Comparative queer methodologies and queer film festival research

Binnie, Jonathan; Klesse, Christian

doi:10.1080/17411548.2018.1434364

Cited by 8 publications

(7 citation statements)

References 48 publications

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“…In our research into the Mezipatra Queer Film Festival, we use a relational approach with an interest in the comparison of site-based politics. Binnie and Klesse (2018: 57) assert that the “meanings attached to queer can change as it travels across different cultural and political terrains.” “Each festival has to be understood in the context of its specific location. This ‘locatedness’ […] invites comparative strategies within research on queer film festivals” (Binnie and Klesse, 2018: 57).…”

Section: Queer Film Festival and Site-based Politicsmentioning

confidence: 99%

“…Binnie and Klesse (2018: 57) assert that the “meanings attached to queer can change as it travels across different cultural and political terrains.” “Each festival has to be understood in the context of its specific location. This ‘locatedness’ […] invites comparative strategies within research on queer film festivals” (Binnie and Klesse, 2018: 57). We use the site ontology approach, which is aimed at the analysis of the de-subjectivated politics of the site.…”

Section: Queer Film Festival and Site-based Politicsmentioning

confidence: 99%

“…The relational comparison between the two sites of the QFF “make us aware of how experiences and conditions in one urban context can be used productively to ask questions about and inform urban politics in others” (Binnie and Klesse, 2018: 67). Nowadays, the Mezipatra Queer Film Festival production and organization team is headquartered in Prague, with only a minority of organizers coming from Brno.…”

Section: Queer Film Festival Programming Strategies Performed Through...mentioning

confidence: 99%

“…Queer film festival (QFF) studies have, in roughly the last 10 years, became a part of film festival studies, bringing to it queer theory or, more specifically, queer film theory. In queer geography there were already authors aware of the significance of QFFs (Binnie and Klesse, 2018; Ford, 2015; Qin, 2019). Since the founding of the film festival Frameline in 1977, now also known as the San Francisco International LGBTQ + Film Festival, these film festivals have spread across the world.…”

Section: Introductionmentioning

confidence: 99%

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Film programming politics vis-à-vis festival site politics: The case of the Mezipatra queer film festival

Šerý

Doboš

2023

Environment and Planning C: Politics and Space

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This paper belongs to the sub-field of queer geography. It is a spatially sensitive study of queer film festival programming that relates its politics to the affective politics of the site. It focuses on the Mezipatra Queer Film Festival, which is a film festival that takes place in the cities of Prague and Brno, Czech Republic. We differentiate between intentional subject-centred programming politics and de-subjectivated festival site politics. The film programme is created by a single organizing team and is the same for both cities. Still, the programme means different things to each of them. According to programming theories, we distinguish between films of traditional assimilationist, even homonormative, programming, and films of anti-identity queer programming. The different status of the two festival incarnations makes the former more appropriate for Brno, whereas the latter is more appropriate for Prague. Yet, in Brno, the assimilationist identity politics is turned into an autonomous community politics through the festival site. In Prague, the queer politics is turned into a politics of competition among art film festivals. Hence, we go beyond critiques of homonormative cinema as depoliticized and consumerist. The problem is not the difference between “better” queer programming and “worse” traditional programming. The problem lies in discerning site politics as shaping different screenings of the same films, whether they are homonormative or art-house queer films.

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Section: Queer Film Festival and Site-based Politicsmentioning

confidence: 99%

Section: Queer Film Festival and Site-based Politicsmentioning

confidence: 99%

Section: Queer Film Festival Programming Strategies Performed Through...mentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Film programming politics vis-à-vis festival site politics: The case of the Mezipatra queer film festival

Šerý

Doboš

2023

Environment and Planning C: Politics and Space

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“…Along with the boom in politically involved film festivals, world's first queer/LGBTIQ+ festival took place in 1977, in San Francisco, under the name of Gay Film Festival of Super-8 Films Festival (Frameline Film Festival or San Francisco International LGBTQ+ Film Festival of today). The phenomenon of queer film festival has rapidly grown since the creation of Frameline and it "provided an opportunity for the enjoyment and popularisation of films on queer and LGBTI themes that may be otherwise difficult to access in the mainstream media" (Binnie and Klesse 2016).…”

mentioning

confidence: 99%

Reimagining Queer Film Festival as a Counterpublic Space. A Case Study of Turkey’s Pink Life Queerfest

Altunbulak¹

2021

Ekphrasis

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This article discusses how film festivals provide a counterpublic space that goes beyond a cultural event for artistic exchanges, particularly in contexts where queer culture raises tensions both with political authorities and within society. They also serve as meeting points and safe spaces where LGBTIQ+ people gather to share experiences, emotions and ideas, to discuss critical issues such as gender politics, everyday violence, hate crimes, and to map out strategies for political action and resistance. However, queer film festivals often suffer from state-imposed restrictions, bans, prohibitions, and political surveillance and control mechanisms. Pink Life Queerfest (Pembe hayat kuirfest), Turkey's first and only LGBTIQ+ film festival, provides a platform for LGBTIQ+ people to address issues that are not usually discussed in (conventional) public spaces. This article, based on a case study of the Pink Life Queerfest, focuses primarily on exploring the political significance of film festivals at a local level, while, at the same time, reflecting upon a set of questions based on globalisation, politics of location, queer visibility and (counter) public space.

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International Filmmor Women’s Film Festival on Wheels: “Women’s Cinema, Women’s Resistance, Cinema of Resistance”

Haydari

2020

Female Agencies and Subjectivities in Film and Television

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Comparative queer methodologies and queer film festival research

Cited by 8 publications

References 48 publications

Film programming politics vis-à-vis festival site politics: The case of the Mezipatra queer film festival

Film programming politics vis-à-vis festival site politics: The case of the Mezipatra queer film festival

Reimagining Queer Film Festival as a Counterpublic Space. A Case Study of Turkey’s Pink Life Queerfest

International Filmmor Women’s Film Festival on Wheels: “Women’s Cinema, Women’s Resistance, Cinema of Resistance”

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