{"id":2113,"date":"2017-07-26T16:57:49","date_gmt":"2017-07-26T14:57:49","guid":{"rendered":"http:\/\/www.filmfestivalresearch.org\/?page_id=2113"},"modified":"2025-07-29T18:44:34","modified_gmt":"2025-07-29T16:44:34","slug":"9-2-b-3-documentary-film-festivals","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/9-specialized-film-festivals\/9-2-genre-based-festivals\/9-2-b-type\/9-2-b-3-documentary-film-festivals\/","title":{"rendered":"9.2.2.3 Documentary Film Festivals"},"content":{"rendered":"

Amieva, Mariana. 2018. \u201c\u00bfC\u00f3mo El Uruguay No Hay? La Participaci\u00f3n Del Festival De Cine Documental Y Experimental Del SODRE En Las Redes De Festivales Y Sus Particularidades.\u201d [Unique Like Uruguay? The Role of SODRE\u2019s Documentary and Experimental Film Festival in Festival Networks and Its Specific Features]. Revista Cine Documental <\/em>(18): 8\u201336. https:\/\/revista.cinedocumental.com.ar\/como-el-uruguay-no-hay-la-participacion-del-festival-de-cine-documental-y-experimental-del-sodre-en-las-redes-de-festivales-y-sus-particularidades\/.<\/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

Battaglia, Giulia. 2020. \u201cThe Development of Documentary Film Festivals in India: A Small-Media Phenomenon.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 221\u201339. New York: Palgrave Macmillan.<\/p>\n

Chadwick, Samara. 2020. \u201cBuilding Networks: An Interview with Sandra J. Ruch, Director Emeritus of the International Documentary Association.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 167\u201374. New York: Palgrave Macmillan.<\/p>\n

Cheung, Tit Leung. 2012. \u201cExtending the Local: Documentory Film Festivals in East Asia as Sites of Connection and Communication.\u201d PhD Thesis, Lingnan University. Accessed May 31, 2020. http:\/\/commons.ln.edu.hk\/vs_etd\/5\/.<\/p>\n

Cheung, Tit Leung. 2020. \u201cThe Film Festival of Independent and Underground: The Case of DOChina.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 175\u201391. New York: Palgrave Macmillan.<\/p>\n

Colta, Alexandra-Maria. 2019. \u201cPolitics and Programming Practices at Human Rights Film Festivals: A Study of Document Human Rights Film Festival.\u201d PhD Thesis, School of Culture and Creative Arts, College of Arts, University of Glasgow.<\/p>\n

Cruz Melo, Izabel. \u201cJornada Internacional De Cinema Da Bahia: Espa\u00e7o De Reflex\u00e3o E Resist\u00eancia (1972-1975).\u201d [International Film Journey of Bahia: space for reflection and resistance (1972-1975)]. O Olhoda Historia<\/i> 2004: 1\u20138.<\/p>\n

Davies, Lyell. 2016. \u201cDocumentary Film Festivals and Ideological Transactions: Film Screening Sites at Hot Docs.\u201d CJFS<\/i> 25 (1): 88\u2013100.<\/p>\n

de Valck, Marijke, and Mimi Soeteman. 2010. \u201c’and the Winner Is\u2026’: What Happens Behind the Scenes of Film Festival Competitions.\u201d International Journal of Cultural Studies<\/i> 13 (3): 290\u2013307.<\/p>\n

Dovey, Lindiwe. 2020. \u201cPrecarity and Resistance: An Interview with Pedro Pimenta, Founder-Director of Dockanema Documentary Film Festival (Mozambique).\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 147\u201356. New York: Palgrave Macmillan.<\/p>\n

Drees, Anne. 2013. \u201cDokumentarfilmfestivals: Orte, Ideen, Strategien.\u201d In Dokumentarfilm: Schulen \u2013 Projekte \u2013 Konzepte<\/i>, edited by Edmund Ballhaus, 376\u201390. Berlin: Reimer.<\/p>\n

