By Marijke de Valck
The movie pageant has come far from its particularly humble origins in Venice in 1932—when 9 international locations awarded twenty-five function motion pictures screened in an open-air cinema the place males needed to adhere to criteria of formal night clothes. highly renowned occasions that allure different enthusiasts of cinema around the world, today’s most renowned movie festivals—Cannes, Berlin, Venice, and Rotterdam—continue the tale of a phenomenon that begun in the course of geopolitical disputes in war-torn Europe. movie gala's indicates how those fairs grew to become impediments into benefits and built a winning international community that addresses concerns as various as programming and prizes, nationwide legitimation, urban advertising and marketing, cinephilia, glamour, and viewers. Discussing the competition as a media occasion and looking out nearer at a variety of competition viewers, this quantity additionally questions even if “successful” is in reality the perfect time period for figuring out advancements which may be thought of dogmatic of their insistence on framing filmmakers as auteurs and movies as belonging to “new waves.” an important identify for everybody drawn to the tradition, politics, and heritage that encompass the social gathering of cinema, movie fairs proves that the flicks are nonetheless our greatest—and so much f?ted—escape
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Extra resources for Film Festivals: From European Geopolitics to Global Cinephilia (Amsterdam University Press - Film Culture in Transition)
It works well because it allows for a non-hierarchical study of the various agendas that are pursued, acted out, and undermined by film festival events. I will now elaborate upon how Latourian thinking and Actor-Network Theory (ANT) can be useful for media scholars. ” The turn to network theory takes its cue from the perceived inadequacies of the notions of “nation” and “auteur” in describing (European) cinema. These notions have spurred studies on “national cinema” that have concentrated on the cinematic texts produced in a territory and “auteur-cinema” in which the text is analyzed as that which is created by an artist with a unique vision.
My hypothesis, however, is that the film festival network is successful and capable of self-preservation pre- 36 Film Festivals cisely because it knows how to adapt to changing circumstances. In this way, film festivals position themselves somewhere between Luhmann’s and Latour’s opposing conceptions of the black box: like Luhmann’s black box, festivals are selfsustainable. However, they remain self-sustainable not because they form a Luhmannian autopoeitic system that is closed off to outside influences, but because they, in fact, operate as an open network in which Latourian controversies and irregularities can be translated.
It reframes traditional (European) film theoretical notions such as “the nation” and “auteur” as discourse strategies that dominate in specific periods and may return in adjusted form in later stages of a festival’s development. In addition, it explores how globalization theories (Hardt and Negri ; Virilio ; Sassen , ) can clarify the modalities that define the international film festival circuit of today. More specifically, it shows the intersections between macro- and micro-politics and relates, for example, global geopolitical strategies to the local spatial practices of contemporary festival organizations.