{"id":57,"date":"2010-08-02T19:58:40","date_gmt":"2010-08-02T17:58:40","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-03-30T11:40:48","modified_gmt":"2025-03-30T09:40:48","slug":"1-film-festivals-the-long-view","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/1-film-festivals-the-long-view\/","title":{"rendered":"1. Film Festivals: The Long\u00a0View"},"content":{"rendered":"

Several scholars and critics have devised models, suggested concepts and applied theories that offer general frames for understanding film festivals. Primary challenges faced by early festival studies were to differentiate between types of festivals, disentangle the multifaceted phenomenon into researchable parts, and identify distinctive functions and characteristics. The books, dissertations and articles in this category are characterized by an interdisciplinary orientation and, in this way, contest the inherent complexity of the film festival “object,” which is in fact multiple objects in one. Taking a meta-perspective on film festivals, these studies frame and discuss the various festival constituencies (on which separate studies are included under categories 2\u201310 below). Some do so by presenting one or more case studies. Questions that are addressed include: How do festivals function? Can festivals’ historical development be divided into phases? Which “models” underlie their institutionalization? What is their raison d\u2019\u00eatre<\/em>? Which actors are involved? What relations exist with Hollywood? And what critical perspectives can help us understand the diverse range of festival practices? Also included in this category, directly below, are publications that approach the film festival phenomenon from a more anecdotal or journalistic angle. Concern about the proliferation and future of festivals dominates the recent non-academic agenda (e.g. Gass 2008, Gass ed. 2009, Kammermeier 2008).<\/span><\/p>\n

 <\/p>\n

1.1 Film Festival Studies<\/a><\/p>\n

1.1.1) Film Festival Theory and Methodology<\/a>
1.1.2) Reports and Responses to Film Festival Studies<\/a>
1.1.3) Book Reviews<\/a>
1.1.4) Bibliographies
<\/a>1.1.5) Film Festival Pedagogy<\/a>
1.1.6) Film Festival Datasets<\/a><\/p>\n

1.2 Political Aspects of Film Festivals (History)<\/a><\/p>\n

1.2.1 Film Festival facing crises<\/a>
1.2.1.1 Covid-19<\/a>
12.1.2 War and conflict<\/a>
1.2.2 Cold War<\/a>
1.2.3 Cultural Diplomacy<\/a>
1.2.4 Decolonizing Film Festivals<\/a>

1.3 General Academic Studies on Festivals (Not only Film <\/em>Festivals)<\/a><\/p>\n

Abis, Mario. \u201cI festival come impresa.\u201d [“Festivals as business.”]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, p. 13.<\/span><\/span><\/span><\/p>\n

Bachmann, Gideon. \u201cConfessions of a Festival Goer.\u201d <\/span>Film Quarterly, <\/i><\/span>vol. 29, no. 4, 1976, pp. 14\u201317.<\/span><\/span><\/span><\/p>\n

Bailey, Cameron. \u201cDas Festival als Dinnerparty.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 38, 40.<\/span><\/span><\/span><\/p>\n

Barber, Lynden. \u201cA Fistful of Festivals.\u201d <\/span>Meanjin, <\/i><\/span>vol. 67, no. 4, 2008, meanjin.com.au\u200b\/\u200beditions\/\u200bvolume-\u200b67-\u200bnumber-\u200b4-\u200b2008\/\u200barticle\/\u200bcal-\u200bmeanjin-\u200bessay-\u200ba-\u200bfistful-\u200bof-\u200bfestivals.<\/span><\/span><\/span><\/p>\n

Canova, Gianni. \u201cAnche i leoni invecchiano, anche le palme ingialliscono\u201d [\u201cEven lions get old, even palms become yellow\u2026\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, pp. 4\u20135.<\/span><\/span><\/span><\/p>\n

Canova, Gianni. \u201cEditoriale: Porsi le domande giuste anche quando non piacciono\u201d [\u201cEditorial. Asking the right questions even when you don\u2019t like them.\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, p. 1.<\/span><\/span><\/span><\/p>\n

Canova, Gianni. \u201cServono ancora a qualcosa i festival del cinema? [“Are film festivals still necessary?”].\u201d <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013. <\/span><\/span><\/span><\/p>\n

Canova, Gianni. \u201cViale del tramonto\u201d [\u201cSunset Bulevard\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, p. 6.<\/span><\/span><\/span><\/p>\n

Cousins, Mark. \u201cFilm Festival Form: A Manifesto.\u201d Film Festival Academy, <\/i>1 Sep. 2012, www.filmfestivalacademy.net\u200b\/\u200bpublications\/\u200bfilm-\u200bfestival-\u200bform-\u200ba-\u200bmanifesto. Accessed 24 Sep. 2012.<\/span><\/span><\/p>\n

