שאלה של טעם? לאצור קולנוע בין תיאוריה ומעשה

קורס (2 ש"ס), סמסטר ב' תש"ף 2020

מרצה: ד"ר דן חיוטין

אימייל: dchyutinfilm@gmail.com

תקציר הקורס

אוצרות קולנוע (film curating/programming), או הפעולה של בחירה והצגה פומבית של טקסטים אודיו-ויזואליים, זוכה יותר ויותר למעמד בעל חשיבות בשנים האחרונות, הן בתעשיית הסרטים והן במחקר האקדמי. במסגרת זאת גוברת ההכרה במורכבות של פעולה זאת, כאקט יצירתי ואינטלקטואלי אשר מתעלה מעל טעם אישי לעבר מסגרות רחבות יותר של משמעות והשפעה. הקורס יבקש לבחון את מורכבות זאת דרך ביטוייה השונים במועדוני קולנוע, סינמטקים, תיאטראות ובמיוחד פסטיבלים, ולשם כך יישען על מאמרים תיאורטיים, קטלוגים ואתרים מקצועיים, ואף שיחות עם אוצרים/ות מקומיים/ות. בתום הקורס המשתתפים/ות יקבלו ידע מעשי ומושג תאורטי רחב על מערך הכוחות והאפשרויות שמשפיע על פעולה פשוטה לכאורה של בחירה.

(לנרשמים/ות לקורס לפני סמסטר א', ואשר מתעתדים/ות להשאר במסגרתו, ניתנת גם אפשרות התנסותית לא מחייבת לקחת חלק בתהליך בחירה של מועמדים לזכייה ב European University Film Award. לקראת תחילת שנת הלימודם, המשתתפים/ות יצפו בחמישה סרטים באורך מלא שנבחרו על ידי צוות מקצועי ב  Filmfest Hamburg, ובמסגרת דיון מיוחד שיתקיים במשותף יבחרו בשלושה הטובים ביותר. בנוסף, הפסטיבל יממן את נסיעתו/ה של אחד/אחת המדיינים/ות להמבורג כדי לקחת חלק בתהליך הבחירה הסופי של זוכה הפרס, ביחד עם נציגי אוניברסיטאות אחרות בעולם. לפרטים נוספים: https://www.eufa.org/en/#about).

דרישות הקורס

נוכחות (עד שלושה חיסורים), השתתפות בדיונים, קריאת מאמרי ואתרי החובה, עמידה במטלת עבודת סיכום. אי עמידה בדרישות אלה עשויה להוביל להורדה בציון ואף לפסילת השתתפות.

מרכיבי הציון

עבודת סיכום: 100%

מפגשי הקורס

**מקורות הקריאה נתונים לשינוי***

***בהתאם לקצב ההתקדמות בקורס, ייתכן ולא יתקיים דיון על חלק מן הנושאים הנ"ל***

מפגש ראשון: מה זה אוצרות קולנוע?

קריאת חובה:

 Peter Bosma, “Introduction” and “Reflection,” in Film Programming: Curating for Cinemas, Festivals, Archives (London: Wallflower, 2015)

קריאת חובה (אוצרות):

Another Look: The Restored European Film Project (2015 + 2016 editions)

http://danchyutin.com/wp-content/uploads/2015/01/AnotherLook_catalog_2015_INTERACTIVE.pdf

http://danchyutin.com/wp-content/uploads/2016/01/AnotherLook_catalog_2016_INTERACTIVE.pdf

מפגש שני: סינפיליה ואתיקה

קריאת חובה:

 Laura U. Marks, “The Ethical Presenter: Or How to Have Good Arguments over Dinner,” The Moving Image 4.1 (Spring 2004)

קריאת חובה (אוצרות):

Film Forum: Marty and Jay’s Double Features https://filmforum.org/series/marty-and-jays-double-features

מפגש שלישי: מועדון הקולנוע והסינמטק: חינוך קולנועי

קריאת חובה:

Malte Hagener, “Strategic Convergence and Functional Differentiation – The Film Societies and Ciné-Clubs of the 1920s and 30s,” in Looking Forward, Looking Back: The European Avant-Garde and the Invention of Film Culture (Amsterdam: Amsterdam University Press, 2007)

