{"id":3186,"date":"2025-03-29T16:02:48","date_gmt":"2025-03-29T15:02:48","guid":{"rendered":"http:\/\/www.filmfestivalresearch.org\/?page_id=3186"},"modified":"2025-05-16T16:29:25","modified_gmt":"2025-05-16T14:29:25","slug":"5-5-2-diversity-in-the-festival-sector","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\/5-5-2-diversity-in-the-festival-sector\/","title":{"rendered":"5.5.2 Diversity in the festival sector"},"content":{"rendered":"\n<p class=\"wp-block-paragraph\">Diawara, Manthia. 2020. \u201cAfrican Cinema and Festivals: FESPACO.\u201d (1992). <em>Black Camera: The New Series<\/em> 12 (1): 107\u201316. https:\/\/doi.org\/10.2979\/blackcamera.12.1.08.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Ellerson, Beti. 2024. \u201cAn African Film Festival in New York Through an African Woman&#8217;s Eyes: In Conversation with Mahen Bonetti.\u201d <em>Black Camera: The New Series<\/em> 15 (2): 314\u201328.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">K\u0131l\u0131\u00e7 Adil\u00e7e, Bahar, and Isil Coklar Okutkan. 2023. \u201cFirst Encounter with the Celluloid Ceiling: Female Representation at a Student Film Festival in T\u00fcrkiye.\u201d <em>Feminist Media Studies<\/em> 24 (4): 898\u2013916. https:\/\/doi.org\/10.1080\/14680777.2023.2258297.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Peyre, Nicolas. 2024. \u201cEntre Influence et diversit\u00e9 culturelle: Le r\u00e9seau culturel, un acteur de la circulation cin\u00e9matographique transnationale.\u201d [Between Influence and Cultural Diversity: The Cultural Network, an Actor in Transnational Film Circulation]. In <em>Festivals et dynamiques cin\u00e9matographiques transnationales<\/em>, edited by Amanda Rueda, 135\u201360. Champs visuels. Paris: L&#8217;Harmattan.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sendra, Estrella. 2023. \u201cEmbracing Collaborations Between Festivals and Higher Education: A Case Study of the \u2018Decolonising Film Festivals and Curating African Cinemas\u2019 Networking Event at King\u2019s College London.\u201d <em>Industry and Higher Education<\/em> 38 (1): 97\u2013103. https:\/\/doi.org\/10.1177\/09504222231222257.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Wenner, Dorothee. 2020. \u201cPostcolonial Film Collaboration and Festival Politics.\u201d <em>Black Camera: The New Series<\/em> 12 (1): 95\u2013104. https:\/\/doi.org\/10.2979\/blackcamera.12.1.07.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">(Last updatet: 16. May 2025)<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Diawara, Manthia. 2020. \u201cAfrican Cinema and Festivals: FESPACO.\u201d (1992). Black Camera: The New Series 12 (1): 107\u201316. https:\/\/doi.org\/10.2979\/blackcamera.12.1.08. Ellerson, Beti. 2024. \u201cAn African Film Festival in New York Through an African Woman&#8217;s Eyes: In Conversation with Mahen Bonetti.\u201d Black Camera: &hellip; <a href=\"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/5-business-matters-industries-distribution-and-markets\/5-5-festivals-as-organizations\/5-5-2-diversity-in-the-festival-sector\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":10,"featured_media":0,"parent":188,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-3186","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/3186","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\/10"}],"replies":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/comments?post=3186"}],"version-history":[{"count":2,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/3186\/revisions"}],"predecessor-version":[{"id":3298,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/3186\/revisions\/3298"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/188"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=3186"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}