The Role of the Film Festival in the Contemporary International Film Culture - Case Study Example

Film Festival Case Study Name Institution Film Festival Case Study Introduction Film festivals continue to become an increasingly popular approach towards generating economic benefit to communities. Film festivals operate as sites of exhibition, thus the opportunity to offer economic, political, cultural, and industrial implications. In addition, certain scholars tend to perceive film festivals as sites of knowledge production. From this perspective, film festivals have the tendency of serving multiple functions with reference to the cultural, artistic, political, and business spheres. These functions tend to overlap and enjoy mutual constitutive spheres rather than existing as separate entities. Film festivals are increasingly more significant because of the financial rewards from the theatrical distribution. It is fascinating that film festivals continue to grow in significances, thus the platform for unseating the theatrical distribution as the most important aspect in the films’ success. The purpose of this case study is to evaluate and illustrate the role of the film festival in the contemporary international film culture. Background Information It is essential to note that the origin of the film festivals emanates from the rise of the film societies, as well as the cine-clubs across various nations during the 1920s. This is because of the need to generate a reaction to the dominance of the powerful and emerging Hollywood film industry in comparison to the cinemas of the less well-endowed nations, as well as the non-commercial movements as documentary and avant-garde films. From this perspective, it is critical to note the fact of the rapid growth and flourishing of the clubs and societies under the influence of the emergence of the impressionist and surrealist cinemas. The film festivals focused on the exploitation of the platform to share ideas, as well as inspirations regardless to the national borders. The first film festival came into being as a direct result in relation to the work of the Italian dictator Benito Mussolini’s enthusiasm towards understanding the influence of motion pictures as perfect tools for the political public relations and propaganda. Benito did focus on spending lavishly towards building up the native film industry, thus demonstration of the eagerness to spur the development of the state-run Italian cinema in the midst of the competition from Hollywood and other aspects of the film industry. In addition, he did focus on the integration or implementation of heavy taxation on the dubbing of the foreign-language movies with the intention of hampering the distribution, as well as exhibition of such contents. Film festivals did proliferate at a growing rate in the European continent and elsewhere in the 1950s with the objective of affirming the existing artistic, as well as the commercial significance and importance of the film during the period when global warfare was becoming a memory (Ruby, 2000). In addition, the period associates with the tendency of the entry of the world culture into the second half of the twentieth century. It is critical to note the fact that politics did play a far smaller role in the development of this phase in comparison to the influence of the political factors in relation to the emergence of the Venice and Cannes festivals. Nevertheless, the political factors and consideration did not vanish from the scene. For instance, 1951 oversaw the establishment of the large and ambitious Berlin International Film Festival with the objective of demonstrating the geographical and artistic meeting platform for the East and West in the midst of the Cold War (Baumann, 2001). In the 1960s, there were new developments in relation to the emergence of the new festival in the form of the New York Film Festival at Lincoln Centre, which comes out as one of the city’s leading cultural platforms in the global context. The modelling did take from the London Film Festival, thus the perfect platform to exploit the enormous prestige within the artistic community in the course of underwriting the aesthetic of art films, avant-garde films, and documentaries. The festival did focus on showing a limited quantity of films. In the 1970s, the development of the film industry did experience two critical events. In the first instance, there was the debut of the Toronto International Film Festival in 1976 as the Festival of Festivals. The name did underscore the commitment of the festival towards importing major attractions from other festivals for the Canadian audiences (De Valck, 2006). Secondly, there was the emergence of the United States Film Festival in Salt Lake City in 1978 with the intention of highlighting the assets of the state as a site for the film production. During its initial aspects of development, the film festival did focus on concentrating the energies on retrospectives, as well as the discussion-centred activities and events. Later, the film festival focused on sponsoring nationwide competitions for the new independent films prior to seeking higher profile. Besides these attention-getting international festivals, various modest events did crop up (De Valck, 2006). Some of these film festivals continue to establish the uniqueness through the usage of a