קריאת חובה (אוצרות):

Microcinema https://www.microcinema.co.il/he/about

Left Bank Cine Club https://www.facebook.com/LeftBankMC/

Tel Aviv Cinematheque https://www.cinema.co.il/

מפגש רביעי: קולנועי אמנות ומופעי ניצול: בניית שוק על השוליים

קריאת חובה:

 Dennis Nyback, “Art and Grind in Seattle,” in From the Arthouse to the Grindhouse: Highbrow and Lowbrow Transgression in Cinema's First Century, ed. John Cline and Robert G. Weiner (Lanham: Scarecrow Press, 2010) 

קריאת חובה (אוצרות):

Metrograph http://metrograph.com/

Grindhouse Planet http://www.grindhouseplanet.com/

מפגש חמישי: מעגל הפסטיבלים וסרט הפסטיבל: בין עסקים לאסתטיקה

קריאת חובה:

 Marijke de Valck, “Film Festivals, Bourdieu, and the Economization of Culture,” Canadian Journal of Film Studies 23.1 (Spring 2014)

קריאת חובה (אוצרות):

International Film Festival Rotterdam https://iffr.com/en

Venice Film Festival https://www.labiennale.org/en/cinema/2019

מפגש שישי: הקולנוע שלנו? הלאומי והטרנסלאומי בין מזרח למערב, דרום לצפון I

קריאת חובה:

Bill Nichols, “Discovering Form, Inferring Meaning: New Cinemas and the Film Festival Circuit,” Film Quarterly 47.3 (Spring 1994)

קריאת חובה (אוצרות):

Cannes Film Festival https://www.festival-cannes.com/en/

Berlin Film Festival https://www.berlinale.de/en/HomePage.html

Jerusalem Film Festival https://www.jff.org.il/he

מפגש שביעי: הקולנוע שלנו? הלאומי והטרנסלאומי בין מזרח למערב, דרום לצפון II

קריאת חובה:

Nikky J. Y. Lee and Julian Stringer, “Counter-Programming and the Udine Far East Film Festival,” Screen 53.3 (Autumn 2012)

קריאת חובה (אוצרות):

Far East Film Festival 2019 https://www.fareastfilm.com/eng/

מפגש שמיני: זהות קהילתית

קריאת חובה:

Cindy Hing-Yuk Wong, “Publics and Counterpublics: Rethinking Film Festivals as Public Spheres,” Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

קריאת חובה (אוצרות):

Asian American Film Festival https://www.asiancinevision.org/aaiff/

TLV Fest http://tlvfest.com/tlv/he/he/

מפגש תשיעי: אוצרות בין אקטיביזם וצנזורה

קריאת חובה:

Sonia M. Tascón, “Film Festivals: Activism and the Gaze,” in Human Rights Film Festivals: Activism in Context (London: Palgrave Macmillan, 2015)

קריאת חובה (אוצרות):

Solidarity Festival from Human Rights and Cinema https://www.solidaritytlv.org/

48mm Film Festival

https://www.zochrot.org/uploads/uploads/d04f1be11da2d13c04d8d4dc0b37e74b.pdf

מפגש עשירי: להתבונן בעבר: הארכיון ושאלת הקאנון

קריאת חובה:

Julian Stringer, “Raiding the Archive: Film Festivals and the Revival of Classic Hollywood,” in Memory and Popular Film, ed. Paul Grainge (Manchester: Manchester University Press, 2003)

קריאת חובה (אוצרות):

Il Cinema Ritrovato https://festival.ilcinemaritrovato.it/en/

Re: Film https://bit.ly/2GJzRlm

מפגש אחד עשר: להפעיל את הקהל: "קולנוע חי" ומרחבים פיזיו-ריגשיים

קריאת חובה:

Stefanie Schulte Strathaus, “Showing Different Films Differently: Cinema as a Result of Cinematic Thinking,” The Moving Image 4.1 (January 2004)  

קריאת חובה (אוצרות):

Giornate del Cinema Muto (Pordenone Silent) http://www.giornatedelcinemamuto.it/en/le-giornate/

