[Filmfestivalresearch] CFP: Special Issue Studies in Australasian Cinema

Kirsten Stevens kirsten.e.stevens at gmail.com
Tue Feb 18 12:36:36 CET 2014

Studies in Australasian Cinema

ISSN: 1750-3175 (Print), 1750-3183 (Online)


Themed Issue 8.3: Distribution & Festivals (Nov-Dec 2014)

Abstracts of 300 words by April 30, 2014
Article submission deadline for 8.3: August 30, 2014

Edited by Greg Dolgopolov (UNSW), Kirsten Stevens (Monash) and Lauren
Carroll Harris (UNSW).

Email inquiries and submissions for 8.3 to: gregd at unsw.edu.au

Cinema distribution in Australasia is in crisis. Too many films are
produced with substantial government investment in development and
production but scant attention to distribution. Predictably they bomb at
the box office and rarely find their audience. Australian cinema in
particular appears largely bereft of innovative distribution ideas of how
to meaningfully connect with audiences without a massive advertising
budget. At the same time, film festivals in Australia are growing
exponentially and films are frequently sold out amidst positive buzz.
Hence, there is an audience for Australian/ Australasian screen content but
it cannot be understood in extant framings of the commercial
audience-production relationship.

This issue of Studies in Australasian Cinema suggests the need for a
conceptual focus on the impact of distribution on lived film culture in
Australasia today, around the three broad areas of screen business and
policy, festival and exhibition, and audiences and production. Such a
wide-ranging approach encourages a comprehensive look at the expanded role
of distribution, not cast simply as a discrete sector or series of
commercial exchanges, allowing scholars to recast current trajectories in
film studies through the lens of distribution and film festival study. The
goal is to show how the exertion of the distribution sector in festival and
ongoing exhibition venues is critical in maintaining film's presence or
exclusion in popular culture. Currently, research into film distribution is
not fully connected with questions of how audiences are constructed and the
formative links between exhibition and distribution circuits and film
production. This is the limited way of thinking we want to challenge.

Questions might include but are not limited to: What is the impact of
Adelaide Film Festival's production branch? What types of screen projects
and cultures are new digital models of distribution like YouTube and VOD
currently advancing and producing? In this digital sphere, crowd funding is
most commonly thought of as a new financing model, but how does it affect
distribution and what kinds of projects and genres are most clearly
benefiting? What is the relationship between film festivals, policy and
distribution? And what is the future of film festivals and distribution in

Email inquiries and submissions for 8.3 to: gregd at unsw.edu.au

All general questions regarding Studies in Australasian Cinema should be
emailed to: anthony.lambert at mq.edu.au

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