Fenwick, James. 2021. \u201cUrban Regeneration and Stakeholder Dynamics in the Formation, Growth and Maintenance of the Sheffield International Documentary Festival in the 1990s.\u201d Historical Journal of Film, Radio and Television<\/i> 41 (4): 838\u201363. https:\/\/doi.org\/10.1080\/01439685.2021.1922035.<\/p>\n

Fenwick, James. 2023. \u201cYorkshire’s Film Festival Programmers: Working Conditions, Skills, and the Relationship to the Region\u2019s Screen Industries.\u201d Unpublished manuscript, last modified April 07, 2025. https:\/\/shura.shu.ac.uk\/id\/eprint\/32515.<\/p>\n

Fischer, Alex. 2012. \u201cHot Docs: A Prescription for Reality: An Interview with Sean Farnell, Former Director of Programming at Hot Docs Canadian International Documentary Festival.\u201d In Film Festival Yearbook 4: Film Festivals and Activism<\/i>, edited by Dina Iordanova and Leshu Torchin, 225\u201334. St Andrews: St Andrews Film Studies.<\/p>\n

Gann, Jon. 2012. \u201c’Mediate. Curate. Fascilitate.’: Sky Sitney, SILVERDOCS.\u201d In Behind the Screens: Programmers Reveal How Film Festivals Really Work<\/i>, 149\u201365. Washington, DC: Reel Plan Press.<\/p>\n

Gehler, Fred, ed. 1998. Dialog mit einem Mythos: \u00c4sthetische und politische Entwicklungen des Leipziger Dokumentarfilm-Festivals in vier Jahrzehnten. <\/i>Leipzig: Leipziger Univ.-Verl. Vortr\u00e4ge und Diskussionen des Symposiums anl\u00e4\u00dflich des 40. Festivals 1997, zugleich VII. Hochschultage f\u00fcr Medien und Kommunikation.<\/p>\n

Hongisto, Ilona, Kaisu Hynn\u00e4-Granberg, and Annu Suvanto. 2020. \u201cThe Invention of Northeastern Europe: The Geopolitics of Programming at Documentary Film Festivals.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 73\u201391. New York: Palgrave Macmillan.<\/p>\n

Huth, Anna, and Christoph and Huth. \u201cCurating Documentaries: Insights into Festival Programming and Selection.\u201d Studies in Documentary Film<\/i>, 1\u201316. https:\/\/doi.org\/10.1080\/17503280.2025.2473081.<\/p>\n

Iglesias, Eul\u00e0lia. 2020. \u201cPositioning Documentaries at the Cannes International Film Festival: Fahrenheit 9\/11<\/i> and Beyond.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 113\u201330. New York: Palgrave Macmillan.<\/p>\n

Jungen, Christian. 2020. \u201cForging a Cultural Elite: Nyon and the Age of Festival Programmers.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 123\u201341. New York: Palgrave Macmillan.<\/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

K\u00f6tzing, Andreas. 2004. Die Internationale Leipziger Dokumentar- und Kurzfilmwoche in den 1970er Jahren. <\/i>Media Studien 12. Leipzig: Leipziger Univ.-Verl.<\/p>\n

K\u00f6tzing, Andreas. 2007. \u201cZeigen oder nicht zeigen? Das ‘Prinzip der Selbstnominierung’ sozialistischer Filme auf der Leipziger Dokumentarfilmwoche.\u201d In Leinwand zwischen Tauwetter und Frost: Der osteurop\u00e4ische Spiel- und Dokumentarfilm im Kalten Krieg<\/i>, edited by Lars Karl, 299\u2013316. Berlin: Metropol-Verl.<\/p>\n

K\u00f6tzing, Andreas. 2013. Kultur- und Filmpolitik im Kalten Krieg: Die Filmfestivals von Leipzig und Oberhausen in gesamtdeutscher Perspektive, 1954-1972. <\/i>G\u00f6ttingen: Wallstein.<\/p>\n