Kino Arsenal Berlin https://www.arsenal-berlin.de/en/home.html

מפגש שנים עשר: מתאוריה לעשיה: שיח אוצרות

קריאת חובה:

Mark Haslam, “Vision, Authority, Context: Cornerstones of Curation and Programming,” The Moving Image 4.1 (2004)

 קריאת חובה (אוצרות):  ייקבע בהמשך

מפגש שלושה עשר: פלטפורמות חדשות ו"דמוקרטיה" של אוצרות

קריאת חובה:

Roderik Smits & E. W. Nikdel, “Beyond Netflix and Amazon: MUBI and the Curation of On-Demand Film,” Studies in European Cinema 16.1 (2019)

קריאת חובה (אוצרות):

Mubi: https://mubi.com/showing

Doc Alliance: https://dafilms.com/program

קריאת רשות

מפגש ראשון: מה זה אוצרות קולנוע?

Marijke de Valck, “Finding Audiences for Films: Programming in Historical Perspective,” in Coming Soon to a Festival Near You: Programming Film Festivals, ed. Jeffrey Ruoff (St. Andrews: St Andrews University Press, 2012)

Liz Czach, “Affective Labor and the Work of Film Festival Programming,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

מפגש שני: סינפיליה ואתיקה

ולטר בנימין, "אני פורק את ספרייתי", מתוך מבחר כתבים--כרך א': המשוטט (תל אביב: הקיבוץ המאוחד, 1992)

פייר בורדייה, "המטמורפוזה של הטעם", מתוך שאלות בסוציולוגיה (תל אביב: רסלינג, 2005 [1984])

Pierre Bourdieu, “A Social Critique of the Judgment of Taste,” in Distinction (Cambridge: Harvard University Press, 1984 [1979])

Marijke de Valck and Malte Hagener, “Down with Cinephilia? Long Live Cinephilia? And Other Videosyncratic Pleasures,” in Cinephilia Movies, Love and Memory, ed. by Marijke de Valck and Malte Hagener (Amsterdam: Amsterdam University Press, 2005)

Marijke de Valck, “Reflections on the Recent Cinephilia Debates,” Cinema Journal 49.2 (Winter 2010)

Jenna Ng, “The Myth of Total Cinephilia,” Cinema Journal 49.2 (Winter 2010)

Robert Koehler, “Cinephilia and Film Festivals,” in Dekalog 3: On Film Festivals, ed. Richard Porton (London: Wallflower Press, 2009)

James Morrison, “After the Revolution: On the Fate of Cinephilia,” Michigan Quarterly Review 44.3 (Summer 2005)

Christian Keathley, “The Cinephiliac Moment and Panoramic Perception,” “André Bazin and the Revelatory Potential of Cinema,” and “Cahiers du Cinéma and the Way of Looking,” in Cinephilia and History, or The Wind in the Trees (Bloomington: Indiana University Press, 2005)

מפגש שלישי: מועדון הקולנוע והסינמטק: חינוך קולנועי

Eric Smoodin, “‘The Last Amateurs of Pure Cinema’: Ciné-Clubs and French Film Culture, 1930–1945,” Framework 58.1/2 (Spring/Fall 2017)

Kelly Conway, "‘A New Wave of Spectators’: Contemporary Responses to Cleo from 5 to 7,” Film Quarterly (Fall 2007)

Aida Vidan, “Irresistible Irreverence: Dušan Makavejev's Amateur Films and the Yugoslav Cine-Club Scene,” Studies in Eastern European Cinema 7.1 (2016)

Rielle Navitski, “The Ciné Club de Colombia and Postwar Cinephilia in Latin America: Forging Transnational Networks, Schooling Local Audiences,” Historical Journal of Film, Radio and Television 38.4 (2018)

Kirsten Stevens, “Enthusiastic Amateurs: Australia’s Film Societies and the Birth of Audience-Driven Film Festivals in Post-War Melbourne,” New Review of Film and Television Studies 14.1 (2016)

John G. Nichols, “Cinemactivism: Film Reform, Spectatorship, and the Cleveland Cinema Club,” Camera Obscura 28.3 (2013)

