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[Commlist] Call for Papers - Reframing Film Festivals: Histories, Economies, Cultures - Venice/Bari
Fri Jul 19 15:52:06 GMT 2019
Call for Papers
Reframing Film Festivals: Histories, Economies, Cultures
International Film Studies Conference
Venice, 11-12 February, 2020
Bari, 25-26 March, 2020
Abstract Proposal Deadline: 15 October 2019
Confirmed Keynote Speakers:
Gian Piero Brunetta, University of Padua
Jean-Michel Frodon, Sciences-Po Paris
Dina Iordanova, University of St Andrews
Dorota Ostrowska, Birkbeck, University of London
Throughout the 2000s the number of film festivals has increased all over
the world at a tremendous pace. In 2019 FilmFreeway lists about eight
thousand festivals as currently active, about twice the amount of less
than a decade ago. Various factors prompted such a terrific growth, such
as: festivals orchestrating the (trans)national production and
distribution of cinema (Acciari and Menarini 2014; Iordanova 2015; Loist
2014; Wong 2011); festivals pivotally stimulating the touristic and
economic development of their hosting community (Ercolano, Gaeta and
Parenti 2017; Fischer 2013; Moretti and Zirpoli 2016); festivals acting
as cultural arbiters of taste and quality (Bills 1994; Di Chiara and Re
2011; Sassatelli 2011); etc. The scale of festivals today has not passed
unnoticed, contributing to the emergence of a specific area of scholarly
interest. In the last decade, the field of film festival studies has
gained strength and status, focusing entirely on understanding the
functions, the history and the role of film festivals (de Valck 2007;
Elsaesser 2005; Iordanova 2013).
Reframing Film Festivals: Histories, Economies and
Cultures – the conference organised by the Ca’ Foscari University of
Venice and the Aldo Moro University of Bari, in collaboration with the
the Apulia Film Commission, the Consulta Universitaria Cinema, and the
Associazione Italiana per le Ricerche di Storia del Cinema – seeks to
contribute to this field of research through a series of roundtables and
debates involving film critics, practitioners and scholars. In
particular, the conference is aimed at (re)framing the understanding of
these institutions and their nature by proposing three approaches,
different but interweaved:
- A historiographical approach, one set to explore the ways film
festivals contribute to shape the writing of film (and media) history,
moulding the canon formation and informing aesthetic hierarchies.
- A culturalist approach, one set to investigate how film
festivals, by championing certain discourses of and on cinema and media,
contribute to articulate and re-position specific national, cultural,
- An economic approach, one set to analyse the process by which
film festivals add value within the film industry as much as to local
In this vein, Reframing Film Festivals: Histories, Economies, Cultures
seeks to foster an interdisciplinary and intersectional reading of film
festivals, here conceived as a historiographic “dispositive”, as
cultural formations and as financial institutions. Within a single and
cohesive research framework, the Ca’ Foscari strand will be devoted to
the critical-historic and historiographic dimension of film festivals,
while at the University of Bari the focus will be placed on their
cultural and economic dimension.
