Do Not Go Gentle into That Good Night: Film Festivals, Pandemic, Aftermath

Salti, Rasha

doi:10.1525/fq.2020.74.1.88

Cited by 6 publications

(5 citation statements)

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“…Aside from other documented effects of the COVID-19 pandemic on film festivals [ 112 , 113 ], our analysis shows a visible decrease in external geographic diversity during 2020–2021 when the circuit of those festivals which remained in some form operational became more geographically focused ( Fig 7A ). Given that high-status festivals run geographically unrestricted competitive programs which attract submissions from different world regions, it is surprising to find little difference between the A- and B-lists when it comes to internal ( Fig 7C ) and contributing ( Fig 7D ) geographic diversity.…”

Section: Resultssupporting

confidence: 60%

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: Resultssupporting

confidence: 60%

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

Zemaityte,

Karjus,

Rohn

et al. 2024

PLoS ONE

View full text Add to dashboard Cite

show abstract

“…Aside from other documented effects of the COVID-19 pandemic on film festivals [100,101], our analysis shows a visible decrease in external geographic diversity during 2020-2021 when the circuit of those festivals which remained in some form operational became more geographically focused (Fig 7A). Given that high-status festivals run geographically unrestricted competitive programs which attract submissions from different world regions, it is surprising to find little difference between the A-and B-lists when it comes to internal (Fig 7C ) and contributing (Fig 7D ) geographic diversity.…”

Section: Geographic Diversitysupporting

confidence: 49%

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.

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“…The sensitivity of the event industry and cultural activities, which is as well the area of research in this article, is also discussed by Mohanty et al [25] by highlighting the particular sensitivity of tourism and global events to the crisis. In this article, the authors also look for answers as to whether the COVID-19 pandemic has built new models in the event industry and cultural activities that will survive in the future, similar to the research conducted by Davies [26] and Salti [27]. Methodologically, the primary research of experts, with the help of in-depth interviews, relies on similar research [6], while the application of the case-study method used in this article is recommended for business and management, particularly when it relates to the meaning of context for the observed phenomenon, which is a very important feature of the researched issue, as well as when it comes to a new and insufficiently researched phenomenon [55], as is the case of the impact and consequences of the COVID-19 pandemic on business.…”

Section: Discussionmentioning

confidence: 95%

“…The existing research in this area only analyzes the impact of the pandemic on festivals, as one of the "products" in the event industry. Thus, for example, Davis explores the future of festivals in the post-COVID period [26], while Salti questions whether the pandemic will lead to a new paradigm relating to film festivals [27]. Regarding the festivals during a pandemic, Surplice emphasizes the safety risks and the importance of health and safety regulations and crisis management in event management [28], where Surplice quotes Szatan and states that "many festivals are not insured against pandemics; therefore, many have been forced to cancel or postpone throughout the pandemic. "…”

Section: Introductionmentioning

confidence: 99%

Strategic and Digital Marketing in Cultural Institutions and the Impact of the Covid-19 Pandemic – A Comparative Analysis of Two Case Studies

Krajnović¹,

Raguž²,

Perković³

2021

Interdisciplinary Description of Complex Systems

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This article investigates the impact of the coronavirus pandemic COVID-19 on marketing within cultural institutions, specifically in the field of digital marketing. The aim is to examine how the pandemic has affected digital strategies, marketing communication, and the performance itself -the presentation of cultural programs. The primary research was conducted in Croatia, using the method of semi-structured in-depth interviews with managers in two cultural institutions in Zadar and Dubrovnik at the end of 2020. A qualitative descriptive analysis was performed to answer the question of how cultural institutions have adapted to the crisis, especially when it comes to the marketing and the performance of cultural programs. The results show a certain degree of flexibility in adapting to the new conditions, in a way that marketing communication after the crisis turned more strongly towards digital media and was followed by adjustments to the cultural programs and their performance, as well as the budget for cultural activities. The marketing digital communication played a key role in this, which proves that cultural management in the era of the pandemic adopted the socalled digital-first paradigm, modeled on the for-profit companies. The authors conclude that culture, as a social need and necessity, will continue its activity after the crisis caused by the COVID-19 pandemic, but that it will also function in new and creative ways.

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Do Not Go Gentle into That Good Night: Film Festivals, Pandemic, Aftermath

Cited by 6 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

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

Strategic and Digital Marketing in Cultural Institutions and the Impact of the Covid-19 Pandemic – A Comparative Analysis of Two Case Studies

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