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Rethinking Film Festivals in the Pandemic Era and After (Framing Film Festivals) 1st ed. 2023 Edition Marijke De Valck full chapter instant download
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FRAMING FILM FESTIVALS
Rethinking Film
Festivals in the
Pandemic Era and After
Edited by
Marijke de Valck · Antoine Damiens
Framing Film Festivals
Series Editors
Marijke de Valck
Department of Media and Culture Studies
Utrecht University
Utrecht, The Netherlands
Tamara L. Falicov
University of Kansas
Lawrence, KS, USA
Every day, somewhere in the world a film festival takes place. Most people
know about the festival in Cannes, the worlds’ leading film festival, and
many will also be familiar with other high profile events, like Venice, the
oldest festival; Sundance, America’s vibrant independent scene; and
Toronto, a premier market place. In the past decade the study of film fes-
tivals has blossomed. A growing number of scholars recognize the signifi-
cance of film festivals for understanding cinema’s production, distribution,
reception and aesthetics, and their work has amounted to a prolific new
field in the study of film culture. The Framing Film Festivals series presents
the best of contemporary film festival research. Books in the series are
academically rigorous, socially relevant, contain critical discourse on
festivals, and are intellectually original. Framing Film Festivals offers a
dedicated space for academic knowledge dissemination.
Marijke de Valck • Antoine Damiens
Editors
Rethinking Film
Festivals in the
Pandemic Era and
After
Editors
Marijke de Valck Antoine Damiens
Department of Media and Department of Cinema and
Culture Studies Media Arts
Utrecht University York University
Utrecht, The Netherlands Toronto, ON, Canada
© The Editor(s) (if applicable) and The Author(s) 2023. This book is an open access
publication.
Open Access This book is licensed under the terms of the Creative Commons Attribution
4.0 International License (http://creativecommons.org/licenses/by/4.0/), which permits
use, sharing, adaptation, distribution and reproduction in any medium or format, as long as
you give appropriate credit to the original author(s) and the source, provide a link to the
Creative Commons licence and indicate if changes were made.
The images or other third party material in this book are included in the book’s Creative
Commons licence, unless indicated otherwise in a credit line to the material. If material is not
included in the book’s Creative Commons licence and your intended use is not permitted by
statutory regulation or exceeds the permitted use, you will need to obtain permission directly
from the copyright holder.
The use of general descriptive names, registered names, trademarks, service marks, etc. in this
publication does not imply, even in the absence of a specific statement, that such names are
exempt from the relevant protective laws and regulations and therefore free for general use.
The publisher, the authors, and the editors are safe to assume that the advice and information
in this book are believed to be true and accurate at the date of publication. Neither the
publisher nor the authors or the editors give a warranty, expressed or implied, with respect to
the material contained herein or for any errors or omissions that may have been made. The
publisher remains neutral with regard to jurisdictional claims in published maps and
institutional affiliations.
This Palgrave Macmillan imprint is published by the registered company Springer Nature
Switzerland AG.
The registered company address is: Gewerbestrasse 11, 6330 Cham, Switzerland
Acknowledgements1
1
This publication was supported by funds from the Utrecht University Open Access Fund,
the Netherlands.
v
Contents
1 What
Happens When Festivals Can’t Happen? 1
Antoine Damiens and Marijke de Valck
2 Stopping
the Flow: Film Circulation in the Festival
Ecosystem at a Moment of Disruption 17
Skadi Loist
3 Scarcity,
Ubiquity, and the Film Festival After Covid 41
Brendan Kredell
4 Locating
Buzz and Liveness: The Role of Geoblocking
and Co-presence in Virtual Film Festivals 59
Diane Burgess and Kirsten Stevens
5 Film
Festivals on the Small Screen: Audiences, Domestic
Space, and Everyday Media 81
James Vail, Theresa Heath, Lesley-Ann Dickson, and
Rebecca Finkel
vii
viii Contents
6 Finding
Allies in Pandemic Times: Documentary Film
Festivals and Streaming Platforms101
Aida Vallejo and Christel Taillibert
7 Chilean
Film Festivals and Local Audiences: Going Online?129
María Paz Peirano and Gonzalo Ramírez
8 Vidéo
de Femmes Dans le Parc: Feminist Rhythms and
Festival Times Under Covid155
Ylenia Olibet and Alanna Thain
9 Curating
Our Own Space: A Conversation on Online
Queer Film Exhibition and Adult Queer Cinema177
Jenni Olson and Jiz Lee
10 Cinephilia,
Publics, Cinegoraphilia: Surveying the Short-
Term Effects of Covid-19 on Community-Based Festivals
in Toronto193
Jonathan Petrychyn
11 Film
Festivals in Taiwan: Lurking on the Periphery211
Beth Tsai
12 Precarity,
Innovation, and Survival in the Indian Film
Festival Sector231
Tilottama Karlekar
13 Curating
as Care: La Semaine de la Critique and the
Marrakech International Film Festival in the Age of
Covid-19255
Farah Clémentine Dramani-Issifou
Contents ix
14 Toward
Decolonized Film Festival Worlds269
Lindiwe Dovey and Estrella Sendra
15 Festivals,
Covid-19, and the Crisis of Archiving291
Antoine Damiens
Index329
Notes on Contributors
xi
xii NOTES ON CONTRIBUTORS
of the Centre for Communication, Cultural and Media Studies and Director
of the Edinburgh International Film Audiences Conference. Her main area
of research is film exhibition (film festivals in particular) and film/media
audiences. She has written chapters on Glasgow Film Festival (Live Cinema,
2018) and Valletta Film Festival (Managing Organisational Success in the
Arts, 2019). She is co-lead investigator on “Film Festivals, Audiences, and
Covid-19: Crisis, Community, and Digital Comeback,” a project sup-
ported by the Scottish Funding Council.
