BIFF to BAPFF: considering ‘festival memory’ in the face of change and innovation

Hemert, Tess Van

doi:10.1080/17400309.2015.1110882

Cited by 4 publications

(4 citation statements)

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“…As cyclically repeating events, festivals enable transformation of the event into structure, while as structures, the events are proposed to "contain happenings that are singular and unrepeatable" (Harbord, 2016, p. 70). Researchers have also examined how such fleeting organizations are involved in the 'making of classics' and production of memory (e.g., Van Hemert, 2016). Jose Antonio Gonzalez Zarandona (2016)'s essay critiques the gap between expert-driven definitions of classics on one hand and the festivals' self-promotion as democratizing force in the cinema field.…”

Section: 8mentioning

confidence: 99%

“…Finally, Jonathan Dawson's study of Australia's Brisbane International Film Festival (1998) documents the growing thicket of policy bureaucracy pertaining to Queensland film culture as well as the industrial needs of a global 'offshore' film industry. The festival becomes the format for organizing marketrelated activity (see also Van Hemert, 2016).…”

Section: Festival Events and Field Configurationmentioning

confidence: 99%

“…Furthermore, the table establishes a correspondence between empirical festival research and Karpik's audience taxonomy regarding the festival as a device in the self-marketing cultural city. As shown by festival scholarship in Chapter 1, there is a two-way qualification process involved, in which festival curators can decide to focus the event on a particular local or regional culture and factors like demographic audience change (e.g., Van Hemert, 2016).…”

Section: Australian Festival Directormentioning

confidence: 99%

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Cinema and the Festivalization of Capitalism

Vogel¹

2023

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nv reserves the right to protect this publication against unauthorized use. This book is printed on acid-free paper and produced in a sustainable manner.The Open Access publication of this book is funded by the Deutsche Forschungsgemeinschaft (dfg, German Research Foundation) -Projektnummer 502058482.This is an open access title distributed under the terms of the CC BY-NC-ND 4.0 license, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Further information and the complete license text can be found at https:// crea tive comm ons.org/ licen ses/ by-nc-nd/ 4.0/ Introduction 1 Contents Acknowledgments xi List of Figures and Tables xiv

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Section: 8mentioning

confidence: 99%

Section: Festival Events and Field Configurationmentioning

confidence: 99%

Section: Australian Festival Directormentioning

confidence: 99%

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Cinema and the Festivalization of Capitalism

Vogel¹

2023

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“…In particular, a region's specific landscape can help create engaging and authentic experiences for visitors (Thompson et al, 2016). Festivals often are specifically located within their specific site and this engagement with place can be crucial for providing context to the artworks themselves (Ellison and Thompson 2020;Van Hemert 2016, Stringer 2016. Outside of the content itself, many festivals rely on their location as a drawcard; regional arts festivals often act as attractions for tourists because they reveal insights into a community's lifestyle (Timothy 2011).…”

Section: Tourismmentioning

confidence: 99%

Regional screen cultures: the precarity and significance of Queensland’s film festival landscape

Ellison

Hemert

2020

Studies in Australasian Cinema

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In the midst of drought in Central Queensland, the small town of Winton triples its population for the Vision Splendid Outback Film Festival. Even when facing challenges, the local community values the way the festival brings the community together, injects tourist dollars into the local economy and provides visibility to the local screen industry. However, staging a film festival in a regional location can be challenging. There are often less local funding and sponsorship opportunities available and the geographical distances involved increase pressure on time, resources and costs. Combined with increasingly accessible digital content and changing audience habits, regional film festivals face significant disadvantages in comparison to their metropolitan counterparts.This article examines the role of Queensland's film festival network, focusing on how regional festivals are central to the development of the screen industry beyond the metropolitan centres. The research is based on a mapping project of film festivals in Queensland undertaken in 2018, which included interviews with festival organisers and industry professionals. 68 active festivals were identified across Queensland, of which 45% took place in Brisbane. This article investigates both the value of film festivals and the challenges for their economic sustainability in Queensland's screen culture and industry.

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Artistic Value, Ricardian Rent, and Power

Vogel,

Shipman

2023

Film Festivals and the Enrichment Economy

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BIFF to BAPFF: considering ‘festival memory’ in the face of change and innovation

Cited by 4 publications

References 6 publications

Cinema and the Festivalization of Capitalism

Cinema and the Festivalization of Capitalism

Regional screen cultures: the precarity and significance of Queensland’s film festival landscape

Artistic Value, Ricardian Rent, and Power

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