word other than ‘festival’ in their names. This continues to express and emphasise on the relationships between the cinema and the written word. Case Study: Melbourne International Film Festival (MIFF) Melbourne International Film Festival (MIFF) came into existence in 1952, thus making it one of the oldest film festivals in the global context, as well as the largest in the Southern Hemisphere. In addition, the festival tends to have a large, dedicated, and growing audience under the influence of a well-established public profile as one of the major events in relation to the Australian calendar. It is essential to note that the festival proves to be a unique event in the case of Australia under the influence of vibrant screening programs, loyal audience, and industry initiatives, which are critical in the provision of opportunities for the Australian filmmakers at various levels. In the recent years, MIFF has focused on successful expansion of its activities with the intention of including a raft of industry, as well as creation of filmmakers focused on programs, thus the platform towards complementing its core business and the screening program. MIFF has been on the forefront towards recommending the fact that screen Australia should focus on maintaining, as well as enhancing the festival funding under the influence of the industry and cultural development funding programs. These programs should focus on the general audience development imperative, specifically for the local content or products. From this perspective, film festivals are critical aspects of the broadening tastes and acting of the audience for the new Australian films. Furthermore, the film festivals will become increasingly essential in the course of nurturing the thriving Australian screen culture sector. MIFF feels the need to contribute to the international cultural presentations in relation to the growth and development of the Australian film particularly in the curatorial sphere. MIFF plays a critical role in previewing new Australian film and documentary, thus the opportunity to contextualise Australian film against trends, and developments in the global cinema. This is through working closely with the directors, producers, and actors within the festival environment inclusive of conducting forums for feedback towards enjoying a relationship with the filmmakers on the ground. This level of expertise is essential in putting together programs for the international showcases, thus massive influence of the contemporary international culture film. MIFF has the tendency of exploring the diversity of the modern and classic Asian cinema, thus the platform for the growth and development of the international culture film. Melbourne International Film Festival (MIFF) tends to have diverse mission and objectives in relation to the Australian cultural development. For instance, the mission of this festival is to present a celebratory event under the influence of outstanding screening program of the best new international cinema in association with special tributes, as well as retrospectives. In addition, MIFF focuses on challenging, as well as revealing discoveries in the cinematic language while generating the platform to provoke discussion and debates under the influence of various contextualised activities. Some of these activities include public panels, quest questions and answers, and in-conversation events, as well as the international short film competition. Moreover, MIFF provides the opportunity for championing Australian cinema through highlighting local talent, as well as targeting industry programs. Some of these programs include an investment fund, financing market, and development program for effective and efficient interaction for the emerging directors. MIFF also provides the platform for screening works or artistic outputs in optimum screening formats, thus the perfect opportunity to utilise new technology effectively and efficiently towards engaging the community with cinema. In the course of achieving these objectives, MIFF focuses on the usage of its large, dedicated, as well as growing audience under the influence of the well-established public profile to organise a major event on the Australian calendar. The festival comes out as a unique event in Australia under the influence of the vibrant screening program, as well as the loyal audience and the industry initiative with the obligation of offering opportunities for the Australian filmmakers at various levels. In the recent years, MIFF has focused on realisation of successful expansion or extension of the activities to include the raft of the industry while engaging filmmakers through programs to complete the core business, which is the screening program. Festival programmers have the obligation to select, as well as invite all the films at the festival. It is also essential to note that the selected filmmakers to participate in the event receive notifications through email at the festival’s discretion. On the other hand, filmmakers who fail to make the cut receive notification via email by the month of June. This level of communication is essential in enhancing effectiveness and efficiency in the course of ensuring that the filmmakers prepare adequately in accordance with the demands and expectations of the target audiences. From the above illustrations, it is