[Filmfestivalresearch] [ DEADLINE EXTENDED ] Call for Papers || Reframing Film Festivals

[oluranti babatunde]

Thank you very much for the mail. I hope to send an abstract soon.

On Tue, Oct 15, 2019, 12:32 PM Andrea Gelardi <aundicii at gmail.com> wrote:

> *Apologies for cross-posting*
>
> Dear all,
>
> Due to a number of requests, we have extended the deadline until *Tuesday
> 22 October*. We take the chance to thank all those who have already sent
> their proposals.
>
> *Call for Papers*
>
>
> *Reframing Film Festivals: Histories, Economies, Cultures*
>
> *International Film Studies Conference*
>
>
> Venice, 11-12 February, 2020
>
> Bari, 25-26 March, 2020
>
>
>
> *Abstract Proposal Deadline [EXTENDED]: *22 October 2019
>
>
>
> *Confirmed Keynote Speakers:*
>
> Gian Piero Brunetta, Università degli Studi di Padova
>
> Gianni Canova, IULM Libera Università di Lingue e Comunicazione
>
> Marijke de Valck, Utrecht University
>
> Jean-Michel Frodon, Sciences-Po
>
> Dina Iordanova, University of St Andrews
>
> Roy Menarini, Alma Mater Studiorum - Università di Bologna
>
> Dorota Ostrowska, Birkbeck, University of London
>
>
> Throughout the 2000s the number of film festivals has increased all over
> the world at a tremendous pace. In 2019 FilmFreeway lists about eight
> thousand festivals as currently active, about twice the amount of less than
> a decade ago. Various factors prompted such a terrific growth, such as:
> festivals orchestrating the (trans)national production and distribution of
> cinema; festivals pivotally stimulating the touristic and economic
> development of their hosting community; festivals acting as cultural
> arbiters of taste and quality; etc. The scale of festivals today has not
> passed unnoticed, contributing to the emergence of a specific area of
> scholarly interest. In the last decade, the field of film festival studies
> has gained strength and status, focusing entirely on understanding the
> functions, the history and the role of film festivals.
>
>
> *Reframing Film Festivals: Histories, Economies and Cultures *– the
> conference organised by the Ca’ Foscari University of Venice and the Aldo
> Moro University of Bari, in collaboration with the the Apulia Film
> Commission, the Consulta Universitaria Cinema, and the Associazione
> Italiana per le Ricerche di Storia del Cinema – seeks to contribute to this
> field of research through a series of roundtables and debates involving
> film critics, practitioners and scholars. In particular, the conference is
> aimed at (re)framing the understanding of these institutions and their
> nature by proposing three approaches, different but interweaved:
>
>
>
> -      A historiographical approach, one set to explore the ways film
> festivals contribute to shape the writing of film (and media)history,
> moulding the canon formation and informing aesthetic hierarchies.
>
> -      A culturalist approach, one set to investigate how film festivals,
> by championing certain discourses *of *and *on *cinema and media,
> contribute to articulate and re-position specific national, cultural,
> gender identities.
>
> -      An economic approach, one set to analyse the process by which film
> festivals add value within the film industry as much as to local touristic
> economies.
>
>
>
> In this vein, *Reframing Film Festivals: Histories, Economies, Cultures
> *seeks
> to foster an interdisciplinary and intersectional reading of film
> festivals, here conceived as a historiographic “dispositive”, as cultural
> formations and as financial institutions. Within a single and cohesive
> research framework, the Ca’ Foscari strandwill be devoted to the
> critical-historic and historiographic dimension of film festivals, while
> at the University of Bari the focus will be placed on their cultural and
> economic dimension.
>
>
> Therefore submissions, with both an empirical and/or a theoretical
> approach, are welcomed across a range of topics including, but not limited
> to:
>
>
>
> -       The festival-form: histories and theories
>
> -       Film festivals and historiographic paradigms
>
> -       Film festivals, aesthetic regimes and taste cultures
>
> -       Micro-histories of film festivals
>
> -       Politics of selection and programming in film festivals
>
> -       Festival films/films for festivals
>
> -       Artistic directors, jury members, selection boards
>
> -       Editorial outputs of film festivals
>
> -       The audiences of film festivals
>
> -       Film festivals, cinephilia and criticism
>
> -       Film festivals and national identities
>
> -       Film festivals and geopolitics
>
> -       Film festivals, ethnocentrism, exoticism
>
> -       Film festivals and cultural consumption
>
> -       Film festivals and gender
>
> -       Film festivals and race
>
> -       Thematic and retrospective film festivals
>
> -      Archival film festivaland contemporary historiography
>
> -      TV and web festivals
>
> -      Virtual reality festivals
>
> -       “Small” film festivals: roles and functions
>
> -      Film festivals and LGBTQI+ cultures
>
> -      Erotic and pornographic film festivals
>
> -      The films festivals’ circuit and the global film market
>
> -       Film festivals: transnational distribution and production
>
> -       Film festivals and film funds
>
> -       Film festivals and digital platforms
>
> -       Business models of film festivals
>
> -       Film festivals and economic satellite activities
>
> -       Film festivals and (cine)tourism
>
> -       Film festivals and the fashion industry
>
> -       Film festivals and celebrity culture
>
> -       Fundraising for film festivals
>
> -       Film festivals and sponsorship
>
>
>
> We welcome proposals from scholars, film critics and film festival
> practitioners for traditional 20-minute individual presentations and panel
> proposals. The deadline for the submissions is *22** October 2019 *and
> interested contributors should send a 300-500 word abstract and a short
> biographical note at the following email address:
> reframingfilmfestival at gmail.com. The accepted proposals will be notified
> by *31
> October 2019. The languages of the conference are Italian and English.*
>
>
>
> *Organized by: *Marco Dalla Gassa (University Ca’ Foscari, Venezia),
> Federico Zecca, Angela Bianca Saponari (University of Bari “Aldo Moro”),
> Andrea Gelardi (University of St Andrews).
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