Curating Film Festivals

Bosma, Peter

doi:10.7312/columbia/9780231174596.003.0005

Cited by 3 publications

(4 citation statements)

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“…Although the general understanding is that films seek out festivals, the festivals also need films to facilitate the construction of their identities [8,50]. Programming is a complex task to find a compromise between satisfying artistic inspirations and activist intentions versus the audience tastes while balancing between too little variation and too much choice [51], and simultaneously considering outreach and practical limitations [2], such as the temporal event sequence, premiere requirements, etc. Having control over programming, however, also enables festivals to sidestep dominant and streamlined commercial distribution patterns and quickly respond to topical issues, in turn enriching the public sphere and democratizing audience access to films [52].…”

Section: Public Value Theory For Studying Film Festivalsmentioning

confidence: 99%

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Zemaityte,

Karjus,

Rohn

et al. 2024

PLoS ONE

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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables—which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009–2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.

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Section: Public Value Theory For Studying Film Festivalsmentioning

confidence: 99%

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Zemaityte,

Karjus,

Rohn

et al. 2024

PLoS ONE

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“…This is accomplished through mediator tendencies, a set of (objective) dispositions held by virtue of their social status (Bourdieu, 1984). Film festivals are similar to modern art biennales, which serve as a unique way of presenting films to the art world and attracting audiences and visitors to participate in a particular program (Bosma, 2015). Film festivals also play an important role in strengthening and introducing various cultures globally, and providing cultural activities and spaces for experimentation and entertainment (de Valck, 2007).…”

Section: Theoretical Frameworkmentioning

confidence: 99%

“…Since each film has its unique message, the festival's fractal structure is determined by the film selection. When (Bosma, 2015). To start the curation process, it requires an idea, place, time and defined budget.…”

Section: Theoretical Frameworkmentioning

confidence: 99%

Perceptions and Learning Motivation of Indonesian Students: Multiple Regression Analysis of The Practice of Organizing Film Festivals in Indonesia

Undiana,

Abdullah,

Agustin

et al. 2024

J. of Law and Sust. Develop.

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Purpose: The purpose of this study is to investigate the forms of events that occur in a film festival where the audience is at the center of the dynamics of the contemporary environment. Theoretical reference: Nowadays, the development of the practice of curation is not only seen in activities at museums and art exhibitions, but also in the practice of other activities, such as film festivals. The selection process, work selection, and archiving are all key steps in the process of fusing ideas with the aesthetic form that will be shown. Thus, this study aims at exploring the events form where the audience is at the center of the dynamics of the contemporary environment in a film festival. Method: This study used a survey method involving 306 students with film concentrations from five state universities in Indonesia. The data were analyzed using Heteroscedasticity Test, Normality Test, One Sample Kolmogorov-Smirnov test, Multiple Regression Analysis, T-Test, and Simultaneous Test (F Test). Result and Conclusion: This study revealed that several factors influence perceptions and learning motivation shown by students in the practice of curating and reviewing films in the organization of film festivals. Implication of research: Based on the results of this study, the influence was considered insignificant; the researchers obtained 7.8% of the simultaneous effect of the variables of perception and learning motivation on the practice of organizing film festivals in Indonesia. Originality/value: In this study, the researchers seek to investigate new cultural forms in film festival programs, especially film festivals in Indonesia, to help them capture social concepts as inspiration for helping audiences understand the point of view at the film festival, as well as appreciation from the audience, stakeholders and filmmakers in exploring the form of events in the field during the film festival.

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“…Although the general understanding is that films seek out festivals, the festivals also need films to facilitate the construction of their identities [8,39]. Programming is a complex task to find a compromise between satisfying artistic inspirations and activist intentions versus the audience tastes, while balancing between too little variation and too much choice [40], and simultaneously considering outreach and practical limitations [4], such as the temporal event sequence, premiere requirements, etc. Having control over programming, however, also enables festivals to sidestep dominant and streamlined commercial distribution patterns and quickly respond to topical issues, in turn enriching the public sphere and democratizing audience access to films [41].…”

Section: Public Value Theory For Studying Film Festivalsmentioning

confidence: 99%

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Zemaityte¹,

Karjus²,

Rohn³

et al. 2023

Preprint

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Film festivals are a key component in the global film industry in terms of trendsetting, publicity, trade, and collaboration. We present an unprecedented analysis of the international film festival circuit, which has so far remained relatively understudied quantitatively, partly due to the limited availability of suitable data sets. We use large-scale data from the Cinando platform of the Cannes Film Market, widely used by industry professionals. We explicitly model festival events as a global network connected by shared films, and quantify festivals as aggregates of the metadata of their showcased films. Importantly, we argue against using simple count distributions for discrete labels such as language or production country, as such categories are typically not equidistant. Rather, we propose embedding them in continuous latent vector spaces. We demonstrate how these “festival embeddings” provide insight into changes in programmed content over time, predict festival connections, and can be used to measure diversity in film festival programming across various cultural, social, and geographical variables---which all constitute an aspect of public value creation by film festivals. Our results provide a novel mapping of the film festival circuit between 2009--2021 (616 festivals, 31,989 unique films), highlighting festival types that occupy specific niches, diverse series, and those that evolve over time. We also discuss how these quantitative findings fit into media studies and research on public value creation by cultural industries. With festivals occupying a central position in the film industry, investigations into the data they generate hold opportunities for researchers to better understand industry dynamics and cultural impact, and for organizers, policymakers, and industry actors to make more informed, data-driven decisions. We hope our proposed methodological approach to festival data paves way for more comprehensive film festival studies and large-scale quantitative cultural event analytics in general.

show abstract

Curating Film Festivals

Cited by 3 publications

References 0 publications

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Quantifying the global film festival circuit: Networks, diversity, and public value creation

Perceptions and Learning Motivation of Indonesian Students: Multiple Regression Analysis of The Practice of Organizing Film Festivals in Indonesia

Quantifying the global film festival circuit: Networks, diversity, and public value creation

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