<\/a> Cousins, Mark. \u201cWidescreen on Film Festivals.\u201d <\/span>Film\u00a0Festival Yearbook 1: The Festival Circuit, <\/i><\/span>edited by Dina Iordanova and Ragan Rhyne, St Andrews Film Studies, 2009, pp. 155\u201358.<\/span><\/span><\/span><\/p>\n

Fujiwara, Chris, and Adrian Martin, editors. <\/span>Film Festivals<\/i><\/span>. Edited by Chris Fujiwara and Adrian Martin. Spec. issue of <\/span>Undercurrent <\/i><\/span>62010.<\/span><\/span><\/span><\/p>\n

Gass, Lars Henrik, editor. <\/span>Die Zukunft der Filmfestivals<\/i><\/span>. Edited by Lars Henrik Gass. Spec. issue of <\/span>Schnitt <\/i><\/span>54, 2009.<\/span><\/span><\/span><\/p>\n

Gass, Lars Henrik. \u201cVom Markt zur Marke.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 42, 44. www.schnitt.de\u200b\/\u200b211,\u200b0054,\u200b01.<\/span><\/span><\/span><\/p>\n

Gass, Lars Henrik. \u201cWer das Kino erhalten will, muss es zerst\u00f6ren: \u00dcberlegungen zur Zukunft der Filmfestivals.\u201d <\/span>Short Report: KurzfilmMagazin, <\/i><\/span>vol. 2, 2008, pp. 18\u201325.<\/span><\/span><\/span><\/p>\n

Gass, Lars Henrik. \u201cWie Oscar! Ein Zwischenruf, f\u00fcr einen eigenst\u00e4ndigen deutschen Film.\u201d <\/span>Short Report: KurzfilmMagazin, <\/i><\/span>2009, pp. 40\u201342.<\/span><\/span><\/span><\/p>\n

Gass, Lars Henrik. \u201cWie viel Kunst braucht der Film: How Much Art Does Film Need?\u201d <\/span>Short Report: KurzfilmMagazin, <\/i><\/span>2007, pp. 37\u201341.<\/span><\/span><\/span><\/p>\n

Gosetti, Giorgio. \u201cVie d\u2019uscita dalla liturgia senza fede dell\u2019evento vecchio stile\u201d [\u201cWays out from the faithless liturgy of the old style event\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, pp. 10\u201312.<\/span><\/span><\/span><\/p>\n

Greco, Michela. \u201cI premi non sono tutto. Ma aiutano. Intervista a Paola Corvino\u201d [\u201cAwards are not all but help. Interview with Paola Corvino\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, pp. 24\u201325.<\/span><\/span><\/span><\/p>\n

Gregor, Ulrich. \u201cFilmfestivals: Letzte Bastionen der Filmkultur?\u201d <\/span>Medien, Markt, Moral: Vom ganz wirklichen, fiktiven und virtuellen Leben, <\/i><\/span>edited by Reinhold Jacobi, Herder, 2001, pp. 61\u201365.<\/span><\/span><\/span><\/p>\n

Gr\u00fcnfelder, Romeo. \u201cPublic Relation: Filmfestivals f\u00fcr Filmemacher.\u201d Short Report: KurzfilmMagazin, <\/i>2009, pp. 51\u201358. www.shortfilm.de\u200b\/\u200bpublic-\u200brelation-\u200bfilmfestivals-\u200bfuer-\u200bfilmemacher-\u200b1109\/\u200b.<\/span><\/span><\/p>\n

Hebron, Sandra. \u201cIm digitalen Kindergarten.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 16, 18.<\/span><\/span><\/span><\/p>\n

H\u00e9non, Nathalie, and Jean-Fran\u00e7ois Rettig. \u201cDie Grenzen verschieben.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 34, 36, 38.<\/span><\/span><\/span><\/p>\n

Hurch, Hans. \u201cDas Filmfestival als Erfahrungsraum.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 28, 30.<\/span><\/span><\/span><\/p>\n

Jost, Jon. \u201cThe Big Circus.\u201d Undercurrent, no. <\/i>6, 2010, fipresci.hegenauer.co.uk\u200b\/\u200bundercurrent\/\u200bissue_\u200b0609\/\u200bjost_\u200bcircus.htm.<\/span><\/span><\/p>\n

Kammermeier, Medard. \u201cDa ist nirgends nichts gewesen au\u00dfer hier: Woher die vielen Filmfestivals kommen und wohin sie gehen. Ein Unkenruf.\u201d <\/span>Short Report: KurzfilmMagazin, <\/i><\/span>vol. 2, 2008, pp. 38\u201341.<\/span><\/span><\/span><\/p>\n

