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Journal articles on the topic 'Film festivals'
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1
Xie, Heshen. "Western-Centrism and the Global Queer Film Festival Circuit." Journal of Festive Studies 4, no. 1 (February 23, 2023): 83–100. http://dx.doi.org/10.33823/jfs.2022.4.1.105.
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Since they emerged in the late 1970s, queer film festivals have turned into a global cultural activity. A complex worldwide network of queer film festivals has also formed. This article establishes the framework of the global queer film festival circuit to examine the hegemonic relationships it produces. The global queer film festival circuit comprises top-tier film festivals and second-tier queer film festivals. As the first queer-themed film festival in Asia, the Hong Kong Lesbian and Gay Film Festival (HKLGFF) is situated in a subordinate and passive position. Aiming to emphasize the unbalanced relationship among queer film festivals on a global scale, this article argues that due to commercial considerations and the lack of festival resources, the HKLGFF’s programming is dominated by the choices of top-tier film festivals and thus reproduces Western-centrism. Through the analysis of the HKLGFF’s programming process and criteria, it also demonstrates how top-tier film festivals influence the programming of second-tier queer film festivals by dominating the global market of queer films. Overall, this article expands the concept of the queer film festival circuit, addressing the significance of small-scale queer film festivals in the global South to worldwide queer culture as well as the global circulation of queer films.
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Cheyroux, Emilie. "Small Film Festivals Surviving the COVID-19 Pandemic." Journal of Festive Studies 4, no. 1 (February 23, 2023): 47–65. http://dx.doi.org/10.33823/jfs.2022.4.1.132.
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The COVID-19 pandemic was a major challenge for film festival organizers, who had to resort to online platforms to showcase films they had selected. While virtual film festivals did not offer the same experience, being deprived of the opportunity to gather people in a festive atmosphere, they provided a fairly accessible solution that enabled audiences to watch films they would have missed otherwise. Even major and economically stable festivals, such as South by Southwest (SXSW), decided to cancel; and not all film festivals embraced the opportunities provided by online platforms. Responses to the pandemic were as diverse as the six thousand film festivals organized on average each year. Small nonprofit film festivals, however, tend to be more vulnerable than large-scale events. When the pandemic was at its climax in 2020, their economic sustainability was at stake. This article focuses on Cine Las Americas, a small community-based Latino and Indigenous film festival that takes place in Austin, Texas. Based on interviews of members of the executive and programming team, on research about the history of the festival, and on the experience of the 2020 “Virtual Showcase,” it shows that solidarity between the festival and a wide range of local organizations played a great role in its capacity to survive this critical time. To retrace the festival’s history, the article draws inspiration from organizational theory, illustrating that Cine Las Americas became a field-configuring event (FCE) in the city of Austin, to the point where the friendship that its successive organizers, who have showed crucial adaptation skills over the years, had secured with local partners contributed to its survival.
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Muylaert Mager, Juliana, and Ana Maria Mauad. "EM CARTAZ: festivais de cinema de arquivo – preservação e público." Revista Observatório 3, no. 2 (April 1, 2017): 283. http://dx.doi.org/10.20873/uft.2447-4266.2017v3n2p283.
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Nas últimas décadas, observa-se o surgimento de festivais dedicados ao cinema de arquivo. No Brasil, foi criado em 2002, pelo Arquivo Nacional, o Recine – Festival Internacional de Cinema de Arquivo, evento que foi substituído pelo Arquivo em Cartaz em 2015. O fenômeno dos festivais se relaciona com o tratamento do patrimônio audiovisual ao longo do século XX e XXI, sendo inseparável da trajetória das instituições arquivísticas. Neste artigo, pretende-se, por meio da análise dos dois festivais, discutir como esses eventos trabalham a tensão entre exibir e preservar, duas das principais funções das cinematecas, colocando em diálogo questões sobre patrimônio/preservação e a relação entre os arquivos e seus públicos.
PALAVRAS-CHAVE: Arquivo; Patrimônio Audiovisual; Público(s); Festivais de cinema.
ABSTRACT
In the last decades, we observe an increase in the number of festivals dedicated to archival films. The Brazilian National Archive, for instance, hosted Recine – Festival Internacional de Cinema de Arquivo from 2002 to 2014, and, since 2015, its sucessor festival called Arquivo em Cartaz. This “festival phenomenon” can be related to how audiovisual heritage has been viewed in the 20th and 21st centuries, being, thus, closely linked to the developement of film archives. This article aims at analysing the aforementioned festivals, in order to discuss how these events coped with the tension between exhibiting and preserving – the two foremost goals of a cinematheque –, establishing dialogues over issues such as heritage/preservation and the relationship between archives and its viewing public.
KEYWORDS: Archive; Audiovisual Heritage; Public; Film festivals
RESUMEN
En las últimas décadas, se observa el surgimiento de festivales dedicados al cine de archivo. En Brasil, fue creado en 2002 por el Archivo Nacional, Recine – Festival Internacional de Cinema de Arquivo, evento que fue sustituido por el Arquivo em Cartaz en 2015. El fenómeno de los festivales se relaciona con el tratamiento del patrimonio audiovisual a lo largo del siglo XX y XXI, siendo inseparable de la trayectoria de las instituciones archivísticas. En este artículo, se pretende, por medio del análisis de los dos festivales, discutir cómo esos eventos trabajan la tensión entre exhibir y preservar, dos de las principales funciones de las cinetecas, colocando en diálogo cuestiones sobre patrimonio/preservación y la relación entre los archivos y sus públicos.
Palabras Clave: Archivo; Patrimonio Audiovisual; Público(s); Festivales de Cine.
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Zemaityte, Vejune, Andres Karjus, Ulrike Rohn, Maximilian Schich, and Indrek Ibrus. "Quantifying the global film festival circuit: Networks, diversity, and public value creation." PLOS ONE 19, no. 3 (March 6, 2024): e0297404. http://dx.doi.org/10.1371/journal.pone.0297404.
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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables—which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009–2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.
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Qureshi, Bilal. "Elsewhere: The Last Circus." Film Quarterly 74, no. 1 (2020): 84–87. http://dx.doi.org/10.1525/fq.2020.74.1.84.