K\u00f6tzing, Andreas, ed. 2014. ‘Die Sicherheit des Festivals ist zu gew\u00e4hrleisten!’: Kritische Jugend, die Leipziger Dokfilmwoche und das Ministerium f\u00fcr Staatssicherheit. <\/i>Halle (Saale): Mitteldeutscher Verlag.<\/p>\n

L\u00f3pez-G\u00f3mez, Ant\u00eda, Aida Vallejo, M\u00aa Soli\u00f1 Barreiro, and Amanda Alencar. 2020. \u201cFound in Translation: Film Festivals, Documentary and the Preservation of Linguistic Diversity.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 241\u201363. New York: Palgrave Macmillan.<\/p>\n

Ma, Ran. 2018. \u201cAsian Documentary Connections and \u201cThe International Film Festival Short Circuit\u201d: Yamagata International Documentary Film Festival (YIDFF) As a Case Study.\u201d In The Palgrave Handbook of Asian Cinema<\/i>, edited by Aaron H. J. Magnan-Park, Gina Marchetti, and See K. Tan, 171\u201389. London: Palgrave Macmillan.<\/p>\n

Mansouri, Hassouna. 2020. \u201cNotes on Disenchantment: A Conversation with Amir Al-Emary, Former Director of the Ismailia International Film Festival for Documentaries and Shorts (Egypt).\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 157\u201365. New York: Palgrave Macmillan.<\/p>\n

Martini, Heidi. 2007. Dokumentarfilm-Festival Leipzig: Filme und Politik im Blick und Gegenblick. <\/i>1. Aufl. Schriftenreihe der DEFA-Stiftung. Berlin: DEFA-Stiftung.<\/p>\n

Moine, Caroline. 2003. \u201cLe festival du film documentaire de Leipzig, un lieu d’\u00e9changes culturels international? Entre mythe et r\u00e9alit\u00e9.\u201d [The Leipzig Documentary Film Festival, a place for international cultural exchange? Between myth and reality.]. Relations internationales <\/i>(116): 559\u201371.<\/p>\n

Moine, Caroline. 2004. \u201cGone with the Eastern Wind: Glasnost in 1980s East European Film.\u201d Film International<\/i> 2 (2): 6\u201313. https:\/\/doi.org\/10.1386\/fiin.2.2.6.<\/p>\n

Moine, Caroline. 2005. \u201c’Le fascisme ordinaire’ de Mikha\u00efl Romm au festival de Leipzig (1965).\u201d In Cam\u00e9ra Politique: Cin\u00e9ma Et Stalinisme<\/i>, edited by Kristian Feigelson, 228\u201339. Theorem 8. Paris: Presse Sorbonne nouvelle. [Mikhail Romm’s ‘Ordinary Fascism’ at the Leipzig Festival (1965)].<\/p>\n

Moine, Caroline. 2009. \u201cUne Allemagne malgr\u00e9 tout? Le festival international du film documentaire de Leipzig, 1955-1990.\u201d In Une Europe malgr\u00e9 tout, 1945-1990: Contacts et r\u00e9seaux culturels, intellectuels et scientifiques entre Europ\u00e9ens dans la guerre froide | Cultural, lntellectual and Scientific Contacts and Networks among Europeans during the Cold War | Kulturelle, intellektuelle und wissenschaftliche Kontakte und Netze unter Europ\u00e4ern im Kalten Kriege<\/i>, edited by Antoine Fleury and Lubor J\u00edlek, 297\u2013316. Bruxelles, Berlin, Frankfurt\/M: P.I.E. Peter Lang. [A Germany after all? The Leipzig International Documentary Film Festival, 1955-1990.” A Europe in spite of everything, 1945-1990: Cultural, intellectual and scientific contacts and networks between Europeans in the Cold War].<\/p>\n

