Role of the Film Festival in Contemporary International Film Culture - Report Example

Author’s name Instructors’ name Course Date Role of the Film Festival in Contemporary International Film Culture Introduction Film festivals have increasingly become more important in recent years (British Film Institute & British Council 2013). The reality is that filmmakers are realizing that they can as well reap more rewards from film festivals. There are many benefits are gained by all stakeholders in the festivals including the young and new filmmakers who are exposed in the industry. In most of the film festivals, awards are given out to the winners based on merit. Further, filmmakers are awarded when their works are screened and listed in the festivals. Therefore, film festivals are instruments used by many shareholders in the industry to improve production and distribution of films across the globe (Durie 2006). Corporate companies also reap from film festivals as the revenue collected is shared based on shareholding or contracts signed. One such festival is the Toronto International Film Festival (TIFF). In this paper, TIFF will be used as the case study in discussing the role of the film festivals in contemporary international film culture. The conclusion in the paper shows that since its inception, TIFF has played a critical role of promoting and enhancing film industry both at domestic and international level. Case Study: Toronto International Film Festival (TIFF) Overview of Toronto International Film Festival (TIFF) Canada is one of the countries that have well established film industry (Gore 2005). In the country, there are many film festivals organized, but the most famous one is the Toronto International Film Festival. The Toronto International Film Festival was stated in 1976 as “Festival of Festivals”. Since its inception, the festival has grown to become one of the revered film festivals in the world. Further, TIFF has been voted the second most important platform for selling and buying films on the world market after Cannes. TIFF includes multiple festivals as well as film initiatives that are intended to promote international and domestic productions, and independent Canadian films. The festival has now become to be known as the destination of choice for film lovers across the globe. TIFF also attracts industry representatives from all lifestyles. Therefore, the organization has become not only part of the film culture, but also as a great resource to the city residents and the country at large. William Marshall, Henk Van der Kolk, and Dusty Cohl founded Toronto International Film Festival (TIFF). The main was to provide a platform through which other films could be screened (Graham 2008). There have been challenges faced by stakeholders especially the first events. Some of the major studios of Hollywood boycotted the first festival, raising concerns over the organization (Druick 2007). The Hollywood family was considering Canada as part of their domestic market. Therefore, the TIFF festivals could not bring much. However, the boycott was instrumental in piling pressure for the support of the festival from both domestic and international players. Further, it is crucial to note that one of the features that make the TIFF to be distinguished from other film festivals is that it was started as a non-competitive event (Melnyk 2006). However, this does not mean that there were no awards offered for the participants. As noted above, several categories have been established in the recent years. In the TIFF, all categories are grouped for the participants to compete for various awards including prize money. Therefore, the consideration of the festival as non-competitive is seen as a public relation gesture. Since the early 80s, TIFF has evolved as a trade market, especially after holding the first “Trade Forum” in 1979. The main purpose of the “Trade Forum” at the TIFF is to provide a platform where professionals from the industry can offer talks and workshops that are geared towards helping stakeholders and upcoming filmmaker understand the market. However, many changes on the forum have been implemented including changing moving the event to the Match Club and the Roger’s Industry Centre (Thompson 2011). The development of the festivals today can be attributed to Wayne Clarkson, who took the directorship of the organization in 1980. He helped in adding the “Contemporary World Cinema” program to the festivals. In the last decade, the TIFF has expanded its efforts in promoting film industry in Canada (Wardell 2009). Among the latest events is the “Pitch this!” that helps the upcoming filmmakers to pitch their work to the distributors and producers. Since its introduction, “Pitch This!” has assisted many new filmmakers from across the world by connecting them with world famous film producers and distributors. On the other hand, “Special Delivery” event has been established to allow underprivileged youth attend the festival’s experience. However, one of the latest programs is the “Talent Lab,” event that was introduced for the Canadian filmmakers. The Industry Initiatives Office for Canadian filmmakers has since been opened to enhance film industry in the country. Evidently, TIFF was boosted five years ago when TIFF Bell Lightbox was constructed in 2010. The center acts as the central location where ongoing TIFF operations are conducted. The construction and opening of TIFF Bell Lightbox catapulted TIFF to be one of the Toronto’s premiere cultural events. Therefore, over the years other local and international festivals have emulated TIFF due to its excellent growth, strong reputation in the industry, and remarkable organizational enterprise (Wise 2011). TIFF’s Impact to the Canadian Film Industry Compared to other big film festivals such as Cannes, Berlin, and Venice, TIFF can be considered as non-competitive (Marshall 2005). The TIFF does not have a pre-selected jury that oversees the entire festival with an aim of choosing the winners (McKay 2009). However, the fact that most of the Canadian filmmakers are awarded prizes in the festival underscores its competitiveness. In order to select the winning film, the selection is done by the votes cast by the audience that has made it be regarded as the “festival of the people”. Among the awards is the “The People’s Choice Award” that crystallizes TIFF as a much more public festival, compared to other film events across the globe. The promotion of TIFF over the years has played an instrumental role in enhancing the film industry in Canada (McLaren 2007). The reality of this premise was further sealed when the TIFF was including in the list of film festival under international film circuit. The inclusion of TIFF in the circuit enabled the programmers to experiment with other film festival events across the circuit. In addition, it played a critical role in broadening the film industry, making it one of the well-paying industries in the country. At the same time, many people have been employed in the film industry because of the TIFF. As indicated earlier on, many programs that have been introduced in the festival. Most of these programs are intended to improve the talents that are available in the Canadian population. In addition, programmers of TIFF have been able to conduct feasibility of various film festivals models and their integration in the Toronto’s film culture (Svensson 2013). Further, TIFF has served as a support system through which Canadian cinema is based for the consumption of the public both locally and internationally. Although one would argue in whichever way Canadian film culture would have emerged, the absence of TIFF means that this would have taken much more time than envisaged. On the other hand, TIFF has played a critical role in boosting the growth of individual filmmakers and producers as well. Over the years, many talents have been cultivated through TIFF, based on mutually beneficial relationship