HomeFestivals and trans (national) cinematographic dynamics : forms of production, circulation and representation

HomeFestivals and trans (national) cinematographic dynamics : forms of production, circulation and representation

Festivals and trans (national) cinematographic dynamics : forms of production, circulation and representation

Festivals et dynamiques cinématographiques trans(nationales) : formes de production, de circulation et de représentation

Festivales y dinámicas cinematográficas trans(nacionales) : formas de producción, de circulación y de representación

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Published on Friday, September 03, 2021 by Céline Guilleux

Summary

This international conference will take place at the University of Toulouse 2, simultaneously to the international film festival Cinelatino - Rencontres de Toulouse in March 2022. The objective is to go beyond a binary national / transnational approach to cinema in order to understand the articulation between practices, mediations, rhetorics and representations that form this contemporary cinematographic spatiality. It aims at promoting a collective and internationally open dialogue around the strong relations between festivals, production support systems, residencies and the circulation of professionals. If the starting point was the cinemas of Latin America, it is now our intention to develop a more comparative approach with other regions of the world which also participate in these international dynamics - such as Africa, Asia, Eastern Europe, the Near and Middle East....

Announcement

Argument

Bringing together researchers from Lerass –  Laboratory of Applied Studies and Research in Social Sciences (Toulouse) and several research teams and departments of the University of Toulouse Jean-Jaurès (FRAMESPA, CEIIBA, IPEAT), researchers from Nice Sophia Antipolis University, Paris Sorbonne University and Cergy Paris University, this international conference is organized in partnership with the Cinélatino Festival, Rencontres de Toulouse. This partnership has taken shape since 2013 with annual colloquiums dedicated to Latin American cinematographic experiences.

The twenty-first century represents a turning point for Latin American cinematographies, which find themselves imbedded in new logics of internationalization: the production processes of films are linked to dynamics outside the national production frameworks, while circulation takes place within a festival circuit that has become, over time, a major player in the innovation of these production strategies. A network of actors specific to this circuit is gradually being configured, and new institutional and professional logics are emerging as well as socio-economic, geopolitical and intercultural challenges.

Moreover, French cinema professionals and institutions supporting film production occupy a privileged place within this network by participating in the transnationalization of films from the South through support funds, co-productions and festivals. The contemporary context has widened the trade market to include the United States, and even Asia, with the increasing number of festivals dedicated to singular cinematographies, and the rise of platforms such as Netflix which further amplifies  these dynamics through their investments in the production of films and series for the benefit of Latin American and Asian filmmakers who have first emerged in European circuits.

This conference will pay close attention to the historically and geographically multi-located features of these cultural phenomena - as well as the theoretical concepts used to analyze this field - in order to address  and question the imbalances and inequalities of power at work within these transnational processes.

The objective is to go beyond a binary national / transnational approach to cinema in order to understand the articulation between practices, mediations, rhetorics and representations that form this contemporary cinematographic spatiality. The strong relations between festivals, production support systems, residencies and the circulation of professionals lead us to encourage a global approach that would help create a dialogue between research issues and fields. We propose questioning the relations between the creative process, the production dynamics and the circulation of films which have progressively gained in importance within the film market and which have put in tension the relations between national space and transnational networks. If the starting point was the cinemas of Latin America, it is now our intention to develop a more comparative approach with other regions of the world which also participate in these international dynamics - such as Africa, Asia, Eastern Europe, the Near and Middle East....

We aim at promoting a collective and internationally open dialogue around these transnational film dynamics, which will combine several approaches: political economy, discursive analysis, aesthetic and media-cultural approaches, and more largely approaches based on cultural studies. Often involved distinctively in research works, the articulation between these different approaches promises a better understanding of the sector's complexity and its production processes, including the creation, circulation and reception of films.

The conference focuses on three main topics:

1 - Film festivals

Taking a more important role in contemporary film studies, film festivals have become a productive object of study to analyze the contemporary film flows and the representations of the world they convey. The development of Film Festival Studies can be understood as the result of the surprising growth of film festivals around the world – from major cities of industrialized countries to the more remote territories of the planet – as well as of the evolution of the role of film festivals in the world film market. Besides their traditional role of film exhibition and distribution, film festivals also play an increasingly important role in the other stages of film production through the creation of workshops and writing residencies, film project markets, work in progress, networks, etc.

These transformations have been a turning point for young cinematographies from Latin America as well as from the Global South. The study of the official and parallel selections of well-known international film festivals, and festivals which specialize in a specific cinematography, broadens new opportunities to understand the cultural and geo-aesthetic challenges of these cinemas, while highlighting the active role of these film festivals in the definition of an ideal standard and aesthetic values.