Moine, Caroline. 2014. Cin\u00e9ma et guerre froide: Histoire du festival de films documentaires de Leipzig (1955-1990). <\/i>Histoire contemporaine. Paris: Publications Sorbonne. [Cinema and Cold War: History of the Leipzig Documentary Film Festival (1955-1990)].<\/p>\n

Niskanen, Eija. 2020. \u201cFinding a Position on the Global Map of Film Festivals: The Yamagata International Documentary Film Festival.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 143\u201363. New York: Palgrave Macmillan.<\/p>\n

Nornes\u200c, Ab\u00e9 Mark. 2011. \u201cBulldozers, Bibles and Very Sharp Knives: The Chinese Independent Documentary Scene.\u201d In Film Festival Yearbook 3: Film Festivals and East Asia<\/i>, edited by Dina Iordanova and Ruby Cheung, 101\u20139. St. Andrews: St Andrews Film Studies.<\/p>\n

Nornes\u200c, Ab\u00e9 Mark. 2011. \u201cTable 11: Documentary Film Festivals in Asia.\u201d In Film Festival Yearbook 3: Film Festivals and East Asia<\/i>, edited by Dina Iordanova and Ruby Cheung, 263. St. Andrews: St Andrews Film Studies.<\/p>\n

Nornes\u200c, Ab\u00e9 Mark. 2014. \u201cYamagata\u2013Asia\u2013Europe: The International Film Festival Short Circuit.\u201d In The Oxford Handbook of Japanese Cinema<\/i>, edited by Daisuke Miyao, 245\u201362. Oxford, New York: Oxford University Press.<\/p>\n

O\u2019Connell, Jennifer M. J., and Annelies van Noortwijk. 2020. \u201cSelecting Films for Festivals and Documentary Funds: An Interview with Independent Film Programmer and Advisor Rada \u0160e\u0161i\u0107.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 175\u201384. New York: Palgrave Macmillan.<\/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

Onwuliri, Edmund Chukwuma, and Barth Oshionebo. 2023. \u201cTowards the Development of a Sustainable Documentary Film Culture in Nigeria: A Study of IRepresent (IREP) Documentary Film Festival.\u201d Advanced Journal of Theatre and Film Studies (AJTFS)<\/i> 1 (2). https:\/\/doi.org\/10.57040\/ajtfs.v1i2.540.<\/p>\n

Peirano, Maria Paz. 2018. \u201cFIDOCS y la formaci\u00f3n de un campo de cine documental en Chile en la d\u00e9cada de 1990.\u201d [FIDOCS and the formation of a documentary film sector in Chile in the 1990s]. Cine Documental <\/i>(18): 62\u201389. http:\/\/revista.cinedocumental.com.ar\/fidocs-y-la-formacion-de-un-campo-de-cine-documental-en-chile-en-la-decada-de-19901\/. Accessed May 16, 2021.<\/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

Pires, Bianca S. 2023. \u201cContra El Silencio Todas Las Voces: Una Mirada a Uno De Los Primeros Festivales De Cine Y Video Documental En M\u00e9xico.\u201d [Against Silence All Voices: A look at one of Mexico’s first documentary film and video festivals]. In Cine: Discurso Y Est\u00e9tica: Reflexiones Desde La Multidisciplina<\/i> [Cinema: Discourse and Aesthetics: Reflections from the multidisciplinary perspective], edited by Cristi\u00e1n Cal\u00f3nico Lucio and Rodrigo Gerardo Mart\u00ednez Vargas, 130\u201344. Cine: Discurso y Est\u00e9tica 1. Ciudad de M\u00e9xico: Universidad Aut\u00f3noma Metropolitana Unidad Iztapalapa; Juan Pablos Editor. https:\/\/www.academia.edu\/106115229\/Contra_el_Silencio_Todas_las_Voces_Una_mirada_a_uno_de_los_primeros_festivales_de_cine_y_video_documental_en_M%C3%A9xico. Accessed March 05, 2025.<\/p>\n

