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OF the INTERNATIONAL FILM FESTIVAL in SUPPORTING EMERGING Womenss CINEMA

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OF the INTERNATIONAL FILM FESTIVAL in SUPPORTING EMERGING Womenss CINEMA INTERNATIONAL ACCLAIM: THE ROLE(S) OF THE INTERNATIONAL FILM FESTIVAL IN SUPPORTING EMERGING WOMEN’S CINEMA TESS VAN HEMERT BACHELOR OF CREATIVE INDUSTRIES (HONS) Submitted in fulfilment of the requirements for the degree of the Doctor of Philosophy Film, Screen and Animation School of Media, Entertainment and Creative Arts Creative Industries Faculty Queensland University of Technology 2013 SUPERVISORS Dr Vivienne Muller Dr Sean Maher Dr Bree Hadley _________________________________________________________________________ 3 KEYWORDS Emerging women filmmakers, feminism, film festival, film festival network, festival city, feminine sensibility, transnational cinema. _________________________________________________________________________ 4 ABSTRACT International Film Festivals act as important sites for the exhibition of contemporary world cinema. Film festivals represent an increasingly transnational film culture, where audiences, filmmakers, distributors, press, critics and academics come together from all over the world to discover new films, network with one another and debate about the past, present and future of cinema. This research project investigates the role that international film festivals play within the wider international film industry, with a specific focus on emerging women filmmakers. It therefore explores the arena of contemporary women‟s cinema at its intersection with the international film festival industry. The significance and original contribution of the research is its intervention in the growing field of film festival studies through a specific investigation of how international film festivals support emerging women filmmakers. The positioning of the research at the intersection of feminist film theory and festival research within the broader context of transnational cinema allows the examination of each festival, the attending filmmakers and their films to be addressed within a more refined and nuanced lens. A core method for the thesis is the close textual analysis of particular emerging women filmmakers‟ films which are screened at the respective festivals. The research also utilises the qualitative research strategies of the case study and the interview to “seek to understand the context or setting of the participants through visiting this context and gathering information personally” (Creswell 2003, 9). The textual analysis is used in dialogue with the interviews and the participant observational data gathering to provide a related context for understanding these films and their cultural meanings, both personally for the filmmaker and transnationally across the festival circuit. The focus of the case studies is the Brisbane International Film Festival, the International Film Festival Rotterdam and the Toronto International Film Festival. These three festivals were chosen for their distinct geographical locations in the Asia Pacific, Europe and North America, as well as for their varying size and influence on the international film festival circuit. Specifically, I investigate the reasons behind why the organisers of a particular festival have chosen a certain woman‟s film, how it is then packaged or displayed within the programme, and how all of this impacts on the filmmaker herself. The focus of my research is to investigate film festivals and their „real-life‟ applications _________________________________________________________________________ 5 and benefits for the filmmakers being supported, both through the exhibition of their films and through their attendance as festival guests. The research finds that the current generation of emerging women filmmakers has varying levels of experience and success at negotiating the international film festival circuit. Each of the three festivals examined include and promote the films of emerging women filmmakers through a range of strategies, such as specific programming strands dedicated to showcasing emerging talent, financial support through festival funds, providing visibility within the programme, exposure to international audiences and networking opportunities with industry professionals and other filmmakers. Furthermore, the films produced by the emerging women filmmakers revealed a strong focus on women‟s perspectives and experiences, which were explored through the interweaving of particular aesthetic and cinematographic conventions. _________________________________________________________________________ 6 TABLE OF CONTENTS Supervisors ........................................................................................................................... 3 Keywords .............................................................................................................................. 4 Abstract ................................................................................................................................. 5 Table of Contents .................................................................................................................. 7 List of Figures & Tables ....................................................................................................... 11 List of Abbreviations ............................................................................................................ 12 Glossary of Key Terms ........................................................................................................ 13 Preface................................................................................................................................ 15 Statement of Original Authorship ......................................................................................... 16 Acknowledgements ............................................................................................................. 17 Chapter One: Introduction ................................................................................................... 19 Films, Festivals and International Cinema .................................................................... 20 The Field of Film Festival Research ............................................................................. 22 Why Emerging Women Filmmakers? ........................................................................... 23 Research Question ...................................................................................................... 25 Theoretical Framework ................................................................................................. 26 Methodologies ................................................................................................................. 27 Research Methods ....................................................................................................... 28 Case Studies: Design & Framework ............................................................................. 30 Interviews ..................................................................................................................... 32 Textual Analysis ........................................................................................................... 33 Festival as Text ............................................................................................................ 34 My Position as Researcher .......................................................................................... 36 Chapter Overview ........................................................................................................ 37 Conclusion ................................................................................................................... 39 Chapter Two: Literature Review .......................................................................................... 41 Transnational Cinema Theory .......................................................................................... 42 _________________________________________________________________________ 7 Origins: From Third Cinema to Transnational Cinema.................................................. 45 Diasporic Cinema ......................................................................................................... 49 Transnational Audiences .............................................................................................. 50 The International Film Festival ......................................................................................... 52 Film Festival Network ................................................................................................... 53 Film Festival Host Cities ............................................................................................... 58 Film Festival Programming .......................................................................................... 60 The Film Festival Environment ..................................................................................... 64 Festival Films ............................................................................................................... 66 Feminist Film Theory ....................................................................................................... 69 Imagining a new space for Women‟s Cinema in a Transnational Context .................... 72 Conclusion ................................................................................................................... 74 Chapter Three: Brisbane International Film Festival (2009-2010) ....................................... 75 Introduction .................................................................................................................
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