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Full Description
To live through a film festival is to live through an intensive emotive experience of film viewings, encounters with friends and strangers, travel, displacement and the exploration of new spaces - both real and imaginary. It is the disorientating experience of this modern-day carnivalesque which marks a time out of time of a film festival when the norms of the everyday cinema-based or home-based film viewing experience are suspended, challenged or upended. Although some aspects of the film festival experience have changed over a long history of film festival cultures there are others that remain constant: an effort emotional and physical to attend a festival, excitement or festival buzz of being part of a festival, a sense of community of viewers rooted in the individual response to films, and the impact of seeing a film in the festival environment which ranges from pleasurable and inspiration through boring to outrages and abject.
Dorota Ostrowska's book explores the uniqueness of this occasionally irreverent, often disruptive and at times unsettling festival experience for the diverse festival audiences through the concept of festive chronotopes. It argues the importance of space for our understanding of festival experience as it is this space, intimate and collective, that shapes film festival programmes, moulds curational and programming practice and critical response, and drives the desire for the festive experience to be repeated and reinvented on annual basis.
The book explores the idea of festive chronotopes in relation to a myriad of European film festivals, international, human rights, documentary and migrant, each of which is seen as a manifestation of a particular festive chronotope: imaginary, utopic, crisis, migrant and indigenous. Each of the chronotopes is presented as an expression of a different set of spatial relationships that bound the place, audiences and films of a film festival together.
Contents
Acknowledgements
Introduction
Film Festivals: Expanding Giuliana Bruno's "Atlas of Emotion"
Bakhtin's Chronotopes
Thresholds: from Bakhtin to Kristeva
Intimate Spaces of Film Festivals
Festive Chronotopes
Mapping Festive Chronotopes
A Journey Through Film Festival Cultures
European Film Festivals and Beyond?
Part 1: Assembling Festive Chronotope
Chapter 1: Festive Chronotope: The Carnivalesque
1.1 The Carnivalesque Logic
1.2 The Carnivalesque: Regeneration, Renewal and New Beginnings
1.3 The Carnivalesque: The Collective Affect
1.4 The Carnivalesque: The Body
Chapter 2: Festive Chronotope: Space
2.1 Film Festival as a Non-place
2.2 Heterotopic Spaces of Film Festivals
2.3 Film Festival as a Place
Chapter 3: Festive Chronotope: Programmers and Curators
3.1 When is Programming Curating? Affect, Emotion and Care
3.2 Programmed Industry-based Festivals and Curated Audience Festivals
3.3 Programming Intellectually, Programming Affectively and Team Programming
3.4 Creating Communities Through Programming
3.5 Film Programming as Emotional Labour
3.6 Archiving Programming Practice, Resisting Memory
Chapter 4: Festive Chronotope: Cinephilic and Trade Critics at Film Festivals
4.1 Cinephilic Critics
4.2 Cinephilic Moment
4.3 Cinephilic Moment: History and Technology
4.4 Mediatisation of the Social
4.5 Film Industry at Film Festivals
4.6 The Last "New Wave": Latin American Cinema at Cannes 2008
4.7 Trade Dailies: Micro-world of Business Film Festivals
4.8 Roland Barthes at a Film Festival: From "Written-Fashion" to "Written-Cinema"
4.9 Screen International: The Jury
Part 2: Festive Chronotopes in Action
Chapter 5: Imaginary Festive Chronotope: Cannes Film Festival and the French Riviera
5.1 The Carnavalised Space and Space of the Film Festival
5.2 The Cult of Death and Pleasures of Stardom
5.3 Horticulture and the Picturesque Image Production
5.4 Modernist Artists, Architectural Projects, Auteur Film-makers and the Cult of the Seventh Art
Chapter 6: Utopic Festive Chronotope: Film Festivals and the 19th Century World Exhibitions
6.1 World Exhibitions
6.2 Mission of International Film Festivals
6.3 Representation, Visualisation and Exhibition of Films
Chapter 7: Crisis Festive Chronotope: Sarajevo Film Festival During the Yugoslav Wars of the 1990s
7.1 The 1993 Sarajevo Film Festival - A One-off Film Festival
7.2 Crisis Festive Chronotope
7.3 Sarajevo's Siege as Seen on Screen
Chapter 8: Migrant Festive Chronotope: Human Rights and Documentary Film Festivals
8.1 Setting the Scene: 2015 Migrant Crisis
8.2 One World International Human Rights Documentary Film Festival (Prague) and Verzió International Human Rights Documentary Film Festival (Budapest)
8.3 Festival Event as a Home
8.4 The Humanitarian Gaze
8.5 The Programme "Looking for Home"
Chapter 9: Indigenous Festive Chronotope: Indigenous Films on the International Film Festival Circuit
9.1 The Utopic Festive Chronotope of the Berlin International Film Festival
9.2 NATIVe: A Journey into Indigenous Cinema - A Journey into the Heart of Berlinale's Utopic Festive Chronotope
9.3 Collective Programming
9.4 Irregular Section of Berlinale
9.5 Disrupting the Notion of Arthouse Cinema
9.6 Festival Audiences vs Community Audiences
9.7 Relationship with Film Industry
Conclusion
Where Are the Films?
Are Critics Gone?
From Film Festival Circuit to Chronotopic Galaxy
Bibliography
