International Film Festivals: For the Benefit of Whom?

Abstract

Film festivals have become a widespread phenomenon over the last fifty years and are leading events establishing the reputation of film professionals and constitute a well-established field in itself. Studying the cities of Copenhagen and Rome the authors are asking why the public authorities of these cities establish their own film festivals in an already saturated field of international film festivals? The focus is on the strategic responses and work made by two late adopters of film festivals -Copenhagen and Rome and their international film festivals, CIFF and 'Festa del Cinema di Roma' (FCR). The comparative case study is based on qualitative data and methods. It investigates how the two festivals establish, legitimate and position themselves within the existing, institutionalised field of international film festivals. Combining the classical work on early and late adopters in the diffusion of ideas and practices (Tolbert & Zucker 1983) with forms of legitimacy (Suchman 1995) and institutional work (Lawrence & Suddaby 2006), it is demonstrated how different and sometimes conflicting demands from various stakeholders, like public authorities and the film industry, have shaped the frames used to position and legitimize the film festivals.

Local Film Festival Characteristics: A Case Study of the Merdeka Film Festival

“…Festival film telah menjadi fenomena yang tersebar luas selama lima puluh tahun terakhir (Pedersen, 2011) Secara umum, festival film terbagi dalam empat kategori yakni, identitiy based film festival, genre based film festival, national & regional showcase, dan online film festival (Depita, 2020) Festival film lokal menuntut produksi yang efisien dan ekonomis, namun memberikan hasil akhir yang maksimal (Ratna, 2015).…”

Balinale Public Diplomacy Through Bali International Film Festival Towards Foreign Tourists

“…Selain itu, berbagai negara pun mengintegrasikan strategi diplomasi publik dengan aktivitas festival film internasional. Seperti festival film internasional yang diadakan di Kopenhagen dan Roma yang bertujuan untuk membangun citra kota tersebut dalam rangka meningkatkan jumlah wisatawan asing yang berkunjung (Pedersen & Mazza, 2011). Dari hal tersebut dapat dilihat signifikansi festival film internasional sebagai salah satu instrumen diplomasi publik.…”

“…Secara umum festival film dipandang sebagai jenis acara penghargaan, yang bertujuan untuk membangun reputasi profesional film, juga sebagai tempat pertemuan industri film yang menjadi wadah mediasi antara seni dan bisnis (Pedersen & Mazza, 2011). Kegiatan tersebut memberikan manfaat bagi pihak yang memiliki kepentingan untuk sekedar merayakan usaha yang telah dilakukan, membentuk peringkat dan klasifikasi, hingga membangun identitas.…”

Festivais de cinema, streaming, pandemia

“…O sucesso dos festivais fora do circuito industrial do cinema de Hollywood "(...) está relacionado ao interesse pelo filme de nicho e com valor artístico e ou relevância social" (DE VALCK, 2008, p. 18). Em 1933 foi criada a FIAPF (Fédération Internationale des Associations de Producteurs de Films) e, durante o primeiro Festival de Berlim, em 1951, decidiu-se controlar a "inflação de prêmios", credenciando festivais competitivos MAZZA, 2011;DE VALCK, 2006). Na época, foram credenciados imediatamente Veneza (1932), Cannes (1939) e Berlim (1951; mais tarde Mar Del Plata (Argentina, 1954), Shanghai (China, 1993, Moscou (URSS, 1939-1959), Karlovy Vary (Tchecoslováquia, 1946), Locarno (Suíça, 1946, San Sebastian (Espanha, 1953), Tóquio ( Japão, 1985 e Cairo (Egito, 1976) (DE VALCK, 2006;MAZZA, 2011).…”

“…Em 1933 foi criada a FIAPF (Fédération Internationale des Associations de Producteurs de Films) e, durante o primeiro Festival de Berlim, em 1951, decidiu-se controlar a "inflação de prêmios", credenciando festivais competitivos MAZZA, 2011;DE VALCK, 2006). Na época, foram credenciados imediatamente Veneza (1932), Cannes (1939) e Berlim (1951; mais tarde Mar Del Plata (Argentina, 1954), Shanghai (China, 1993, Moscou (URSS, 1939-1959), Karlovy Vary (Tchecoslováquia, 1946), Locarno (Suíça, 1946, San Sebastian (Espanha, 1953), Tóquio ( Japão, 1985 e Cairo (Egito, 1976) (DE VALCK, 2006;MAZZA, 2011). Perceba-se que cada festival está intrinsecamente ligado à cidade de sua realização, como uma estratégia espacial particular.…”