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Sociology of culture --- Film

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This is an open access book. This edited collection aims to document the effects of Covid-19 on film festivals and to theorize film festivals in the age of social distancing. To some extent, this crisis begs us to consider what happens when festivals can’t happen; while films have found new (temporary) channels of distribution (most often in the forms of digital releases), the festival format appears particularly vulnerable in pandemic times. Imperfect measures, such as the move to a digital format, cannot recapture the communal experience at the very core of festivals. Given the global nature of the pandemic and the diversity of the festival phenomenon, this book features a wide range of case studies and analytical frameworks. With contributors including established scholars and frontline festival workers, the book is conceived as both a theoretical endeavour and a practical exploration of festival organizing in pandemic times. Marijke de Valck is Associate Professor of film and media studies at Utrecht University, Netherlands, where she co-directs the master program in film and television cultures. Her research deals with film festivals, transnational media cultures, media industries, and art cinema. Her publications include Film Festivals: From European Geopolitics to Global Cinephilia (2007), the co-edited Film Festival: History, Theory, Method, Praxis (2016) and Art and Activism in the Age of Systemic Crisis: Aesthetic Resilience (2020). She is co-founder of the Film Festival Research Network, co-editor of Palgrave’s Framing Film Festivals series and co-editor of the festivals review section in NECSUS. Antoine Damiens is a Research Associate at York University, Toronto, where they recently completed a MITACs Accelerate Postdoctoral Fellowship. His research examines the politics and history of film festivals, queer film/video, and minoritized archives. Their first book, LGBTQ Film Festivals: Curating Queerness, was published in 2020. Antoine Damiens co-edits, with Marijke de Valck, the Film Festival Reviews section in NECSUS. .

Film, TV & radio --- Film festivals --- effects of COVID-19 on film festivals --- film festivals in the age of social distancing --- COVID-19 and the festival ecosystem --- Film festivals economies --- streaming film festivals --- Motion pictures. --- Television broadcasting. --- Global Film and TV. --- Film and Television Studies. --- Telecasting --- Television --- Television industry --- Broadcasting --- Mass media --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Performing arts --- History and criticism

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Film

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Television is evolving rapidly. How, then, might we respond to television today in light of its past? And do the old theoretical concepts still apply, or must we invent a new framework for this mutable medium? To answer these fundamental questions, the contributors to this provocative collection examine diverse case studies, including up-to-date scholarship on the current television zeitgeist, nostalgic programming on broadcast television, YouTube, and public television art programming of the 1980s. As a whole, these essays challenge the supposed crisis in television in the light of its burgeoning development.

Television broadcasting.

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Both the essays and their accompanying bibliographies provide an excellent sense of the latest developments in research and thinking about film festivals. Like Valck?s Film Festivals: From European Geopolitics to Global Cinephilia (2007), the present volume treats film festivals theoretically and comparatively, considering them as networked sites that negotiate cultural capital on local, national, and global scales. Contributors include many of the key researchers in the field, among them Cindy Hing-Yuk Wong, author of the terrific Film Festivals: Culture, People, and Power on the Global Screen (2011). Valck includes in this skillfully edited collection essays not only on Cannes and Asian film festivals but also on ?identity-based community festivals." Although the essays are marked by an odd lack of interest in the films themselves?in the foreword, Dina Iordanova writes that ?what is important" is that "the film festival is studied as a phenomenon complete in itself, emptied of specific content"?and although most contributors take celebratory rather than ?against the grain? approaches, this book is required reading for anyone interested in the subject. Those interested in political film festivals will want to consult Sonia Tascón's Human Rights Film Festivals: Activism in Context (2015).

Film --- Sociology of culture --- Film festivals --- Motion pictures. --- Cinéma --- History. --- Festivals de cinéma --- Histoire --- History --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film and video festivals --- Motion picture festivals --- Moving-picture festivals --- Video and film festivals --- Performing arts festivals --- History and criticism --- Festivals de cinéma --- Cinéma --- Cinéma. --- Histoire. --- Motion pictures