Haidee Wasson, “Making Cinema a Modern Art,” “Mannered Cinema/Mobile Theaters: Film Exhibition, 16mm, and the New Audience Ideal,” “Rearguard Exhibition: The Film Library’s Circulating Programs,” and “Appendix: Film Programs of the Museum of Modern Art, 1934-1949,” in Museum Movies: The Museum of Modern Art and the Birth of Art Cinema (Berkeley: University of California Press, 2005)

Laurent Mannoni, “Henri Langlois and the Musée du Cinéma,” Film History 18 (2006)

Rinella Cere, “‘Exhibiting Cinema’: The Cultural Activities of the Museo Nazionale del Cinema, 1958–1971,” Film History 18 (2006)

Nicola Mazzanti, “The Cinémathèque Royale de Belgique: The First 75 Years… and the Next,” Journal of Film Preservation 89 (Nov. 2013)

מפגש רביעי: קולנועי אמנות ומופעי ניצול: בניית שוק על השוליים

David Andrews, “Art as Genre as Canon: Defining ‘Art Cinema,’” “From ‘Foreign Films’ to ‘World Cinema,” and “Art Cinema as Institution, Redux: Art Houses, Film Festivals, and Film Studies,” in Theorizing Art Cinemas: Foreign, Cult, Avant-Garde, and Beyond (Austin: University of Texas Press, 2013)

Bert Cardullo, “Art-House Cinema, Avant-Garde Film, and Dramatic Modernism,” The Journal of Aesthetic Education 45.2 (Summer 2011)

David Church, “From Exhibition to Genre: The Case of Grind-House Films,” Cinema Journal 50.4 (Summer 2011)

Jack Stevenson, “Grindhouse and Beyond,” in From the Arthouse to the Grindhouse: Highbrow and Lowbrow Transgression in Cinema's First Century, ed. John Cline and Robert G. Weiner (Lanham: Scarecrow Press, 2010)

J. Hoberman and Jonathan Rosenbaum, “The Birth of Rocky Horror,” in Midnight Movies (New York: De Capo Press, 1991 [1983])

Kyle Conway, “Small Media, Global Media: Kino and the Microcinema Movement,” Journal of Film and Video 60.3-4 (Fall-Winter 2008)

מפגש חמישי: מעגל הפסטיבלים וסרט הפסטיבל: בין עסקים לאסתטיקה

Marijke de Valck, “Introduction: What is a Film Festival? How to Study Festivals and Why You Should,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

Marijke de Valck, “Introduction: Film Festivals as Sites of Passage” and “Cannes and the ‘Alternative’ Cinema Network: Bridging the Gap between Cultural Criteria and Business Demands,” in Film Festivals: From European Geopolitics to Global Cinephilia (Amsterdam: Amsterdam University Press, 2007)

Marijke de Valck, “Supporting Art Cinema at a Time of Commercialization: Principles and Practices, the Case of the International Film Festival Rotterdam,” Poetics 42 (2014)

Skadi Loist, “The Film Festival Circuit: Networks, Hierarchies, and Circulation,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

Cindy Hing-Yuk Wong, “History, Structure, and Practice in the Festival World,” “The Films of the Festivals,” and “Auteurs, Critics, and Canons: Extratextual Elements and the Construction of Festival Films,” in Film Festivals: Culture, People, and Power on the Global Screen (New Brunswick NJ: Rutgers University Press, 2011)

Tamara L. Falicov, “The ‘Festival Film’: Film Festival Funds as Cultural Intermediaries,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

Mark Peranson, “First You Get the Power, Then You Get the Money: Two Models of Film Festivals,” in Dekalog 3: On Film Festivals, ed. Richard Porton (London: Wallflower Press, 2009)

Dina Iordanova, “The Film Festival Circuit,” in Film Festival Yearbook 1: The Festival Circuit, ed. Dina Iordanova and Ragan Rhyne (St. Andrews: St. Andrews Film Studies, 2009)

