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This article presents a case study of the formation and growth of the Sheffield International Documentary Festival (SIDF)-later renamed Sheffield Doc/Fest-in the 1990s. It uses archival sources to understand a crucial question: why was the festival located in a post-industrial city like Sheffield? By the end of the 1980s, the city was undergoing economic transformation, from 'steel city' to 'post-steel city', in the process suffering an identity crisis given its decades of dependence on its former steel industry. With a focus on the motivations of the political, industrial, cultural, and academic stakeholders that were central to the festival's formation and growth, the article demonstrates how an exploration of festival formation in a post-industrial city, using a political economic approach, can allow for a fuller understanding of the formation, growth, and maintenance of festivals in a post-industrial context.Across the three decades of its existence, the Sheffield International Documentary Festival (SIDF)-or Sheffield Doc/Fest as it was renamed in 2006 1 -has had a conflicting relationship with its host city of Sheffield. Together, the city and the festival have grown, developing a cultural and economic confidence by the late

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In 1969, after nearly twenty five years in the business and over fifty screen appearances starting with The Strange Love of Martha Ivers (Milestone, 1946), Kirk Douglas took the decision to begin donating his personal and business papers to the Wisconsin Center for Film and Theater Research (WCFTR). Over the next decade, Douglas continued to donate his papers, leading to the division of the original collection into seven broad categories: correspondence and personal papers; financial and business records; television; theatre; radio; motion picturesproduced; and motion picturesunproduced. Taken together, the Kirk Douglas Papers cover one of the most important and transformational eras in American film history, commencing with the twilight years of the studio system in the 1940s, through its break-up in the 1950s, and the eventual conglomerization of the Hollywood studios in the 1960s. At the same time, the papers reveal Douglas's own centrality to these transformations following the incorporation of his own independent production company in 1949, Bryna Productions. Douglas was one of the first actors to form his own company in the post-World War Two era, precipitating an industrial trend that reached its apogee in the mid-1950s.The Kirk Douglas Papers (KDP), as the collection was eventually named, are quite revealing, with correspondence and other documents that unveil the man behind the screenpersona. What we find is an actor, producer, writer, philanthropist and diplomat who frequently displayed a furious level of perfectionism, determined to ensure his projectsin

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