Pires, Bianca Salles. 2023. \u201cMemorias y experiencias de los p\u00fablicos del festival Ambulante Gira de Documentales (2006-2022).\u201d In Claroscuros de la memoria: Culturas cinematogr\u00e1ficas y mundos urbanos<\/i>, edited by Ana Rosas Mantec\u00f3n and Antonio Ziri\u00f3n P\u00earez. Primera edici\u00f3n, 341\u201373. Ciudades y ciudadan\u00edas. Ciudad de M\u00e9xico: Universidad Aut\u00f3noma Metropolitana.<\/p>\n

Pires, Bianca Salles. 2024. \u201cCiudad, Itinerancia Y Frontera: Festivales De Cine Documental En La Primera D\u00e9cada Del Siglo XXI En M\u00e9xico.\u201d [City, roaming and border: Documentary film festivals in the first decade of the 21st century in Mexico]. In Cine: Discurso Y Est\u00e9tica 2: Reflexiones Desde Las Cinematograf\u00edas Contrahegem\u00f3nicas<\/i> [Cinema: discourse and aesthetics 2: Reflections from counter-hegemonic cinematographies], edited by Cristi\u00e1n C. Lucio and Rodrigo Gerardo Mart\u00ednez Vargas, 76\u2013110. Ciudad de M\u00e9xico: Universidad Aut\u00f3noma Metropolitana Unidad Iztapalapa; Juan Pablos Editor. https:\/\/www.academia.edu\/attachments\/117661353\/download_file?s=profile. Accessed March 05, 2025.<\/p>\n

Rak, Julie. 2025. \u201cFestival Obscura: Gender in Festival-Driven Mountaineering Documentaries.\u201d In Global Mountain Cinema<\/i>, edited by Christian Quendler, Caroline Schaumann, and Kamaal Haque, 209\u201324. Edinburgh: Edinburgh University Press. https:\/\/www.jstor.org\/stable\/10.3366\/jj.25700631.18?seq=1. Accessed May 13, 2025.<\/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

R\u0131za, Enis, and Ebru \u015eeremetli. 2022. \u201c1001 Belgesel Film Festivali Deneyiminden Hareketle Film Festivalleri.\u201d In Film Festivalleri E-Kitabi 1: 10-11 Kasim 2021, Ankara<\/i>, edited by Hakan Erk\u0131l\u0131\u00e7, 303\u201313. Ankara: De Ki Basim Yayim. [Film Festivals in Consideration of 1001 Documentary Film Festival Experience].<\/p>\n

Robbins, Papagena, and Viviane Saglier. 2015. \u201cInterview with Deirdre Haj, Director of Full Frame Documentary Film Festival.\u201d Synoptique<\/i> 3 (2): 49\u201367. https:\/\/synoptiqueblog.files.wordpress.com\/2018\/07\/4-papagena-robbins-viviane-saglier-interview-with-deirdre-haj-director-of-full-frame-documentary-film-festival.pdf. Accessed May 25, 2020.<\/p>\n

Robbins, Papagena, and Viviane Saglier. 2015. \u201cInterview with Ezra Winton, Director of Programming at Cinema Politica.\u201d Synoptique<\/i> 3 (2): 68\u201385. https:\/\/synoptiqueblog.files.wordpress.com\/2018\/07\/5-papagena-robbins-viviane-saglier-interview-with-ezra-winton-director-of-programming-at-cinema-politica.pdf. Accessed May 25, 2020.<\/p>\n

Roy, Carole. 2012. \u201c\u2018Why Don\u2019t They Show Those on TV?\u2019: Documentary Film Festivals, Media and Community.\u201d International Journal of Lifelong Education<\/i> 31 (3): 293\u2013307. https:\/\/doi.org\/10.1080\/02601370.2012.683610.<\/p>\n

