Film Festivals

Film Festivals: From European Geopolitics to Global Cinephilia

Marijke de Valck
Copyright Date: 2007
Pages: 280
https://www.jstor.org/stable/j.ctt46mv45
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  • Book Info
    Film Festivals
    Book Description:

    Film festivals are hugely popular events that attract lovers of cinema worldwide. Focusing on the world's most famous festivals - Cannes, Berlin, Venice and Rotterdam - Film Festivals tells the story of a phenomenon that began in the midst of geopolitical disputes in war-torn Europe. De Valck shows how festivals turned the odds into advantages and developed into a successful global network. Taking into account the oft multilateral influences of major actors, such as Hollywood, the avant-garde and political/economic agenda's, the book offers a comprehensive understanding of film festivals. A must-read for everyone interested in quality film cultures that revolve around cultural value, aesthetic innovation and socio-political relevance. This title is available in the OAPEN Library - http://www.oapen.org.

    eISBN: 978-90-485-0672-9
    Subjects: Film Studies

Table of Contents

  1. Front Matter
    (pp. 1-6)
  2. Table of Contents
    (pp. 7-10)
  3. Acknowledgements
    (pp. 11-11)
    Marijke de Valck
  4. Introduction Film Festivals as Sites of Passage
    (pp. 13-43)

    I was not raised in a cinephile environment, but I shared an interest in film and television with my sister from an early age. My parents keep a series of slides in the family collection that is a wonderfully accurate representation of the comfortable viewing pleasures of our suburban childhood. It shows my mother, my sister and I cuddled up on the couch in the living room. We were aged seven and nine respectively and completely immersed in The Sound of Music (USA: Robert Wise, 1965). Our cheeks are flushed with excitement, eyes wide open from a mix of fascination...

  5. 1 Berlin and the Spatial Reconfiguration of Festivals From European Showcases to International Film Festival Circuit
    (pp. 45-83)

    It is 2 p.m. on Wednesday 12 February 2003 and an audience of young film talents and cinephiles are expectantly awaiting the arrival of Thomas Vinterberg in the theatre of the Haus der Kulturen der Welt (House of World Cultures) in Berlin. The occasion is the first edition of the Berlinale Talent Campus; for five days the campus offers 500 selected up-and-coming film talents the opportunity to exchange experiences with each other and professionals, meet various organizations and institutions, and show and watch films.¹ Thomas Vinterberg, director of Festen/The Celebration (DK/SE: 1998), will discuss the process involved in developing his...

  6. 2 Cannes and the “Alternative” Cinema Network Bridging the Gap between Cultural Criteria and Business Demands
    (pp. 85-121)

    In the late afternoon of Monday 17 May 2004, the most anticipated film at the Cannes 2004 competition is premièring in the Salle Lumière. It is Michael Moore’s Fahrenheit 9/11 (USA: 2004). Two years earlier, Moore had established his name with the successful Bowling for Columbine (USA: 2002), a critical-populist investigation of the topic of violence in America, inspired by the Columbine high school shootings of 1999. For Fahrenheit 9/11 Moore has turned his cameras and unconventional research methods to the alleged relations between the Bush and Bin Laden families. The agit-prop documentary unabashedly pokes fun at the American President...

  7. 3 Venice and the Value-Adding Process The Role of Mediation, Segregation and Agenda Setting
    (pp. 123-161)

    On Thursday 5 September 2003, a large picture of George Clooney covered two thirds of the front page ofThe Times. The picture was accompanied by the following lines: “George Clooney was in Venice yesterday for the première of his latest filmIntolerable Cruelty, in which he stars with Catherine Zeta-Jones. In the film, which is not in competition at the festival, Clooney plays a divorce lawyer and Zeta-Jones a ‘serial divorcee.’ Still single, the actor was asked by an Italian journalist to marry her. ‘Finally,’ he joked.”¹ George Clooney attended the film festival in Venice for the promotion of...

  8. 4 Rotterdam and the Rise of Thematic Festivals From Cinephile Initiatives to Popular Events
    (pp. 163-201)

    On the night of Wednesday, 28 June 1972, seventeen spectators attended the opening of the new film festival “Film International Rotterdam.” The sight of an all but empty theatre prompted the Councilor of Arts, De Vos, to depart without performing the official opening ceremony for the film week that had been described as “super experimental.”¹ This label was the consequence of the outspoken – and controversial – taste preferences of the founder of the festival, Huub Bals, who was also the co-founder of the Féderation Internationale des Festivals Indépendents that included theQuinzaine des Réalisateurs(Cannes) and theForum des...

  9. Conclusion Successful or Safe? The Strengths and Weaknesses of the Film Festival Network
    (pp. 203-216)

    Three of my four case studies began with a film-related anecdote. Thomas Vinterberg’s It’s All About Love, Michael Moore’s Fahrenheit 9/11 and the Coen Brothers’ Intolerable Cruelty. None of these films were chosen for their artistic qualities or because they had made a particularly deep impression on me. The choice was less cinephilic, and more circumstantial; the specific circumstances surrounding the screenings of these films at the film festivals in Berlin, Cannes, and Venice provided me with the appropriate examples to introduce my case studies.

    In retrospect, it is telling that I intuitively selected films that touched upon the more...

  10. Notes
    (pp. 217-248)
  11. Bibliography
    (pp. 249-260)
  12. Index of Names
    (pp. 261-266)
  13. Index of Film Titles
    (pp. 267-270)
  14. Index of Subjects
    (pp. 271-276)
  15. Back Matter
    (pp. 277-279)