Ragan Rhyne, “Film Festival Circuits and Stakeholders,” in Film Festival Yearbook 1: The Festival Circuit, ed. Dina Iordanova and Ragan Rhyne (St. Andrews: St. Andrews Film Studies, 2009)

Roya Rastegar, “Difference, Aesthetics and the Curatorial Crisis of Film Festivals,” Screen 53.3 (Autumn 2012)

Daniel Dayan, “Looking for Sundance: The Social Construction of a Film Festival,” in The Film Festivals Reader, ed. Dina Iordanova (St Andrews: St Andrews Film Studies, 2013 [2000])

Andre Bazin, “The Festival Viewed as a Religious Order,” in Dekalog 3: On Film Festivals, ed. Richard Porton (London: Wallflower Press, 2009 [1955])

Christel Taillibert and John Wäfler, “Groundwork for a (Pre)History of Film Festivals,” New Review of Film and Television Studies 14.1 (2016)

Dorota Ostrowska, “Making Film History at the Cannes Film Festival,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

Giacomo Di Foggia, “Cinephilia and Festivals: On the Need to Analyze the Lives and Ideas of Festival Founders,” Cinergie 6 (November 2014)

מפגש שישי + שביעי: הקולנוע שלנו? הלאומי והטרנסלאומי בין מזרח למערב, דרום לצפון

Lúcia Nagib, “Towards a Positive Definition of World Cinema,” in Remapping World Cinema: Identity, Culture and Politics in Film, ed. Stephanie Dennison and Song Hwee Lim (London: Wallflower Press, 2006)

Bill Nichols, “Global Image Consumption in the Age of Late Capitalism,” in The Film Festivals Reader, ed. Dina Iordanova (St Andrews: St Andrews Film Studies, 2013 [1994])

Felicia Chan, “The International Film Festival and the Making of a National Cinema,” Screen 52.2 (Summer 2011)

Liz Czach, “Film Festivals, Programming, and the Building of a National Cinema,” The Moving Image 4.1 (Spring 2004)

Joseph Palis, “Film Festivals, the Globalization of Images and Post-National Cinephilia,” The Pennsylvania Geographer 53.2 (Fall/Winter 2015)

Janet Harbord, “Film Festivals: Media Events and the Spaces of Flow,” in Film Cultures (London: Sage, 2002)

Thomas Elsaesser, “Film Festival Networks: The New Topographies of Cinema in Europe,” in The New Topographies of Cinema in Europe (Amesterdam: Amsterdam University Press, 2005)

Owen Evans, “Border Exchanges: The Role of the European Film Festival,” Journal of Contemporary European Studies 15.1 (2007)

Kenneth Turan, “Festivals with Geopolitical Agendas,” in Sundance to Sarajevo: Film Festivals and the World They Made (Berkeley: University of California Press, 2002)

Gönül Dönmez-Colin, “Film Festivals in Turkey: Promoting National Cinema While Nourishing Film Culture,” in Coming Soon to a Festival Near You: Programming Film Festivals, ed. Jeffrey Ruoff (St. Andrews: St Andrews Film, 2012)

María Paz Peirano, “Pursuing, Resembling, and Contesting the Global: The Emergence of Chilean Film Festivals,” New Review of Film and Television Studies 14.1 (2016)

Julian Stringer, “Film Festivals in Asia: Notes on History, Geography, and Power from a Distance,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

Julian Stringer, “Global Cities and the International Film Festival Economy,” in Cinema and the City: Film and Urban Societies in a Global Context, ed.  Mark Shiel and Tony Fitzmaurice (Oxford: Blackwell, 2001)

Abé Mark Nornes “Yamagata–Asia–Europe: The International Film Festival Short Circuit,” in The Oxford Handbook for Japanese Cinema, ed. Daisuke Miyao (Oxford: Oxford University Press, 2014)

SooJeong Ahn, “Introduction: Film Festivals between the National and the Regional in the Age of Globalization” and “Why Pusan?: The Political Economy of a Film Festival,” in The Pusan International Film Festival, South Korean Cinema and Globalization (Hong Kong: Hong Kong University Press, 2012)

Viviane Saglier, “Unstable and Sustainable: The Film Festival Institution and the Case of the Franco-Arab Film Festival in the Occupied Palestinian Territories,” Transnational Cinemas 5.1 (2014)

