Setting standards: The „Fair Film Award„- Operating of the beaten track and breaking new ground: The Film Festival Circuit – Daring the new: Founding of the Main Association Cinephilie. The current CineArte looks back on actions and positions at the fringes of the Berlinale and off the beaten track of the German cinema industry. Downlaod the Magazine in German for free: here
The evaluation shows that in the last 10 years only between 20% and 40% of the Oscar-nominated titles did not celebrate their premiere at a festival. This suggests “that a festival launch is increasingly useful to an Oscar campaign“. By far the greatest Oscar relevance is demonstrated by the Venice Film Festival with 39 premieres of the current 106 Oscar nominations, followed by Cannes with 13 premieres with Oscar nominations.
Creative Europe MEDIA is committed to doing more on gender and has outlined actions it can take as part of its strategy to facilitate and increase the participation of women in the audiovisual sector. The actions will focus on the following areas: GENDER BALANCE AT A GLANCE Download for free: here
German cinemas showed a total of 2,368 films in 2017. These included 653 first screenings. According to the Filmförderungsanstalt (FFA), 122.3 million cinema tickets were sold. As reported by the Federal Statistical Office (Destatis) in the run-up to the Berlin International Film Festival (Berlinale), each inhabitant went to the cinema on average 1.5 times in 2017. US films were seen most frequently in 2017. Their share of admissions was 64
Many film festivals are threatened in their existence, some have to give up – Three years have passed since the „Filmfestivalreport Österreich“, which outlined the Austrian festival landscape as a success story with a high risk of poverty. And even though a lot has happened on a formal level since then, the central problems remain: no planning security, insufficient subsidies and highly precarious working conditions characterise large parts of the
This report, written by members of the European Film Agencies Research Network (E-report FARN), marks the 15th anniversary of this unique film research network. Editorial coordination was carried out by the European Audiovisual Observatory OBC.Free download: here
After the launch at the 2018 Cannes Film Festival the IDFA also signed charter 5050×2020 in September and took this as an opportunity to present its far-reaching goal „transforming an industry built on inequality”: “At IDFA, we believe that meeting quotas in the film program is not enough. As the world’s largest documentary film festival, IDFA is in a position to do more. We seek to create long term change,
The autumn issue and thus number 3 of trade magazine Fokus: Festival highlights the mission and gradual change of the International Hof Film Festival, one of the most traditional German film festivals under its new management. Kent Jones, the director of the New York Film Festival, offers a rare change of perspective with Diane, his directing debut, taking the side of director for the first time. The fact that film
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
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