Depuis le début des années 2010 fleurissent les publications, les rencontres, les formations qui se placent sous le signe des Film Festival Studies. Depuis longtemps, pourtant, les festivals de films avaient rencontré l’intérêt de chercheurs, issus de diverses disciplines. Une dynamique nouvelle serait-elle donc à l’œuvre depuis la dernière décennie, une volonté explicite de se raccrocher à la perspective très anglo-saxonne des Studies? Ce texte se propose d’ouvrir quelques pistes de réflexion relatives à la spécificité des études portant (...) sur cet objet singulier que constituent les festivals de cinéma et audiovisuel, dans la perspective de poser des jalons propres à l’épistémologie d’un champ de recherche encore à construire. (shrink)

Depuis le début des années 2010 fleurissent les publications, les rencontres, les formations qui se placent sous le signe des Film Festival Studies. Depuis longtemps, pourtant, les festivals de films avaient rencontré l’intérêt de chercheurs, issus de diverses disciplines. Une dynamique nouvelle serait-elle donc à l’œuvre depuis la dernière décennie, une volonté explicite de se raccrocher à la perspective très anglo-saxonne des Studies? Ce texte se propose d’ouvrir quelques pistes de réflexion relatives à la spécificité des études portant (...) sur cet objet singulier que constituent les festivals de cinéma et audiovisuel, dans la perspective de poser des jalons propres à l’épistémologie d’un champ de recherche encore à construire. (shrink)

Film 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. (shrink)

New York Film Festival 2000 offered a selected group of internationally and aesthetically diverse films. No trend emerged in the heterogeneous collection of offerings. The spectrum of offerings included both commercially viable and art house genres: the musical, the slice of life, the bio-pic, the meditation on history, the melodrama, the historical/political film, and the classics-on-film tour de force. Herewith a report on eight highlights of NYFF's program: seven beauties and a funeral, though not in that (...) order. (shrink)

The New York Film Festival 2001 took place against a background of the horror and beauty, fear and hope, anger and love released into the air along with noxious columns of smoking dust and ash by the attack on the World Trade Center on September 11 by a group of terrorists. It was an inauspicious time to ask people to travel anywhere by air, and certainly to New York City. But, oddly, the festival was not marked by (...) a sense of absence, but rather a consolidated presence. Many who were stranded at the Toronto Film Festival, in progress while the attack took place, did not let that experience stop them from attending the screenings in New York. The same was true of a large number of the directors represented. The organizers of the festival told us that, contrary to expectations, the directors asserted their absolute determination to attend *because* of the attack. They were moreover unusually eloquent and forthcoming in their responses to questions about their films at their Press Conferences. Sentimental it is not to assert that the onslaught of the preceding weeks brought out a counter response, a need to assert in the face of a horrible chasm of human remains, wrecked steel, and sharded glass the integrity of the human bond. In the words addressed to the terrorists by of one of the survivors of the agonizing flight down tens of flights of stairs in the World Trade Center: if you want to kill us, leave us alone; we will do that for ourselves. But if you want to make us stronger, attack us and we will band together. (shrink)

The New York Film Festival at Lincoln Center this year sported a particularly felicitous array of films. While the NYFF is always helpful in breaking down the barriers erected against international imports that are not considered commercial, the 2004 festival did more than permit contact with a wealth of international film cultures. The aggregate of a wide variety of films posed with particular force the primary question addressed by all film festivals: what can cinema do.

The 40th annual New York Film Festival was framed by the refusal of the United States government to grant Iranian filmmaker Abbas Kiarostami a visa to attend the screening of his film, _Ten_. In protest Finnish director Aki Kaurismaki, whose apolitical film _The Man Without a Past_ was also on the Festival program, decided not to attend. A week or so into the Festival, Bertrand Tavernier found himself unable to attend his press conference after (...) the screening of his highly political film, _Safe Conduct_, because he was in the hospital. He sent a letter to the Festival apologizing for his absence which made it clear that he had wanted, in addition to discussing his film, to make his own statement about the insult to Kiarostami. Tavernier saluted Kaurismaki for his gesture, but said that his way was to be present at the Festival to raise his voice. Tavernier specifically called attention to the bitter irony of lumping Kiarostami with the Arab terrorists and with Saddam Hussein, only because of his national origin, when the Iranian director had devoted his life to affirming the values of freedom and condemning dictatorship. (shrink)

