, pieces specifically focusing on the organizational aspect of film festivals are still few. Kai Reichel-Heldt (2007) looked at the differences in organization and funding structures for the Berlinale and smaller German film festivals, and Ruby Cheung (2010) charted funding models for themed film festivals in the UK. Ragan Rhyne (2009) has analyzed film festivals as part of a cultural industry and charted the stakeholders influencing festival structures. Coming from the management angle, Charles-Clemens R\u00fcling (2009) analyzed festivals as field-configuring events.<\/span><\/p>\n

5.5.1 Festival Labor<\/a>
5.5.2 Diversity in the Festival Sector<\/a>
5.5.3 Sustainability in the Festival Sector<\/a><\/span><\/p>\n

 <\/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

Barnes, Heather L. 2020. \u201cThe Data-Driven Festival: Recordkeeping and Archival Practices.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 53\u201359. New York: Palgrave Macmillan.<\/p>\n

Bowles Eagle, Ryan. 2021. \u201cHow to Start a Human Rights Film Festival: Expertise, Training and Collective Media Activism.\u201d European Journal of Cultural Studies<\/i> 24 (2): 373-393. https:\/\/doi.org\/10.1177\/1367549418821842.<\/p>\n

Cerquera, Natalia L\u00f3pez. 2023. \u201cFrom the Festival-as-Event to the Festival-as-Process: A Journey Through Community Film Festivals in Colombia.\u201d In Small Cinemas of the Andes: New Aesthetics, Practices and Platforms<\/i>, edited by Diana Coryat, Christian Le\u00f3n, and Noah Zweig, 179\u201396. Cham: Palgrave Macmillan.<\/p>\n

Cheung, Ruby. 2010. \u201cFunding Models of Themed Film Festivals.\u201d In Film Festival Yearbook 2: Film Festivals and Imagined Communities<\/i>, edited by Dina Iordanova and Ruby Cheung, 74\u2013103. St. Andrews: St Andrews Film Studies.<\/p>\n

Cheung, Ruby. 2016. \u201cEver-Changing Readjustments: The Political Economy of the Hong Kong International Film Festival (HKIFF).\u201d New Review of Film and Television Studies<\/i> 14 (1): 59\u201375. https:\/\/doi.org\/10.1080\/17400309.2015.1107268.<\/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

Colta, Alexandra Maria. 2019. \u201cCreative and Emotional Labour: Programming Human Rights Film Festivals as Practice-Led Ethnography.\u201d Alphaville<\/i>, no. 17: 128\u201345. https:\/\/doi.org\/10.33178\/alpha.17.08.<\/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

Dawson, Leanne. 2020. \u201cCulture in Crisis: A Guide to Access, Equality, Diversity and Inclusion in Festivals, Arts and Culture.\u201d MAI: Feminism & Visual Culture<\/i>. https:\/\/maifeminism.com\/culture-in-crisis-a-guide-to-inclusion\/. Accessed October 27, 2020.<\/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

Dickson, Lesley-Ann. 2017. \u201c\u2018Beyond Film\u2019 Experience: Festivalizing Practices and Shifting Spectatorship at Glasgow Film Festival.\u201d In Live Cinema: Cultures, Economies, Aesthetics<\/i>, edited by Sarah Atkinson and Helen W. Kennedy, 83\u2013100. New York: Bloomsbury Academic & Professional.<\/p>\n

Dickson, Lesley-Ann. 2019. \u201cEpisodic Volunteer Management at Festivals: The Case of Valletta Film Festival, Valetta, Malta.\u201d In Managing Organisational Success in the Arts<\/i>, edited by David Stevenson, 147\u201370. Routledge research in creative and cultural industries management. London, New York, NY: Routledge.<\/p>\n

Dinkla, Lina. 2012. \u201cFestivals und digitale Filmeinreichungen: Festivals and Digital Film Submissions.\u201d [bilingual German | English]. Short Report<\/i>, 62\u201367.<\/p>\n

Farrar, Ruth. 2021. \u201cCreating Impact Through Participatory Action Research: A Film Festival Framework Case Study.\u201d Research for All<\/i> 5 (1): 118\u201333. https:\/\/doi.org\/10.14324\/RFA.05.1.10.<\/p>\n

