{"id":59,"date":"2010-08-02T19:59:46","date_gmt":"2010-08-02T17:59:46","guid":{"rendered":"http:\/\/filmfestivalresearch.wordpress.com\/"},"modified":"2025-03-30T11:59:58","modified_gmt":"2025-03-30T09:59:58","slug":"2-festival-time-awards-juries-and-critics","status":"publish","type":"page","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/ffrn-bibliography\/2-festival-time-awards-juries-and-critics\/","title":{"rendered":"2. Festival Time: Awards, Juries and\u00a0Critics"},"content":{"rendered":"

The exceptional temporal frame of festivals has been theorized extensively from an anthropological and sociological perspective. In the introduction to Time Out of Time: Essays on the Festival<\/em>, Alessandro Falassi describes how “festival time imposes itself as an autonomous duration, not so much to be perceived and measured in days or hours, but to be divided internally by what happens within it from its beginning to its end” (Falassi 1987: 4, section 1.3). In addition, film festival research has addressed the defining temporal characteristics that are more specific to film<\/em> festivals, such as festivals’ use of exceptional temporality to add value and set agendas (Elsaesser 2005, De Valck 2007, both section 1.1), as well as the festival calendar, which defines the relation of festivals to one another, their position in the circuit, and sets the expiration date at a one-year maximum. More specifically, our understanding of the way these characteristics shape film festivals needs to be advanced with close analyses of festival prizes, festival juries and the role of critics. The articles in this category flesh out some of the main concerns, such as the subjective nature of evaluations (Helmke 2005; Pride 2002), the effects of awards on distribution (Dodds\/Holbrook 1998), and the correlation between taste and mediation in high art (Shrum 1996).<\/p>\n

2.1 Awards & Recognition<\/a>
\n2.2 Jury Work<\/a>
\n2.3 Film Criticism<\/a><\/p>\n

 <\/p>\n

Archibald, David. 2012. \u201cThe Angels\u2019 Share <\/i>at the 2012 Cannes Film Festival.\u201d NECSUS<\/i> 1 (2 (#2)): 299\u2013305. https:\/\/doi.org\/10.5117\/NECSUS2012.2.ARCH.<\/p>\n

Baschiera, Stefano, and Francesco Di Chiara. 2018. \u201c\u2018The European Parliament Projecting Cultural Diversity Across Europe\u2019: European Quality Films and the Lux Prize.\u201d Studies in European Cinema<\/i> 15 (2-3): 235\u201354.<\/p>\n

Clement, Michel, Dominik Papies, and Christina Schmidt-St\u00f6lting. 2009. \u201cFilmpreise und Filmerfolg.\u201d In Medien im Marketing: Optionen der Unternehmenskommunikation<\/i>, edited by Andrea Gr\u00f6ppel-Klein and Claas C. Germelmann, 493\u2013510. Wiesbaden: Gabler.<\/p>\n

Damiens, Antoine. 2015. \u201cQueer Cannes: On the Development of LGBTQ Awards at a-List Festivals.\u201d A Festival Report. Synoptique<\/i> 3 (2): 93\u2013100. https:\/\/synoptiqueblog.files.wordpress.com\/2018\/07\/7-antoine-damiens-queer-cannes-on-the-development-of-lgbtq-awards-at-a-list-festivals.pdf. Accessed April 07, 2020.<\/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

Delaporte, Chlo\u00e9. 2024. \u201cLa comp\u00e9titivit\u00e9 comme norme festivali\u00e8re ou pourquoi les festivals de cin\u00e9ma d\u00e9cernent-ils des prix ?\u201d [Competitiveness as a festival norm, or why do film festivals give out awards?]. In Films, festivals et mondes contemporains: Pour une anthropologie du visuel<\/i>, edited by Julie Amiot Guillouet, Pietsie Feenstra, and Julie Savelli, 97\u2013109. Film cultures vol. 12. Lausanne: Peter Lang.<\/p>\n

Dodds, John C., and Morris B. Holbrook. 1998. \u201cWhat’s an Oscar Worth? An Empirical Estimation of the Effects of Nominations and Awards on Movie Distribution and Revenues.\u201d Current Research in Film<\/i> 4: 72\u201388.<\/p>\n

Harbord, Janet. 2009. \u201cFilm Festivals \u2013 Time \u2013 Event.\u201d In Film\u00a0Festival Yearbook 1: The Festival Circuit<\/i>, edited by Dina Iordanova and Ragan Rhyne, 40\u201346. St. Andrews: St Andrews Film Studies.<\/p>\n

Helmke, Julia. 2005. Kirche, Film und Festivals: Geschichte sowie Bewertungskriterien evangelischer und \u00f6kumenischer Juryarbeit in den Jahren 1948 bis 1988<\/i> 11. Erlangen: CPV Christliche-Publizistik-Verl. Accessed April 07, 2020.<\/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