This year there was a noticeable presence at the New York Film Festival, whether intentionally or not, of films reflecting back on the past, both real and imagined. A second wave of millennial summing up, more profound than that forced by the media in the year 2000, these films, at their best, seek with courage and compassion to understand the larger forces at work in the troubled 20th century. At their worst, they stand as work riddled by self-deluding (...) cliches in collusion with our own worst impulses. Among the number of 'films of remembrance' shown, those that demand to be discussed because they best exemplify the ongoing struggle to make cinema responsive to the needs of filmgoing audiences to know reality 'again for the first time' (pace T. S. Eliot) are, in a rough order of importance: _S21: The Khmer Rouge Killing Machine_ (Dir. Rithy Pan); _The Fog of War_ (Dir. Errol Morris); _Dogville_ (Dir. Lars von Trier); _Mayor of the Sunset Strip_ (Dir. George Hickenlooper); _Bright Leaves_ (Dir. Ross McElwee); and _The Best of Youth_ (Dir. Marco Tullio Giordana). Alas, among the NYFF 2003 films of memory and summation, it is also necessary to discuss _Mystic River_ (Dir. Clint Eastwood), but only because of its inexplicable media notoriety, a sad testimony to a Dubya phenomenon in things cinematic. This is one hanging chad. Among the festival films not informed by this core trend, but eminently worthy of mention, are: _PTU_ (Dir. Johnnie To); _Free Radicals_ (Dir. Barbara Albert); _Crimson Gold_ (Dir. Jafar Panahi); and _Raja_ (Dir. Jacques Doillon), though, unhappily, it would strain this portmanteau overview to talk in detail about more than the first two. (shrink)

Five International Cinematic Perspectives on the 'Nature' of Love and Childhood: New York Film Festival 2005 Report (Part Two).

In this year’s offerings, anxiety runs high and affirmation is a wan beam of sunlight in a stormylandscape. At times, indeed, affirmation is more chilling than reassuring. In a range running fromgrey to still more grey, the New York Film Festival 2007 collection of films portrays dysfunctionalsocieties and profoundly confused and confusing protagonists. At the same time, the films reveala strong trend away from conventional cinematic narrative and aesthetics. Opinions were radicallydivided at the press screenings about the success (...) of the risk taking on display. Boldly speaking outon topics such as Iraq and consumerism; shining their beams into the secret places of the humanheart, this years films did not yield anything like a critical consensus, and I shall report below,where appropriate, responses that differed radically from mine. The 2007 offerings suggest thatinternational cinema may be on the cusp of an energizing breakout, or it may be imploding underthe pressure an increasing dehumanization of the political and social climate. In this part of myreport from the festival, “Anxiety,” I will comment on the outright expressions of morbiddisquietude in six of the festival films. In the second part, I will address, under the title“Affirmation?”, the generally questionable optimism of seven additional films, a few of whichsported “cheerful” messages that made my blood run cold. (shrink)

Some time between the late 1960s and the early 1980s, my grandmother, Kira Razlogova, translated an African film at the Moscow International Film Festival. It was an official screening, with the ambassador of the African country present in the audience. She sat in a translator’s booth at the back of the theater, reading into the microphone from a printed French dialogue list just given to her. She had never seen this film before. She watched it now (...) for the first time through the window of her booth, and synced her reading to the spoken lines flowing into her earphones, lines in an African language she did not know. Loudspeakers transmitted her voice into the cinema hall over the partially muted original.. (shrink)

The most “cheer” spread by this year’s offerings, if we stretch the point, was to be found in anumber of uncertain nods to the persistence and endurance of the human capacity for–beinghuman. Considering No Country For Old Men, Redacted and their anxious ilk, this might havebeen of some consolation if it were not for the way even the more affirmative entriessimultaneously evoked crushing environmental and personal obstacles between us and our finerideals and impulses. The films discussed below whistle in the (...) dark of war, murder, fanaticism,adultery, and/or abandonment. Though they generally made their way with the aid of gorgeouscinematography, editing, sound design, and frame compositions, to achieve their modicum of reassurance, they each get stuck in or play with the implications of painful or questionable philosophical perspectives. (shrink)

The Scottish Mental Health Arts and Film Festival has seen hundreds of arts, public and community groups coproduce over 300 events to over 25,000 audience members. Integral to this arts-based approach, in contrast to social marketing or public education models, is the notion that mental health is an essentially contested concept whereby meanings are negotiated and debate encouraged. With emerging evidence that the festival is an ef ective way of engaging people intellectually and emotionally, we explore ethical (...) issues, challenges and paradoxes that have emerged as the festival has developed. Consideration is given to issues of power, purpose, opportunity costs, reach, impact, programming risks, and participation from those with experience of mental ill-health. Throughout, we explore practical implications for funding, managing, programming, marketing and evaluation of this and similar endeavours. (shrink)