Fischer, Alex. 2012. \u201c’the Fully Clickable Submission’: How Withoutabox Captured the Hearts and Minds of Film Festivals Everywhere.\u201d In Digital Disruption: Cinema Moves On-line<\/i>, edited by Dina Iordanova and Stuart Cunningham, 153\u201366: St Andrews Film Studies.<\/p>\n

Fischer, Alex. 2013. Sustainable Projections: Concepts in Film Festival Management. <\/i>St Andrews: St Andrews Film Studies.<\/p>\n

Fischer, Alex. 2018. \u201cThe Fully Clickable Situation: From Tyranny to Monopoly to a Filmfreeway.\u201d In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes<\/i>, edited by Tricia Jenkins, 49\u201369. London, New York: I.B.Tauris.<\/p>\n

Gamson, Joshua. 1996. \u201cThe Organizational Shaping of Collective Identity: The Case of Lesbian and Gay Film Festivals in New York.\u201d Sociological Forum<\/i> 11 (2): 231\u201361.<\/p>\n

Gesell, Christian. 2012. \u201cDigitale Filmvorf\u00fchrung auf Filmfestivals: Eine einfache und qualitativ hochwertige L\u00f6sung des Internationalen Kurzfilmfestivals Berlin: Digital Film Screenings at Film Festivals: Simple and High Quality Solution From the International Short Film Festival Berlin.\u201d [bilingual German | English]. Short Report<\/i>, 68\u201373.<\/p>\n

Hassink, Robert, and Yong-Sook Lee. 2018. \u201cExploring International Film Festivals from a Co-Evolutionary Perspective: The Cases of Berlin and Busan Compared.\u201d European Planning Studies<\/i> 26 (5): 933\u201349. https:\/\/doi.org\/10.1080\/09654313.2018.1446912.<\/p>\n

Kujawski, Linda. 2018. \u201cFestivalarbeiterInnen Vernetzen Sich International.\u201d shortfilm.de<\/i>, March 28, 2018. https:\/\/www.shortfilm.de\/festivalarbeiterinnen-vernetzen-sich-international\/.<\/p>\n

Lang, Iain, Simon Clode, and Ann Vogel. 2006. \u201c2006 Survey of Film Festivals World-Wide.\u201d Unpublished Study.<\/p>\n

Larson, Mia. 2011. \u201cInnovation and Creativity in Festival Organizations.\u201d Journal of Hospitality Marketing & Management<\/i> 20 (3-4): 287\u2013310.<\/p>\n

Lauzen, Martha M. 2016. \u201cImage Repair: A Case Study of Thierry Fremaux and the Cannes Film Festival.\u201d Public Relat. Rev.<\/i> 42 (1): 170\u201375. https:\/\/doi.org\/10.1016\/j.pubrev.2015.11.002.<\/p>\n

Le\u00e3o, T\u00e2nia. 2023. \u201cOrganiza\u00e7\u00e3o, Trabalho E Voluntariado Nos Festivais De Cinema: An\u00e1lise De Dois Casos Portugueses.\u201d [Organization, Work, and Volunteering at Film Festivals: Analysis of Two Portuguese Cases]. Sociologia On Line<\/i>, no. 31: 76\u201395. https:\/\/doi.org\/10.30553\/sociologiaonline.2023.31.5.<\/p>\n

Leca, Bernard, Charles-Clemens R\u00fcling, and Dominique Puthod. 2015. \u201cAnimated Times: Critical Transitions and the Maintenance of Field-Configuring Events.\u201d Industry and Innovation<\/i> 22 (3): 173\u201392. https:\/\/doi.org\/10.1080\/13662716.2015.1033839.<\/p>\n

Loist, Skadi. 2011. \u201cPrecarious Cultural Work: About the Organization of (Queer) Film Festivals.\u201d Screen<\/i> 52 (2): 268\u201373. https:\/\/doi.org\/10.1093\/screen\/hjr016.<\/p>\n

Mazza, Carmelo, and Jesper Strandgaard Pedersen. 2008. \u201cWho\u2019s Last? Challenges and Advantages for Late Adopters in the International Film Festival Field.\u201d Creative Encounters Working Papers 16. Unpublished manuscript, last modified April 25, 2020. http:\/\/hdl.handle.net\/10398\/7782.<\/p>\n