Therefore submissions, with both an empirical and/or a theoretical
approach, are welcomed across a range of topics including, but not
- The festival-form: histories and theories
- Film festivals and historiographic paradigms
- Film festivals, aesthetic regimes and taste cultures
- Micro-histories of film festivals
- Politics of selection and programming in film festivals
- Festival films/films for festivals
- Artistic directors, jury members, selection boards
- Editorial outputs of film festivals
- The audiences of film festivals
- Film festivals, cinephilia and criticism
- Film festivals and national identities
- Film festivals and geopolitics
- Film festivals, ethnocentrism, exoticism
- Film festivals and cultural consumption
- Film festivals and gender
- Film festivals and race
- Thematic and retrospective film festivals
- Archival film festival and contemporary historiography
- TV and web festivals
- Virtual reality festivals
- “Small” film festivals: roles and functions
- Film festivals and LGBTQI+ cultures
- Erotic and pornographic film festivals
- The films festivals’ circuit and the global film market
- Film festivals: transnational distribution and production
- Film festivals and film funds
- Film festivals and digital platforms
- Business models of film festivals
- Film festivals and economic satellite activities
- Film festivals and (cine)tourism
- Film festivals and the fashion industry
- Film festivals and celebrity culture
- Fundraising for film festivals
- Film festivals and sponsorship
We welcome proposals for traditional 20-minute individual presentations
and panel proposals. The deadline for the submissions is 15 October 2019
and interested contributors should send a 300-500 word abstract and a
short biographical note at the following email address:
(reframingfilmfestival /at/ gmail.com)
<mailto:(reframingfilmfestival /at/ gmail.com)>. The accepted proposals will be
notified by 31 October 2019. The languages of the conference are Italian
Abis, Mario, and Canova, Gianni (2014) I festival del cinema: Quando la
cultura rende, Monza: Johan & Levi.
Acciari, Monica, and Menarini, Roy (eds.) (2014) “Geopolitical
Strategies in Film Festivals between Activism and Cinephilia”, Cinergie:
Il cinema e le altre arti, 6,
de Valck, Marijke (2007) Film Festivals: From European Geopolitics to
Global Cinephilia, Amsterdam: Amsterdam University Press.
Di Chiara, Francesco and Re, Valentina (2011) “Film Festival/Film
History: The Impact of Film Festivals on Cinema Historiography. Il
Cinema Ritrovato and Beyond”, Cinémas: Revue d’Études
Cinématographiques, Vol. 21 (2–3), pp. 131-151.
Elsaesser, Thomas (2005) “Film Festival Networks the New Topographies of
Cinema in Europe”, European Cinema: Face to Face with Hollywood,
Amsterdam: Amsterdam University Press, pp. 82–107.
Ercolano, Salvatore, Gaeta, Giuseppe Lucio and Parenti, Benedetta (2017)
“Individual Motivations and Thematically-Oriented Film Festival
Attendance: An Empirical Study Based on Spectators of the Artecinema
International Documentary Festival in Naples (Italy)”, Quality and
Quantity, Vol. 51 (2), pp. 709–727.
Fischer, Alex (2013) Sustainable Projections. Concepts in Film Festival
Management. St Andrews: St Andrews Film Studies.
Iordanova, Dina (ed.) (2013) The Film Festival Reader, St Andrews: St
Andrews Film Studies.
Iordanova, Dina (2015) “The Film Festival as an Industry Node”, Media
Industries Journal, Vol. 1 (3), pp. 7–11.
Loist, Skadi (2014) “The Film Festival Circuit. Networks, Hierarchies,
and Circulation”, in: de Valck, Marijke, Kredell, Brendan, and Loist,
Skadi (eds.) Film Festivals. History, Theory, Method, Practice, London
and New York: Routledge, pp. 49–43.
Moretti, Anna and Zirpoli, Francesco (2016) “A Dynamic Theory of Network
Failure: The Case of the Venice Film Festival and the Local Hospitality
System”, Organization Studies, Vol. 37 (5), pp. 607–633.
Nichols, Bill (1994) “Discovering Form, Inferring Meaning: New Cinemas
and the Film Festival Circuit”, Film Quarterly, Vol. 47 (3), pp. 16–30.
Ongaro, Daniele (2005) Lo Schermo Diffuso: Cento Anni di Festival
Cinematografici in Italia, Bologna: Libreria Universitaria Tinnarelli.
Sassatelli, Monica (2011) “Urban Festivals and the Cultural Public
Sphere”, in: Delanty, Gerard, Giorgi, Liana, and Sassatelli, Monica
(eds.) Festivals and the Cultural Public Sphere, London: Routledge, pp.
Wong, Cindy Hing-Yuk (2011) Film Festivals. Culture, People, and Power
on the Global Screen, London: Rutgers University Press.
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