[Filmfestivalresearch] SCMS 2018 Toronto_Panel CFP (Dorota Ostrowska)

Dorota Ostrowska ubwc156 at mail.bbk.ac.uk
Wed Jul 5 13:46:54 CEST 2017

*SCMS 2018 Toronto*
*Call for Papers for the Panel: *
*“Live Events, Pop-ups and Film Festivals: Live event-based culture
response to the political crises of today”*

Deadline for submitting paper proposals: *Monday 31st July 2017*

Email: *Dorota Ostrowska at d.ostrowska at bbk.ac.uk <D.ostrowska at bbk.ac.uk> *with
paper proposals including:

1) a title

2) a summary no longer than 2500 characters including spaces and hard

3) 3-5 bibliographic sources

4) an author bio no longer than 500 characters.

*“Live Events, Pop-ups and Film Festivals: Live event-based culture
response to the political crises of today”*

Historically, the dominant film exhibition culture of film festivals has
been shaped by geopolitics of the Cold War, local and national politics,
independence struggles, cultural wars and human rights concerns. This panel
is aimed at addressing, assessing and evaluating the response of the film
exhibition culture to the various political crises which have been shaping
our contemporary political and social landscape including but not limited
to the Greek crisis, the refugee crisis, the Syrian conflict, the elections
of Trump. The panel is seeking out to feature interventions which are
focused on the established and existing film festivals’ response to the
various crises. But the particular interest of the panel is in mapping out
new initiatives such as temporary and ad hoc screening series, special
programmes aimed at different publics including the audiences made up of
refugees, pop up cinemas screenings, virtual film festivals, micro film
festivals, online festivals, gallery based and expanded cinema and new
media events which could be seen as not only complementing but also
challenging the established film festival culture in the context of the
political crises tackled through programming, curating and other
event-based initiatives. How do these crises impact, shape and transform
the event and experience based culture of which film festivals are part? Do
these political issues challenge in any ways film festivals culture and
force the organisers to experiment with the exhibition and programming
formats or search for new ones? In light of the urgency of these crises are
there new models of film programming and film exhibition emerging to
respond to them? Do the type of material presented at these events and the
ways of engaging the audiences result in new types of film exhibition which
go beyond the norms of the film festival culture?

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