During the last two decades, many thinkers on Iranian cinema have had many things to say about censorship, especially the issue of the veil imposed on women’s gender by the authorities in Iran. In this paper, I will describe Hamid Dabashi’s narrative as related to the concept of “truth” to show further that the veil issue has reached a new phase in Iran. Although much of what Dabashi defines as the absented body of women in his article “Body less faces: (...) Mutilating modernity and abstracting women in an ‘Islamic cinema’” may still hold, I believe his over-arching narrative doesn’t contribute enough to our understanding of the new relations among the authorities and actresses’ Fashion styles on red carpets. This paper’s method is connected with cultural and visual studies through Roland Barthes’ semiotics. I first focus on Hamid Dabashi’s conception of “truth” and how he believes “truth” is related to Islamic ideology and embodied in Iranian post-revolutionary cinema to further (through analysing photos of Iranian actresses’ clothing who attend festivals) conclude that Iranian women try to adopt new resistances in choosing their costumes compared to the early two decades of post-revolutionary Iran. The presence of Iranian women in festivals especially regarding what they wear has established a new interwoven relationship with authorities which has somewhat not been surveyed properly. By surveying the photos of their fashion and style I conclude that they are in constant negotiation with authorities through what they rebelliously wear. (shrink)

The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspecti...

The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspecti...

The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspecti...

The ubiquity of gender-bending and sexually ambiguous imagery in the media seems to herald a post-gay era. But are LGBT/Q identities and representation politics really a thing of the past? Inspecti...

_The Big Kahuna_ Director: John Swanbeck Screenplay: Roger Rueff, based on his play _Hospitality Suite_ Executive Producer: Gerard Guez Producers: Kevin Spacey, Elie Samaha, Andrew Stevens Cast: Kevin Spacey, Danny DeVito, Pete Facinelli.

_Jakob the Liar_ (1999) Director: Peter Kassovitz. Screenplay: Jurek Becker (adapted from his novel), Peter Kassovitz and Didier Decoin. Producers: Nick Gillott, Steven Haft, Robin Williams, Marsha Garces Williams. Cast: Alan Arkin, Bob Balaban, Zoltan Barabas, Michael Jeter, Liev Schreiber, Robin Williams.

Consider yourself invited to a filmfestival — a festival of shorts. Regrettably it is a festival with a limitation: you will not be able actually to see the films. However, this limitation is offset by an unusual feature: the films to be shown are not only short but ultrashort — with one exception, each film consists of only a few frames. Instead of showing the films we shall be able to give a complete description of them.

This article chronicles the material conditions of producing a film in the Philippine independent film scene which has experienced a marked resurgence at the turn of the century, and has been credited for having revived the ailing Filipino film industry. By way of case study, I use my own film Ang Panggagahasa kay Fe (international title: The Rapture of Fe), awarded the best feature-length digital film at the 33rd Cairo Film Festival in 2009. (...) I co-produced, wrote and directed this film. I recount the different factors that helped shape the film, from scripting to film financing, and provide further evidence of the significance of the private sector, in infusing new money and in reviving the national Filipino film industry as a whole. (shrink)

This is an excerpt from the contentRecently older people have been the target of filmmakers and marketing campaigns; the concept of the “grey pound” has become a potentially significant attraction encouraging filmmakers to explore issues relating to age and ageing in mainstream films. The recent success of films such as Mamma Mia and The Best Exotic Marigold Hotel have made a significant impact on the box office, and Amour securing the 2013 Palm D’Or at the Cannes Film Festival, (...) proved that an older audience is eager to watch films with mature characters and about issues that are relevant and meaningful to them.Actor Dustin Hoffman chose the play, Quartet by Ronald Harwood, to make his directorial debut. Set in “Beecham House,” a residential home for retired musicians, Hoffman explores brilliantly the diversity of octogenarians. The home is under the threat of closure unless the residents raise a substantial amount of money to keep it open, and their cunning plan to do that is by organizing a charitable evening gala fea. (shrink)

The educational method Philosophy for Children is a combined thinking skills program and a democratic dialogic approach, implemented in approximately 50 countries and translated into about 20 languages. Lately, with P4C as a point of departure, the area of philosophical dialogue has extended into the inclusion of a range of contextualized methods with different starting points for the dialogues. In this paper, two arguments for having films as starting points for philosophical dialogues are presented: a) The argument from perspective taking, (...) and b) The argument from emotional content and response. Briefly, the arguments state that films, through the perceptual input, offer the opportunity to take shared emotional content and an array of different perspectives as starting points in philosophical dialogue. These arguments are supported by warranted theses in contemporary film theory and empirical data from participants’ evaluations of philosophical dialogues during the PhilosoFilmFestival, a Swedish film festival with basic principles of P4C as a point of departure. (shrink)

