Joint-honours information for 2016 entry

The Film Festival Circuit

Module P4122

Module details for 2016/17.

30 credits

FHEQ Level 6


de Valck, Marijke. Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press, 2007.
Elsaesser, Thomas. ‘Film Festival Networks: The New Topographies of Cinema in Europe’. In European Cinema: Face to Face with Hollywood. Amsterdam: Amsterdam University Press, 2005.
Iordanova, Dina and Rhyne, Ragan (eds). Film Festival Yearbook 1: The Festival Circuit. St Andrews Film Studies Press, 2009.
Nornes, Markus. “Yamagata-Asia-Europe: The International Film Festival Short Circuit”. In The Oxford Handbook of Japanese Cinemas, edited by Daisuke Miyao. Oxford: Oxford University Press, 2014.
Peranson, Mark. “First You Get the Power, Then You Get the Money: Two Models of Film Festivals”. Cineaste 33, no.3 (2008): 37-43.
Schwartz, Vanessa. “The Cannes Film Festival and the Marketing of Cosmopolitanism.” It’s So French! Hollywood, Paris and the Making of Cosmopolitan Film Culture. Chicago: University of Chicago Press, 2007.
Stringer, Julian, ‘Global Cities and the International Film Festival Economy’. In Cinema and the City: Film and Urban Societies in a Global Context, edited by M. Shiel and T. Fitzmaurice. London: Wiley Blackwell, 2001.
Turan, Kenneth. Sundance to Sarajevo: Film Festivals and the World They Made. Berkeley, CA: Univ. of California Press, 2002.
Wong, Cindy. “Distant Screens: Film Festivals and the Projection of Hong Kong Cinema”. In Hong Kong Film, Hollywood and the New Global Cinema, edited by Gina Marchetti and Tan See Kam. London and New York: Routledge, 2007.
- Film Festivals: Culture, People, and Power on the Global Screen. New Jersey: Rutgers University Press, 2011.
Yu, Tianqi. “Going Global – Guangzhou International Documentary Film Festival 2013”. Studies in Documentary Film 8, no.1 (2014): 76-79.

Module Outline

Film festivals emerged as a feature of film culture, broadly conceived, in the period between the two world wars: the Venice Film Festival, often pinpointed as the first formal festival, was founded in 1932. Nevertheless, it is only in the past decade that the study of festivals has emerged as an interdisciplinary subfield of Film Studies. This option aims to introduce students to this relatively new field, providing an overview of conceptual and methodological issues associated with the study of festivals. These may include: what are the historical roots of the film festival? What is the relationship of the festival to the contemporary film industry (e.g. as an alternative sites of exhibition, distribution, and production)? Where do festivals fit within the contemporary global cultural economy (e.g. in relation to city branding and tourism)? What new models of festivals have emerged from the expansion of events since the 1990s (e.g. the rise of the programmer, the growth of East Asia as a festival hub)? What is the relationship of festivals to contemporary cultural politics and alternative publics (e.g. the emergence of the activist film festival and the LGBTQ film festival)? What different methodological approaches might we take to the study of festivals (e.g. stakeholder, network, and discourse analysis; participant observation)? Brighton, the location of several events, is an excellent location in which to study this phenomenon. Depending on the timing of this course, opportunities may arise to visit festival sites as part of the course.

Module learning outcomes

Demonstrate a systematic understanding of critical concepts and methodologies relevant to the study of film festivals.

Identify, describe and evaluate scholarship on film festivals with attention to relevant source material, secondary and primary, historical and contemporary.

Deploy these critical concepts and methodologies in the analysis of specific case studies, demonstrating an understanding of different approaches and ideas, and an ability to evaluate the appropriateness of different approaches in relation to a range of case studies.

Demonstrate the ability to devise and sustain arguments, to appreciate the ambiguity of knowledge, and to comment on current research.

Coursework components. Weighted as shown below.
Group PresentationT1 Week 12 30.00%
EssayA1 Week 1 70.00%

Submission deadlines may vary for different types of assignment/groups of students.


Coursework components (if listed) total 100% of the overall coursework weighting value.

TermMethodDurationWeek pattern
Autumn SemesterSeminar2 hours111101111110

How to read the week pattern

The numbers indicate the weeks of the term and how many events take place each week.

Dr Luke Robinson

Convenor, Assess convenor

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