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FQ columnist Bilal Qureshi reports from his first visit to the documentary film festival True/False in Columbia, Missouri. Overcoming his initial trepidation—both at the prospect of traveling just as the coronavirus was gathering steam and at the festival's regional location—Qureshi finds himself falling in love with film festivals all over again. Yet the contact high of the collective experience provided by the festival, with its freedom to collide with films and audiences through impromptu gatherings and celebrations, takes on a heightened poignancy in this moment of COVID-19. While noting the uncertainties of the new cinematic and social order that will emerge post-COVID, Qureshi hopes that the opportunity to press reset might result in more small-scale, community-focused festivals like True/False.
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López-Díez, Jaime, and Farshad Zahedi. "World cinema in the Spanish international festivals and movie theatres (2016-2021)." Comunicación y Sociedad 2024 (March 13, 2024): 1–28. http://dx.doi.org/10.32870/cys.v2024.8614.
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In this study, we analyze the films in the world cinema category that have been screened at the two most important international film festivals in Spain: The San Sebastian International Film Festival, and the Valladolid International Film Week in the period of 2016-2021. It is also studied the output of these festivals in terms of screenings in the Spanish cinemas during the same period. The results show that nearly a third of the films at these two festivals belong to world cinema, and about a third of these films screened at the festivals have been shown in cinemas.
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Lisiecka-Muniak, Małgorzata. "Educational Offer at Polish Film Festivals Directed at Film Industry Representatives." Panoptikum, no. 18 (December 29, 2017): 216–26. http://dx.doi.org/10.26881/pan.2017.18.13.
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The article considers industry workshops organised during film festivals and festivals dedicated to the film profession in Poland. It puts forward the fact that during film festivals not only screenings, contact between a filmmaker and a viewer are important, but also workshops and industry meetings dedicated to artists. This kind of education seems to be needed because after graduating from film school it is a possibility to develop one’s own skills and to update knowledge about the profession. The author also concentrates on Polish film festivals fully dedicated to the film profession, such as Camerimage International Film Festival in Bydgoszcz, Script Fiesta in Warsaw, Regiofun Film Festival in Katowice, Kamera Akcja Festival and Transatlantyk Film Festival both in Lodz. Even though there are not so many film festivals dedicated to one film profession, they are important because of their educational value for filmmakers and for audience.
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Vanhaelemeesch, Jasper. "The seeds multiply: the AcampaDOC International Documentary Film Festival." Comunicación y Medios, no. 42 (December 28, 2020): 120. http://dx.doi.org/10.5354/0719-1529.2020.57277.
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Contemporary Central American film cultures can be conceptualised as postconflict, and post-Third-Worldist (Shohat, 2004), small (Hjort & Petrie, 2007) cinemas that, in absence of strong state-regulated support structures, have come to rely heavily on their relations to national and regional film festivals (Ahn, 2012). This paper introduces findings gained through ethnographic fieldwork at film festivals in the Central American and Spanish Caribbean regions, with a focus on the ACAMPADOC International Documentary Film Festival in Panama, the only film festival in the region dedicated exclusively to the documentary film genre. The paper also briefly refers to data from on-going research that maps Central American films and filmmakers in a basic network analysis. The reported findings broadly cover what are identified as five areas of concentration in the study of film festivals, based on the understanding of festivals as nodal interfaces for film cultures (Iordanova, 2015).
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Shabana, Amin, Harmonis Harmonis, Zahwa Indira, and Mutia Andini. "Post-Reform Cinema Public Space on Detik.com News Portal." Komunikator 14, no. 1 (May 30, 2022): 30–41. http://dx.doi.org/10.18196/jkm.14398.
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Film festivals are public cultural spheres that arose quickly after the fall of the New Order. The rise of film festival activities was covered by the Indonesian mass media, particularly online media. Detik.com is an example of online media that is currently a public reference, including witnessing the development of film festivals in post-reformation Indonesia. The primary goal of this research is to examine the representation of the public sphere in a film festival article written by Detik.com. This study chose an explanatory qualitative approach based on media framing theory. From its inception until 2019, Detik.com was Indonesia’s first news portal, publishing 894 articles on film festivals. The analysis knife employs several major theories, including Public Space (Habermas), Film Festival (De Valck), and news framing (De Vreese). To strengthen the article, the sources cited are also the most comprehensive, consisting of government groups (e.g., Executive and DPR) and non-government groups (filmmakers, festival managers, academics, religious groups, and spectators). When comparing the scale of implementation, national film festivals are mostly covered, namely 28 film festivals and eight film festivals. During the post-reform era, the most news framing film festivals are generic issues (33 festivals) versus 14 festivals that fall into the category of specific issue framing.
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Lytvynenko, Alina. "The Impact of Force Majeure on the Development and Organisation of Film Festival Activities in Ukraine." Socio-Cultural Management Journal 6, no. 2 (November 22, 2023): 129–46. http://dx.doi.org/10.31866/2709-846x.2.2023.291331.
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Introduction. Organising film festivals is an important process for the country's film industry development. This process requires specific skills on the part of the organisers, as well as careful attention to the organisation as a whole. A study of the development of film festivals in the country is necessary as it helps to identify young talent. Film festivals have always played a crucial role in the film industry development in different countries. For the further development of the Ukrainian film industry, it is important to study the experience of organising festivals and understand the impact of unforeseen circumstances on them. Purpose and methods. The purpose of the article is to substantiate the theoretical foundations and develop practical recommendations for organising film festivals. The work was based on the abstract and logical method, the method of analysis and synthesis, and the critical analysis of scientific literature, which allowed us to summarise the theoretical and practical developments accumulated by the community in the context of film festival activities. Results. The essence, role, and significance of film festivals for the country's film industry development are revealed. The problems of organising film festivals in Ukraine are identified. Methods for improving the system of film festival organisation are formulated. The peculiarities of organising film festivals in Ukraine after 2020 are identified. Conclusions. The scientific novelty of the results obtained is to deepen the theoretical foundations of film festival organisation by summarising the best international experience in this segment of culture. The significance of the study is manifested in the expansion of knowledge in the field of film festival organisation and the impact of irresistible forces on it.
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Acciari, Monia. "Film festivals as cosmopolitan assemblages." Alphaville: Journal of Film and Screen Media, no. 14 (January 24, 2018): 111–25. http://dx.doi.org/10.33178/alpha.14.06.