Mitchell, Sarah Elaine Dillard. 2017. \u201cGlamorous Work: An Ethnographic Study of the Toronto Interntational Film Festival.\u201d PhD Thesis, Department of Anthropology, Indiana University.<\/p>\n

Mitchell, Sarah Elaine Dillard. 2017. \u201cProgrammer as Festival Spokesperson: Information Management Strategies at the Toronto International Film Festival.\u201d In Film Festivals and Anthropology<\/i>, edited by Aida Vallejo and Maria-Paz Peirano, 305\u201321. Cambridge: Cambridge Scholars Publishing.<\/p>\n

Mitchell, Sed. 2021. \u201cGlamorous Work: Notes from the Red Carpet.\u201d Visual Anthropology Review<\/i> 37 (1): 142\u201363. https:\/\/doi.org\/10.1111\/var.12228.<\/p>\n

Moretti, Anna, and Francesco Zirpoli. 2016. \u201cA Dynamic Theory of Network Failure: The Case of the Venice Film Festival and the Local Hospitality System.\u201d Organization Studies<\/i> 37 (5): 607\u201333. https:\/\/doi.org\/10.1177\/0170840615613369.<\/p>\n

Oncins, Estella. 2013. \u201cThe Process of Subtitling at Film Festivals: Death in Venice?\u201d IJHSS<\/i> 3 (14): 70\u201380. http:\/\/www.ijhssnet.com\/journals\/Vol_3_No_14_Special_Issue_July_2013\/9.pdf. Accessed April 25, 2020.<\/p>\n

Ooi, Can-Seng, and Jesper Strandgaard Pedersen. 2010. \u201cCity Branding and Film Festivals: Re-Evaluating Stakeholder’s Relations.\u201d Place Branding<\/i> 6 (4): 316\u201332. https:\/\/doi.org\/10.1057\/pb.2010.30.<\/p>\n

Peaslee, Robert Moses, Jessica El-Khoury, and Ashley Liles. 2014. \u201cThe Media Festival Volunteer: Connecting Online and on-Ground Fan Labor.\u201d TWC<\/i>, no. 15. https:\/\/doi.org\/10.3983\/twc.2014.0502.<\/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

Pisu, Stefano. 2018. \u201cA Transnational Love\u2013Hate Relationship: The FIAPF and the Venice and Cannes Film Festivals (1950-1970).\u201d In International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes<\/i>, edited by Tricia Jenkins, 109\u201331. London, New York: I.B.Tauris.<\/p>\n

P\u00f3voa, D\u00e9bora. 2023. \u201c\u2018The Festival Is Ours\u2019: Power Dynamics of Community Participation in the Alter Do Ch\u00e3o Film Festival.\u201d International Journal of Cultural Studies<\/i> 26 (2): 200-215. https:\/\/doi.org\/10.1177\/13678779231154288.<\/p>\n

Rasmi, Jacopo. 2022. \u201cHow to Build an Ecosystem for the Non-Fiction Cinema? The History and Politics of Lussas Documentary Film Festival.\u201d Studies in European Cinema<\/i> 19 (3): 252\u201364. https:\/\/doi.org\/10.1080\/17411548.2022.2064160.<\/p>\n

Redvall, Eva Novrup. 2012. \u201cMore Than Films and Dragon Awards: The G\u00f6teborg International Film Festival as a Meeting Place.\u201d Journal of Scandinavian Cinema<\/i> 2 (2): 135\u201342. https:\/\/doi.org\/10.1386\/jsca.2.2.135_1.<\/p>\n

Reichel-Heldt, Kai. 2007. Filmfestivals in Deutschland: Zwischen kulturpolitischen Idealen und wirtschaftspolitischen Realit\u00e4ten. <\/i>Studien zur Kulturpolitik 5. Frankfurt am Main: Lang.<\/p>\n

Rhyne, Ragan. 2009. \u201cFilm Festival Circuits and Stakeholders.\u201d In Film\u00a0Festival Yearbook 1: The Festival Circuit<\/i>, edited by Dina Iordanova and Ragan Rhyne, 9\u201339. St. Andrews: St Andrews Film Studies.<\/p>\n

