Precarious cultural work: about the organization of (queer) film festivals

Loist, Skadi

doi:10.1093/screen/hjr016

Cited by 36 publications

(27 citation statements)

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“…Although there are economic interests and investments at stake in the staging of queer film festivals (Rhyne, 2006), for many their organization is primarily a question of political and cultural activism (Loist & Zielinski, 2012). Loist (2011) characterizes queer film festivals as occupying a distinctive niche that are driven by the voluntary efforts of ‘dedicated groups’ concerned with representational politics and tend to get recognized or receive funding only later.…”

Section: Queer Film Festivals Community and Queer Bondsmentioning

confidence: 99%

“…These in turn shape the possible forms of queer bonds that are produced within festival spaces. European queer film festivals have been affected by the economic crisis, which has meant that these already precarious cultural institutions have come under further pressure for funding given cutbacks in state support (Loist, 2011; see also Di Feliciantonio & Brown, 2015; Eleftheriadis, 2015, for discussions of the sexual politics of austerity more broadly). The politics of austerity in Ireland provide the context for our understanding of the forms of intergenerational queer collectivities and solidarities produced through the festival (see also Carney, Scharf, Timonen, & Conlon, 2014).…”

Section: Introductionmentioning

confidence: 99%

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The politics of age and generation at the GAZE International LGBT Film Festival in Dublin

Binnie

Klesse

2017

The Sociological Review

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Despite their global proliferation, queer film festivals, like film festivals more broadly, are somewhat understudied within the social sciences. This is despite scholarship within film studies that argues that they are significant sites of queer collectivity and sociality. This article examines queer film festivals as sites for the production of community and queer bonds. The authors argue that questions of age, temporality and intergenerationality are central to discourses of community mobilized by festival organizers. The article draws on empirical material from a qualitative study of the GAZE International LGBT Festival in Dublin – which formed part of a larger comparative study of the cultural activist politics of queer film festivals in Europe. Ken Plummer has argued for a greater appreciation of the role of time and generation within sexuality studies. Age, temporality and intergenerationality emerged as important issues within interviews conducted with organizers and volunteers at the festival. The analysis of these issues focuses on three key themes: (1) GAZE as a site of intergenerational community; (2) GAZE as a site of remembrance; and (3) demography and the sustainability of the festival. The article argues that the festival provides a distinctive site of intergenerational queer bonds; and that despite the creation of transnational spaces and discourses, references to the nation and national identity remain central to bonding experiences at the festival.

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Section: Queer Film Festivals Community and Queer Bondsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

The politics of age and generation at the GAZE International LGBT Film Festival in Dublin

Binnie

Klesse

2017

The Sociological Review

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“…Two gay film festivals started up in Romania the year after: Bucharest's GayFest (2004-) and Cluj's Gay Film Nights International Film Festival (2004. 2006 saw the start of festivals in Latvia (LGBT Film Days Riga, 2006-2011 and Poland (Pryzmat: LGBT Film Festival, 2006 LGBT International Film Festival in 2008, and has since been staging festivals in several Russian cities despite increasing obstacles by the government. There have been accusations of people working as "foreign agents", enduring threats, and obstacles from officials and cinema owners in an increasingly hostile atmosphere, but the organizers of Side by Side continue to advocate for inclusion and provide a space for LGBTI*Q identities by collaborating with many organizations and festivals.…”

Section: Notesmentioning

confidence: 99%

Queer/ing film festivals: history, theory, impact

Dawson

Loist

2018

Studies in European Cinema

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This article traces the history of queer film festivals, from their beginnings to the present day, while offering socio-political and cultural reasons for a range of trends in festival name, location, and programming choices, before outlining the relatively late emergence of Film Festival Studies, including queer festival studies, within Film Studies and Queer Studies in the academy. It then uses the Scottish Queer International Film Festival (SQIFF) as a case study to demonstrate the increasing focus on diversity and inclusivity in queer film festivals, especially more grass roots ones, and the social impact of this.

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“…and other ephemera) (Zielinski 2016). The combination of these methods allows for capturing the size and reach and distinctive flavour of the events in question (de Valck 2016), key features of the 'festival image' (Stringer 2008), budget and funding regimes, modes of labour (Loist 2011), programming strategies (cinematic genres, programme structure, identity references, construction of audiences, topics and geographical focus (June 2004, Loist 2012, educational activities and political engagement (if any), debates and conflicts (if any), modes of formal and informal organising (in social, spatial, temporal, economic and legal terms) (Loist 2011), community focus , groups of stakeholders (Burgess and Kredell 2016), relationships with other festivals and positions within relevant circuits and their economic underpinnings and the question to what extent the festivals are themselves engaged in film funding, production, distribution or marketing ). Yet concern with context has to go beyond the isolated event (or sequence of events).…”

Section: About the Projectmentioning

confidence: 99%