Lindiwe Dovey, “Introduction: Film Festivals and/in Theory” and “The Rise of ‘International’ Film Festivals in Africa” in Curating Africa in the Age of Film Festivals (New York: Palgrave Macmillan, 2015)

מפגש שמיני: זהות קהילתית

חמיד נפיסי, "מיקום הקולנוע עם מבטא", "אופן הפקה בין-מרחבי וארטיזינלי", ו"אופן הפקה קולקטיבי", מתוך קולנוע עם מבטא: עשייה קולנועית בגלות ובפזורה (תל אביב: עם עובד, 2019 [2011])

Dina Iordanova, “Mediating Diaspora: Film Festivals and ‘Imagined Communities,’” in Film Festival Yearbook 2: Film Festivals and Imagined Communities, eds. Dina Iordanova with Ruby Cheung (St. Andrews: St. Andrews Film Studies, 2010)

Klara Bruveris, “Programming the Baltic Film Festival: Delineating Mainstream and Community Festivals,” Studies in Australasian Cinema 9.2 (2015)

Julian Stringer, “Genre Films and Festival Communities: Lessons from Nottingham, 1991–2000,” Film International 6.34 (2008)

Matt Hills, “Attending Horror Film Festivals and Conventions: Liveness, Subcultural Capital and ‘Flesh-and-Blood’ Genre Communities,” in Horror Zone: The Cultural Experience of Contemporary Horror Cinema, ed. Ian Conrich (London: I.B. Tauris, 2010)

Robert Moses Peaslee, Jessica El-Khoury, and Ashley Liles, “The Media Festival Volunteer: Connecting Online and On-ground Fan Labor,” Transformative Works and Cultures 15 (2014) <https://journal.transformativeworks.org/index.php/twc/article/view/502/415>

Joshua Gamson, “The Organizational Shaping of Collective Identity: The Case of Lesbian and Gay Film Festivals in New York,” Sociological Forum 11.2 (1996)

Sanja Kajinić, “Dismantling the Geotemporality of Europeanization: The First European Festival of Lesbian and Gay Film was Yugoslav,” Southeastern Europe 40 (2016)

Stuart James Richards, “The Queer Film Festival as a Social Enterprise” and “Queer Film Festival Programming and Homonormativity,” in The Queer Film: Festival Popcorn and Politics (New York: Palgrave Macmillan, 2016)

Mokkil Navaneetha, “Queer Encounters: Film Festivals and the Sensual Circuits of European Cinema in India,” Studies in European Cinema 15.1 (2018)

Jérôme Segal, “Identities and Politics at the Vienna Jewish Film Festival,” in Film Festival Yearbook 2: Film Festivals and Imagined Communities, eds. Dina Iordanova with Ruby Cheung (St. Andrews: St. Andrews Film Studies, 2010)

Justine Atkinson, “Curating an African Film Festival in Scotland,” Third Text 31.5-6 (2017)

Monia Acciari, “Film Festivals as Cosmopolitan Assemblages: A Case Study in Diasporic Cocreation,” Alphaville 14 (2017)

מפגש תשיעי: אוצרות בין אקטיביזם וצנזורה

Andrea Pócsik, “Their Life and Our Vicarious Experiences: On Human Rights Films and Festivals,” Politics and Culture 2 (2008)

Sonia Tascon, “Considering Human Rights Films, Representation, and Ethics: Whose Face?” Human Rights Quarterly 34.3 (August 2012)

Joshua McNamara, “Thoughts on a Curation of ‘the Political’ in Film: The ‘Filming Tomorrow’ Seminar at Film Africa 2012,” Journal of African Cultural Studies 25.1 (2013)

Skadi Loist and Ger Zielinski, “On the Development of Queer Film Festivals and Their Media Activism,” in Film Festival Yearbook 4, ed. Dina Iordanova and Leshu Torchin (St Andrews: St Andrews Film Studies, 2012)

Susan Santha Kerns, “From Calling ‘Action’ to Community Action: The Milwaukee Film Festival’s Conversation Series,” Synoptique 3.2 (2015)

