Re-imagining the Past: Programming South Korean retrospectives at the Pusan International Film Festival

Ahn, Soo Jeong

doi:10.1386/fiin.6.4.24

Cited by 2 publications

(1 citation statement)

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“…In film festival research substantial critical attention has been devoted to the unequal power relations that the global network of film festivals seems to sustain (De Valck 2007). Several scholars have argued that Western film festivals serve as cultural tastemakers for global art cinema: precisely because they function as the obligatory entry points into the circuit of alternative art cinema, film festivals have been accused of neocolonialism and of influencing the production of world cinema, for example with regard to African cinema (Diawara 1993), Iranian cinema (Nichols 1994), and Korean cinema (Ahn 2008), according to Western taste preferences. These critics point out that the needs and autonomy of migrated communities are at risk of becoming secondary to the cultural agenda of the festival as institution.…”

Section: Globalizationmentioning

confidence: 99%

Film festivals and migration

Valck¹

2013

The Encyclopedia of Global Human Migration

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Film festivals have become a widespread phenomenon since their inception at the Venice Film Festival in 1932, the first festival to be organized on a regular basis. Film festivals proliferated in particular from the late 1960s onward. Today a film festival takes place every day somewhere: the estimated total number of film festivals varies from 700 to 1,500 annually. From studies on film festivals (e.g. Dayan 2000; Turan 2003; De Valck 2007) it is clear that they (can) serve various agendas or interests – geopolitical, economic, as well as cultural. However, their main function is cultural: to screen films that fall outside the circles of regular (commercial) distribution and exhibition. It is through film festivals that niche films – more commonly referred to by scholars as well as programmers and critics by terms like “world cinema,” various “national cinemas,” “art cinema,” and “auteur cinema” – reach global audiences. Moreover, with competition programs, prizes, and press coverage, festivals are able to add value (symbolic capital) to such films and, in this way, act as stepping stones to further distribution, for example via art‐house exhibition, TV broadcasting, video on demand (VOD), and DVD releases.

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Section: Globalizationmentioning

confidence: 99%