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In this article, I seek to explore the use and development of the notion of cosmopolitanism within the context of film festivals. I will examine the specific case study of the Leicester Asian Film Festival from the perspective of an insider—as a Film Programmer and Associate Director of the event. The questions that I intend to answer are: what happens to our understanding of film festivals when we frame it through discourses of cosmopolitanism and borders and, conversely, what happens to our understanding of cosmopolitanism when we frame it through film festival studies? Accordingly, I will place cosmopolitanism in conversation with the developing literature on film festival studies. The aim is to offer an idea of film festivals as “cosmopolitan assemblage”, within a frame of fluidity, exchangeability and multiple functionalities (Deleuze and Guattari). In developing this concept, I will draw on Ulf Hannerz’s use of the term cosmopolitanism that includes being open to and involved with otherness. The aim is to theorise the idea of festivals as borders, and inspire new forms of consciousness and cultural competency applied to film festival programming.
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Wiedemann, Thomas, and Tanja C. Krainhöfer. "The Berlin International Film Festival: A powerful springboard and gatekeeping mechanism for domestic filmmaking." Communications 45, no. 4 (November 26, 2020): 389–413. http://dx.doi.org/10.1515/commun-2019-2052.
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AbstractFilm festivals have become key agents in the movie business, with major competitive festivals enjoying outstanding importance. Based on this assumption, this paper focuses on the example of Germany and asks to what extent the Berlin International Film Festival offers a venue for domestic films, and which types of filmmakers, in particular, benefit from this springboard and gatekeeping mechanism. More precisely, given the diverging interests confronting the Berlinale as a platform for the film community, a quantitative program analysis was conducted of the festival’s most significant sections (Competition, Panorama, Forum, Generation, Perspective German Cinema, Lola@Berlinale) from 1980 to 2016. The findings demonstrate that even good-faith efforts to strengthen domestic filmmaking in regard to weight and diversity have hardly changed the power structures that underlie the curatorial decision-making process. Respectively, the share of national film productions has been stagnating for many years. Moreover, female and young filmmakers are still broadly underrepresented.
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Ingle, Hrishikesh. "Film festivals and the mediations of locality." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 59–71. http://dx.doi.org/10.1386/safm_00005_1.
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Abstract This article elaborates on the discursive role and mediations of local contexts in non-fiction film festivals that are organised in small-town settings in India. It argues that apart from the ideological imperative of forging an alternative discourse, local film festivals that are focused on non-fiction films and documentary cinema are also instrumental in producing an exuberant spatiality for re-articulating resistance as a function of filmmaking. Although this corresponds with the practices of Third Cinema of the 1970s, the temporality of the 2000s has provided a newfound relevance for locality, and its social spatial dimensions. The article develops this argument by undertaking a detailed case analysis of the Ankur Film Festival, conducted in Nashik since 2012. Identifying the numerous negotiations embedded in the trajectory of the film festival, the article also conceptualises a festival mode of cinema for contemporary social conditions.
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Loiperdinger, Martin. "Film Festival Yearbook 5: Archival Film Festivals." Early Popular Visual Culture 14, no. 1 (January 2, 2016): 119–20. http://dx.doi.org/10.1080/17460654.2015.1134149.
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Nishime, Leilani. "Creating Community." Feminist Media Histories 9, no. 4 (2023): 151–63. http://dx.doi.org/10.1525/fmh.2023.9.4.151.
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Leilani Nishime interviews Vanessa Au and Ellison Sheih, the former and current codirectors of the Seattle Asian American Film Festival. Au and Sheih discuss the mission of the film festival, the process of selecting films, the ideological investments of the festival organizers, and the labor involved in running a festival. Of central importance to the conversation is the relationship between film festivals and the surrounding communities.
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Undiana, Nala Nandana, Aceng Abdullah, Herlina Agustin, and Teddy Kurnia Wirakusumah. "Perceptions and Learning Motivation of Indonesian Students: Multiple Regression Analysis of The Practice of Organizing Film Festivals in Indonesia." Journal of Law and Sustainable Development 12, no. 1 (January 30, 2024): e2465. http://dx.doi.org/10.55908/sdgs.v12i1.2465.
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Purpose: The purpose of this study is to investigate the forms of events that occur in a film festival where the audience is at the center of the dynamics of the contemporary environment. Theoretical reference: Nowadays, the development of the practice of curation is not only seen in activities at museums and art exhibitions, but also in the practice of other activities, such as film festivals. The selection process, work selection, and archiving are all key steps in the process of fusing ideas with the aesthetic form that will be shown. Thus, this study aims at exploring the events form where the audience is at the center of the dynamics of the contemporary environment in a film festival. Method: This study used a survey method involving 306 students with film concentrations from five state universities in Indonesia. The data were analyzed using Heteroscedasticity Test, Normality Test, One Sample Kolmogorov-Smirnov test, Multiple Regression Analysis, T-Test, and Simultaneous Test (F Test). Result and Conclusion: This study revealed that several factors influence perceptions and learning motivation shown by students in the practice of curating and reviewing films in the organization of film festivals. Implication of research: Based on the results of this study, the influence was considered insignificant; the researchers obtained 7.8% of the simultaneous effect of the variables of perception and learning motivation on the practice of organizing film festivals in Indonesia. Originality/value: In this study, the researchers seek to investigate new cultural forms in film festival programs, especially film festivals in Indonesia, to help them capture social concepts as inspiration for helping audiences understand the point of view at the film festival, as well as appreciation from the audience, stakeholders and filmmakers in exploring the form of events in the field during the film festival.
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Depita, Natalia. "Perubahan Struktur Organisasi Kepanitiaan dalam Festival Film Mahasiswa UCIFEST." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 15, no. 1 (September 16, 2020): 20–30. http://dx.doi.org/10.33153/dewaruci.v15i1.2524.