between filmmakers and the festival (Peranson 2009). The result of such efforts is the production of exceptional artists, including film directors such as Ron Mann, Bruce Mcdonald, and Atom Egoyan. Based on excellent management, TIFF has been financially secured for over three decades it has been in the industry. The good reputation of TIFF has made it be felt in the Canadian media including television. The management has employed aggressive marketing and promotional campaigns across the country and other parts of the world to attract as many audiences and participants as possible. The main objective has been to maximize him TIFF box office revenue during and after the event. Promotional and marketing campaigns have seen the TIFF continue recording growth in its annual profit, currently over $ 35 million (in 2014). The TIFF revenue comes from various sources. However, it is critical to underline that for many years, the source of funding has been from corporate sponsorship. The contribution is in form of goods and services from various corporations in and out of Canada. Further, the TIFF also gets its funding from the Federal, Provincial, as well as Municipal government. In addition, revenue from TIFF’s sales also plays an important role in the organization of the festival. In most cases, the sales revenue meets or eclipses the amounts of corporate and government funding. In this sense, the TIFF director’s core role is to liaise with the government and corporate representatives as well as film organizations to get enough support for the festival. As aforementioned, TIFF has contributed a lot in reducing the rate of empowerment in Canada (Shields 2007). There are hundreds of employees employed during the festivals both from local and international market. However, in recent years, most of the key stakeholders involved in the festival come from the board of directors. The group includes top tier executives from large corporations, who have a lot of interest in the operations of the festival. Further, most of the shareholders of the TIFF come from Canadian film and television industries, including representatives of other major international film organizations. The Future of Toronto International Film Festival (TIFF) The contribution of TIFF to the film industry cannot be underestimated. The boards of members of the TIFF have so far displayed confidence in the role that the festival will continue to play in the enhancement of the film industry, not only in Australia, but also across the world. Under viable financial strategy, the board alludes that the economic and cultural importance of the festival will continue to be felt globally. The TIFF has extended its assertion of the international market from the influence gained from other festival models and the international institutions of cinematic exhibitions. However, in order to show acknowledgement to the strength of corporate support, TIFF will continue focusing on long-term contracts based on corporate sponsorship from major firms such as RBC Banking and Bell Canada. Some of the contracts that the TIFF enters into extend until 2020, providing a long-term stable financial position for the festival. Despite global uncertain economic conditions, the festival has continued to record massive growth due to its reputation. Further, the growth of the organizational budget means that the management has focused on generation of revenue and capital development. In this connection, the TIFF Bell Lightbox’s debt-fuelled development shows sense of fiscal confidence, making the board approve the sustained multi-year deficit as an expense that can be managed over a long period. It is important to agree that unlike other film festivals, economic uncertainties have not affected the audience engagement with the TIFF. However, in some instances, there has been less money spent in productions. However, this reality has not influenced negatively the performance of the TIFF in the recent years. In order to ensure continued growth, there is need to create quality films since less production affects the sales of films. Conclusively, it is evident that exhaustive operations of the festival, as well as the global influence serve to show TIFF’s determination to ensure each festival is more illustrious and better than the previous (Hopwood 2009). Competitive organizational arrangement has played a critical role in driving TIFF in becoming an admirable enterprise that can challenge other renowned international film festivals. The interest of participating in the TIFF has been widely contributed by boldly upholding the prosperity of the Canadian culture among the audiences. Further, the audiences have as well shown overwhelm urge of the local-global cinematic consumption. The Role of the Film Festival in Contemporary International Film Culture The rapid growth and development of many film festivals has taken place in recent years. More and existing customers have been generated as a result (Moloney 2012). Therefore, companies have been formed to support and help in the sponsorship of such events. The emergence of m any film festival s around the world has made filmmakers take time to know where to put their money and efforts. However, the general agreement is that many young and upcoming artists have been assisted through film festivals. Some of the questions that filmmakers what kind of film niches should be submitted in a certain film festival. Further, for many filmmakers, film festivals present a significant platform to market their films at reasonable rates. At the same time, there are many opportunities of networking with the industry including getting feedbacks from the audiences as well as judges. As noted above, TIFF has been one of the film festivals that have contributed much in nurturing young and new film makers in not only Canada, but also globally. The following section seeks to provide the role that film festivals play in promoting the contemporary international film culture. Firstly, filmmakers and other artists get the opportunity to display their talents (Punter 2010). In order to ensure that the film industry grows tremendously from one generation to the next, it is important that upcoming and new filmmakers be given opportunities to display their skills in filmmaking. At some point, experienced filmmakers leave the industry due to various reasons such as illnesses, retirement, death and other personal issues. One of the problems that potential stars in the film industry face is finding the platform on which they can show the world that they are as well talented. On this note, film festivals such as TIFF are instrumental in helping young and upcoming filmmakers get a chance in the industry (Hopwood 2009). Another challenge that has been experienced is presenting and accepting the new films into festivals. Programmers and board members scrutinize films presented to them before being accepted in the festivals. There, new and gifted filmmakers are encouraged to work hard in order to ensure that the board endorses their films. In TIFF, as is the case with many film festivals, recognizes filmmakers for simply completing the work and getting it screened. In some instances, those characters with skills of attracting and winning audiences receive more benefits from the organizers. Secondly, film festival play a significant role in supporting local and international market (Moloney 2012). However, it must be appreciated that in many film festivals such as TIFF, local talents are given priority when picking films to be screened. The intention is to ensure that local talents are nurtured and grown to the highest level. As indicated above, TIFF is one of the leading events that have played important roles in harnessing local talents in their own countries. The local film community is supported by providing opportunity to the next level in the industry. Ticket sales for crewmembers, family and friends are guaranteed for built-in audience since