Film Festivals Beyond the Films: Glamour, Stakeholders, Corporates
Abstract
In order to understand the way a film festival operates, one has to switch the attention away from films, especially in the case of the glamour-driven festivals with their focus on red carpet, photo-ops etc. Films matter, but it is a wide range of other factors that must be scrutinised in order to understand what gives a film festival its distinctiveness. One needs to analyse the unique configuration of a festival’s stakeholders, to study how the film festival structures and narrates itself, what its components are, what constitutes the play of power between its participants (sponsors, partners, board members, guests, audiences, venues, journalists, and so on). It is this specific configuration, the relation between all players that pursue different agendas, that largely determines what will be the selection of films, their importance in the general context of the event, which filmmakers will be invited, what concurrent events will there be, what will be the social programme, the marketing, the media coverage sought. All these elements, taken together, give the festival a unique profile and create the festival’s “narrative”. Iordanova uses the examples of Cannes and some big Asian festivals to show how these mechanisms operate.
Keywords:
film festival, glamour, marketing, public relations, CannesReferences
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Authors
Dina Iordanovakwartalnik.filmowy@ispan.pl
University of St Andrews United Kingdom
Profesor Uniwersytetu St Andrews (Szkocja) na wydziale Global Cinema and Creative Studies. Jej zainteresowania ogniskują się wokół: kwestii czynników decydujących o globalnym obiegu kina, festiwali filmowych, migracyjnych i diasporycznych kanałów dystrybucji filmowej, przeniesienia się kina do Internetu. Opublikowała m.in.: Cinema of Flames: Balkan Film, Culture and the Media (2001), Emir Kusturica (2002), Cinema of the Other Europe: The Industry and Artistry of East Central Euro- pean Film (2003), New Bulgarian Cinema (2008), Cinemas of Paris (2016). Współautorka książki Moving People, Moving Images: Cinema and Trafficking in the New Europe (2010). Redaktorka takich publikacji jak: Cinema of the Balkans (2006), Cinema at the Periphery (2009), The Film Festival Reader (2013). Pod jej redakcją ukazuje się także seria Film Festival Yearbook.
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