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Festival film berkontribusi besar dalam menyelesaikan masalah distribusi bagi film-film alternatif seperti film-film karya mahasiswa yang ada di Indonesia. Film –film mahasiswa yang tidak dapat masuk ke jalur komersil, membutuhkan ruang atau etalase untuk menunjukkan karya mereka. Kebutuhan akan memiliki ruang eksebisi dan distribusi bagi film-film alternatif, menjadi faktor terbentuknya festival-festival film kampus. Sebagai festival film yang berada dibawah institusi dan dibentuk dengan semangat independen dari mahasiswa, festival film dapat bertahan dalam berbagai kondisi. Jaringan yang diciptakan oleh mahasiswa antar universitas juga menjadi kekuatan berlangsungnya festival film. Struktur organisasi kepanitiaan dibuat menyesuaikan kebutuhan festival film. Struktur organisasi yang dibentuk harus berjalan secara efektif dan efisien demi tercapainya kesuksesan festival film. Changes in the Organizational Structure of the Committee in the UCIFEST Student Film Festival Abstract: Film festivals contribute to solving distribution for alternative films. A short film created by students cannot enter the commercial path or screen in the movie theatre. The need to have exhibition and distribution spaces for the alternative film is a factor that the students make short film festivals on the campus. As a film festival under the university or institution, a film festival can survive in various conditions. This is because of the festival formed with the spirit of independence by students. Besides that, the network created by students between the communities or universities is also the strength of the short film festival. Another essential factor for the film festival is the organizational structure. The organizational structure must run effectively and efficiently to achieve the success of the film festival.
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Hunter, Russ. "Capturing European crime." On the Cultural Circulation of Contemporary European Crime Cinema, no. 22 (March 2, 2022): 31–41. http://dx.doi.org/10.33178/alpha.22.02.
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As “shop windows” for newly produced but not-yet-released films, the study of festivals is one measure by which it is possible to assess the nature, presence and relative quantity of European crime films made in any given year. This article explores the presence of European crime films at European film festivals by examining the complete festival programmes from Cannes, Berlin and Venice. These three festivals are widely regarded as the most prestigious and largest in Europe (forming part of the global “Big 5” alongside Sundance and Toronto) and as such are premier destination for films of all types, particularly European productions. The prestige and visibility afforded by them means that they are key sites of exhibition, marketing and potential distribution to any film that is programmed there. The aim is to begin substantiating the numerical, national and transnational make-up of European crime cinema by using its presence on the European festival circuit as means to highlight its contemporary production status. A systematic analysis of all films programmed at Cannes, Venice and Berlin in order to identify the European crime films present identified a total 289 films (8.05% of the total films programmed at these festivals) out of 3587 films surveyed across a five-year period (2016–2020).
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Puspita, Dinar Chandra, and Bambang Suharto. "Communication Strategy to Make MAFI Fest Become a Sustainable Local Film Festival." JURNAL LENSA MUTIARA KOMUNIKASI 7, no. 1 (June 15, 2023): 23–36. http://dx.doi.org/10.51544/jlmk.v7i1.3849.
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In the last two decades, the Indonesian film ecosystem has been enlivened by the presence of local film festivals in various cities. The presence of film festivals is often seen as a space to channel interests, express creativity, build networks, and exchange knowledge and experiences. Local film festivals are generally initiated by student associations, film enthusiasts' communities, or government programs. Festival organizers also face various environmental challenges that are unstable in order to maintain their existence. It is not uncommon to find film festivals that have only been successfully held once or a few times, then postponed or discontinued for various reasons. Malang Film Festival (MAFI Fest) is the oldest local film festival initiated by a campus institution and has been able to survive from 2004 until now. This research aims to analyze the communication strategies used by the organizers to establish MAFI Fest as a sustainable local film festival, providing a space of appreciation for filmmakers to showcase their work. The research adopts a qualitative-descriptive approach, and data collection is conducted through interviews, observations, and documentation. The results of the research indicate that MAFI Fest implements repetitive, informative, and educative communication strategies through the media they use. The sustainability of the film festival is inseparable from the shrewdness of the organizers in innovating, support from stakeholders, their ability to obtain funding, and the commitment and activeness of its members. This research contributes to adding insight to academics and practitioners regarding the efforts that can be undertaken to maintain the sustainability of a local film festival in the long run.
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Ryseva, Aleksandra I. "THE STRUCTURE OF RUSSIAN FILM FESTIVALS DURING THE PANDEMIC." RSUH/RGGU Bulletin. Series Philosophy. Social Studies. Art Studies, no. 2 (2022): 96–104. http://dx.doi.org/10.28995/2073-6401-2022-3-96-104.
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The article covers the current situation with Russian film festivals. The author has developed a typology of film festivals, which contributed to the development of criteria for collecting up-to-date information about such festivals and creating a fresh database. It describes the social profile of the Russian film festival movement indicating the number of active festivals divided by different types along with the dynamics of their growth / decrease from 2019 to 2021. The author provides with a detailed description of the types and subtypes of movie festivals and categorizes them by the level of importance for filmmakers from various spheres as well as by the principles of their business operation and functioning. Another focus of the article is on the structure of the Russian festival movement and the dynamics of its change over the last three years together with certain adaptation strategies. In the last part of the article the author shows the analysis of the prominent filmmakers‘ opinions about the role of film festivals for the audience and for the industry.
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Ward, Susan. "Film Festival Yearbook 4: film festivals and activism." Historical Journal of Film, Radio and Television 33, no. 4 (December 2013): 648–50. http://dx.doi.org/10.1080/01439685.2013.852818.
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Acciari, Monia. "The permanency of film festivals: Archiving the changing India." Studies in South Asian Film & Media 10, no. 1 (October 1, 2019): 41–57. http://dx.doi.org/10.1386/safm_00004_1.
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Abstract Time and space are two dimensions that define a film festival in relation to duration, cultural, social, urban and political relations to the event. While the notion of space is well documented by the literature on film festivals, the idea of time is merely connected to the length of the event, mostly defined as volatile in nature. The overall aim of this article is to present an understanding of film festivals as multifaceted sociocultural and historical events beyond the idea of volatility that is naturally conferred to them. The idea of diverse intersecting temporalities is explored in this article by observing curated units of a festival ‐ commemorative events ‐ as loci to uncover the distinctive connotations of a changing nation. Time in film festival is discussed here not only as a dimension defining the length of the event, but also as an active element able to present history, moments of remembrance and renegotiate and contextualize current political and social instances. Hence, it is argued that festivals can be considered within the broad debate of archive a counter-archive, in which history and documents (the films) become channels to reassess the everyday social life of India, and shape a renovated image of the nation.