Lindiwe Dovey is Professor of Film and Screen Studies at SOAS, University
of London, where she teaches global film industries and co-chairs the Centre
for Creative Industries, Media and Screen Studies. Her research, curating,
and filmmaking has focused mainly on postcolonial, decolonial, and feminist
film cultures (particularly in relation to Africa), and her work aims to com-
bine film scholarship and practice in mutually enlightening ways. From
2019 to 2024 she is Principal Investigator of the ERC-funded project
“African Screen Worlds: Decolonising Film and Screen Studies.”
Farah Clémentine Dramani-Issifou is an independent art and film cura-
tor and a PhD Candidate at Aix-Marseille University. Her academic
research is focused on the exhibition of Afro-diasporic cinema and art.
From 2010 to 2017, she initiated the Festival des Nouveaux Cinemas
Documentaires and BeninDocs, two African contemporary films and video
art festivals in Paris, Cotonou and Porto Novo. She is a member of the
selection committee of Cannes Critics’ Week and Marrakech International
Film Festival and the deputy director of Le Centre Yennenga in Dakar. In
2021, F. Clémentine Dramani-Issifou is the co-curator of the exhibition
Un.e Air.e de Famille, headquarter of Africa2020 season at Musée d’art et
d’histoire Paul Eluard in Saint-Denis (France).
Rebecca Finkel is Reader and Acting Head of Graduate School at Queen
Margaret University and Senior Fellow of Higher Education Academy.
Main research interests frame critical event studies within conceptualiza-
tions of social justice, gender in/equality, and cultural identity. Co-Editor
of Routledge Critical Event Studies Research Book Series as well as
Multispecies leisure: Human-animal interactions in leisure landscapes
(2021); Gendered Violence at International Festivals (2020); Accessibility,
Inclusion, and Diversity in Critical Event Studies (2018); Research Themes
in Events (2014). Additionally, she has been invited to deliver keynotes,
NOTES ON CONTRIBUTORS xiii
media. She is the author of Bodies in Suspense: Time and Affect in Cinema
(2017). She is director of the FRQSC-funded research team CORÉRISC:
Collective for Research on Epistemologies of Embodied Risk and its cur-
rent project “Unruly Bodies: Horror in Media and Performance.”
Beth Tsai is a Visiting Assistant Professor in East Asian Languages and
Cultural Studies at the University of California, Santa Barbara. Her research
focuses primarily on the cinema of Taiwan, film festivals, and transnational
film theory. Her works have been published in the International Journal of
Asia Pacific Studies, Quarterly Review of Film and Video, Journal of Asian
Cinema, and Oxford Bibliographies. Her first book, Taiwan New Cinema at
Film Festivals, is forthcoming with Edinburgh University Press.
James Vail is a Research Assistant on the project “Film Festivals,
Audiences, and Covid-19: Crisis, Community, and Digital Comeback,” a
Scottish-Funding Council Project run at Queen Margaret University,
Edinburgh. His research spans film and sound media with a particular
focus on audience practices and media change.
Aida Vallejo is Associate Professor of Film and Media Studies at University
of the Basque Country UPV/EHU. Her research focuses on documen-
tary film, film festivals, ethnography of media, cultural industries, and nar-
ratology. She has co-edited the books Documentary Film Festivals Vol.1
and Vol.2 and Film Festivals and Anthropology. Aida leads the documen-
tary workgroup within NECS and the IkerFESTS research project, which
maps film festivals in the Basque context.
