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This article advocates for the use of online interactive documentaries (i-docs) by creative practitioners and creative practice academics for social and cultural activism by drawing on two LGBTIQA + focused i-docs: Queer Representation Matters [Krikowa, Natalie, dir. 2023. Queer Representation Matters. Sydney, Australia. http://www.queerrepresentationmatters.com.] and Queer Interruptions [Aguas, Evangeline, dir. 2021. Queer Interruptions. Sydney, Australia.]. Queer Representation Matters explores historical and contemporary issues in queer screen representation in Australia and overseas. The i-doc draws from interviews with queer screen media scholars, TV writers and directors and film festival curators, to investigate storytelling tropes such as ‘bury your gays’ and ‘cancel your gays’ within an industrial context to highlight the importance of representation of queer people and stories in screen media. Queer Interruptions focuses on the contemporary queer viewing experience and queer fans’ reactions to tropes such as ‘bury your gays’. The project explores the sense of repetition and melancholy that fans felt upon reliving these deaths, linking these to abstract theories of queer time. The work seeks to intervene in issues of queer representation through a multidisciplinary, innovative, and accessible approach to queer theory, fan studies and online interactive works. These works illustrate how creative practice researchers can make research on activism accessible to a wider range of audiences outside of the academy. [ABSTRACT FROM AUTHOR]

This editorial positions the study of fashion and costume against the field of film studies and the history of Italian cinema and media. Although scholarly approaches to this field of study first appeared in Anglo American literature at the beginning of the 1990s, the pioneering work of Italian historian and film critic Mario Verdone has yet to be acknowledged. The anthology Verdone edited in 1950, a pivotal year of Italy's post-war reconstruction, was the first of its kind: prior to its publication, the relationship between costume, fashion and film had never been the subject of scholarly enquiry. The title of Verdone's book, La moda e il costume nel film ('Fashion and costume in film') calls attention to how these arts, techniques and industries work in the actual process of making films. Verdone's book offers a context for the articles contained in this volume. [ABSTRACT FROM AUTHOR]

Purpose: The purpose of this study is to investigate the strategies used by Ciputra Film Festival organizers to package the festival as an inclusive festival. It will be revealed how film festivals serve as a means of collaboration for various Indonesian film communities. Design/methodology/approach: This study was carried out using an exploratory method, a qualitative approach and an interpretive paradigm, in which researchers put themselves in the shoes of the participants. Findings: According to the findings of the thematic analysis, the strategy for organizing the Ciputra Film Festival (from the beginning of planning to the end of the festival) promotes the values of diversity from each community. They promote the festival as a celebration of diversity as well as a collaboration among local film communities that reflect the characteristics of the Indonesian nation, which is indeed very diverse in terms of ethnicity, culture, social and political preferences. The local film community is active in all aspects of the festival, including consumption, production, political participation and social interaction. Practical implications: The organization of the Ciputra Film Festival has attempted to be inclusive by uniting the interests of the local film community, local culture and the film business. However, some community aspirations and the existence of local cultural elements must continue to be prioritized so that participants and visitors get the best experience. Originality/value: This study advances a discussion of inclusive film festival events that collaborate with as many local film communities as possible, with the goal of identifying specific practices of engaging local film communities that contribute to inclusivity. [ABSTRACT FROM AUTHOR]

Purpose: The objective of this study is to investigate how anthropomorphic perceptions of a film festival influence volunteers' intention to continue volunteering. Specifically, it aims to understand the mediating roles of psychological proximity, psychological contract and commitment in shaping this relationship, with a focus on volunteers at film festivals in Indonesia. Design/methodology/approach: The study employs a sequential explanatory mixed method by conducting an online survey towards volunteers and in-depth interview to selected informants. Data from 80 volunteers was analysed using partial least square structural equation modelling (PLS-SEM) to test the hypotheses. Further, in-depth interviews with 15 volunteers were also conducted and the data was analysed using content analysis to obtain deeper understanding of the phenomena. Findings: This study found that identification provides a positive influence to volunteers' intention to continue volunteering in a film festival. Identification is influenced by psychological proximity, which also proven to provide positive influence on psychological contract and commitment (identification and contribution). Further, this study also provides empirical evidence that psychological proximity is influenced by aspects of anthropomorphism namely moral virtue and conscious emotions. Originality/value: This study is the first study to empirically test the anthropomorphism concept to uncover the continuance intention of film festival volunteers. Two mechanisms of anthropomorphism influence intention to continue volunteering: the indirect relationship from moral virtue to intention to continue volunteering and from conscious emotions to intention to continue volunteering. [ABSTRACT FROM AUTHOR]

The document discusses a project called SHORT_CUTS that explores collective image-making as regenerative practices in response to societal challenges. The project involves co-creating spaces through shared filmmaking methodologies in a rural municipality in Spain, focusing on the village of Genalguacil. It aims to spark innovative ideas, challenge stereotypes about rural areas, and foster collaborative relationships through film festivals that serve as sites of production, research, and learning. The project also emphasizes the importance of involving local youth and women in the filmmaking process to reframe narratives of innovation and promote regenerative economies. [Extracted from the article]