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Binnie, Jon, and Christian Klesse. "The politics of age and generation at the GAZE International LGBT Film Festival in Dublin." Sociological Review 66, no. 1 (July 17, 2017): 191–206. http://dx.doi.org/10.1177/0038026117721101.
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Despite their global proliferation, queer film festivals, like film festivals more broadly, are somewhat understudied within the social sciences. This is despite scholarship within film studies that argues that they are significant sites of queer collectivity and sociality. This article examines queer film festivals as sites for the production of community and queer bonds. The authors argue that questions of age, temporality and intergenerationality are central to discourses of community mobilized by festival organizers. The article draws on empirical material from a qualitative study of the GAZE International LGBT Festival in Dublin – which formed part of a larger comparative study of the cultural activist politics of queer film festivals in Europe. Ken Plummer has argued for a greater appreciation of the role of time and generation within sexuality studies. Age, temporality and intergenerationality emerged as important issues within interviews conducted with organizers and volunteers at the festival. The analysis of these issues focuses on three key themes: (1) GAZE as a site of intergenerational community; (2) GAZE as a site of remembrance; and (3) demography and the sustainability of the festival. The article argues that the festival provides a distinctive site of intergenerational queer bonds; and that despite the creation of transnational spaces and discourses, references to the nation and national identity remain central to bonding experiences at the festival.
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Stevens, Kirsten. "Fighting the Festival Apocalypse: Film Festivals and Futures in Film Exhibition." Media International Australia 139, no. 1 (May 2011): 140–48. http://dx.doi.org/10.1177/1329878x1113900118.
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Since the turn of the millennium, the number of film festivals celebrated annually has exploded, with more than 30 events being celebrated in the Melbourne metropolitan area alone in 2010. The rate of proliferation raises issues of event saturation, bringing into question the future of the film festival format. This article engages with the growing debate over the sustainability of unchecked festival growth. Examining the rise in specialised events that has characterised the film festival phenomenon, it argues that the diverse range and ubiquitous nature of these events collectively forms an exhibition system with the potential to usurp the role of art-house and specialty theatres. As a kind of ‘new cinema’, this article considers how festivals may be reshaping the future of film exhibition.
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Yang, Yening, Akmar Hayati Ahmad Ghazali, and Sharil Nizam bin Sha'ri. "Review of Audience Gratification with Chinese Online Film Festivals." Studies in Media and Communication 12, no. 3 (June 17, 2024): 141. http://dx.doi.org/10.11114/smc.v12i3.6901.
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After COVID-19, cultural activities increasingly rely on online formats to engage audiences. Against this backdrop, online film festivals have emerged as a new subject of film festival research. The proliferation of online film festivals in China during this time has sparked intense debate, with both their emergence and future development being contentious issues. Throughout this process, the will of the audience plays a pivotal role in shaping their trajectory. To ensure the smooth operation and future development of online film festivals, a profound understanding of festival audiences needs to be sought. This study focuses on the audience, aiming to explore their gratification with Chinese online film festivals through a literature review, with the hope of providing insights for future prospects in the planning of online film festivals. Through the screening of databases including CNKI, Google Scholar, and Scopus, a total of 1,352 relevant articles were retrieved. After manual screening and exclusion by researchers, 105 articles relevant to the theme of this study were identified. Based on these articles, this paper synthesizes four types of audience gratification: content gratification, process gratification, social gratification, and technology gratification. Future research is recommended to further empirically investigate the conclusions drawn from this review.
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Rich, B. Ruby. "Geoblocking Fall 2020." Film Quarterly 74, no. 3 (2021): 76–82. http://dx.doi.org/10.1525/fq.2021.74.3.76.
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FQ editor-in-chief B. Ruby Rich presents her take on festival-going in the time of COVID. While noting the challenges posed by geoblocking and navigating festival schedules across multiple time zones, along with the absence of the excitement and comradeship that provide live festivals with their momentum, she observes that virtual festivals—liberated from geography—offer advantages in terms of access. Surveying the offerings at the Toronto Film Festival, New York Film Festival, and DOK Leipzig, Rich highlights feature films and documentaries that offered a welcome escape from her COVID-demarcated existence, from critical favorites such as Nomadland (dir. Chloe Zhao, 2020 ) and Steve McQueen’s “Small Axe” anthology series, to discoveries such as Hong Sang-soo’s Domangchin yeoja (The Woman Who Ran, 2020) and En route pour le milliard (Downstream to Kinshasa, 2020), by the young Congolese documentarian Dieudo Hamadi.
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Ozduzen, Ozge. "‘Cinema as a common activity’." Journal of Language and Politics 19, no. 3 (March 25, 2020): 436–56. http://dx.doi.org/10.1075/jlp.18071.ozd.
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Abstract This paper is concerned with the ways in which mediating spaces like film festivals function as alternative public spheres when social movements escalate, arguing that the Istanbul International Film Festival and Documentarist right before, during and following the Gezi protests turned into politically and socially inclusive spaces for marginalised groups in Turkey. To account for how audiences and organisers aimed to transform these mediating spaces into socially inclusive and heterogeneous outlets during the Gezi protests, the paper relies on an audience ethnography in the sites of these film festivals from 2013 until 2017 including participant observation, go-alongs and in-depth interviews with audiences, film crews and organizers. Although the spaces of these two film festivals functioned differently, the article shows that film festival spaces generally transformed into cosmopolitan outlets in Istanbul in this period, opening room for a dialogue between marginalised and dominant groups, which was fed by social movements
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Carter-Long, Lawrence. "Sundance 2020: Inclusion, Diversity, and Disability beyond Diagnosis." Film Quarterly 73, no. 4 (2020): 75–81. http://dx.doi.org/10.1525/fq.2020.73.4.75.
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Thirty years after the passage of the Americans with Disabilities Act, are festivals like Sundance ready to move beyond basic access to embrace a new disability aesthetic? In search of an answer, Lawrence Carter-Long attends his first Sundance Film Festival, with a goal of assessing Sundance's commitment to disability access and inclusion beyond the branding and rhetoric. He reviews the Festival's disability-focused programming, participation, panels, and planning, much of which was supported by the Festival's new partnership with the Ruderman Family Foundation, whose philanthropy focuses on disability rights. Carter-Long discusses audience favorites Crip Camp and The Reason I Jump, both of which received audience awards, as well as the Festival's efforts to provide closed-captioning (CC) via individual CaptiView devices and Feature Film Captioning Service, concluding that the Festival set a new standard for disability inclusion and access.