some people may not be able to travel far. The money earned in such ways goes directly to the filmmakers who can then use to support their work. Film industry is one of the complex industries that call for networking for one to succeed (Issler, 2010). Understandably, there are many stages followed before a single film is produced and accepted by the public. In order to negotiate all the stages, filmmaker need to network and create relationships, especially with those who have been in the industry for long. In this regard, film festivals provide filmmakers opportunities to commune with other filmmakers, media representatives, supporters, corporations, and other professionals. The relationship created is instrumental in taking one to the next level. However, it is advisable to make relevant contacts that would lead to lifelong friendship in the industry (Jorge 2008). Networking with experienced and skilled filmmaker acts as an avenue of creating collaborative possibilities and assistance in the filmmaking industry. TIFF has provided thousands of new and gifted filmmakers the opportunities to network, who have further become world studies in the industry. Local theaters are instrumental in promoting domestic and international film industry (Quattrone 2009). Film festivals are one of the areas that individuals and stakeholders in the industry use to grow production of films in their respective countries. If local film theaters were not supported and given opportunities to expand, the international stars would have taken long term to hit international stage. The reality of this fact has made May players including government to come in and support the film industry in many ways. Although there is reluctance in some countries, over the last few decades, many countries have embraced the significant role that film industry plays in the economic development. In some cases, lack of proper arrangements involving the festival promoters and the theaters that host the festivals lead to conflicts of interests and disagreements. However, theaters enjoy some benefits such as boosting the concession sales, as well as word of mouth advertisements on the venue. Theaters are encouraged to ensure that their services are on the top gear to avoid hurting their business especially if they experience technical problems during the event (Moloney 2012). Further, the level of hospitality and other general services must be of high quality in order to get positive feedback from the clients. Proactive approaches in the management of theater during film festivals are critical so that issues of failure can be eliminated. The bottom line is that the entire film industry is not only improved at the local levels but also at international platforms. In order to ensure that big sales are made in the film industry, educating the potential and existing clients is important (Moloney 2012). One of the avenues of educating the public is through organizing film festivals. As indicated above, since its inception, TIFF has introduced many programs that intend to foster understanding of the film industry. Further, the experienced individuals and corporate companies hold Training and workshops during the TIFF (Riahi-Belkaoui 2014). Upcoming and new filmmakers get to understand how to grow and take their work to the next levels. Such platforms are instrumental in promoting contemporary film industry across the world. Study shows that many people travel from long distances within Canada and from other parts of the world because of the training and workshops provided. The impact of such efforts is felt back at home as well as at international platforms. At TIFF, special programs and training are held for children who are interested in filmmaking. They are taught specific aspects of filmmaking including some social issues and art forms. Finally, distribution of films across the world is enhanced through film festivals (Riahi-Belkaoui 2014). The TIFF, as the case with other film festivals across the globe, acts as a marketplace for films and filmmaking. Additionally, new and old films are accessed in local markets as well as local films being sold at international level. The net effect is that the world, as a global village is able to share all kinds of film experience. On the same connection, filmmakers and corporations make money in return. Further, it is very challenging for a new or inexperienced filmmaker to produce and sell films at the international platforms (Hopwood 2009). However, through film festivals, many filmmakers are able to distribute their work to the different cultures and societies. Sharing of information through film helps to understand diversity of people and the kind of films produced in different parts of the world. Consequently, a filmmaker can learn other techniques and methods applied by various players. The general effect is that the public is able to share information and cultures though films internationally. Conclusion The emergence of many in festivals such TIFF across different cities in the world has played an important role in improving film industry in many ways. In its part, TIFF has helped to nurture new and upcoming filmmakers including the local artists. Generally, the above study has shown that since its inception, TIFF has played a critical role of promoting and enhancing film industry both at domestic and international level. References British Film Institute & British Council. (2013). International film festivals directory. London, BFI. Lerner, L. R. (2012). Canadian film and video 2. 2. Toronto, Univ. of Toronto Press. Durie, J. (2006). Marketing and selling your film around the world. Silman-James Press. Druick, Z. (2007). Projecting Canada government policy and documentary film at the National Film Board of Canada. Montreal [Que.], McGill-Queen's University Press. Gore, C. (2005). The ultimate film festival survival guide. Hollywood, CA, Lone Eagle. Graham, G. G. (2008). Canadian film technology, 1896-1986. Newark, University of Delaware Press. Hopwood, A. G. (2009). Handbooks of Films. Burlington, Elsevier. Issler, S. (2010). Education and Festival Films: connecting local and global perspectives. London, Continuum Jorge, S. (2008). Implementing Reforms in the Filming Industry. Coimbra, Universidade de Coimbra / Coimbra University Press Wardell, G. (2009). Film festival secrets: a handbook for independent filmmakers. Austin, Tex, Stomp Tokyo. Marshall, W. (2005). Film Festival Confidential. Toronto: McArthur. Print. Melnyk, G. (2006). One hundred years of Canadian cinema. Toronto, Univ. of Toronto Press. McKay J. (2009). Toronto International Film Festival.” Canadian Press NewsWire. CBCA Reference and Current Events.  McLaren L. (2007). “Board Is All Business as Pressure to Raise Big Bucks Intensifies. Toronto. Globe and Mail. Moloney P. (2012). “Film Fest Board Bounces Two Toronto Councillors.” Toronto, Torstar Syndication Services, Peranson M (2009). “First You Get the Power, Then You Get the Money: Two Models of Film Festivals.” Dekalog 3: On Film Festivals. London, Wallflower. Punter J. (2010). “Toronto Tastemakers Join Lest in Transition. Toronto, Cengage. Quattrone, P. (2009). Toronto Films. Hoboken, N.J., Wiley Riahi-Belkaoui, A. (2014). The Future of Film Industry. Westport, Conn, Quorum. Shields, M. D. (2007). Importance Of Films. [Volume 2] [Volume 2]. Amsterdam, Elsevier. Svensson, G. W. (2013). The dynamics of Filming: a function of time and culture-cases and models. Management Decision, 350-361 Thompson, K. (2011). Exporting entertainment: America in the world film market, 1907-34. London, BFI Publ. Valck, M. D. (2007). Film festivals: from European geopolitics to global cinephilia. Amsterdam, Amsterdam University Press. Wise, W. (2011). Take one's Essential guide to Canadian film. Toronto, University of Toronto Press. Wong, C. H. (2011). Film festivals: culture, people, and power on the global screen. New Brunswick, N.J., Rutgers University Press. . Read More

