Pub Date : 2022-08-08DOI: 10.1080/17411548.2022.2103929
Diego Cavallotti, Paolo Simoni
ABSTRACT This paper will focus on the new landscapes of valorization and access to amateur/small gauge films within the archival film festival context. Archival small gauge film festivals present themselves as something completely different from those festivals dedicated to amateur and experimental cinema in the past, mainly because their goal is to valorize assets that have been deposited in specialized archives from the 1980s onwards. This film heritage is composed not only by the products of serious amateurs, but also by home movies and experimental films. We will start from the cases of Home Movie Day, a project developed in 2002 by archivists, curators and film historians in the US, Archivio Aperto in Italy, and Orphan Film Symposium, founded in 1999. Throughout the years they have become a blueprint for archival small gauge film festivals and a label to which different experiences refer: small archival film festivals; meeting activities where the broader field of ‘non-theatrical film’ is addressed; the Home Movie Marathon, a live streaming in which amateur films from all across the world are screened, etc. Furthermore, we will focus on examples from the European context, such as Archivio Aperto and its recent developments with the Memoryscapes digital platform.
{"title":"Local/global: amateur cinema and new forms of valorization in archival film festivals","authors":"Diego Cavallotti, Paolo Simoni","doi":"10.1080/17411548.2022.2103929","DOIUrl":"https://doi.org/10.1080/17411548.2022.2103929","url":null,"abstract":"ABSTRACT This paper will focus on the new landscapes of valorization and access to amateur/small gauge films within the archival film festival context. Archival small gauge film festivals present themselves as something completely different from those festivals dedicated to amateur and experimental cinema in the past, mainly because their goal is to valorize assets that have been deposited in specialized archives from the 1980s onwards. This film heritage is composed not only by the products of serious amateurs, but also by home movies and experimental films. We will start from the cases of Home Movie Day, a project developed in 2002 by archivists, curators and film historians in the US, Archivio Aperto in Italy, and Orphan Film Symposium, founded in 1999. Throughout the years they have become a blueprint for archival small gauge film festivals and a label to which different experiences refer: small archival film festivals; meeting activities where the broader field of ‘non-theatrical film’ is addressed; the Home Movie Marathon, a live streaming in which amateur films from all across the world are screened, etc. Furthermore, we will focus on examples from the European context, such as Archivio Aperto and its recent developments with the Memoryscapes digital platform.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"204 - 216"},"PeriodicalIF":0.2,"publicationDate":"2022-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42171361","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-26DOI: 10.1080/17411548.2022.2103930
Aida Vallejo, M. Peirano
ABSTRACT This article reflects on the positioning of specialised festivals within the wider film festival ecosystem, using ethnographic film festivals as a case-study. Drawing on concepts developed within environmental research in Anthropology, we propose a structural and relational model for the analysis of festivals as all-encompassing socio-cultural events. Firstly, we conduct a literature review of concepts used in Film Festival studies’ to define film festivals and their connections, and then put these concepts in dialogue with that of the “ecosystem’. Secondly, we use our model to analyse specialised festival ecosystems (documentary, LGBTQ+, horror, young audiences, etc) by looking at their relationships with different agents and their environments. Thirdly, we focus on ethnographic film festivals, looking at their interaction with key agents such as universities, or anthropological associations, in order to understand their role in the academic recognition of Visual Anthropology. We look at shifts in the festivals’ self-definition and positioning within and beyond the ethnographic film festival ecosystem, to identify dynamics which apply also to other subcircuits and can explain their different roles and relationships with the film industry, local communities, or the cultural field as a whole.
{"title":"Conceptualising festival ecosystems. Insights from the ethnographic film festival subcircuit","authors":"Aida Vallejo, M. Peirano","doi":"10.1080/17411548.2022.2103930","DOIUrl":"https://doi.org/10.1080/17411548.2022.2103930","url":null,"abstract":"ABSTRACT This article reflects on the positioning of specialised festivals within the wider film festival ecosystem, using ethnographic film festivals as a case-study. Drawing on concepts developed within environmental research in Anthropology, we propose a structural and relational model for the analysis of festivals as all-encompassing socio-cultural events. Firstly, we conduct a literature review of concepts used in Film Festival studies’ to define film festivals and their connections, and then put these concepts in dialogue with that of the “ecosystem’. Secondly, we use our model to analyse specialised festival ecosystems (documentary, LGBTQ+, horror, young audiences, etc) by looking at their relationships with different agents and their environments. Thirdly, we focus on ethnographic film festivals, looking at their interaction with key agents such as universities, or anthropological associations, in order to understand their role in the academic recognition of Visual Anthropology. We look at shifts in the festivals’ self-definition and positioning within and beyond the ethnographic film festival ecosystem, to identify dynamics which apply also to other subcircuits and can explain their different roles and relationships with the film industry, local communities, or the cultural field as a whole.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"231 - 251"},"PeriodicalIF":0.2,"publicationDate":"2022-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42643813","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-24DOI: 10.1080/17411548.2022.2103933
Vicente Rodríguez Ortega
{"title":"[Rec] and beyond: Spanish cinema, digital technology and the transnationalization of horror","authors":"Vicente Rodríguez Ortega","doi":"10.1080/17411548.2022.2103933","DOIUrl":"https://doi.org/10.1080/17411548.2022.2103933","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47996178","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-22DOI: 10.1080/17411548.2022.2087050
M. Camino
{"title":"‘Ghosts don’t cry’: state of exception and the mother(land) in Pedro Almodóvar’s Live Flesh (1997) and Volver (2006)","authors":"M. Camino","doi":"10.1080/17411548.2022.2087050","DOIUrl":"https://doi.org/10.1080/17411548.2022.2087050","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46181869","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-06-22DOI: 10.1080/17411548.2022.2087051
Paolo Caneppele
ABSTRACT This essay is aimed at establishing those theoretical and methodological coordinates necessary to an historical analysis of amateur film festivals. Research dedicated to this subject is sporadic. In core volumes on festival studies, the terms ‘amateur’, ‘home movies’, or ‘small gauge’ do not even appear. The reasons for this historiographical oversight must be discussed especially in relation to the type of films here presented. As Patricia Zimmermann, one of the greatest experts on ‘home movies’ states, ‘Amateur film is the garbage dump of film studies and film archives’. Amateur film festivals have suffered the same fate as the films they presented. The current analysis is dedicated to the birth and early developments of those film contests, which started being held in Europe in the mid-1920s. Finally, this study illustrates the types of historical sources available to researchers.
