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Who Gets to Take Home That Shiny Symbol of Prestige at the International Film Festival

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Who Gets to Take Home That Shiny Symbol of Prestige at the International Film Festival Who Gets to Take Home That Shiny Symbol of Prestige at the International Film Festival Titia van Ree, 436706 MA Arts, Culture and Society Master Thesis, CC4008/CC4050 Supervisor: Michael Berghman Erasmus University Rotterdam 22-05-2017 Words: 25,634 Who Gets to Take Home That Shiny Symbol of Prestige at the International Film Festival ABSTRACT Audiences are important in the success of films, they can make or break a film. However, audiences differ in their levels of cultural capital, and consequentially in their position within the fields of cultural production, tastes, habitus, judgements standards and legitimacy. They assign different kinds of recognition (popular, professional, and critical) and add different kinds of value (economic or symbolic capital) to filmmakers and their films. The interest of this thesis is the assigning of professional recognition through prestigious prizes at international film festivals, and researching what attributes these award winning films possess. This research then contributes to filling up a gap left in previous studies, and gaining a better understanding of professional recognition, international film festivals and prestige. The aim of this research resulted in the following research question: Looking at several international film festivals—their award winners and nominees—from 1996 to 2016, how do cast and content related attributes influence or contribute to the chances of winning the award for best film at these prestigious cultural events? A quantitative approach was used to study the award winners and nominees over a period of twenty years at the three most prestigious international film festivals: Berlin, Cannes and Venice. The theoretical background already provided some research expectations, based on (logics of) the field of films and the position film festivals take therein. Film festivals position themselves as (crucial) authoritative institution within the field of films as art, which assigns (symbolic) value to films and filmmakers. Therefore, the award winning attributes should match with the characteristics that make an art film. The data was gathered using online databases, and analysed in SPSS. The results showed that juries of professional recognition indeed use aesthetic judgements standards that fit with the logics of the field of art films. Directors who (co)wrote the script and the artistic reputations of the directors and writers had a positive effect on the odds of winning. Only actors seemed excluded from these logics, where their star power and name recognition through economic reputations have more effect on the odds of winning. Experience also had either no effect or a negative effect on the odds of winning, reflecting that status does take precedence. In relation to content, dramas, R-ratings, and true stories had a positive effect on the odds of winning. Whereas adaptations, runtime, and budget had no effect on the odds of winning. Overall, attributes that fit with the concept of the auteur, artistic reputations, and attributes that signal artistic, unique, novel, innovative, meaningful and significant content have a positive effect on the odds of winning. These finding then implicate that film festivals are indeed positioned in the (autonomous) field of restricted production, focussing on films as art, symbolic capital and recognizing artistic achievements. Consequently, they are crucial institutions, contributing to maintaining the cultural position of art films, and the valorisation and consecration of films and filmmakers. They are a gateway to cultural legitimization. KEYWORDS: Prestige, international film festivals, professional recognition, prizes, artistic attributes I Table of Contents 1. Introduction ............................................................................................................................... 1 2. Theoretical Framework .............................................................................................................. 6 2.1 Films and Fields .................................................................................................................... 6 2.1.1 The Field of Film ........................................................................................................ 6 2.1.2 Legitimate Recognition .............................................................................................. 9 2.1.3. Prizes ...................................................................................................................... 11 2.2 International Film Festivals ................................................................................................ 13 2.2.1. Film Festival Origins ................................................................................................ 14 2.2.2. Film Festival Practices............................................................................................. 16 2.3 Artistic Attributes ............................................................................................................... 19 2.3.1. The Art of the Festival Film ..................................................................................... 19 2.3.2. The Auteur(s) .......................................................................................................... 22 2.3.3. Content ................................................................................................................... 24 3. Method ..................................................................................................................................... 28 3.1 Research Design ......................................................................................................... 28 3.2 The Sample and Data Collection ................................................................................. 29 3.3 Operationalization ...................................................................................................... 31 3.4. Analysis ...................................................................................................................... 35 4. Results ...................................................................................................................................... 36 4.1 Analysis and Results ........................................................................................................... 36 4.1.1. Cast ......................................................................................................................... 36 4.1.2. Content ................................................................................................................... 42 4.1.3. Cast and Content .................................................................................................... 47 5. Conclusion ................................................................................................................................ 52 References ........................................................................................................................................ 57 Appendix ........................................................................................................................................... 62 Appendix A: Films, Festival winners ................................................................................. 62 Appendix B: Films, Festival Nominees .............................................................................. 65 Appendix C: List of industry awards used for data gathering ......................................... 68 Appendix D: Frequency tables, cast variables .................................................................. 69 Appendix E: Frequency tables, content variables ............................................................ 71 II 1. Introduction A film festival takes place every day somewhere around the world (De Valck, 2007). Right now—at the time of writing this, that is—Cannes is in full swing, with frequent updates about all the glitter, glamour, and stars as well as reviews of the latest movies screened. However, the big question is, of course, who will get to take home that grand prize, the prestigious Palm D’Or? Which filmmaker will get this symbol of cinematic excellence, and be crowned the filmmaker of Cannes 2017? Yet, should we perhaps also be asking a different question, why? That is, as a cultural medium, films are one of wide variety. Films have something to offer for all types of audiences, while not all types of audiences like all or even similar types of films. It would perhaps not be an overstatement to say that many films that have won a Palm D’Or, or another prestigious prize at other film festivals, might not be the type of films that find many audiences. Admittedly, other audiences might decide to watch the film because it won the Palm D’or, this stamp of artistic excellence signalling that the movie is worth their time. Still, different audiences might thus search for different attributes in films, and/or appreciate films differently. Hence, the question why? What do these films have that make them so successful at international film festivals? That a jury of filmmaking peers decides to bestow the prestigious main prize on this one film, over (at least) 20 other films that made the festival cut as well as many other that did not? Thus, the interest of this research is film and prestige, as well as how the appreciation of film attributes might differ among various types of audiences. More specifically, the area of interest is the assigning
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