Loist, Skadi. 2010. \u201cQueer Film and the Film Festival Circuit.\u201d Curator\u2019s Note. In Media Res <\/i>(14.9.2010). http:\/\/mediacommons.org\/imr\/2010\/09\/08\/queer-film-and-film-festival-circuit. Accessed April 07, 2020.<\/p>\n

Menarini, Roy. 2014. \u201cIn Conversation with Ian Christie.\u201d Cinergie <\/i>(6): 54\u201356. http:\/\/www.cinergie.it\/?p=4975. Accessed April 09, 2020.<\/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

Nuchelmans, Andr\u00e9. 2004. \u201cDe Loden Last Van Het Gouden Kalf: Het Belang Van Filmprijzen Voor Regisseur En Acteur.\u201d [The Golden Calf’s Lead Burden. The importance of film awards for director and actor]. Boekman <\/i>(60): 115\u201320.<\/p>\n

Pride, Ray. 2002. \u201cThe Prize Patrol: The Inexact Science of Festival Juries and Critics Awards.\u201d Independent<\/i> 25 (1): 26\u201329.<\/p>\n

Ranvaud, Don. 1985. \u201cDon Ranvaud and Festivals.\u201d Filmnews<\/i> 15 (9): 10\u201311.<\/p>\n

Richards, Stuart, and Lauren Carroll Harris. 2021. \u201cFrom the Event to the Everyday: Distributor-Driven Film Festivals.\u201d Media International Australia<\/i> 180 (1): 91-100. https:\/\/doi.org\/10.1177\/1329878X20938479.<\/p>\n

Rosenbaum, Jonathan. 2000. \u201cTrafficking in Movies (Festival-Hopping in the Nineties).\u201d In Movie Wars: How Hollywood and the Media Conspire to Limit What Films We Can See<\/i>, edited by Jonathan Rosenbaum. 1st ed., 143\u201373. Chicago, IL: A Cappella.<\/p>\n

Rui Gra\u00e7a, Andr\u00e9. 2021. \u201cVisibility, Artistic Prestige, and Circulation.\u201d In Portuguese Cinema (1960\u20132010): Consumption, Circulation and Commerce<\/i>, 133\u201376. Monograf\u00edas A: Boydell & Brewer. Accessed February 25, 2025. https:\/\/www.jstor.org\/stable\/j.ctv136bxj0.10.<\/p>\n

\u015eaul, Mahir. 2020. \u201cFESPACO and Cultural Valorization.\u201d Black Camera: The New Series<\/i> 12 (1): 129\u201332. https:\/\/doi.org\/10.2979\/blackcamera.12.1.10.<\/p>\n

Scott, Robert Dawson. 1999. \u201cBridging the Cultural Gap: How Arts Journalists Decide What Gets onto the Arts and Entertainment Pages.\u201d Critical Inquiry<\/i> 41 (1): 46\u201355.<\/p>\n

Shrum, Wesley Monroe Jr. 1996. Fringe and Fortune: The Role of Critics in High and Popular Art. <\/i>Princeton, NJ: Princeton Univ. Press.<\/p>\n

St. John, Matt. 2021. \u201cFrom Cannes to Cardboard: The Circulation and Promotion of Visages Villages <\/i>and the Auteur on Instagram.\u201d Camera Obscura: Feminism, Culture, and Media Studies<\/i> 36 (1): 155\u201385. https:\/\/doi.org\/10.1215\/02705346-8838589.<\/p>\n

Stringer, Julian. 2002. \u201cJapan 1951-1970: National Cinema as Cultural Currency.\u201d Tamkang Review<\/i> 33 (2): 31\u201353.<\/p>\n

van Hemert, Tess. 2013. \u201cInternational Acclaim: The Role(S) Of the International Film\u00a0Festival in Supporting Emerging Women’s Cinema.\u201d PhD Thesis, Film, Screen and Animation;\u00a0School of Media, Entertainment and Creative Arts, Creative Industries Faculties, Queensland University of Technology. Accessed May 25, 2020. http:\/\/eprints.qut.edu.au\/63269\/1\/Tess_Van_Hemert_Thesis.pdf.<\/p>\n

 <\/p>\n

\"\"(Last updated: 28. March 2o25)<\/p>\n","protected":false},"excerpt":{"rendered":"

The exceptional temporal frame of festivals has been theorized extensively from an anthropological and sociological perspective. In the introduction to Time Out of Time: Essays on the Festival, Alessandro Falassi describes how “festival time imposes itself as an autonomous duration, … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":6,"menu_order":2,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-59","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/59","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=59"}],"version-history":[{"count":17,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/59\/revisions"}],"predecessor-version":[{"id":3269,"href":"http:\/\/www.filmfestivalresearch.org\/index.php\/wp-json\/wp\/v2\/pages\/59\/revisions\/3269"}],"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=59"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}