Russell, Catherine. 2015. \u201cDMZ International Documentary Film Festival: Film, Peace, and the Cold War Industry.\u201d Synoptique<\/i> 3 (2): 86\u201392. https:\/\/synoptiqueblog.files.wordpress.com\/2018\/07\/6-catherine-russell-dmz-international-documentary-film-festival-film-peace-and-the-cold-war-industry.pdf. Accessed May 20, 2020.<\/p>\n

Schenk, Ralf. 2007. Bilder einer gespaltenen Welt: 50 Jahre Leipziger Dokumentar- und Animationsfilmfestival. <\/i>Berlin: Bertz + Fischer. http:\/\/deposit.d-nb.de\/cgi-bin\/dokserv?id=2975391&prov=M&dok_var=1&dok_ext=htm.<\/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

Steinmetz, R\u00fcdiger, and Hans-J\u00f6rg Stiehler. 1997. Das Leipziger Dokfilm-Festival und sein Publikum: Eine Studie zu Image, Akzeptanz und Resonanz 1993-1996. <\/i>Leipzig: Leipziger Univ.-Verl. http:\/\/www.gbv.de\/dms\/ilmenau\/toc\/235127558.PDF.<\/p>\n

Steinmetz, R\u00fcdiger, Hans-J\u00f6rg Stiehler, and Johanna Wank. 2007. Das Leipziger Dokfilm-Festival und sein Publikum II: Eine Nachfolge-Studie 2006 zu Image, Akzeptanz und Resonanz. <\/i>Leipzig: Leipziger Univ.-Verl. http:\/\/d-nb.info\/987320238.<\/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

Traunm\u00fcller, Simone. 2013. \u201cDer Ethnographische Dokumentarfilm Und Seine Festivals.\u201d In Dokumentarfilm: Schulen \u2013 Projekte \u2013 Konzepte<\/i>, edited by Edmund Ballhaus, 366\u201375. Berlin: Reimer.<\/p>\n

Vallejo, Aida. 2012. \u201cFestivales de cine documental: Redes de circulaci\u00f3n cultural en el este del continente europeo. (Documentary Film Festivals:\u00a0Networks of Cultural Circulation in the Eastern Part of Europe).\u201d PhD Thesis, Facultad de Folosof\u00eda y Letras, Universidad Aut\u00f3noma de Madrid.<\/p>\n

Vallejo, Aida. 2013. \u201cFestivales Tem\u00e1ticos Y G\u00e9neros Cinematogr\u00e1ficos: Del Cine Fant\u00e1stico Al Documental Contempor\u00e1neo.\u201d In De cimientos y contrafuertes: El papel de los g\u00e9neros en el cine Espa\u00f1ol<\/i>, edited by Julio P. Perucha and Agust\u00edn R. Alcover, 246\u201357. Bilbao. [\u201cThematic Festivals and Film Genres. From Fantastic Film to Contemporary Documentary\u201d.].<\/p>\n

Vallejo, Aida. 2014. \u201cIndustry Sections: Documentary Film Festivals Between Production and Distribution.\u201d Iluminace<\/i> 26 (1): 65\u201381.<\/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. \u201cTravelling the Circuit: A Multi-Sited Ethnography of Documentary Film Festivals in Europe.\u201d In Film Festivals and Anthropology<\/i>, edited by Aida Vallejo and Maria-Paz Peirano, 277\u201392. Cambridge: Cambridge Scholars Publishing.<\/p>\n

Vallejo, Aida. 2020. \u201cAdapting to New Times: An Interview with Ernesto Del R\u00edo, Director of the Zinebi International Documentary and Short Film Festival of Bilbao (2000-2017).\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 137\u201345. New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida. 2020. \u201cDefining Documentary in the Festival Circuit: A Conversation with Bill Nichols.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 19\u201328. New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida. 2020. \u201cIDFA\u2019s Industry Model: Fostering Global Documentary Production and Distribution.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 23\u201353. New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida. 2020. \u201cIntroduction to Part I, Vol. 1: Researching Documentary Film Festivals.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 31\u201339. New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida. 2020. \u201cIntroduction to Part I, Vol. 2: Changes and Challenges for Documentary and Film Festivals.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 13\u201321. New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida. 2020. \u201cIntroduction to Part II, Vol. 1: Mapping the History of Documentary Film Festivals.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 63\u201375. New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida. 2020. \u201cThe Rise of Documentary Festivals: A Historical Approach.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 77\u2013100. New York: Palgrave Macmillan.<\/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