This topic will focus on the specificities of these film festival flows that connect together several territories – Europe and Latin America, but also United States, Africa and Asia. It aims to explore and analyze the way in which the film festival or the festival circuit displays a unique cultural configuration that is affected by filmmakers and professionals' mobility, the circulation of film projects, films in progress as well as completed films. From which apparatus (parallel selections, system for professional audiences, partnership with other cultural events, etc.) do film festivals contribute to the process of transnationalisation of these cinemas?

2 - Actors, networks, negotiations

This second topic aims to focus on the study of film production practices (festivals, markets, funds, writing residencies, professional platforms, and support funds), in relation to the professional actors’ point of view (producers, fund managers and juries, festival programmers, delegates, salespeople, etc.) in order to bring out the economic, cultural, aesthetic and political issues related  to these circuits and the type of cinematographic objects that are shaped there.

Understood from the angle of negotiation, the transnational perspective questions the imbalances and inequalities of power at work within the internationalization processes of the film industries. The analysis of international co-productions and of the creative processes, seen as co-construction of films, requires taking into consideration the balance of power and negotiation strategies (Higbee and Ling, 2012) of local directors and producers, whom are brought to respond to the injunctions (often agreed) of the various actors “authorizing” the existence of their films. Research based on the political economy of communication, on discourse analysis as well as cultural studies research will be particularly appreciated.

3 - Itineraries of filmmakers and forms of representation

This topic will focus on the analysis of the link between the production and the distribution of films and film forms. The study of filmmakers' itineraries allows us to question the relationships between cinematographic worlds (actors, economic and cultural issues) and cinematographic representation. In which ways can we convey the double process of territorialization and deterritorialization at work in contemporary cinematographic experiences (new communities of belonging, local anchoring of film narratives)? To what extent the trajectories of the filmmakers and the itineraries of the projects as well as the films reconfigure the cultural hierarchies and the modes of legitimization of these cinemas, consequently revealing both the location of the territories in the map of the world of cinema and the affirmation of the local territories to which film narratives are attached ? Case studies could be considered for the presentation of these contemporary film flows - studies about filmmakers, films, or cinematographies – in order to grasp the strategies used by the filmmakers as well as the films themselves in relation to the institutions, the funding bodies and the audience.

Submission Guidelines

Authors are invited to submit their paper proposals to colloque.cinemas.2022@gmail.com

before november the 8th 2021.

Submitted abstracts will be evaluated by the Scientific Committee.  

The proposals should include :

  • Name and last name, email address, and institutional filiation of the author.
  • Title of their proposition
  • An abstract with a maximum of 6000 characters (spaces included), with a brief bibliographie

The official languages for the full papers and presentations in the Conference are: English, French and Spanish.

Registration fees

  • With paper : 40 €
  • Without paper : 20 €
  • Students of the UT2J are exempt

Scientific committee

  • Julie Amiot (PR, Université de Cergy-Pontoise)
  • Nancy Berthier (PR, Université Paris Sorbonne)
  • Franck Bousquet (PR, Université Toulouse 3 - Paul Sabatier)
  • Marion Gautreau (MCF, Université Toulouse 2 - Jean Jaurès)
  • Pietsie Feenstra (PR, Université Montpellier 3 - Paul Valéry)
  • Hélène Laurichesse (PR, Université Toulouse 2 - Jean Jaurès)
  • Maria Luna (Enseignante chercheure, Technocampus – Université Pompeu Fabra)
  • Frédéric Marty (MCF, Université Montpellier 3 - Paul Valéry)
  • Amanda Rueda (MCF, Université Toulouse 2 - Jean Jaurès)
  • Julie Savelli (MCF, Université Montpellier 3 - Paul Valéry)
  • Christel Taillibert (MCF, Université Côte d'Azur)
  • Alvaro Vázquez Mantecón (PR, Université Autónoma de México)

Organizing committee

  • Reem Abuhalaweh (Doctorante LERASS - UT2J)
  • Claudia Adrianzen (Doctorante LERASS - UT2J)
  • Marion Gautreau (MCF, FRAMESPA - UT2J)
  • Cassandra Herrera Caicedo (Doctorante - FRAMESPA - UT2J)
  • Mélanie Le Forestier (Docteure, LERASS - UT2J)
  • Gloria Pineda-Moncada (Doctorante LERASS - UPS)
  • Amanda Rueda (MCF, LERASS - UT2J)
  • Gustavo Suárez (Docteur, LERASS - UT2J)

Selective bibliography

Campos-Rabadán, M. (2020). « Tensiones en el circuito cinematográfico internacional: modelo para el estudio de los festivales latinoamericanos », Comunicación y Medios, n° 42, pp. 72-84.

https://doi.org/10.5354/0719-1529.2019.57258

Cicchelli, V. & Octobre, S. (Coord.). (2021). « Dossier : La globalisation de la culture à l’aune de la circulation des produits culturels », Réseaux, n° 226-227.

Creton, L. (2020). Économie du cinéma : perspectives stratégiques, 6  édition, Paris, Armand Colin.

