Dear Visitors

This website predominantly reflects current research results pertaining to the German film festival landscape. Growing international interest has prompted us to also offer the contents successively in English. We appreciate your understanding, should you encounter any content that is still only in German.
Many thanks for your interest, The filmfestival-studien.de Team

25th Sept. Panel discussion: Film Festivals as Places of Cultural Education

DI, 25th Sept. 6:00 p.m. Foyer of the German Film Museum.

Cinema for young audiences between film art, digital self-awareness and an eye for the „other“, or: why media education needs stories. Representatives of the film and festival industry will discuss current positions on film festivals as places of cultural and aesthetic education.

Nicola Jones (Deutsches Kinder Medien Festival Goldener Spatz),
Thomas Schneider-Trumpp (Scopas Medien | Trickfilmland),
Reinhold T. Schöffel (Bundesverband Jugend und Film),
Marie Wolters (film agency LUCAS and FILMmobil).
Chair: Dr. Sabrina Wagner.

Following the discussion, FilmInFrankfurt and the Wirtschaftsförderung Frankfurt, together with the regulars‘ table of filmmakers, cordially invite you to a get-together with representatives of the regional film industry and international festival guests.

28th Sept. Panel discussion: Formal/informal networks between film festivals

Formal/informal networks between film festivals – strategies in disruptive media markets
Friday, 28th September 2018, 2:00 – 3:30pm
at the annual Meeting of the Society for Media Studies
University of Siegen

With the advent of digitization into the media industry, a development has begun marked by“(t)urmoil and transformation, forcing industry leaders to reconsider established maxims about how screen media are created, circulated, and consumed“ (Crutin et al., 2014). A „rise of industry niches dedicated to art cinema“ (de Valck, 2014), accompanied by a boom on the worldwide film festival market (Krainhöfer, 2018), is clearly evident. This global film festival circuit, ranging from international A-film festivals to regional special-interest festivals, is surprisingly innovative and flexible in responding to the challenges of disruptive change. While festivals have long since expanded their radius of action beyond their original function of presenting (new) film works (Iordanova, 2015), in recent years formal and informal networks between film festivals increasingly appear to be the means of choice for actively shaping current changes. Networks serve to secure resources and form the basis for promoting the diversity of cinematic forms of expression, innovative distribution channels, new audience development measures, and much more.

In a panel, festival representatives will discuss what these connections mean for the diversity of the festival landscape, the quest for USPs and the preservation of the festival’s own identity, and whether they also provide solutions for the film industry?

Christina Essenberger (CEO Internationales Frauenfilmfestival Dortmund | Collogne),
Heleen Gerritsen (Festival director goEast – Festival des mittel- und osteuropäischen Films, Wiesbaden),
Andrea Kuhn (Festival director Internationale Filmfestival der Menschenrechte, Nuremberg)
Chair: Tanja C. Krainhöfer (Filmfestival-Studien.de, Munich),

further information: https://gfm2018.de/programm/

European Union requires streaming services to offer at least 30% local productions

According to the industry magazine Variety, Roberto Viola, head of the European Commission’s communications networks, content and technologies department, announced at the Venice Film Festival that a law would be passed in December obliging streaming services such as Netflix, Amazon & Co to invest heavily in the European production landscape. This could be done either by producing, commissioning and thus funding, acquiring television series and films in Europe, or alternatively – as is already the case in Germany – by paying into national film funds.

Charter 5050×2020 signed by Cannes, Annecy, Locarno, Sarajavo and in parts by Venice

Initiated in France after the Film Festival Cannes, Annecy, Locarno and Sarajavo, the 75th Venice International Film Festival has now decided to join the Charter 5050×2020 for Equality and Diversity at least in a modified form.

From next year onwards, statistics on submitted films and the composition of the selection committees could also be published in Venice. In view of the fact that, as in 2017, only one female director is represented in the competition, this reticence is all the more regrettable.

Charter 5050×2020 includes the following obligations:
– The collection of statistics on gender relations, with special reference to the number of films submitted, in order to support SWAN with reliable data.
– Transparency through the disclosure of the nominated members of the selection committees and festival curators with the aim of dispelling the suspicion of a lack of diversity and gender equality. At the same time, the festivals will be able to comply with their artistic and strategic decisions.
– The Festival is committed to implementing a plan for equality in its decision-making bodies as quickly and steadily as possible.
– This will enable SWAN to prepare an annual report which will allow an assessment of the progress made.