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

Vallejo, Aida, and Ezra Winton, eds. 2020. Documentary Film Festivals Vol. 1: Methods, History, Politics. <\/i>New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida, and Ezra Winton, eds. 2020. Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives. <\/i>New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida, and Ezra Winton. 2020. \u201cIntroduction\u2014Volume 1: Documentary Film Festivals: Methods, History, Politics.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 1\u201317. New York: Palgrave Macmillan.<\/p>\n

Vallejo, Aida, and Ezra Winton. 2020. \u201cIntroduction\u2014Volume 2: Documentary Film Festivals: Changes, Challenges, Professional Perspectives.\u201d In Documentary Film Festivals Vol. 2: Changes, Challenges, Professional Perspectives<\/i>, edited by Aida Vallejo and Ezra Winton, 1\u201310. New York: Palgrave Macmillan.<\/p>\n

Vanhaelemeesch, Jasper. 2020. \u201cThe Seeds Multiply: The AcampaDOC International Documentary Film Festival.\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): 120\u201333.<\/p>\n

Winton, Ezra. 2013. \u201cGood for the Heart and Soul, Good for Business: The Cultural Politics of Documentary at the Hot Docs Film Festival.\u201d PhD Thesis, Communication, Carleton University. Accessed May 25, 2020. http:\/\/curve.carleton.ca\/system\/files\/theses\/27612.pdf.<\/p>\n

Winton, Ezra. 2013. \u201cHot Docs Turns Twenty.\u201d Art Threat<\/i>, April 24, 2013. http:\/\/artthreat.net\/2013\/04\/hot-docs-2013\/.<\/p>\n

Winton, Ezra. 2020. \u201cIntroduction to Part III, Vol. 1: Politics and Policies.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 167\u201373. New York: Palgrave Macmillan.<\/p>\n

Winton, Ezra. 2020. \u201cMainstreaming Documentary and Activism at Toronto\u2019s Hot Docs Festival.\u201d In Documentary Film Festivals Vol. 1: Methods, History, Politics<\/i>, edited by Aida Vallejo and Ezra Winton, 193\u2013220. New York: Palgrave Macmillan.<\/p>\n

Winton, Ezra, and Svetla Turnin. 2017. \u201cThe Revolution Will Not Be Festivalized: Documentary Film\u00a0Festivals and Activism.\u201d In Activist Film Festivals: Towards a Political Subject<\/i>, edited by Sonia M. Tascon and Tyson Wils, 81\u2013103. London: intellect.<\/p>\n

Yu, Tianqi. 2014. \u201cGoing Global: Guangzhou International Documentary Film Festival 2013.\u201d Studies in Documentary Film<\/i> 8 (1): 76\u201385. https:\/\/doi.org\/10.1080\/17503280.2014.900955.<\/p>\n

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(Last updated: 16. May 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"

Amieva, Mariana. 2018. \u201c\u00bfC\u00f3mo El Uruguay No Hay? La Participaci\u00f3n Del Festival De Cine Documental Y Experimental Del SODRE En Las Redes De Festivales Y Sus Particularidades.\u201d [Unique Like Uruguay? The Role of SODRE\u2019s Documentary and Experimental Film Festival in … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":138,"menu_order":3,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2113","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/2113","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=2113"}],"version-history":[{"count":28,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/2113\/revisions"}],"predecessor-version":[{"id":3359,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/2113\/revisions\/3359"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/138"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=2113"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}