There has been a great deal of talk about the upcoming Queer Festival in Sarajevo. However, the discussion has taken on a bitter tone because some have made much of the fact that the organizers plan to hold the festival during the month of Ramadan. To hold the festival during that time, according to some pious Muslims, is a blasphemous act, one that is rude and disrespectful towards those of the faith. Of course, we must not forget (...) that this festival is following on the heels of another festival, the Sarajevo Film Festival. A few films touched on the subject of homosexuality (LA LEON, 2007), but I do not remember hearing much, if any, disapproval of screening films of the gay and lesbian genre. Perhaps the festival's international acclaim, it not being held during Ramadan, and the genre's thin representation had something to do with the lack of criticism. What I find remarkable about the upcoming festival is not when it will be held, but that it will be held; that members of various sexual communities, including the gay and lesbian community of Sarajevo (and, no doubt, many from the "straight" community), have united to put on a.. (shrink)

A few days ago, the 1994 film festival sponsored by Human Rights Watch occurred. One of the movies shown was Moving the Mountain, directed by a famous movie director from Britain and produced by an American studio. The film was about a young man from mainland China named Li Lu.

It should come as no surprise that a music and arts festival dogged by scandal would lead to two separate documentaries that each raise ethical concerns. The 2017 demise of the Fyre Festival, a would-be luxury music event in the Bahamas targeted at millennials, inspired late-night comedians’ jokes, social media schadenfreude and so far, two documentaries detailing how things went so wrong. Both films detail the maddening twists and turns during the preparations for the Fyre Festival and (...) make it clear to viewers that it was doomed from the start. Both films also contain potential conflicts of interest that are notable, and notably absent from discussion or clarification in either film. (shrink)

It should come as no surprise that a music and arts festival dogged by scandal would lead to two separate documentaries that each raise ethical concerns. The 2017 demise of the Fyre Festival, a would-be luxury music event in the Bahamas targeted at millennials, inspired late-night comedians’ jokes, social media schadenfreude and so far, two documentaries detailing how things went so wrong. Both films detail the maddening twists and turns during the preparations for the Fyre Festival and (...) make it clear to viewers that it was doomed from the start. Both films also contain potential conflicts of interest that are notable, and notably absent from discussion or clarification in either film. (shrink)

ABSTRACT It should come as no surprise that a music and arts festival dogged by scandal would lead to two separate documentaries that each raise ethical concerns. The 2017 demise of the Fyre Festival, a would-be luxury music event in the Bahamas targeted at millennials, inspired late-night comedians’ jokes, social media schadenfreude and so far, two documentaries detailing how things went so wrong. Both films detail the maddening twists and turns during the preparations for the Fyre Festival (...) and make it clear to viewers that it was doomed from the start. Both films also contain potential conflicts of interest that are notable, and notably absent from discussion or clarification in either film. (shrink)

Documentary film-making is one of the most vibrant areas of media activity in China, with many independent film-makers producing documentaries on a range of sensitive socio-political matters, often bringing a strongly ethical approach. This book outlines the development of documentary film-making in mainland China and Taiwan, contrasts independent documentaries with official state productions, considers the production and distribution of independent documentary film-makers, and discusses the range and content of the documentaries. The book demonstrates the success of (...) Chinese independent documentary film-making, often winning award-winning titles and appearing at international film festivals. (shrink)

Cinema acts as a significant mediator between urban reality and the imaginary sensory experience of the fictive world. Viewing the city through the lens of a camera enables us to build new narratives. Films have captured port cities within the flows of, goods, people, and ideas, making them ever-present in shared memories, historical narratives, and urban nostalgia. Cultural production plays a role in the on-going construction of local port cultures, whether films, festivals, music, literature, theater, advertisements, or events. Telling the (...) story of the port city – it's past, present, and future; its buildings and its people – contributes strongly to the creation of port city cultures.[i] The big screen can help viewers to perceive complex port city regions, learning from their history, understanding cultural values and developing shared urban narratives to tackle the upcoming challenges. In a broader sense, port city’s ‘Cine-scape’—to use a term coined by Richard Koeck,[ii] puts the cinematic approach to port cities into the spotlight. (shrink)

Introduction Grady Hendrix is an American author and journalist who is also one of the founders of the New York Asian Film Festival. Horrostör: A Novel was published in 2014 by Quirk Books, a publisher based in Philadelphia and distributed by Penguin Random House. According to its website, Quirk Books was founded in 2002 and publishes ‘a highly curated list of entertaining, enlightening, and strikingly unconventional books for adults and children in a number of genres and categories,’ which (...) i... (shrink)