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Placing the Festival: a Case Study of the Toronto International Film Festival

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Placing the Festival: a Case Study of the Toronto International Film Festival Placing the Festival: A Case Study of the Toronto International Film Festival by Amy Martina Cervenan A thesis submitted in conformity with the requirements for the degree of Doctor of Philosophy Department of Geography University of Toronto © Copyright by Amy Martina Cervenan 2017 Placing the Festival: A Case Study of the Toronto International Film Festival Amy Martina Cervenan Doctor of Philosophy Department of Geography University of Toronto 2017 Abstract Economic geographers researching the film industry have focused on the dual spatial pattern of film work that has arisen since the sector restructured in the 1970s. The new geography of film has been characterized simultaneously by concentration (i.e. major clusters) and dispersal (i.e. ‘runaway’ production). During this time, film festivals have proliferated in cities across the globe, yet remain largely unexplored. This presents a need to better understand major film events as important, if temporary, nodes in the cultural production system. Adopting a festival-centric approach, this case study of the Toronto International Film Festival (TIFF) yields particularly rich insights on the potential value festivals create for the film industry, festival participants, and the host region. In part, this is because TIFF is connected to a global festival circuit and is embedded in a city with established local film production. My research takes up the growing interest in events, extends conceptualizations of value-creation, and considers how TIFF brings together international actors from across the film value chain. The research foregrounds the role of an active audience in valorizing an experiential cultural product, and in building the reputation of local film. ii This research contributes three major findings. First, it finds that TIFF acts as a temporary cluster, which creates opportunities for networking, relationship-building, and industry learning. It is also an important site for selling and promoting work, and creating pipelines to access non- local knowledge, markets and resources. Second, this research explores the expanded role for consumer influence, and finds that audience engagement with films at TIFF creates an information-rich environment, which influences business decisions, professional development, and marketing activities. Third, this research finds that TIFF contributes to place-making and culture-led urban development. These findings have implications for policy, practice and research across industry, government and academic communities. iii Acknowledgments In recognition of their direct support, I would like to thank my advisor and committee. Deborah Leslie is a force. Since taking her course on the cultural economy in my first year as a student in the department, I have been inspired and challenged by her every step of the way. I have also been lucky to have her support as I developed my ideas, conducted research, and wrote the dissertation. Intelligent, prolific and kind, Debby is very much a model academic. This project and my worldview are improved by having worked with her. My committee merits recognition for their input and guidance, which shaped my ideas and experience of the research process. Harald Bathelt, Matt Farish and Sue Ruddick have been a wonderful mix of indulgent and demanding, and have helped me in many ways on this journey. I would also like to thank Meric Gertler, Richard Florida and David Wolfe for their teachings, encouragement and mentorship. I have had the pleasure of participating in a varied and vibrant academic community while at the University of Toronto. In particular, I benefitted from working with a great group of colleagues whose discussions and mentorship shaped me more than they might realize. Special thanks to the ‘Toronto school’ of economic geographers: Brian Hracs, Tara Vinodrai, Kate Geddie, Josee Rekers, Carolyn Hatch, Atle Hauge and Ben Spigel, among others. I would like to thank my loving parents, Martin and Jolie, who have always been supportive of my work and studies. Good friends are crucial, and I particularly value the encouragement, kindness and steadfast support of Jessica Wilczak and Klara Michal. Monty and Ada were wonderful companions and eager to listen to me talk about the research. Finally, I want to acknowledge and thank my husband, Gabriel Gellner. His support has been profound and unwavering through the highs and lows which are part of undertaking a doctorate. Gabriel’s faith in me and interest in my ideas were essential to my ability to complete this project. Fort Collins, Colorado 16 June 2017 iv Table of Contents Acknowledgments.......................................................................................................................... iv Table of Contents .............................................................................................................................v List of Tables ................................................................................................................................. ix List of Figures ..................................................................................................................................x List of Appendices ......................................................................................................................... xi Chapter 1 Introduction: Film Festivals as More than Movies .........................................................1 Introduction .................................................................................................................................1 1.1 Research Questions ..............................................................................................................1 1.2 Film Research ......................................................................................................................2 1.2.1 Hollywood’s Golden Era of Film Production: Major Studios and Vertical Integration ................................................................................................................3 1.2.2 Motion Picture Industry Anti-Trust Legislation: Industrial Restructuring Catalyst ....................................................................................................................4 1.2.3 Changing Geography of Film: Spatial Agglomeration and ‘Runaway’ Production ................................................................................................................5 1.2.4 Research Gaps: Toronto and Film Festivals ............................................................7 1.3 Research Context ...............................................................................................................13 1.3.1 Toronto as a Film City ...........................................................................................13 1.3.2 A Brief History of TIFF .........................................................................................15 1.4 Methodology ......................................................................................................................20 1.4.1 Interviews ...............................................................................................................23 1.4.2 Participant Observation ..........................................................................................26 1.4.3 Media, Industry and Promotional Materials ..........................................................28 1.4.4 Reflections on Fieldwork .......................................................................................29 1.5 Structure of Dissertation ....................................................................................................32 v Chapter 2 Festivals as Temporary Clusters: A Case Study of the Toronto International Film Festival ......................................................................................................................................35 Introducing the Festival as Temporary Cluster .........................................................................35 2.1 Temporary Cluster as a Global Pipeline ............................................................................36 2.1.1 Clusters as a Core Concept ....................................................................................36 2.1.2 Knowledge Flows through Local and Global Buzz ...............................................39 2.1.3 Temporary and Cyclical Clusters...........................................................................42 2.2 Situating TIFF within the Global Film Festival Circuit ....................................................48 2.2.1 The Core Film Festival Circuit: An Industry Calendar of Key Events..................49 2.2.2 Differentiating TIFF from Other Core Film Festivals ...........................................53 2.3 TIFF as a Festival Cluster: Global Reach and Local Representation ................................56 2.3.1 The Range of Industry Professionals Attending TIFF ...........................................58 2.3.2 Global Reach: International Attendance and Promotion .......................................64 2.4 Cities as Nodes for Global Knowledge-Flows...................................................................69 2.5 Industry Activity at TIFF: Local and Global Buzz and Pipelines at Work .......................75 2.5.1 Networking and Relationships: Developing ‘Know-Who’, Trust and Reciprocity .............................................................................................................76 2.5.2 Industry
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