Macnab, Geoffrey (2018): How the A-list festivals are adapting to big changes. In: Screendaily (September 9, 2018)
As the dust settles on Cannes’ fallout with Netflix, the Berlinale appoints well-known cineaste Carlo Chatrian, and sales agents despair over selection decisions, Screen asks whether the big festivals are becoming elitist and what that means for the indie film industry.

Vivarelli, Nick ( 2018): Local Product Quotas for Netflix, Amazon to Become Law, EU Official Says (EXCLUSIVE). In: Variety (September 2, 2018)
Quotas obligating Netflix, Amazon and other streaming services operating in the European Union to dedicate at least 30% of their on-demand catalogs to local content are set to become enshrined in law soon.

Sauer, Anzhelika (2018): Film Sinnlos, hart, unangemessen. In: Süddeutsche Zeitung ( August 27, 2018)
Der russische Staat macht es Filmfestivals zunehmend schwerer, dass sie stattfinden können. Zahlreiche Künstler sehen darin Zensur und fürchten um die Kinokultur im ganzen Lande.

Josephson, Amelia (2018): The Economics of Film Festivals. on: Smartasset (Jun 19, 2018)
These days it seems like film festivals are a dime a dozen. From the glitzy red carpet of the Cannes festival to the casual vibe at Sundance, film festivals are a chance to premiere new films, generate buzz and get distribution deals. Some big-name directors got their start with independent films at festivals. How do these filmmakers make money and how do the festivals themselves turn a profit?

Blaney, Martin (2018): Berlinale ’surprised‘ by Oscars 2020 date change. In: Screendaily (August 10, 2018)
The Berlinale’s new leadership duo of executive director Mariette Rissenbeek and artistic director Carlo Chatrian are faced with a major logistical challenge for their first edition, even before taking up their posts.

Hazelton, John (2018): Industry analyst predicts just three major film studios by 2023. In: Screendaily
A drastic reduction in the number of Us majors by 2023 was one of the notable predictions to emerge from Banff Connect La, the annual event staged in Los Angeles by the Banff World Media Festival.

Butcher, Asa (2018): Chinese film festival looks to Finland for guidance. AT: GBTIMES
Finland’s Tampere Film Festival, one of the most important European short film festivals, has been helping a city in northwest China to develop its own cultural event. Last year, the inaugural Jinzhen International Short Film Festival was held in Hancheng, Shaanxi Province and the next is set for October.

Grater, Tom (2018): Sales agents motivated by passion not money, says Rotterdam panel. In: Screendaily (January 31, 2018)
European sales agents were on a charm offensive during a panel hosted as part of this year’s International Film Festival Rotterdam Pro programme.
Moderator Kathleen McInnis, publicist at See-Through Films, opened the discussion by saying that “we all do this for passion”, referencing the challenging European arthouse market where content is at a surplus and exposure is at a premium.
IFFR Pro panel: Kathleen McInnis (See-Through Films); Tassilo Hallbauer (Beta Cinema); Daniela Chlapíková (Pluto Film); Marcin Łuczaj (New Europe Film Sales).

Vimercati, Giovanni (2017): Interview with Jia Zhangke and Marco Müller Pingyao International Film Festival
At: Reverse Shot. December 15, 2017

Wolf, Reinhard W. (2017): Laurels for Greenbacks – Making Money with Short Films in a Thriving Festival Scene. In:
A few years ago, I already reported on a ‘film festival’ that was never held, but for which an anonymous festival organiser pocketed the film submission fees. At that time I regarded it as a one-off case. But today, when we consider the array of announcements and calls for entries on submission platforms, I have the impression that there are now an immense number of ‘festivals’ at which at least one aspect does not ring true: They do not correspond to the classic idea and concept for a proper film festival.

Krainhöfer, Tanja C. (2015): Strong positioning on the international festival circuit: An interview with Diana Iljine of Filmfest München. In: NECSUS. European Journal of Media Studies, Volume 4, Number 2, Autumn 2015, pp. 252-260(9)

N.N. (2015): Interview with TIFF Director and CEO Piers Handling. At:
Q&A: TIFF CEO Piers Handling on the Film Organization’s First 40 Years

Wallenstein, Andrew (2015): The OTT View-niverse: A Map of the New Video Ecosystem. In: Variety
Watching TV used to be so simple, or at least it seems that way in retrospect. First there were just a handful of networks. Then broadcast TV gave way to cable. But even as the number of channels multiplied exponentially, it was all still easy to understand, not to mention incredibly profitable: The combination of advertising and affiliate fees delivered approximately $90 billion annually to a small group of content companies. That was then, this is now:

Macaulay, Scott ( 2013): How Much Can Your Film Make From Festival Sreening Fee. In: Filmmaker
ilm festival screening fee revenue is often a contentious topic, with festivals arguing the value of community and exposure while filmmakers point to the fact that the regional festival circuit is, for many, taking the place of traditional theatrical distribution. But what kind of numbers are being argued over?

Schöffel, Reinhold T. (2006): Screening Fees To Pay for Children’s Film Festivals.
Discussion between Producers, Sales Agents, National Film Institutes and the Festivals.