Kim, Dong-Ho, editor. <\/span>Mr. Kim Goes to Festivals. <\/i><\/span>Transl. Cho Eung-joo, Korea P&P Co, 2010.<\/span><\/span><\/span><\/p>\n

Martin, Adrian. \u201cHere and Elsewhere: The View from Australia.\u201d <\/span>Dekalog 3: On\u00a0Film Festivals, <\/i><\/span>edited by Richard Porton, Wallflower, 2009, pp. 98\u2013106.<\/span><\/span><\/span><\/p>\n

McGill, Hannah. \u201cFilm Festivals: A View from the Inside.\u201d <\/span>Screen, <\/i><\/span>vol. 52, no. 2, 2011, pp. 280\u201385. doi:10.1093\/screen\/hjr017 <\/a>.<\/span><\/span><\/span><\/p>\n

Muhammad, Amir. \u201cFestivals with Alexis (Mostly without Balut).\u201d Undercurrent, no. <\/i>6, 2010, fipresci.hegenauer.co.uk\u200b\/\u200bundercurrent\/\u200bissue_\u200b0609\/\u200bmuhammad_\u200balexis.htm.<\/span><\/span><\/p>\n

M\u00fcller, Marco. \u201cZur\u00fcck in die Zukunft.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 12, 14.<\/span><\/span><\/span><\/p>\n

P\u00e8re, Olivier. \u201cSchaufenster f\u00fcrs Kino.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 20, 22.<\/span><\/span><\/span><\/p>\n

Porton, Richard, editor. <\/span>Dekalog 3: On\u00a0Film Festivals<\/i><\/span>, Wallflower, 2009, www.filmfestivalacademy.net\u200b\/\u200bpublications\/\u200bdekalog-\u200b3-\u200bon-\u200bfilm-\u200bfestivals.
<\/span><\/span><\/span><\/p>\n

Porton, Richard. \u201cIntroduction: On Film Festivals.\u201d <\/span>Dekalog 3: On\u00a0Film Festivals, <\/i><\/span>edited by Richard Porton, Wallflower, 2009, pp. 1\u20139.<\/span><\/span><\/span><\/p>\n

Porton, Richard. \u201cThe Toronto International Film Festival at the Crossroads.\u201d <\/span>Cineaste, <\/i><\/span>vol. 36, no. 1, 2010, pp. 32\u201335. www.cineaste.com\u200b\/\u200barticles\/\u200bthe-\u200btoronto-\u200binternational-\u200bfilm-\u200bfestival-\u200bat-\u200bthe-\u200bcrossroads.<\/span><\/span><\/span><\/p>\n

Pugh, Adam. \u201cIm menschlichen Ma\u00dfstab.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 8,10.<\/span><\/span><\/span><\/p>\n

Quandt, James. \u201cThe Sandwich Process: Simon Field Talks About Polemics and Poetry at Film Festivals.\u201d <\/span>Dekalog 3: On\u00a0Film Festivals, <\/i><\/span>edited by Richard Porton, Wallflower, 2009, pp. 53\u201380.<\/span><\/span><\/span><\/p>\n

Quint\u00edn. \u201cThe Festival Galaxy.\u201d <\/span>Dekalog 3: On\u00a0Film Festivals, <\/i><\/span>edited by Richard Porton, Wallflower, 2009, pp. 38\u201352.<\/span><\/span><\/span><\/p>\n

R\u00e4biger, Silke Johanna. \u201cAvantgarde und Filmged\u00e4chtnis.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 22, 24, 26.<\/span><\/span><\/span><\/p>\n

Rehm, Jean-Pierre. \u201cDie Kinematheken des Jetzt.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 26, 28.<\/span><\/span><\/span><\/p>\n

Ronconi, Roberta. \u201cIl red carpet? Un ammasso di polvere e microbi\u201d [\u201cThe red carpet? A cluster of dust and microbes\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, p. 9.<\/span><\/span><\/span><\/p>\n

Rosenbaum, Jonathan. \u201cSome Festivals I’ve Known: A Few Rambling Recollections.\u201d <\/span>Dekalog 3: On\u00a0Film Festivals, <\/i><\/span>edited by Richard Porton, Wallflower, 2009, pp. 151\u201365.<\/span><\/span><\/span><\/p>\n

Sarris, Andrew. \u201cCatch as Catch Cannes: The Moles and the Moths.\u201d <\/span>The Village Voice<\/i><\/span> [Voice], 12\u00a0June\u00a01978, pp. 39\u201340.<\/span><\/span><\/span><\/p>\n

Sciarra, Maurizio. \u201cElogio dei piccolo festival, dove la gente va per vedere i film\u201d [\u201cIn praise of small festivals, where people go to see films\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, pp. 14\u201315.<\/span><\/span><\/span><\/p>\n