As noted above, several categories have been established in recent years. In the TIFF, all categories are grouped for the participants to compete for various awards including prize money. Therefore, the consideration of the festival as non-competitive is seen as a public relations Ture. Since the early 80s, TIFF has evolved as a trade market, especially after holding the first “Trade Forum” in 1979. The main purpose of the “Trade Forum” at the TIFF is to provide a platform where professionals from the industry can offer talks and workshops that are geared towards helping stakeholders and upcoming filmmakers distend the market. However, many changes on the forum have been implemented including changing moving the event to the Match Club and the Roger’s Industry Centre (Thompson 2011). The development of the festivals today can be attributed to Wayne Clarkson, who took the directorship of the organization in 1980. He helped in adding the “Contemporary World Cinema” program to the festivals.

In the last decade, the TIFF has expanded its efforts in promoting the g film industry in Canada (Wardell 2009). Among the latest events is the “PThis this!” that helps the upcoming filmmakers to pitch their work to the distributors and producers. Since its introduction, “Pitch This!” has assisted many new filmmakers from across the world by connecting them to world-famous famous film producers and distributors. On the other hand, the “Special Delivery” event has been established to allow underprivileged youth to attend the festival’s experience. However, one of the latest programs is the “Talent Lab,” an event that was introduced for Canadian filmmakers. The Industry Initiatives Office for Canadian filmmakers has since been opened to enhance the film industry in the country.