essential to note that MIFF plays a critical role as one of the global film festivals. Firstly, MIFF provides the perfect platform for the local filmmakers and artists to demonstrate their talents and expertise. In the course of executing this obligation, MIFF provides the opportunity for Australian filmmakers to display their talents to the global platform. This is also vital in the development of the Australian culture through displays in the global context (Moeran & Pedersen, 2011). In addition, such filmmakers have the opportunity to interact with the global or renowned filmmakers, thus the perfect platform to engage towards development of the prowess, skills, and knowledge of the amateur filmmakers. MIFF provides the opportunity for the local audiences to enjoy diverse artistic outputs with reference to screening of different categories of film. This is vital in the maximisation of the satisfaction levels in relation to the demands and expectations of the consumers or the audiences. These aspects are critical in the improvement of the quality of the films or movies, which must address the demands and expectations of the consumers. Similarly, MIFF associates with massive increase in the revenues to the local authority. This is because of the large audience and established platform for the tourists to visit Melbourne for the artistic event. This is vital in the course of ensuring interaction between the local and the tourists, thus cultural expertise (Moeran & Pedersen, 2011). Additionally, MIFF champions for the growth and development in the modern culture. This is through provision of the opportunity for the interaction between the local and international cultures, as well as engagement between the local and international filmmakers. The event is ideal in initiative ideas for the further filmmaking, as well as improvement of the quality in accordance with the increase in the level of competition under the influence of quality. The event seeks to incorporate feedback of the audience with the intention of improving the quality of the films in accordance with the demands and expectations of the audience. Furthermore, there is need to focus on the utilisation of the film festival to enhance the growth and development within the film industry (Moeran & Pedersen, 2011). This is because of the need to develop other aspects of the film industry under the influence of technological advancements. On the other hand, it is appropriate for the filmmakers to maximise such film festivals to make more films, which will facilitate satisfaction of the demands and expectations, as well as preferences of the consumers within the film industry. From this perspective, MIFF provides the platform for the filmmakers to grow, develop, and generate more quality products to satisfy the needs and ever-growing demand within the film and entertainment industry in the case of Australia, as well as the global context. Discussion It is essential to note that film festivals constitute the main institutional alternative to the commercially driven cinema, thus the opportunity to occupy the vital part of the cultural heritage in the film industry. Film festival provides the exemplary model for the broadening cinema knowledge, as well as education. Similarly, film festivals have the tendency of playing the role in bridging art and commerce while enjoying the perception as instances of tournament rituals and field configuring events (Rüling & Pedersen, 2010). From the aforementioned case studies, it is essential to note that the film festival contributes to the contemporary film culture in diverse ways. In the first instance, it is ideal to elaborate the fact that such festivals have the tendency of improving the level of competition, which associates with the contemporary film culture. The media practitioners and film professionals have the tendency of outdoing each other with the quality works in the production of their films in order to achieve or receive awards and accolades for their artistic works. This is vital in the process of enhancing quality competition within the film industry (Evans, 2007). In addition, the film festivals have been essential in the improvement of the cultural diversity in the film industry. This is because of the need to enhance diverse quality in the production and conception of the global or international films. Moreover, it is appropriate to demonstrate the fact that film festivals continue to play a critical role in the generation of diverse genres in accordance with the demands and expectations of the audiences through screening of the films in the annual events. Film festivals have the tendency of offering or providing the perfect platform for displaying new talent. From this perspective, the best approach for an up-and-coming filmmaker to get his or her name in the film industry is to submit a film with the intention of gaining acceptance into the film festivals. This indicates that the filmmakers have the opportunity to meet the audiences in such platforms, thus the chance to reap further benefits for their skills and expertise to win over the audience. In addition, film festivals have focused on the provision of quality support to the local talent (Manifesto, 2012). This is through concentrating on the provision of preference to the local filmmakers in the course of picking the films to