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Peralta-García, Lidia, Raquel Gómez-Rosado, and Clara López-Cantos. "Rural film festivals: social functions, obstacles and challenges." Communication & Society 36, no. 4 (October 2, 2023): 135–53. http://dx.doi.org/10.15581/003.36.4.135-153.
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This investigation is centred on film festivals within Spain that take the rural world as their reference. A panoramic approach to an emerging trend is presented in the study. The concept of the “social function” is of central importance to the analytical perspective that is adopted, to understand what added value these sorts of festivals specializing in rural topics can contribute, especially in relation to the current challenges of rural depopulation. Qualitative methods are mainly used, based on semi-structured interviews with the people who direct and manage these sorts of events, with the support of digital documents downloaded from web-pages and searches for the digital footprint of rural film festivals on websites and social media. Promoting and financing a rural film festival is, at the very least, both a social and an organizational challenge, but our study distances itself from an economic viewpoint that might measure the success of a festival in terms of marketing, to contemplate its “social profitability.” From this perspective, we ask ourselves through which channels and to what extent are rural film festivals linked into the community. The results showed that, despite the vulnerability of the sector, these festivals represent an opportunity for links with the local area, social cohesiveness, and the revitalization of socio-cultural activities.
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Sowiński, Emil. "Alternative distribution and its role in the promotion of films produced by the Irzykowski Film Studio between 1981–1984." Images. The International Journal of European Film, Performing Arts and Audiovisual Communication 32, no. 41 (January 5, 2023): 99–111. http://dx.doi.org/10.14746/i.2022.41.06.
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The Irzykowski Film Studio was founded in 1981 as an institution that allowed young filmmakers to start their careers directly after graduating from the Film School. The studio could produce medium-length and short feature films and documentaries as well as animation. Nevertheless, all these types of films, according to the statute confirmed by the minister, were not to be officially cinema distributed, since they were supposed to be treated as a film exercise, a kind of practice run. Finally, it turned out that the Irzykowski Film Studio productions were regarded as fully fledged films that could compete with films produced by Film Units (i.e., the professional organizational entities of the Polish film production system at the time) or short film studios. What is not without significance, most films (not to say: all) were politically controversial. Therefore, the leaders of the Studio decided to show films to the audience, but they could not do it officially by applying for referral to cinema distribution. In connection with this, they were shown at small film festivals, inner (unofficial) screenings, and illegally distributed on VHS tapes. By extension, the range of distribution was narrow, but, curiously enough, the films were attracting a lot of interest from film critics, audiences and... state authorities. The aim of this paper is to analyze the alternative distribution process that occurred at the Irzykowski Film Studio. What films were shown at festivals, at internal screenings, and which were illegally copied onto VHS tapes? Had all the films shown been censored? How did state censorship react to test screenings with the audience? How did the critics and audience perceive these films? Did the presence of films at festivals influence their cinema distribution? And finally: how did the promotion and festival distribution of these films affect the perception of the Irzykowski Film Studio among the state authorities?
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Um, Gi Jun. "A Study on Brand Identification through Poster of International Film Festival." Korea Institute of Design Research Society 8, no. 4 (December 31, 2023): 181–92. http://dx.doi.org/10.46248/kidrs.2023.4.181.
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Brands that were used to identify products or services are gradually expanding their scope. In addition to companies and product brands, interest in brands is also increasing in the country, individuals, and local governments. International film festivals are also establishing their identity over time, and this appears in various forms. One of them, the poster, is appealing for the film festival by implicitly showing the identity of the film festival. In this study, we analyze what patterns are represented for posters of domestic and overseas international film festivals, focusing on sensory elements, and consider the relationship between sensory elements and brand identity. To this end, we analyzed the meaning, shape, and color elements, focusing on the film festival posters produced since 2000, and found out how their patterns express the film festival identity. As a result of the study, it was confirmed that each film festival showed a clear visual pattern, and through this, style, theme, and overall impression were formed.
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Żebrowski, Mateusz. "Educational Potential of Animated Films in Poland." Panoptikum, no. 18 (December 29, 2017): 106–19. http://dx.doi.org/10.26881/pan.2017.18.07.
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The paper describes events which are focused on Polish animation, with special regards to their educational values. The thesis refers to the importance of the Polish Film Institute, higher education, film workshops and film festivals for Polish animations. The most important part of the paper describes animation film festivals. Film festivals are portrayed as the most extensive educational platform, because of which the whole paper centres on an understanding of the issue through festival studies. The author evokes theories of the field configuring events by Bernard Leca, Charles-Clemens Rüling and Dominique Puthod. In the paper the Polish animation film scene is described as heterogeneous, however, filmmakers who make animations are evolving a coherent vision of it. Helpful in this process is the Polish Animation Producers Association. In the final part of the paper the author focuses on O!PLA. The Festival of Polish Animation. This event can be interpreted as a something more than a field-configuring event, and described as a communicator of the convergence of expertise (term of Grzegorz D. Stunża and associates).
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Fischer, Andre. "New transmedia design for traditional film festivals." Revista GEMInIS 13, no. 3 (2022): 16–23. http://dx.doi.org/10.53450/2179-1465.rg.2022v13i3p16-23.
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The disruptive process of transformation in the audiovisual sector were unexpectedly accelerated after the covid-19 pandemic. This caused a rearrangement in the chain of the distribution, exhibition and circulation, restructuring the whole design of film festivals, once considered the launching point of this entire industry and strongly based on specific physical locations. The platformization process permanently changed the traditional model of audiovisual distribution, staffing and curation of festivals - which undergo a hybridization operation that allows the potential use of interactive resources and online delivery of movies, plays and performances to audiences all around the globe. Different narrative strategies in contemporary production using multiple platforms in creative processes are innovating storytelling model and influencing film festival programming and production. The current format of online film festivals restricts access to user data, as the exhibition is limited by parameters established by exhibition licensing agrements and limited tickets per screening. The process of festivals platformization implies new online functionalities integrated at economic and infrastructure levels which fully affects their organization and strategies. MixBrasil Festival is proposing new ways to merge different formats and languages into its programming.
