Pub Date : 2022-12-05DOI: 10.1080/17411548.2022.2154592
Stephan Ehrig
{"title":"German film classics: coming out","authors":"Stephan Ehrig","doi":"10.1080/17411548.2022.2154592","DOIUrl":"https://doi.org/10.1080/17411548.2022.2154592","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-12-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42533808","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 : 2022-10-21DOI: 10.1080/17411548.2022.2138121
Owen Evans, Graeme Harper
{"title":"The end of an era?","authors":"Owen Evans, Graeme Harper","doi":"10.1080/17411548.2022.2138121","DOIUrl":"https://doi.org/10.1080/17411548.2022.2138121","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-10-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41264991","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 : 2022-09-02DOI: 10.1080/17411548.2022.2119346
Marco Dalla Gassa, Andrea Gelardi, Angela Bianca Saponari, Federico Zecca
The idea for this publication stemmed from the Reframing Film Festivals conference that the curators of this special issue organised in Venice in February 2020, which was conceived to foster research engagement with the histories of film festivals and their relationship with film historiography and canons. During this two-day event, among the contributions dedicated to the micro-histories of a variety of festivals based in Central and Eastern Europe, South America and South-East Asia, several artists, curators, archivists and historians from France, Austria, Italy, Chile and Spain presented research focused on non-theatrical cultures and related festivals. This strand of research ranged from historical analysis of international competitions for amateur filmmakers to theorisations of the festivals dedicated to analog video art and time-based art, from the study of the historical developments of national non-fiction festivals to the mapping of ethnographic film festival circuits. Hence, in this special issue dedicated to non-theatrical film festivals, readers will find a combination of voices representing film cultures that have been developing outside of movie theatres and away from the logics of theatrical distribution, as the title implies. The common denominator of these essays is their spatial focus on film festivals, understood as ‘sites of passage’ (de Valck 2007, 36) where it is possible to explore and historicise the particular modes of circulation, exhibition practices and promotion strategies associated with ethnographic, amateur, documentary and experimental cinemas. So, the overall purpose of this collection is to understand how certain sub-circuits of festivals have operated and taken shape in the European context, and how they have informed cultural hierarchies, canons, and histories of cinema. In examining a variety of local, national, and international cases, the essays engage with some of the core ideas related to the study of film festivals, including matters of programming, networks and sub-networks, audiences and award ceremonies, access to and curation of their historical archives, and their historical connections with local communities and specific cultural fields. Tackling these and other research topics, the authors provide reflections on how festivals influence the production and circulation of amateur, experimental, and ethnographic films. Thus, this collection draws a set of viable methodological and conceptual paths to frame and analyse the relationship between festivals and developments in film historiographies, while also interrogating a wide range of topics related to film festival studies and non-theatrical film cultures. Following the 1999 Orphan Film Symposium and through a Film History special issue curated by Streible, Roepke, and Mebold (2007), the category of non-theatrical cinema has been primarily adopted in Anglophone film scholarship to describe and historicise amateur and professional small-gauge films ex
{"title":"Introduction: non-theatrical film festivals","authors":"Marco Dalla Gassa, Andrea Gelardi, Angela Bianca Saponari, Federico Zecca","doi":"10.1080/17411548.2022.2119346","DOIUrl":"https://doi.org/10.1080/17411548.2022.2119346","url":null,"abstract":"The idea for this publication stemmed from the Reframing Film Festivals conference that the curators of this special issue organised in Venice in February 2020, which was conceived to foster research engagement with the histories of film festivals and their relationship with film historiography and canons. During this two-day event, among the contributions dedicated to the micro-histories of a variety of festivals based in Central and Eastern Europe, South America and South-East Asia, several artists, curators, archivists and historians from France, Austria, Italy, Chile and Spain presented research focused on non-theatrical cultures and related festivals. This strand of research ranged from historical analysis of international competitions for amateur filmmakers to theorisations of the festivals dedicated to analog video art and time-based art, from the study of the historical developments of national non-fiction festivals to the