This research examines the structure of Iranian film that has normalized the image of the "modest" Iranian woman, which has little to no relation to the reality of Iranian women. This power structure includes not only the modesty censorship rules of the Islamic Republic but also international film festivals. Utilizing the concepts of reactive and proactive censorship measures, I argue that censorship not only limits and reacts but also creates the image of the modest woman. Counterintuitively, film festivals play a substantial role in this normalization process. In addition, I contest the popular conceptions of "resistance" when discussing Iranian cinema at foreign film festivals and in academia, arguing that the resistance of films and artists is restricted to the structure that governs them. In addition, I challenge the concept of "Iranian national cinema," in which film festivals promote a repressive government to oppose another power system; specifically, they reward the image of the Islamic Republic's ideal woman to oppose popular Hollywood portrayals of women. My objective is not to downplay the value of Iranian cinema but to highlight its flaws and encourage a more critical approach to the international power system regulating Iranian films. [ABSTRACT FROM AUTHOR]

This festival report discusses the 2024 edition of the Locarno Film Festival in relation to the history of cinema, including a retrospective of Columbia Pictures at 100, and the current state of the film industry. The festival's attempt to self-reflexively explore its own role in the food chain of cinema was something that took place both on and off screen. The many titles showcased spoke to the challenges facing cinema as well as the societies that produce and consume them. Their significance is something that will also depend on the distributive trajectories these films will have. [ABSTRACT FROM AUTHOR]

Awards and selections from film festivals are of great importance to both films and their authors. For documentary cinema, this significance is in all likelihood even greater, since documentary viewers are by presumption and in practice less tempted and therefore fewer in number. However, the festivals impose their normativity, and authors often comply with it. The text mainly deals with the question, is it possible to overcome festival normativity? As a successful example of this, the film "No Place for You in Our Town" (2022), directed by Nikolay Stefanov, is examined. [ABSTRACT FROM AUTHOR]

Throughout her career, Emõke Pál has been drawn to deep and complex themes that possess social significance and resonate with audiences. She believes in artistic freedom and is eager to engage in new projects, face challenges, and explore creative formal solutions, both on stage and in film. Teaching at the university presents a unique challenge for her. To date, she has appeared in three major feature films, and her performance in the lead role in Heights and Depths, a film about the death of climber Zsolt Erõss, earned her the award for Best Actress in a Leading Role at the Hungarian Motion Picture Festival. In this interview, she shares insights into her career challenges and the joy she finds in acting. [ABSTRACT FROM AUTHOR]

The article examines the Biennale College Cinema (BCC) initiative, launched by the Venice International Film Festival, as a unique funding and instructional program supporting micro-budget films and virtual reality projects from underrepresented regions. Topics include the educational role of BCC beyond financial support, the structure and selection process of the program, and BCC's impact on film culture through its emphasis on artistic collaboration and filmmaker development.

The focus of this article is contemporary documentary film culture in Lithuania. Through the case study of the Vilnius Documentary Film Festival (VDFF), I would like to argue that documentary culture has been going through a process of hybridisation in recent years. Firstly, I will outline the context of the global situation of documentary cinema, then I will show the origin and importance of VDFF in that context. I will use postcolonial studies and decoloniality to explain the process of contemporary documentary film culture in Lithuania. My research is contextualised in the new field of film festivals research in film studies. The article is based on a few semi-structured interviews, detailed analyses of catalogues of few events in Lithuania before VDFF and catalogues of VDFF, and an analysis of international festivals' research texts. [ABSTRACT FROM AUTHOR]

Korean documentary film has historically both been designed as a contribution to political life and also as a creative exploration in the growing film industry. Documentary in the service of political mobilizing, which occupied a large place in early documentary, has evolved into a wide range of expression, without losing the overall character of social commitment. As seen at the Jeonju Film Festival 2024, documentary work continues the longstanding politically-engaged character of South Korean documentary, while demonstrating sophisticated approaches to the challenge of developing narratives of remembrance. This work is undertaken with techniques ranging from animation to strategic use of silence and absence, reflexive archival use and memoir. Documentary choices testify to professionalization and innovation in the field and also to the enduring identity of documentary filmmakers as storytellers of a fraught, contested and still in formation Korean identity. [ABSTRACT FROM AUTHOR]

This essay tries to interrogate the intertextual relationship between auteurism, art cinema and the mode of institution which was first acknowledged by Steve Neale in his study of the European post-war contexts, by applying it in the contemporary mode of global art cinema address. Through the film festival circuits, the institutionalization of authorship is relocated from national to transnational dialogues and enhances the birth of emerging director Anocha Suwichakornpong faster than her senior fellows had encountered. Mobilizing both the director and the institutions equally, I explore her mode of production—financing, distribution and exhibition in relation to film festivals. With the geopolitical encounter between Asian and European contexts, it can be argued that both the filmmaker and the institutions are mutually and bilaterally interdependent with each other. Film festivals have chosen Anocha, but she has also chosen them. Each arthouse auteur has their network, just as the film festivals do, and that Anocha has deliberately constructed her professional route through them since the very beginning, from film student to professional feature filmmaker. While Anocha Suwichakornpong can enter the global recognition shortly, her strong political uniqueness is also hindered within the institutional contexts of film festivals and auteurism. [ABSTRACT FROM AUTHOR]

The article highlights the conference paper presented by the black Ceddo Film and Video Workshop at the Third Cinema conference of the Edinburgh Festival in Scotland in August 1986. Topics include the common bond of the people from Africa, the Caribbean and Great Britain that comprised the workshop, why the issue of cultural nationalism in Black British cinema is not problematic for Ceddo, and the importance for Black filmmakers to be conscious of their audience.