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Paulos Aemero. "Current Fragmented Film Festival and its Impact on the Process of Building Film Industry in Ethiopia." Integrated Journal for Research in Arts and Humanities 2, no. 4 (July 19, 2022): 86–92. http://dx.doi.org/10.55544/ijrah.2.4.59.
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This study aimed at examining the current film festivals and filmmaking impact on the process of film company building process in Ethiopia. Thus, in this study qualitative research method was employed. Both primary and secondary sources of data were gathered where the primary data was collected through key informant interviews having 19 film maker participants of the film industry, Directors cinematographers including academicians in Ethiopian Universities in the field of film and Theatre Arts. The secondary date was obtained through books, articles and journals. The data was analyzed by using document and thematic analysis techniques. The study found out that limited or independent film festival preparation, frequent coping from western and European film festival ideas, ineffective film production systems, loose producers company unity, lack of government support on the national film festival, an increase in film festival conspiracy, the financial, human and material constraints, acceptability gaps, the issue of departure film making action and disintegration weakened the unity and strength of the Ethiopian film festival as a whole thereby pretention obstacle in the film company building process in Ethiopia. Finally, this study recommended that strong Film company institutions are mandatory to gather crumbled Ethiopian film festivals and strength which will in turn amalgamate film corporation & film company formation process in Ethiopia.
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Hicks-Alcaraz, Marisa, and Eve Oishi. "Negotiating Political Identity in Community-Based Film Festivals." Feminist Media Histories 5, no. 4 (2019): 21–55. http://dx.doi.org/10.1525/fmh.2019.5.4.21.
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This article is a cross-generational exchange of ideas and experiences that explores the intersections of film curating and activism. Its authors set forth accounts of their own experiences as scholars who have worked as film festival curators “on the side” from the 1990s to the present within the context of the new yet rapidly growing field of film festival studies, which provides a useful set of perspectives and methods for understanding how film festivals function and what significance and impact they can have on the multiple stakeholders involved, including but not limited to the filmmakers, festival organizers and staff, and audiences. Their experiences shed light on the ways that identity-based film festivals have evolved through engagement with economic and political forces of globalization and neoliberalism even as they function as important, fluid sites of community building where identities are negotiated, contested, and articulated.
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Lumholdt, Jan. "Film Festivals." Film International 1, no. 6 (June 2003): 62–68. http://dx.doi.org/10.1386/fiin.1.6.62.
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Sullivan, Moira. "Film Festivals." Film International 2, no. 6 (November 2004): 58–67. http://dx.doi.org/10.1386/fiin.2.6.58.
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Grant, Barry Keith. "Film Festivals." Film International 4, no. 1 (February 2006): 95–98. http://dx.doi.org/10.1386/fiin.4.1.95.
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Holmgren, Felix. "Film Festivals." Film International 4, no. 3 (July 2006): 115–19. http://dx.doi.org/10.1386/fiin.4.3.115.
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Udden, James. "Film festivals." Journal of Chinese Cinemas 10, no. 1 (January 2, 2016): 14–17. http://dx.doi.org/10.1080/17508061.2016.1139801.
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Grassa, Marco Dalla, Dario Tomasi, and Monia Acciari. "Film Festivals." Journal of Italian Cinema & Media Studies 4, no. 1 (January 1, 2016): 127–38. http://dx.doi.org/10.1386/jicms.4.1.127_7.
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Kim, Darae, Dina Iordanova, and Chris Berry. "The Busan International Film Festival in Crisis or, What Should a Film Festival Be?" Film Quarterly 69, no. 1 (2015): 80–89. http://dx.doi.org/10.1525/fq.2015.69.1.80.
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Former Busan International Film Festival curator Darae Kim, and film scholars Dina Iordanova and Chris Berry engage in a discussion of the Busan International Film Festival. BIFF’s nineteenth edition was held in October 2014 and screened 312 films from 79 countries to 226,473 audience members. Despite such outward signs of success and continued growth, the festival is now undergoing a crisis that is threatening its future, on the eve of its twentieth anniversary. Are such difficulties specific to Busan, or do they indicate a more general trend that results from new configurations in the public space of cinema and new managerial approaches to culture at large? This dossier combines a report on the Busan International Film Festival crisis with larger questions regarding film festivals. Three short essays consider the Busan festival situation from different perspectives, followed by a conversational exchange that aims to spur further thinking.
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Yang, Ruobing. "Festival Marketing: Film Promotion Shaped by Traditional Chinese Culture Taking the Spring Festival Comedy Film as an Example." Advances in Economics, Management and Political Sciences 53, no. 1 (December 1, 2023): 177–82. http://dx.doi.org/10.54254/2754-1169/53/20230826.
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In recent years, with the continuous growth of the Chinese film market and the improvement of the cultural level and consumption willingness of Chinese residents, the holiday film market has gradually developed in China. The Chinese holiday film market has sprouted since the Spring Festival, and then developed into Spring Festival movies, National Day movies, summer movies, etc. Under different schedules, it is the background of holiday culture that highlights this film market phenomenon. How to combine the cultural background of film festivals with the film industry is an important challenge that the Chinese film market needs to face. This article adopts the method of case analysis, and through the comedic elements of Spring Festival films, it can be concluded that films should adhere to content innovation, integrate patriotism, cater to the aesthetic needs of the public, achieve a balance between business and art, in order to reflect and summarize, and promote the better development of the Chinese film market.
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Rich, B. Ruby. "Telluride and After." Film Quarterly 75, no. 2 (2021): 102–8. http://dx.doi.org/10.1525/fq.2021.75.2.102.
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FQ editor-in-chief B. Ruby Rich reports from the 48th edition of the Telluride Film Festival. Unlike most of its peer festivals, Telluride opted not to hold a virtual edition in 2020, a decision entirely in keeping with its emphasis on the tactile and experiential aspects of cinema, and which made its return in 2021 all the more giddy for first-time attendees and long-term devotees alike. Rich reviews the many festival highlights, from Jane Campion’s reinvention of the Western in The Power of the Dog to Todd Haynes’ archival documentary The Velvet Underground. Childhood takes center stage in new films from Céline Sciamma and Kenneth Branagh while misunderstood masculinity emerges as a theme in Michael Pearce’s Encounter, Asghar Farhadi’s A Hero, and Mike Mills’s C’mon C’mon. Including a coda on the New York Film Festival, Rich concludes that the masterful riches of the two festivals augur well for the fall 2021 season.