{"title":"Amateur film festivals: sources, history, and perspectives","authors":"Paolo Caneppele","doi":"10.1080/17411548.2022.2087051","DOIUrl":"https://doi.org/10.1080/17411548.2022.2087051","url":null,"abstract":"ABSTRACT This essay is aimed at establishing those theoretical and methodological coordinates necessary to an historical analysis of amateur film festivals. Research dedicated to this subject is sporadic. In core volumes on festival studies, the terms ‘amateur’, ‘home movies’, or ‘small gauge’ do not even appear. The reasons for this historiographical oversight must be discussed especially in relation to the type of films here presented. As Patricia Zimmermann, one of the greatest experts on ‘home movies’ states, ‘Amateur film is the garbage dump of film studies and film archives’. Amateur film festivals have suffered the same fate as the films they presented. The current analysis is dedicated to the birth and early developments of those film contests, which started being held in Europe in the mid-1920s. Finally, this study illustrates the types of historical sources available to researchers.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"19 1","pages":"191 - 203"},"PeriodicalIF":0.2,"publicationDate":"2022-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42971770","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-23DOI: 10.1080/17411548.2022.2073173
Lourdes Monterrubio Ibáñez
{"title":"Sans soleil by Chris Marker. The essay film and its cinematic thinking process: reflecting on postmodernity","authors":"Lourdes Monterrubio Ibáñez","doi":"10.1080/17411548.2022.2073173","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073173","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42582995","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-19DOI: 10.1080/17411548.2022.2076514
Can Koçak
{"title":"Social Trauma and Telecinematic Memory: Imagining the Turkish Nation since the 1980 Coup","authors":"Can Koçak","doi":"10.1080/17411548.2022.2076514","DOIUrl":"https://doi.org/10.1080/17411548.2022.2076514","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41481585","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-11DOI: 10.1080/17411548.2022.2076513
Inmaculada N. Sánchez-García
{"title":"Subversive Spanish Cinema: The Politics of Performance","authors":"Inmaculada N. Sánchez-García","doi":"10.1080/17411548.2022.2076513","DOIUrl":"https://doi.org/10.1080/17411548.2022.2076513","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47524388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-06DOI: 10.1080/17411548.2022.2073778
William Brown
{"title":"Godard and the Essay Film: A Form That Thinks","authors":"William Brown","doi":"10.1080/17411548.2022.2073778","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073778","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":" ","pages":""},"PeriodicalIF":0.2,"publicationDate":"2022-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45143430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-05-06DOI: 10.1080/17411548.2022.2073772
Dominic Lash
namely White God (Kornél Mundruczó, 2014), which also features on the volume’s cover. In one of the book’s stronger chapters, Galt makes a compelling case for the need to study the aesthetics of mood in European cinema. This chapter supports the claim that it is important to write about Europe and European cinema as meaningful units, even when the analysis departs from single filmic examples. If a European transnational approach is still relevant for contemporary film analysis, so is a study of the permanent and successive crises that the world is likely to experience in coming years. Power imbalances, unequal access to information, the relationship between modernism and the present era, and the figures of the migrant and the worker, are as important to the cinemas of the early twenty-first century as they are a decade later. What Covid-19 has showed us is that many of these are pressing issues for contemporary society in Europe and the world, and it is in this sense that this book is a welcome addition to the scholarship about the complexity of contemporary film.
{"title":"Films of pedro costa: producing and consuming contemporary art cinema","authors":"Dominic Lash","doi":"10.1080/17411548.2022.2073772","DOIUrl":"https://doi.org/10.1080/17411548.2022.2073772","url":null,"abstract":"namely White God (Kornél Mundruczó, 2014), which also features on the volume’s cover. In one of the book’s stronger chapters, Galt makes a compelling case for the need to study the aesthetics of mood in European cinema. This chapter supports the claim that it is important to write about Europe and European cinema as meaningful units, even when the analysis departs from single filmic examples. If a European transnational approach is still relevant for contemporary film analysis, so is a study of the permanent and successive crises that the world is likely to experience in coming years. Power imbalances, unequal access to information, the relationship between modernism and the present era, and the figures of the migrant and the worker, are as important to the cinemas of the early twenty-first century as they are a decade later. What Covid-19 has showed us is that many of these are pressing issues for contemporary society in Europe and the world, and it is in this sense that this book is a welcome addition to the scholarship about the complexity of contemporary film.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":"20 1","pages":"226 - 228"},"PeriodicalIF":0.2,"publicationDate":"2022-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42830388","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：