mapping of ethnographic film festival circuits. Hence, in this special issue dedicated to non-theatrical film festivals, readers will find a combination of voices representing film cultures that have been developing outside of movie theatres and away from the logics of theatrical distribution, as the title implies. The common denominator of these essays is their spatial focus on film festivals, understood as ‘sites of passage’ (de Valck 2007, 36) where it is possible to explore and historicise the particular modes of circulation, exhibition practices and promotion strategies associated with ethnographic, amateur, documentary and experimental cinemas. So, the overall purpose of this collection is to understand how certain sub-circuits of festivals have operated and taken shape in the European context, and how they have informed cultural hierarchies, canons, and histories of cinema. In examining a variety of local, national, and international cases, the essays engage with some of the core ideas related to the study of film festivals, including matters of programming, networks and sub-networks, audiences and award ceremonies, access to and curation of their historical archives, and their historical connections with local communities and specific cultural fields. Tackling these and other research topics, the authors provide reflections on how festivals influence the production and circulation of amateur, experimental, and ethnographic films. Thus, this collection draws a set of viable methodological and conceptual paths to frame and analyse the relationship between festivals and developments in film historiographies, while also interrogating a wide range of topics related to film festival studies and non-theatrical film cultures. Following the 1999 Orphan Film Symposium and through a Film History special issue curated by Streible, Roepke, and Mebold (2007), the category of non-theatrical cinema has been primarily adopted in Anglophone film scholarship to describe and historicise amateur and professional small-gauge films ex","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42835130","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 : 2022-09-02DOI: 10.1080/17411548.2022.2115253
Rossella Catanese, C. Centorrino
ABSTRACT This essay aims to provide an overview of the festivals dedicated to the analog films and performance practices of filmmakers and artist-run laboratories that posit themselves as media counter-culture and analog ‘resistance’. Such events offer the films’ material quality as a contrast to the planned obsolescence common in the IT industry. Currently, many filmmakers, artists and collectives create spaces, cooperatives, and independent labs to construct a media archaeology approach that is based on the experimental, hands-on re-enactment of traditional and obsolete practices. These film performance events thus exhibit the counter-cultural research performatively pursued by filmmakers, artists and collectives in an attempt to attract a perceptive audience capable of fully understanding this complex fruitive experience.
{"title":"Festivals and dispositifs of analog counter-culture","authors":"Rossella Catanese, C. Centorrino","doi":"10.1080/17411548.2022.2115253","DOIUrl":"https://doi.org/10.1080/17411548.2022.2115253","url":null,"abstract":"ABSTRACT This essay aims to provide an overview of the festivals dedicated to the analog films and performance practices of filmmakers and artist-run laboratories that posit themselves as media counter-culture and analog ‘resistance’. Such events offer the films’ material quality as a contrast to the planned obsolescence common in the IT industry. Currently, many filmmakers, artists and collectives create spaces, cooperatives, and independent labs to construct a media archaeology approach that is based on the experimental, hands-on re-enactment of traditional and obsolete practices. These film performance events thus exhibit the counter-cultural research performatively pursued by filmmakers, artists and collectives in an attempt to attract a perceptive audience capable of fully understanding this complex fruitive experience.","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42293821","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 : 2022-08-29DOI: 10.1080/17411548.2022.2115188
Petar Mitric
{"title":"How does film education increase the economic and social impact of European arthouse cinema? the case of the danish initiative Med Skolen i Biografen /School Cinema","authors":"Petar Mitric","doi":"10.1080/17411548.2022.2115188","DOIUrl":"https://doi.org/10.1080/17411548.2022.2115188","url":null,"abstract":"","PeriodicalId":42089,"journal":{"name":"Studies in European Cinema","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42700905","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 : 2022-08-08DOI: 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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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":null,"pages":null},"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}
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