Film Cultures

Post-cinema

“…Moving image production and reception practices at the time of "postcinema" do not simply result from a process of increasing replacement of old modes of creation and consumption with new ones. In the era of "film as an experience" (Harbord 2002;, much of the debate has been focusing on shifting definitions and revised categories moving across the territory of ontological enquiry (Friedberg 2000;Krauss 1999aKrauss , 1999bCherchi Usai 2001;Rodowick 2008;Aumont 2012;Gaudreault and Marion 2015 among others). In this chapter I shall contribute to such debate, attempting in fact to relaunch it further, beyond the constrains of medium specificity.…”

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

“…Film festivals are seen as "key assets" and "an essential link in the film industry ecosystem" [7] because of their unique ability to determine, reproduce, and contest multiple types of values for a variety of agents [8]. In exchange for national funding and granted subsidized local infrastructures like archives or educational institutions, festivals generate both economic and symbolic capital for their host countries, as well as engage in social development activities and purposes, such as training, educational programs, and commitment to cultural diversity [9,10]. The economic value is primarily derived from the expenses of organizing the festival and the spending brought in by visitors to the host regions, which totaled over 118M US$ for Utah during Sundance 2023 [11], while over 24M CHF for the Ticino region during Locarno 2022 [12].…”

“…For filmmakers and films, festivals generate symbolic cultural and marketing value by creating global media exposure around granted prizes, participation in competition programs, and inclusion in programming [8,10,15,16]. For instance, festivals accredited by the International Federation of Film Producers Associations (FIAPF) cumulatively held the world premieres of nearly 1,700 films, granted 32,000 press badges, and generated 4.5M admissions in 2017 [17].…”

“…For instance, festivals accredited by the International Federation of Film Producers Associations (FIAPF) cumulatively held the world premieres of nearly 1,700 films, granted 32,000 press badges, and generated 4.5M admissions in 2017 [17]. Festivals also generate economic value for the film industry by facilitating investment in productions via development programs and creating an array of business opportunities via markets, such as for signing co-production deals, selling distribution rights, or arranging licensing [7,8,10,15]. For example, the largest industry event, the Cannes Film Market 2023, held 1,500 market screenings and attracted around 14,000 accredited professionals and more than 300 sales companies, hosting 510 exhibitors and 60 national pavilions [18].…”

The visualization of autism: Filming children at the Maudsley Hospital, London, 1957–8

“…This article examines three films made under the direction of psychoanalyst Elwyn James Anthony at the Maudsley Hospital during the years 1957–8 that, as a series, track the changes in approach to and conceptualization of ‘psychotic states’, facilitating an emergent definition of autism in the decade that follows. These little-known yet particularly data-rich illustrations of clinical research, according to Bonnie Evans, play a significant part in the history of autism in Britain ( Evans, 2017 , 2019 , 2024), while I have argued that these films contribute to the division of bodily gesture into typical and atypical formulations ( Harbord, 2019 , 2021 : Eastwood et al , 2022 ). The first film, Approaches to Objects by Psychotic Children (1957a), recorded with a static camera in a small room, documents children undergoing a series of tests.…”