Focus: Film Festival #2

The second issue of the new trade magazine Fokus: Festival features an overview of the artistic position of the Locarno Festival and thus of Carlo Chatrian, the future artistic director of the Berlinale, and also provides comprehensive insight into the strategic development of the Swiss A-Festival over the past 20 years. Torsten Neumann offers an extensive look behind the scenes on the occasion of the 25th anniversary of the Oldenburg Film Festival, while Eva Sangiogri describes her vision for the future of the Viennale, as new artistic director. The 5 Faves by Mirsad Purivatra, which focus on the Sarajevo Film Festival with its long-standing partnerships and thus excellently illustrates the strategic perspective of the European Commission on film festivals, are also concerned with developments. Finally, the scientific contribution Film Festivals the new player in the market deals with the continuous transformation of numerous film festivals into highly diversified media companies.

Download the second issue for free: here

Filmfestivals und Programmkinos – Partner oder Konkurrenten?

Panel auf dem Filmfest München
Termin: Montag, 2. Juli, 13-15 Uhr
Ort: Gasteig, Carl-Amery-Saal

Er ist mittlerweile fast schon ein eigenes Genre – der Festivalfilm. Jenseits der gängigen Auswertungsplattformen Kino, TV, DVD und VOD findet er Publikum und Publicity (fast) nur noch auf Filmfestivals. Doch was macht deren besondere Attraktivität aus? Wie definieren sich Filmfestivals ?
Und wie positionieren sich Programmkinos im Vergleich dazu? Ziehen beide am selben Strang? Oder graben sie sich gegenseitig das Wasser ab? Eine spannende Diskussion mit Festival- und Kinomacher_innen.

Panelgäste:
Andrea Wink (exground filmfest, Wiesbaden/Verbund hessischer Filmfestivals),
Alfred Holighaus (Präsident SPIO),
Christian Pfeil (Kinobetreiber in München, Stegen & Gera),
Wolfgang Steiniger (Festival „Der neue Heimatfilm“, Freistadt/Kinobetreiber in Linz und Freistadt)
Moderation: Dunja Bialas (Filmjournalistin/Festivalleiterin UNDERDOX)

„Do we need competition(s)?“

Panel auf dem Internationalen KurzFilmFestival Hamburg
Freitag, 8. Juni 2018, 15.00-17.00 Uhr
Festivalzentrum, Lampenlager, Kaltenkircher Platz

Auf dem Panel „Do we need competition(s)?“ wird die Bedeutung von Wettbewerben auf Festivals diskutiert. In einem Wettbewerb zu gewinnen, ist für einen Film ein künstlerischer und in mancher Hinsicht auch ökonomischer Glücksfall. Dennoch stellt sich die Frage, ob sich die Qualität von Filmen anhand von Preisen ermitteln lässt.

Im Anschluss laden wir Sie zu einem Get-together im Festivalzentrum ein.
Bitte teilen Sie uns via info(at)ced-hamburg.eu mit, wenn Sie kommen möchten.

Collaboration among film festivals – the new key to success, 4th May 2018, Int. Short Film Festival Oberhausen

Since the organization of the first film festival as part of the Venice Biennale for Contemporary Art, Europe has given rise to a network of approx. 10,000 worldwide film festivals. Irrespective of its diversity from small regional special interest event to international A-film festival, this festival circuit proves surprisingly innovative and flexible in responding to current cultural-political challenges, as well as to the disruptive changes in the global media landscape.

As a result, numerous film festivals have continually extended their radius of activity far beyond the original function of being a presentation platform for (new) films and talent. It would seem that cooperations and strategic alliances among film festivals have increasingly emerged as the preferred method to fulfill these new tasks. Such projects as dok.incubator, presented by Sören Steen Poulson (Nordisk Panorama) bring 11 partners together in order to provide advice and support for documentary film projects in the final production phase. Maike Mia Höhne (Berlinale) together with international partners is currently developing ONLINE OFFICE # SHORTS #MAGAZINE #ARCHIVE, a European data platform to make the art of the short form accessible to a wider public. And Philippe Clivaz (Visions du Réel) in his function as President of the Conférence des Festivals, will provide an insight into the objectives, activities and successes of the association of the major Swiss film festivals.

Panel discussion at the 64. International Short Film Festival Oberhausen
Participants: Philippe Clivaz, Maike Mia Höhne & Søren Steen Poulsen
Presentation: Tanja C. Krainhöfer

Focus: Film Festival – a new trade magazine

With its May 2018 issue, the German film trade magazine Blickpunkt:Film is launching a Quarterly, focusing on Film Festivals and thus following the growing importance of film festivals on the international film market. The special issue highlights the German film festival landscape, as well key international players. Background reports on strategic festival placements of current productions, on opportunities and hurdles for film makers in the associated markets and other industry offerings are featured, as well as current developments in the worldwide festival circuit. With results from applied science, it also presents market-relevant findings from the latest film festival research.
Download the first issue for free: here