Creton, L. et Kitsopanidou, K. (2016). Crowdfunding, industries culturelles et démarche participative. De nouveaux financements pour la création. Collection « ICCA », Peter Lang.

Chan, F. (2015). « Backstage/Onstage Cosmopolitanism ». In Glick Schiller, N.  & Irving, A. (Eds), Whose Cosmopolitanism? : Critical Perspectives, Relationalities and Discontents, New York, Berghahn. pp. 187–98.

Delanty, G. (2006). « The cosmopolitan imagination: critical cosmopolitanism and social theory », The British Journal of Sociology, Vol. 57, n° 1, pp. 25 – 47.

Dennison, S. (Ed.). (2013). Contemporary Hispanic Cinema: Interrogating the Transnational in Spanish and Latin American Film, New York, Boydell & Brewer.

De Valck, M. (2007). Film festivals. From European Geopolitics to Global Cinephilia, Amsterdam, Amsterdam University Press.

Dovey, L. (2015). Curating Africa in the Age of Film Festivals, Londres, Palgrave Macmillan.

Falicov, T. (2016). « The “Festival Film” : Film Festivals Funds as Cultural Intermediaries ». In de Valck, M., Kredell, B.  & Loist, S. (Eds), Film Festivals: History, Theory, Method, Practice, Londres,  Routledge, pp. 209–29.

Galt, R. & Schoonover, K. (Eds.). (2010). Global Art Cinema, Oxford, Oxford University Press.

Higbee, W. & Lim, S. H. (2010). « Concepts of transnational cinema: towards a critical transnationalism in film studie », Transnational Cinemas, vol. 1, n° 1, pp. 7–21.

Higbee, W.  & Saer M. B. (Eds.). (2012). De-Westernizing Film Studies, New York, Routledge.

Iordanova, D., Martin-Jones, D. & Vidal, B. (Eds.). (2010). Cinema at the Periphery, Detroit, Wayne State University Press.

Lecler, R. (2019). Une contre-mondialisation audiovisuelle ou comment la France exporte la diversité culturelle, Paris, Sorbonne université presses.

Luna, M. & Meers, P. (2017). « The Films of Ciro Guerra and the Making of Cosmopolitan Spaces in Colombian Cinema », Alphaville, journal of film and screen média, n° 14, pp. 126–142.

Mattelart, T. (Dir.). (2007). Médias, migrations et cultures nationales, Bruxelles, de Boeck, INA.

Naficy, H. (2001). An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton, Princeton University Press.

Newman, K. E. & Durovicová, N. (Eds.). (2009). World Cinemas, Transnational Perspectives, Londres, Routledge. https://doi.org/10.4324/9780203882795

Rueda, A. (2018). L'Amérique latine en France: Festivals des cinémas et territoires imaginaires, Toulouse, Presses universitaires du Midi.

Shaw, D. (2014). « Fonds de financement européens et cinéma latino-américain: Altérisation et cinéphilie bourgeoise dans La teta asustada de Claudia Llosa », Diogène, vol. 1, n° 1, pp. 125-141.

https://doi.org/10.3917/dio.245.0125

—. (2007). Contemporary Latin American cinema: Breaking into the global market, Lanham, Rowman & Littlefield.

Shohat, E. & Stam, R. (1994). Unthinking Eurocentrism: Multiculturalism and the media, Londres, Routledge.

Suárez, J. (2016). « Cine “nacional”/Circulación transnacional: la experiencia fílmica colombiana en el extranjero en años recientes », Nexus Comunicación, n° 19, pp. 6-23.

—. (2012). Critical Essays on Colombian Cinema and Culture: Cinembargo Colombia, Londres, Palgrave Macmillan.

Taillibert C. (2009). Tribulations festivalières : les festivals de cinéma et audiovisuel en France, L’Harmattan, Paris.

Vallejo, A. & Peirano, M.P. (Eds.). (2017). Film festivals and anthropology, Newcastle upon Tyne, Cambridge Scholars Publishing.

Vinuela, A. (2021). « Les exportateurs de films dans la globalisation du cinéma du monde »,  Réseaux, n° 226-227, pp. 155-183.

Places

  • Toulouse, France (31)

Event format

Full on-site event


Date(s)

  • Monday, November 08, 2021

Attached files

Keywords

  • festiva, cinéma, représentation, production, circulation, transnational, Amérique latine

Contact(s)

  • Amanda Rueda
    courriel : colloque [dot] cinemas [dot] 2022 [at] gmail [dot] com

Information source

  • Mélanie Le Forestier
    courriel : melanie [dot] leforestier [at] gmail [dot] com

To cite this announcement

« Festivals and trans (national) cinematographic dynamics : forms of production, circulation and representation », Call for papers, Calenda, Published on Friday, September 03, 2021, https://calenda.org/905739

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