screen within the geographical context of interest. This approach is essential in the course of offering substantive support and encouragement to the local film community, thus enabling the local filmmakers to leap to the next level. Moreover, film festivals guarantee ticket sales because of the built-in audience in relation to the crew members, actors, family, and friend since they do not need to travel far to offer adequate support to the film. Film festivals are also essential in the provision of networking platforms. The film festivals facilitate networking through ensuring that filmmakers have the chance to commune with the fellow filmmakers, media representatives, and diverse media practitioners (Mazdon, 2007). This is ideal for the generation of significant contacts and relationships within the film industry, thus the opportunity for growth and development of the industry. Film festivals come out as the perfect tools towards promotion of tourism through attracting tourists from both in and out of the relevant geographical location. It is essential to note that filmmakers have the tendency of travelling across the nation in the course of attending, as well as promoting a screening of their film. In addition, film festivals have the tendency of attracting media professionals, as well as practitioners (De Valck, 2007). In the course of executing these activities, film festivals have the tendency of catering towards the interests of the locals, thus the opportunity for exploitation of the cultural aspects of the artistic films (De Valck & Skadi Loist, 2009). Most film festivals demonstrate the tendency to favour a specific market, thus integration of the films based within the region or subject of relevancy towards the needs and expectations of the locals. This approach is also essential in bringing a particular or specific genre fans to the film festivals in accordance to the perception of the niche. Furthermore, this will provide substantive support towards benefiting the local theatres and merchants, thus the eventual growth and influence on the contemporary of the film culture (Wong, 2011). Film festivals tend to bring community planners and organisers together, thus creating the platform for fostering an atmosphere of regional pride in accordance to the perception of the practitioners. Conclusion Conclusively, film festivals operate as sites of exhibition, thus the opportunity to offer economic, political, cultural, and industrial implications. In addition, certain scholars tend to perceive film festivals as sites of knowledge production. From this perspective, film festivals have the tendency of serving multiple functions with reference to the cultural, artistic, political, and business spheres. The purpose of this research essay was to evaluate and illustrate the role of the film festival in the contemporary international film culture. Film festivals have the tendency of offering or providing the perfect platform for displaying new talent. From this perspective, the best approach for an up-and-coming filmmaker to get his or her name in the film industry is to submit a film with the intention of gaining acceptance into the film festivals. Film festival provides the exemplary model for the broadening cinema knowledge, as well as education. Similarly, film festivals have the tendency of playing the role in bridging art and commerce while enjoying the perception as instances of tournament rituals and field configuring events. References Baumann, S. (2001). Intellectualization and art world development: Film in the United States. American Sociological Review, 404-426. Czach, L. (2004). Film Festivals, Programming, and the Building of a National Cinema. The moving image, 4(1), 76-88. De Valck, M. (2007). Film festivals: from European geopolitics to global cinephilia. Amsterdam university press. De Valck, Marijke (2006). “Film Festivals: History and Theory of a European Phenomenon that Became a Global Network.” Dissertation. Amsterdam: Univ. of Amsterdam, ASCA. (2006). De Valck, Marijke, and Skadi Loist (2009). “Film Festival Studies: An Overview of a Burgeoning Field.” Film Festival Yearbook 1: The Festival Circuit. Eds. Dina Iordanova, and Ragan Rhyne. St. Andrews: St. Andrews Film Studies. pp. 179–215. Evans, Owen (2007). “Border Exchanges: The Role of the European Film Festival.” Journal of Contemporary European Studies 15:1 (2007): 23–33. Form: A Manifesto (2012).” The Film Festivals Reader. Ed. Dina Iordanova. St Andrews: St Andrews Film Studies. pp. 167–172. Mazdon, L. (2007). Transnational ‘French Cinema: The Cannes Film Festival. Modern & Contemporary France, 15(1), 9-20. Mezias, Stephen, et al. (2008). “Much Ado about Nothing? Untangling the Impact of European Premier Film Festivals.” Creative Encounters Working Papers 14. . (29 Jun. 2009) Ruby, J. (2000). Picturing culture: Explorations of film and anthropology. University of Chicago Press. Rüling, C. C., & Pedersen, J. S. (2010). Film festival research from an organizational studies perspective. Scandinavian Journal of Management, 26(3), 318-323. Wong, C. H. Y. (2011). Film festivals: Culture, people, and power on the global screen. Rutgers University Press. Moeran, B., & Pedersen, J. S. (Eds.). (2011). Negotiating values in the creative industries: Fairs, festivals and competitive events. Cambridge University Press. Read More