Sukhmani Khorana, “Film festivals and Beyond: Activist Discourses in the Reception of Samson and Delilah and The Tall Man,” Studies in Australasian Cinema 6.2 (2012)

David Archibald and Mitchell Miller, “From Rennes to Toronto: Anatomy of a Boycott,” Screen 52.2 (2011)

Ran Ma, “A Genealogy of Film Festivals in the People’s Republic of China: ‘Film Weeks’ during the ‘Seventeen Years’ (1949–1966),” New Review of Film and Television Studies 14.1 (2016)

Justin Smith, “Channel 4 and the Red Triangle: A Case Study in Film Curation and Censorship on Television,” Journal of British Cinema and Television 11.4 (2014)

Elena Razlogova, “The Politics of Translation at Soviet Film Festivals during the Cold War,” SubStance 44.2 (2015) 

מפגש עשירי: להתבונן בעבר: הארכיון ושאלת הקאנון

Janet Staiger, “The Politics of Film Canons,” Cinema Journal 24.3 (Spring 1985)

Christopher Long, “Revising the Film Canon,” New Review of Film and Television Studies 4.1 (2006)

Sheila J. Nayar, “Epistemic Capital: The Etiology of an ‘Elitist’ Film Canon's Aesthetic Criteria,” Post Script 29.1 (Fall 2009)

Rossella Catanese “Learning from the Keepers: Archival Training in Italian Cinematheques,” Synoptique 6.1 (2017)

Soo Jeong Ahn, “Re-imagining the Past: Programming South Korean Retrospectives at the Pusan International Film Festival,” Film International 6.34 (2008)

Brian Meacham, “Between the Archive and the Multiplex: 35mm Film Programming in the Post-Film Era,” Journal of Film Preservation 97 (Oct 2017)

Peter Bosma, “Curating Film Archives,” in Film Programming: Curating for Cinemas, Festivals, Archives (London: Wallflower, 2015)

Paolo Cherchi Usai, “Charter of Curatorial Values,” Journal of the National Film and Sound Archive, Australia 1.1 (Spring 2006)

Paolo Cherchi Usai, “The Archival Film Festival as a ‘Special Event’: A Framework for Analysis,” in Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

Ian Christie, “New Lamps for Old: What Can We Expect from Archival Film Festivals?” in Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

Bryony Dixon, “The Relationship between Archives and Festivals: Reflections on the British Silent Film Festival,” in Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

Gian Luca Farinelli, “A Passion for Cinema in All Its Myriad Forms: Il Cinema Ritrovato, Bologna,” Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

Ana Grgic, “Archival Film Festivals as Sites of Memory,” in Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

Alex Marlow-Mann, “Archival Film Festivals at the Crossroads,” in Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

Oksana Sarkisova, “Conflicting Pasts: Programming Retrospectives at the Verzio Film Festival,” in Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

José Antonio González Zarandona, “Making Heritage at the Cannes Film Festival,” International Journal of Heritage Studies 22.1 (2016)

מפגש אחד עשר: להפעיל את הקהל: "קולנוע חי" ומרחבים פיזיו-רגשיים

Elisa Ravazzoli, “Cinemagoing as Spatially Contextualised Cultural and Social Practice,” Alphaville 11 (2016)

Kay Armatage, “Screening by Moonlight,” Film International 6.34 (2008)

Felicia Chan, “Film Festivals and Affective Spaces: Singapore’s Majestic Theatre,” Cinergie 6 (November 2014)

Lindiwe Dovey, Joshua McNamara, and Federico Olivieri, “‘From, by, for’: Nairobi’s Slum Film Festival, Film Festival Studies, and the Practices of Development,” Jump Cut 55 (Fall 2013) < https://www.ejumpcut.org/archive/jc55.2013/DoveySFFNairobi/text.html>

Theresa Heath, “Saving Space: Strategies of Space Reclamation at Early Women’s Film Festivals and Queer Film Festivals Today,” Studies in European Cinema 15.1 (2018)