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Sawadogo, Boukary. "FESPACO and critical discourse on African cinema." Journal of African Cinemas 14, no. 1 (November 1, 2022): 35–47. http://dx.doi.org/10.1386/jac_00060_1.
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The Pan-African Film and Television Festival of Ouagadougou (FESPACO) celebrated its golden jubilee at its 26th edition in 2019. This marks a time for reflection and assessment of the future of the festival. The 50th anniversary also represents a key juncture for scholars and practitioners to rethink curatorial practice in Africa to enable film festivals to function also as a medium of production and dissemination of critical discourse on African screen media. FESPACO has a longstanding tradition of continually producing archives of knowledge about African cinema. The study of the relationships between FESPACO and critical discourse on African cinema offers a template for other festivals to follow, thus opening a new discursive space in the emerging field of film festival studies.
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Colta, Alexandra. "Creative and emotional labour." Alphaville: Journal of Film and Screen Media, no. 17 (July 1, 2019): 128–45. http://dx.doi.org/10.33178/alpha.17.08.
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Film festival curation and programming remain highly individualistic practices, that negotiate several discourses/tensions, including the responsibility of the curator to others (artists and audiences) and the creative independence of the curator. Much remains to be written about the creative process of curation, and how aesthetic judgements are articulated by those who practice it. While progress in this direction has been made in relation to some festivals (LGBT, African), human rights film festivals have only recently started to be part of academic scholarship, which tended to focus on the main functions and spectatorship roles that they encourage (Tascón; Tascón and Wils; Davies). This article focuses on the creative process of programming human rights film festivals using the case study of Document Human Rights Film Festival in Glasgow. Part of a practice-led collaborative research project between the Universities of Glasgow, St Andrews and the festival, this article is based on my reflections and experience as a co-opted member of the programming team for the 2016 and 2017 editions. Drawing on practice-led ethnography, I argue that this festival adopted a form of ethical programming, sharing authorship and responsibility towards the audience, the filmmakers and the profession, as well as a form of emotional labour.
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Muylaert, Juliana, and Bianca Salles Pires. "Festivais de documentário no século XXI." Rebeca - Revista Brasileira de Estudos de Cinema e Audiovisual 11, no. 1 (July 29, 2022): 309–16. http://dx.doi.org/10.22475/rebeca.v11n1.866.
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O segundo volume da obra Documentary Film Festivals: Changes, Challenges, Professional Perspectives (2020), editado por Aida Vallejo e Ezra Winton, faz parte da coleção Framing Film Festivals da editora Palgrave. A obra se divide em duas sessões, a primeira apresenta textos resultados de pesquisas sobre festivais de documentários e as mudanças recentes no circuito, já a segunda parte reúne um conjunto de entrevistas com agentes do campo do documentário.
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Di Chiara, Francesco, and Valentina Re. "Film Festival/Film History: The Impact of Film Festivals on Cinema Historiography. Il cinema ritrovato and beyond1." Cinémas 21, no. 2-3 (August 11, 2011): 131–51. http://dx.doi.org/10.7202/1005587ar.
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The aim of this essay is to offer some coordinates for the analysis of the impact of film festivals on cinema historiography. Although film festivals have had a pivotal role in film studies since the 1940s in determining various aspects of research interests, both on a critical and theoretical level, it is only in recent years that they have gathered academic attention as an autonomous research field. Moreover, even among most studies of film festivals, the relationship between film festivals and cinematic historiography seems to have been overlooked. This essay is conceived, therefore, as a provisional contribution, attempting to delineate the scope of the topic and set some parameters for further research. After defining what we mean by the impact of film festivals on cinema historiography, we try to construct a conceptual framework, capable of examining how the strategies deployed by film festivals—such as their structure, schedules, published materials and round tables, as well as their identification of a target audience—implicitly highlight the potential impact of film festivals on cinema historiography. To exemplify our theoretical statements, we refer to different kinds of film festivals and, more particularly, make a few remarks about a very particular case, Il cinema ritrovato in Bologna.
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Archer, Martin O. "Space Sound Effects Short Film Festival: using the film festival model to inspire creative art–science and reach new audiences." Geoscience Communication 3, no. 1 (June 18, 2020): 147–66. http://dx.doi.org/10.5194/gc-3-147-2020.
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Abstract. The ultra-low frequency analogues of sound waves in Earth's magnetosphere play a crucial role in space weather; however, the public is largely unaware of this risk to our everyday lives and technology. As a way of potentially reaching new audiences, SSFX (Space Sound Effects) made 8 years of satellite wave recordings audible to the human ear with the aim of using it to create art. Partnering with film industry professionals, the standard processes of international film festivals were adopted by the project in order to challenge independent filmmakers to incorporate these sounds into short films in creative ways. Seven films covering a wide array of topics and genres (despite coming from the same sounds) were selected for screening at a special film festival out of 22 submissions. The works have subsequently been shown at numerous established film festivals and screenings internationally. These events have attracted diverse non-science audiences resulting in several unanticipated impacts on them, thereby demonstrating how working with the art world can open up dialogues with both artists and audiences who would not ordinarily engage with science.
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Sim, Sang Gyo. "A Study on the imaginative structure and meaning of the Jeongdongjin Independent Film Festival." Liberal Arts Innovation Center 13 (November 30, 2023): 169–94. http://dx.doi.org/10.54698/kl.2023.13.169.
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This paper examined the imaginative structure of films screened at the 25th Jeongdongjin Independent Film Festival in 2023. A total of 22 films were screened at this fi lm festival, including 19 short fi lms, 1 feature fi lm, and 1 film festival support film. Among these works, seven works whose imaginative structure was easy to identify and whose narrative structure was clear were examined. Just as there is an explanation that the human unconscious is structured by language or libido that created the works submitted to this year's Jeongdongjin Independent Film Festival.
The typical imaginative structures that appeared commonly at this film festival. Structures were paradox and human insight. The roots was love for humanity and family. It seems necessary to characterize fi lm festivals with specific themes. It may be necessary to plan with specialized themes such as family or the sea. Operating a children's film class program can also be considered, and it is also worth considering adding a program in the nature of a silver class.