[Filmfestivalresearch] Screen industry conference, Film Festival Academy, and CfPs

[Yoram Allon | FFA]

Brilliant.

We want these festival reports to appear on NECSUS and Alphaville – next time we speak will tell you of plans to extend online content/coverage to such things – will raise this with Greg too etc.

Yx


> 
> Dear film festival research colleagues:
> 
> 
> 
> In the last few days a few messages reached me that might be of interest to
> FFRN members.  
> 
> 
> 
> 
> 
> #1  Screen Industries in East-Central Europe & Theorizing Screenwriting,
> BRNO 22-25 Nov 2012
> 
> 
> 
> The Second Annual Screen Industries in East-Central Europe Conference
> investigates historical and contemporary dimensions of the region's
> audiovisual media industries from all angles - local, transnational,
> economic, cultural, social, and political - and through a broad range of
> original scholarship delivered in the form of conceptual papers and
> empirical case-studies. The workshop Theorizing Screenwriting Practice
> brings together scholars of film and television, practicing screenwriters,
> and other media professionals to discuss changing practices, institutional
> frameworks, and the social status of screenwriting in contemporary screen
> media.
> 
> 
> 
> The conference features a panel on "Film Festivals and the Cold War" 
> 
> 
> 
> DAY 2: FRIDAY, 23 NOVEMBER
> 
> 9:00 PANEL 1: FILM FESTIVALS AND THE COLD WAR (SIECE)
> 
> Chair: Lucie Česálková
> 
> 1. Dorota Ostrowska (Birkbeck College, University of London, UK): Polish
> Cinema at International Film Festivals
> 
> 2. Stefano Pisu (University of Cagliari, Italy): International Cultural
> Relations between WWII and the Cold War: USSR at the Venice Film Festival
> (1946-1953)
> 
> 3. Jindřiška Bláhová (Independent Scholar, Czech Rep.): Marty (1955), the
> International Film Festival Karlovy Vary, and Hollywood-Czechoslovak
> Cold-War Relations
> 
> 4. Aida Vallejo (University of the Basque Country and Universidad Autónoma
> de Madrid, Spain): Industry Sections: Documentary Festivals between
> Production and Distribution
> 
> Respondent: Melis Behlil
> 
> 
> 
> Full program:
> http://issuu.com/petrszczepanik/docs/siece_sw_poster_and_program_leaflet_fin
> al
> 
> 
> 
> 
> 
> #2  Open Access publications on Film Festival Academy
> 
> 
> 
> The Film Festival Academy is an international community network platform for
> film festival professionals. FFA welcomes members from the wider film
> community of filmmakers, distributors, film critics, students and academics.
> The Academy provides a credible and ethical space for knowledge exchange,
> vocational training, and actual collaboration.
> 
> 
> 
> The Film Festival Academy will be making very many film festival-related
> publications available online. On the FFA site already available are
> downloadable PDFs of six texts that should be of direct interest to anyone
> working in the field: Marijke de Valck's groundbreaking history of the
> development of film festivals; NISI MASA's report from the industry training
> workshop in Espinho, July 2012; Thomas Elsaesser's seminal chapter 'Film
> Festival Networks: The New Topographies of Cinema in Europe' from his
> excellent volume European Cinema: Face to Face with Hollywood; a new
> provocation from Mark Cousins, who challenges us to think afresh about film
> festival form; the entire International Film Guide 2012, with detailed
> surveys of the national cinema of over a hundred countries as well as
> director profiles and festival lisitings; and Dekalog 3: On Film Festivals,
> a fine collection of essays from festival programmers, academics and film
> critics.
> 
> 
> 
> Visit the site for publications and further information on the Film Festival
> Academy: http://www.filmfestivalacademy.net/publications
> 
> 
> 
> Information and material on the first FFA event, which took place at the New
> York Film Festival September 27-28, can also be found on the site:
> http://www.filmfestivalacademy.net/events/new-york-city-usa
> 
> 
> 
> Have a good look and become a member of the Film Festival Academy.
> 
> 
> 
> 
> 
> #3  NECSUS_The European Journal of Media Studies is looking for film
> festival reports. 
> 
> 
> 
> The NECSUS film festival review section publishes critical writing on film
> festivals. It offers a platform for writings that fall between the fast and
> prolific genre of individual festival reports and the slow and rigorous
> labor of film festival research. Rather than merely reviewing the latest
> festival edition, contributors are asked to take a critical distance and
> reflect upon one or more thematic issues that are relevant to the
> professional field and/or for media studies. Reviews can be motivated by
> current affairs but should also tackle issues that tend to remain hidden in
> the midst of festival buzz.
> 
> 
> 
> If you are interested in writing a festival review please contact the
> festival review editors Marijke de Valck (
> <mailto:marijke at filmfestivalresearch.org> marijke at filmfestivalresearch.org)
> and Skadi Loist ( <mailto:Skadi at filmfestivalresearch.org>
> skadi at filmfestivalresearch.org).
> 
> Submission guidelines: http://www.necsus-ejms.org/guidelines-for-submission/
> 
> 
> 
> 
> General topics for the upcoming NECSUS issues are "Green" #3 (Spring 2013) -
> http://www.necsus-ejms.org/portfolio/3-spring-2013-the-green-issue/  and
> "Waste" #4 (Fall 2013)
> http://www.necsus-ejms.org/portfolio/4-autumn-2013-waste/
> 
> 
> 
> 
> 
> #4  Alphaville: Journal of Film and Screen Media
> <http://www.alphavillejournal.com> www.alphavillejournal.com
> 
> CFP: conference and film festival reports
> 
> 
> 
> The editors of Alphaville: Journal of Film and Screen Media seek conference
> and film festival reports for Issue 5, to be published Summer 2013.
> Potential contributors are invited to submit a conference or film festival
> report (in MLA style), along with a short bibliography and contact
> information to the editors by 1 March 2013. Reports should be 1,500-2,500
> words in length and should be original, unpublished in print or
> electronically, and not under consideration elsewhere.
> 
> 
> 
> Please contact the Conference and Festival Reports editor at:
> 
> Yuanyuan Chen, Film Studies, University College Cork
> <mailto:yuanyuan.alphaville at gmail.com> yuanyuan.alphaville at gmail.com
> 
> Film Studies at University College Cork: http://www.ucc.ie/en/filmstudies/
> 
> 
> 
> 
> 
> Best Fall wishes,
> 
> Skadi
> 
> 
> 
> 
> 
> -- 
> 
> Skadi Loist
> 
> Co-Founder / Admin
> 
> Film Festival Research Network (FFRN)
> 
> <http://www.filmfestivalresearch.org> www.filmfestivalresearch.org
> 
> <mailto:skadi at filmfestivalresearch.org> skadi at filmfestivalresearch.org
> 
> 
> 
> 
> 
> 
> 
> _______________________________________________
> Filmfestivalresearch mailing list
> Filmfestivalresearch at listcultures.org
> http://listcultures.org/mailman/listinfo/filmfestivalresearch_listcultures.org