Ger Zielinski lectures on film and media at Ryerson University in
Toronto. He completed his PhD at McGill University and was a postdoc-
toral research fellow at the Tisch School of the Arts at New York University.
His research interests include queer cinema, film festivals, and contempo-
rary art. He is writing a monograph on the early work of gay German
filmmaker Rosa von Praunheim and is the principal investigator of his
SSHRC-funded research project “Buffering Online and Off.” Zielinski is
also the co-founder of the Society of Cinema and Media Studies’ Film and
Media Festivals Scholarly Interest Group.
List of Figures
xvii
xviii List of Figures
xix
CHAPTER 1
What happens when film festivals can’t happen? Until March 2020, this
question was not on anyone’s mind: festivals have been typically conceived
as recurring, cyclical celebrations—as an integral part of the cultural life of
towns and communities. Each year or each season, they bring communi-
ties together and mark the passing of time.
Since their global proliferation in the second half of the twentieth cen-
tury, film festivals have played a similar role in the cultural life of cinema:
each year, the festival calendar largely influences the release, distribution,
and eventual consecration of international films. Indeed, film festivals are
firmly ingrained in global systems of production, circulation, and con-
sumption of moving images. Top-tier festivals launch film titles and estab-
lish brand names that appeal to global audiences: they serve as a prime
A. Damiens (*)
Department of Cinema and Media Arts, York University, Toronto, ON, Canada
e-mail: adamiens@yorku.ca
M. de Valck
Department of Media and Culture Studies, Utrecht University, Utrecht,
The Netherlands
e-mail: m.devalck@uu.nl
1
In this book we will use the term Covid-19 or simply Covid as shorthand for SARS-
CoV-2, the official name of the coronavirus discovered in 2019. At the time of writing and
preparing this manuscript both COVID-19 and Covid-19 are common terms. COVID-19 is
the abbreviation used by the World Health Organization and in scientific papers. Covid-19
is widely used in public discourse and journalism, where uppercase words are reserved for
abbreviations that are written and spoken as a collection of words, such as BBC or IMF
(Ribbans 2020).
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— Ja köyhille antaa aina ilmaiseksi milloin mitäkin.
20.
— Nyt annetaan Aapolle maata mistä halutaan, eikä ole nyt sinulla
tilaisuutta valittamaan.
*****
Pulskapa oli piika siinä, mietti Hentu. Voi pakana kun oli punakka
ja muhkealanteinen. Tuommoinen melkein oli Leenakin ollut tyttönä
ollessaan, mutta nyt oli jo alkanut hieman rapistua, vaikk'ei vielä
vanhuus haitannut. Ei se enää kaikistellen jaksanut mieltä puoleensa
vetää.
21.
Aatami oli aikonutkin käskeä Ottoa pois mökistä, mutta se oli vielä
jäänyt tekemättä. Otto ei jaksanut tehdä riittävästi työtä talossa ja oli
saanut jäädä omiin hoteisiinsa. Jotenkuten sattui Otto pääsemään
valtion työhön, ja niin mentiin salomökissä viikosta viikkoon
eteenpäin.
Nyt oli Aatami päättänyt käskeä Ottoa muuttamaan pois mökistä.
Talossa ei ollut enää verotyöläisiä, ja se muutos tuntui yhtäkkiä
ikävältä. Miehiä tarvittiin talon töissä, ja nyt olisi tarjolla taas yksi
perheellinen mies, kun saisi hänelle vain asunnon.
22.
— Hyvää jouluiltaa!
Tyttö nauroi.
Painostava mieli hävisi pirtistä. Äiti kiirehti kahvia, tyttö esteli, hän
muka vain hieman lämmittelee ja sitten lähtee kotiin, pistäytyi vain
katsomaan, oliko kuusi laitettu.
Äidin ja Aapon olisi pitänyt tietää, ettei tyttö olisi lähtenyt niin vain,
ennenkuin olisi lepytellyt pojan, jonka oli luullut itselleen
vihoittelevan.
*****
— Toki minä suostun, kun vain jäät. Mutta sukkasi ja kenkäsi minä
riisun, kun ovat varmaankin kastuneet. Saanko?
— Älä nyt!
23.
Mutta se oli maattoman tuomio. Kun asui toisen maalla, oli niinkuin
lehti tuulessa.
Siihen jäi navettakin, pieni ja matala. Lehmä oli pitänyt antaa pois,
kun ei siellä kämpällä suvaittu, eikä ollut pitopaikkojakaan.
Eläkelehmäpä se vain oli, kun oma oli tullut syödyksi sota-aikana.