R\u00fcling, Charles-Clemens. 2009. \u201cFestivals as Field-Configuring Events: The Annecy International Animated Film Festival and Market.\u201d In Film\u00a0Festival Yearbook 1: The Festival Circuit<\/i>, edited by Dina Iordanova and Ragan Rhyne, 49\u201366. St. Andrews: St Andrews Film Studies.<\/p>\n

R\u00fcling, Charles-Clemens. 2011. \u201cEvent Institutionalization and Maintenance: The Annecy Animation Festival 1960-2010.\u201d In Negotiating Values in the Creative Industries: Fairs, Festivals and Competitive Events<\/i>, edited by Brian Moeran and Jesper Strandgaard Pedersen, 197\u2013223. Cambridge, New York: Cambridge University Press.<\/p>\n

R\u00fcling, Charles-Clemens, and Jesper Strandgaard Pedersen. 2010. \u201cFilm Festival Research from an Organizational Studies Perspective.\u201d Scandinavian Journal of Management<\/i> 26 (3): 318\u201323.<\/p>\n

Strandgaard Pedersen, Jesper, and Carmelo Mazza. 2011. \u201cInternational Film Festivals: For the Benefit of Whom?\u201d CU<\/i> 3:139\u201365. https:\/\/doi.org\/10.3384\/cu.2000.1525.113139.<\/p>\n

Tan, Jia. 2019. \u201cNetworking Asia Pacific: Queer Film Festivals and the Spatiotemporal Politics of Inter-Referencing.\u201d Inter-Asia Cultural Studies<\/i> 20 (2): 204\u201319. https:\/\/doi.org\/10.1080\/14649373.2019.1613727.<\/p>\n

Teissl, Verena. 2017. \u201cEinreichen. Einsehen: Kulturmanageriale Betrachtungsweisen.\u201d Tri\u00ebdere: Zeitschrift f\u00fcr Theorie, Literatur und Kunst <\/i>(17): 149\u201359.<\/p>\n

Teissl, Verena. 2018. \u201cKorrektiver Blickwechsel Postkoloniale Einfl\u00fcsse auf die Programmpolitik spezialisierter Filmfestivals.\u201d In Kulturelle \u00dcbersetzer: Kunst und Kulturmanagement im transkulturellen Kontext<\/i>, edited by Christiane D\u00e4tsch, 135\u201352. Edition Kulturwissenschaft Band 103. Bielefeld: transcipt.<\/p>\n

Teissl, Verena, Elisabeth Mayerhofer, and Wendy Reid. 2021. \u201cAustrian Film Festival Forum: Cultural Governance and Accountability in Viennese Film Festivals.\u201d International Journal of Arts Management<\/i> 24 (1): 103\u201313.<\/p>\n

Uzzo, Gabriele. 2024. \u201cAccessibility at Film Festivals: Guidelines for Inclusive Subtitling.\u201d PhD Thesis, Universit\u00e0 degli Studi di Palermo. Accessed April 29, 2024. https:\/\/core.ac.uk\/download\/599094067.pdf.<\/p>\n

Vogel, Ann. 2023. Cinema and the Festivalization of Capitalism: The Experience-Makers. <\/i>Leiden: Brill.<\/p>\n

Wiedemann, Thomas, and Tanja C. Krainh\u00f6fer. 2018. \u201cFilmfestival Dekonstruiert: Akteurskonstellationen in Der Debatte Zur Zukunft Der Berlinale.\u201d [Film Festival Deconstructed: Actor Constellations within the Debate about the Future of the Berlinale]. Navigationen- Zeitschrift f\u00fcr Medien- und Kulturwissenschaften<\/i> 18 (2): 177\u201396. https:\/\/doi.org\/10.25969\/mediarep\/3534.<\/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

Zemaityte, Vejune, Andres Karjus, Ulrike Rohn, Maximilian Schich, and Indrek Ibrus. 2024. \u201cQuantifying the Global Film Festival Circuit: Networks, Diversity, and Public Value Creation.\u201d PloS one<\/i> 19 (3): e0297404. https:\/\/doi.org\/10.1371\/journal.pone.0297404.<\/p>\n

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 <\/p>\n

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

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