Richard McCulloch and Virginia Crisp, “Against Participation: Cinephilia, Nostalgia, and the Pleasures of Attending an 'Alternative' Cinema Space,” in Live Cinema: Cultures, Economies, Aesthetics, ed. Sarah Atkinson and Helen Kennedy (London: Bloomsbury, 2017)

Ella Harris, “Encountering Urban Space Live at The Floating Cinema,” in Live Cinema: Cultures, Economies, Aesthetics, ed. Sarah Atkinson and Helen Kennedy (London: Bloomsbury, 2017)

John Riley, “Live Cinema: Silent Film, Orchestral Accompaniment and the Special Event,” in Film Festival Yearbook 5: Archival Film Festivals, ed. Alex Marlow-Mann (St Andrews: St Andrews Film Books, 2013)

Claude Bertemes and Nicole Dahlen, “Back to the Future: Early Cinema and Late Economy of Attention, an Interim Report about Crazy Cinématographe,” in Early Cinema Today, KINtop 1: The Art of Programming and Live Performance, ed. Martin Loiperdinger (New Barnet, Hertfordshire, UK: John Libbey Publishing, 2012)

Frank Kessler, “Programming and Performing Early Cinema Today: Strategies and Dispositifs,” in Early Cinema Today, KINtop 1: The Art of Programming and Live Performance, ed. Martin Loiperdinger (New Barnet, Hertfordshire, UK: John Libbey Publishing, 2012)

Karyn Sandlos, “Curating and Pedagogy in the Strange Time of Short Film and Video Exhibition,” The Moving Image 4.1 (2004)

מפגש שנים עשר: מתאוריה לעשיה: שיח אוצרות

Roya Rastegar, “Seeing Differently: The Curatorial Potential of Film Festival Programming,” in Film Festivals: History, Theory, Method, Practice, ed. Marijke de Valck, Brendan Kredell, and Skadi Loist (London: Routledge, 2016)

Douglas Rosenberg, “Curating the Practice/the Practice of Curating,” International Journal of Performance Arts and Digital Media 5.2-3 (2009)  

Peter Bosma, “Curating Film Theaters,” in Film Programming: Curating for Cinemas, Festivals, Archives (London: Wallflower, 2015)

מפגש שלושה עשר: פלטפורמות חדשות ו"דמוקרטיה" של אוצרות

Dina Iordanova, “Instant, Abundant, and Ubiquitous: Cinema Moves Online,” Cineaste 39.1 (2014)

Norbert Bakker, “Utopian Film Festivals: Space, Content, and Business Matters in Early Online Film Festivals,” Synoptique 3.2 (2015)

Maya Nedyalkova, “Festivals Gone Digital: A Case-Study of Netcinema.bg and the Online European Film Festival in Bulgaria,” in Transformation Process in Post-Socialist Screen Media, ed. Jana Dudková, and Katarína Mišíková (Bratislava: Academy of Performing Arts and Institute of Theatre and Film Research, 2016)

Geli Mademli, “The Viewer as Curator: The Online Film Festival Platform,” in Compact Cinematics: The Moving Image in the Age of Bit-Sized Media, ed. Pepita Hesselberth and Maria Poulaki (London: Bloomsbury, 2017)

Christel Taillibert, “Online Film Festivals: New Perspectives for Film Festivals on the Internet,” in International Film Festivals: Contemporary Cultures and History Beyond Venice and Cannes (London: I. B. Tauris, 2018)

Kirsten Stevens, “Between Like and Love: Cinephilia and Connected Viewing in Film Festival Audiences,” Participations: Journal of audience & Reception Studies 14.2 (2017)           

Ian Robinson, “Re-Intermediation, Audience Development and the Discourse of the European Film Public: Festival Scope and Curzon Home Cinema,” Cinéma&Cie 17.29 (Fall 2017)

Jan Simons, “Between iPhone and YouTube: Movies on the Move?” in Video Vortex Reader II: Moving Images Beyond YouTube, ed. Geert Lovink and Rachel Somers Miles (Amsterdam: Institute of Network Cultures, 2011)

Dagmar Brunow, “Curating Access to Audiovisual Heritage: Cultural Memory and Diversity in European Film Archives,” Image [&] Narrative 18.1 (2017)