Sebastiani, Lorenza. \u201cIl red carpet? Non \u00e8 uno sperpero, perch\u00e9 ci fa sognare\u201d [\u201cThe red carpet? It is not a waste, because it makes us dream\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, p. 8.<\/span><\/span><\/span><\/p>\n

Stefanutto Rosa, Stefano. \u201cRed carpet? No grazie. Risorse? Insufficienti. Rispondono i direttori di 14 festival\u201d [\u201cRed carpet? No thank you. Resources? Insufficient. Answers from 14 festival directors\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, pp. 16\u201323.<\/span><\/span><\/span><\/p>\n

Sterritt, David. \u201cFilm Festivals: Then and Now.\u201d Undercurrent, no. <\/i>6, 2010, fipresci.hegenauer.co.uk\u200b\/\u200bundercurrent\/\u200bissue_\u200b0609\/\u200bsterritt_\u200bfestivals.htm.<\/span><\/span><\/p>\n

Stevens, Kirsten. \u201cDina Iordanova with Ragan Rhyne (eds), Film Festival Yearbook 1: The Festival Circuit. St Andrews, Scotland: St Andrews Film Studies, 2009.\u201d <\/span>Screening the Past, no. <\/i><\/span>26, 2009, www.latrobe.edu.au\u200b\/\u200bscreeningthepast\/\u200b26\/\u200bfilm-\u200bfestival-\u200byearbook-\u200b1.html.<\/span><\/span><\/span><\/p>\n

Taroni, Micaela. \u201cCosa mi piace del cinema italiano: Dieter Kosslick\u201d [\u201cWhat I like about Italian cinema. Dieter Kosslick\u201d]. <\/span>8 1\/2 – Numeri, visioni e prospettive del cinema italiano, no. <\/i><\/span>2, 2013, pp. 24\u201325.<\/span><\/span><\/span><\/p>\n

Triana Toribio, Nuria. \u201c<\/span>FICXix\u00f3n <\/i><\/span>and <\/span>Seminci<\/i><\/span>: Two Spanish Film Festivals at the End of the Festival\u00a0Era.\u201d <\/span>Journal of Spanish Cultural Studies, <\/i><\/span>vol. 12, no. 2, 2011, pp. 217\u201336. doi:10.1080\/14636204.2011.600596 <\/a>.<\/span><\/span><\/span><\/p>\n

Turan, Kenneth. <\/span>Sundance to Sarajevo: Film Festivals and the World They Made<\/i><\/span>, University of California Press, 2002.<\/span><\/span><\/span><\/p>\n

Vidal, N\u00faria. La vuelta al mundo en 20 festivales: <\/i>[Around the world in 20 festivals], T&B Editores, 2006,<\/span><\/span><\/p>\n

Walter, Shane R. J. \u201cAbenteuer in Bewegung.\u201d [Thema:\u00a0Die Zukunft der Filmfestivals]. <\/span>Schnitt, no. <\/i><\/span>54, 2009, 32,34.<\/span><\/span><\/span><\/p>\n

Werner, Dirk. \u201cMit weniger Festivals zu mehr Strahlkraft?\u201d <\/span>Short Report: KurzfilmMagazin, <\/i><\/span>2009, pp. 59\u201362.<\/span><\/span><\/span><\/p>\n

Wolf, Reinhard W. \u201cEhrlichkeit und Fairness: Ein Ehrenkodex f\u00fcr Filmfestivals.\u201d <\/span>Short Report: KurzfilmMagazin, <\/i><\/span>2009, pp. 43\u201350. www.shortfilm.de\u200b\/\u200bindex.php\u200b?\u200bid=\u200b3146&\u200bL=\u200b0&\u200bprint=\u200b1.<\/span><\/span><\/span><\/p>\n

Wolf, Reinhard W. \u201cFilmfestivals, Kinos und die Krise.\u201d <\/span>Short Report: KurzfilmMagazin, <\/i><\/span>vol. 2, 2008, pp. 4\u201315.<\/span><\/span><\/span><\/p>\n

\"\"<\/p>\n

(Last updated: 28. March 2025)<\/span><\/p>\n\n\n

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

Several scholars and critics have devised models, suggested concepts and applied theories that offer general frames for understanding film festivals. Primary challenges faced by early festival studies were to differentiate between types of festivals, disentangle the multifaceted phenomenon into researchable … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":6,"menu_order":1,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-57","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/57","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=57"}],"version-history":[{"count":34,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/57\/revisions"}],"predecessor-version":[{"id":3263,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/57\/revisions\/3263"}],"up":[{"embeddable":true,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/6"}],"wp:attachment":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/media?parent=57"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}