{"id":2972,"date":"2022-10-08T02:16:31","date_gmt":"2022-10-08T00:16:31","guid":{"rendered":"http:\/\/www.filmfestivalresearch.org\/?p=2972"},"modified":"2023-01-13T18:43:55","modified_gmt":"2023-01-13T17:43:55","slug":"20th-necs-graduate-workshop-2023-festival-cultures-new-ways-to-study-networks-circulation-canon-production","status":"publish","type":"post","link":"http:\/\/www.filmfestivalresearch.org\/index.php\/20th-necs-graduate-workshop-2023-festival-cultures-new-ways-to-study-networks-circulation-canon-production\/","title":{"rendered":"CFP: 20th NECS Graduate Workshop 2023 “Festival Cultures: New Ways to Study Networks, Circulation & Canon Production”"},"content":{"rendered":"\n

Call for Papers
20th<\/strong><\/sup> NECS Graduate Workshop
Festival Cultures: New Ways to Study Networks, Circulation & Canon Production<\/strong><\/em>
February 14-15, 2023
Hosted by Film University Babelsberg KONRAD WOLF, Potsdam, Germany
Keynote speaker: Aida Vallejo<\/p>\n\n\n\n

Deadline for submissions: November 1, 2022<\/strong><\/p>\n\n\n\n

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Festival Cultures: New Ways to Study Networks, Circulation & Canon Production<\/strong><\/h2>\n\n\n\n

Throughout the decades the number of film festivals has increased all over the world, contributing to the emergence of \u201cnew cinemas\u201d, to making and shaping film history, and to the production and formation of (trans)national film canons (Vallejo 2020), and discovering new talent. They are a place for developing (trans)national networks of different actors \u2013 filmmakers, programmers, film critics, etc. \u2013 who contribute to shaping film cultures and the film industry (De Valck 2007). The exponential growth of the amount of film festivals worldwide has not gone unnoticed, contributing to the emergence of a specific area of scholarly interest: the field of film festival studies, which has gained strength and status, focusing entirely on understanding the functions, history and role of film festivals from within different scholarly fields (De Valck & Loist 2009; Iordanova & Rhyne 2009).<\/p>\n\n\n\n

The 20th<\/sup> NECS Graduate Workshop seeks to explore new ways to study film festival networks, the circulation of knowledge, films, experiences, and the production of film canons within those networks. To this end, we consider it necessary to reevaluate different interdisciplinary methodologies and explore new ways to analyze film festivals as an integral part of film cultures. In light of the rapid technological progress, we must ask ourselves not only what is to be gained from these methods, but also what their limits are and how we can make these limits transparent and productive for a fruitful scholarship.<\/p>\n\n\n\n

The study of film festivals and film culture at large presents methodological challenges. In recent years, new interdisciplinary methods that go beyond the classic film studies canon have been applied ranging from anthropology to social sciences (Vallejo & Peirano 2017), tourism, urban studies and qualitative analysis. The global history approach, with its focus on tracing back the transnational exchange of knowledge while taking into account hierarchies and power structures marked by Eurocentrism (Conrad 2016), offers tools to decolonize and question the taken-for-grantedness of the historical narratives, film canon included. With a recent turn to digital methods, new quantitative approaches have surfaced, especially relying on Digital Humanities tools for data collection and the visualization of research outputs and datasets, mostly through the mapping of networks and\/or circulation of films or actors within the various film festivals networks (Loist 2022; Vanhaelemeesch 2021).<\/p>\n\n\n\n

In our two-day workshop we want to mobilize multiple perspectives for the analysis of film festivals, where the following questions will be central for the discussion:<\/p>\n\n\n\n