 
------------------

YORAM ALLON
Executive Director
www.filmfestivalacademy.net
‘The enormous growth of film festivals – in number, location, diversity, and artistic influence – is accelerating by the day. But not until now has their importance to global culture been matched by an organization with the cinematic acumen, media savvy, networking skills, and expert leadership needed to provide top-level support, training, information, and connectivity for participants in all areas of festival activity, from programmers and publicists to filmmakers, academics, and critics. The arrival of the Film Festival Academy is the most exciting development in years for moving-image professionals everywhere.’ – David Sterritt, Chair, National Society of Film Critics; USA

'Do Film Festivals need an Academy in this day and age? The answer is, resoundingly, yes! A complex mixture of the professional and the cultural, the economic and the cinephilic, film festivals today are increasingly complex beasts – and no festival is an island unto itself. Connected in a tight web of international exchanges, comparisons and manœuvres, festivals are all about giving value to particular films or particular types of films – and finding, or creating, the audiences for them. The new Film Festival Academy is ideally placed to integrate the already widely scattered field of researches, discussions, trainings and co-operative interrelationships occurring within and between the literally thousands of film festivals in the modern globe. It is a new world on every level – from the challenge of projection formats to the politics of curating – and the Film Festival Academy will open the doors to it.' – Adrian Martin, Film Critic, Co-Director of the Research Unit in Film Culture and Theory, Monash University; Australia
'The new Film Festival Academy initiative is to be very much welcomed by all film festival professionals and anyone interested and involved in the increasingly central role played by film festivals in the international cinema industry; this is definitely the right thing at the right time and promises to be an exciting and important development that will be of great service to all of us working in the film festival arena.' – Tiina Lokk, Artistic Director, Black Nights Film Festival; Tallinn, Estonia