Evidently, TIFF was boosted five years ago when TIFF Bell Lightbox was constructed in 2010. The center acts as the central location where ongoing TIFF operations are conducted. The construction and opening of TIFF Bell Lightbox catapulted TIFF to be one of Toronto’s premier cultural events. Therefore, over the years other local and international festivals have emulated TIFF due to its excellent growth, a strong reputation in the industry, and remarkable organizational enterprise (Wise 2011).

TIFF’s Impact on the Canadian Film Industry

Compared to other big film festivals such as Cannes, Berlin, and Venice, TIFF can be considered non-competitive (Marshall 2005). The TIFF does not have a pre-selected jury that oversees the entire festival with an aim of choosing the winners (McKay 2009). However, the fact that most of the Canadian filmmakers are awarded prizes in the festival underscores its competitiveness. In order to select the winning film, the selection is done by the votes cast by the audience that has made it be regarded as the “festival of the people”. Among the awards is the “The People’s Choice Award” which crystallizes TIFF as a much more public festival, compared to other film events across the globe.

The promotion of TIFF over the years has played an instrumental role in enhancing the film industry in Canada (McLaren 2007). The reality of this premise was further sealed when the TIFF was including in the list of film festivals under the international film circuit. The inclusion of TIFF in the circuit enabled the programmers to experiment with other film festival events across the circuit. In addition, it played a critical role in broadening the film industry, making it one of the well-paying industries in the country. At the same time, many people have been employed in the film industry because of the TIFF. 

As indicated earlier on, many programs have been introduced at the festival. Most of these programs are intended to improve the talents that are available in the Canadian population. In addition, programmers of TIFF have been able to conduct feasibility of various film festivals models and their integration in Toronto’s film culture (Svensson 2013).

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