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Openly gay filmmaker Goran Stolevski was born in Macedonia and emigrated in his youth to Australia. Between 2007 and 2023, he directed nine short films and three features, as well as three episodes of television. His films frequently depict characters at the margins of society grappling with issues of identity. Two of his best-known shorts, You Deserve Everything (2015) and Would You Look at Her (2017), portray queer characters who are forced to navigate difficult situations in an oppressive society. Stolevski won the Rouben Mamoulian Award for You Deserve Everything at the 2016 Sydney Film Festival, and received the Short Filmmaking Award, International at the 2018 Sundance Film Festival for Would You Look at Her. [ABSTRACT FROM AUTHOR]

In the 2017 Asean International Film Festival and Award, Ziarah received four awards, including Best Screenplay (BW Purba Negara), Best Actress (Ponco Sutiyem), Best Director (BW Purba Negara) and Best Film. The film is a drama genre that tells the story of a character named Mbah Sri, a 95-year-old woman who is looking for her husband (Prawiro Said) because he never came home and never even heard from him after saying goodbye to the Second Military Aggression war in 1984. The storyline is entirely based on Mbah Sri as the heir to the memory of the historical events experienced by her husband. This study uses a qualitative approach using Roland Barthes' semiotic analysis. Semiotic analysis is a way or method to analyze and give meanings to symbols that contain a package of symbols, symbols, messages or textsThis research uses a qualitative approach using Roland Barthes' semiotic analysis. In conclusion, the representation of women's loyalty values in the film Ziarah by BW Purba Negara is depicted through the actions and characteristics of couples who are still loyal even though their partners have no news. Mbah Sri still thinks about her partner and tries to find her again at all costs. He did not give up on the search process until he finally rediscovered his true love in his old age. [ABSTRACT FROM AUTHOR]

In the context of the Cultural Cold War, China and the Soviet Union jointly established the Asia-Africa Film Festival (AAFF) as a response to the conflict between the socialist camps and the US-led capitalist camp. Chinese and Soviet conceptions of film exchange and political cooperation changed as the festival progressed, and the manner and scale of China's participation in the three AAFFs were completely different. Based on primary sources, this article discusses the AAFF with an in-depth analysis of the complex political dynamics behind China's participation in three editions, thereby providing a fresh perspective on the cultural Cold War in the 1950s and 1960s as well as a deeper understanding of the multifaceted aspects of cultural diplomacy in socialist countries. This article argues that despite being in the cultural sphere, the AAFF serves a more political role by responding to the multiple forces' conflicts and balances in the context of national interests. [ABSTRACT FROM AUTHOR]

Over the past fifteen years, Ukrainian cinema has received great acclaim at international film festivals, yet its coverage in anglophone academia remains a niche subject. This cluster calls scholars' attention to the fact that Ukrainian cinema--past and present--still awaits the kind of sustained academic attention that it deserves. Featuring interviews with scholars, archivists, and filmmakers, as well as two research papers on post-Euromaidan films and war documentaries, this cluster articulates new paths to reimagine the history and historiography of the country's film industry, while at the same time foregrounding the country's heroic struggle to preserve its cultural legacy. Ultimately, the cluster invites readers to question the colonial designation of Ukrainian cinema as peripheral, to create new interpretative frameworks for Ukrainian films by comparing them with Western and Eastern European counterparts, to recognize the historical moment of the post-Euromaidan Ukrainian New Film Wave, and to empathize with the country's cinematic response to the Russian invasion. [ABSTRACT FROM AUTHOR]

Copyright of Pacha: Journal of Contemporary Studies of the Global South / Revista de Estudios Contemporáneos del Sur Global is the property of PACHA REVISTA DE ESTUDIOS CONTEMPORANEOS DEL SUR GLOBAL and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Focusing on the Pesaro Mostra Internazionale del Cinema Nuovo (MICN), the essay explores how the festival’s programming policies and organizational practices supported the so-called “new cinemas”, embedding this exploration within the frame of the Italian antifestivals and their emergence in the mid-1960s. Building on an extensive archival research, carried out in the MICN’ archives in Pesaro, the essay seeks to retrace the topics and arguments debated during the conferences held at the first three editions of the Mostra (1965-1967). The choice of this focus is given by the extraordinary importance of these conferences which, stemmed out of the MICN organizers’ strong desire to facilitate the distribution of the “new cinemas”, set the ground for the creation of an international committee aimed at organizing the circulation in Italy and abroad of the films discovered in Pesaro.