Curating the Cinematic Muse: The Role of Programming in the Film Festival Experience – The 40th Toronto International Film Festival by Hugh Anthony Simmonds A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in Recreation and Leisure Studies Waterloo, Ontario, Canada, 2018 © Hugh Anthony Simmonds 2018 EXAMINING COMMITTEE MEMBERSHIP The following served on the Examining Committee for this thesis. The decision of the Examining Committee is by majority vote External Examiner Joanne Connell Professor Supervisor(s) Stephen L. J. Smith Professor Internal Member Marion Joppe Professor Internal Member Sanjay Nepal Professor Designated Member Heather Mair Professor Internal/External Member Jordana Cox Assistant Professor ii AUTHOR’S DECLARATION I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii ABSTRACT International film festivals are clearly about something beyond the appreciation of cinema; they are forums for the collective exploration and celebration of films, showcasing the newest films, the exotic and forgotten cinematic productions. Within a contemporary context, they represent the ultimate celebration of cinema and films as a collection of creative texts. They engage participants in a celebratory environment that pays homage to film as an artform. The research examines an international film festival with a focus on the role of programming, through the exploration of the understated elements of this multidimensional phenomenon that impacts the festival event. The significance and original contribution of the research is found in its methodological intervention into the burgeoning field of film festival research through a specific investigation of a non-competitive international film festival. The research explores how programming impacts the festival event and the emergent experience. Furthermore, the research is approached from a supply-side perspective with summative insights that provided pathways to conceptualize an international film festival as a field-configuring event, with discourse on the less encompassing areas of organizing, programming and curating the festival event. The conceptual framework positions the research within an interdisciplinary context with theoretical perspectives from institutional theory, field configuring events and film festival studies to offer a broader lens to nuance the gleanings from film festival professionals. The research utilizes the qualitative research strategy of the case study augmented by research methods such as in-depth interviews with participants, textual analysis and secondary research to collect and analyze data to situate this investigation within a contemporary and historical context. The interview gives a distinct iv focus to the film festival programmers to share perspectives to understand the contexts and settings; how they navigate the programming and the elements that impact the festival event. Textual analysis is used as a corollary to understand and provide meanings from the setting, the related activities, voices and the film festival context. The research is on the Toronto International Film Festival (TIFF), its diverse programming practices and discursive positioning of films in an inclusive and influential event. The researcher problematizes festival programming to examine the film festival and uncover from festival professionals, their perspectives from an immersive and participatory lens in relation to organizing, programming and curating the festival event that embolden its raison d’etre. The research findings revealed that there are multiple elements to programming an international film festival and curating the festival event and the emergent experience. The participants demonstrated their knowledge and expertise and how as a collective they understood the issues that are significant facets which are central to the film festival’s identity, status and reputation. Additionally, the discourse on the curation of the festival event and the emergent experience revealed characteristics of a field-configuring film festival event through several factors that were primarily connected to the multidimensional nature of the film festival - partnerships, collective sensemaking and information exchange that emerged as plausible and integral aspects both in a local and global context. The overall findings highlighted that there is need for further understanding of film festival as a phenomenon and the multidimensionality of programming; therefore the research suggests additional areas for scholarly investigation that can contribute to our understanding of film festivals and their interconnectedness in relation to our cultures and societies. v ACKNOWLEDGMENTS Heights by great men reach and kept were not attained by sudden flight, but they while their companions slept were toiling upward through the night. Henry Wadsworth Longfellow My thesis emerged from a confluence of experiences both personally and professionally benefitting from the contributions of exceptional individuals whose contributions I wish to acknowledge. It is this invaluable support that has allowed me to succeed. The journey is made possible through the Creator of all things, who I acknowledged for this amazing pathway, the inspiration, ability and perseverance. My heartfelt thanks to the University of Technology, Jamaica for kick-starting my doctoral career throughout the early years of my program. To the members of my thesis committee, my supervisor Dr. Stephen L.J. Smith, Dr. Marion Joppe and Dr. Sanjay Nepal for their unwavering commitment, remarkable support and academic guidance. I am especially grateful to my supervisor for your belief, wisdom, encouragement and mentorship that guided me through this meandering process with incredible patience. To Dr. Marion Joppe thanks for your invaluable insights, counsel and copious guidance throughout the research process. To Dr. Sanjay Nepal, thank you for your advice and support. To Tracy Taves, for providing hope and encouragement all through my years as a doctoral student, your friendship provided fuel for the PhD dissertation process and Dr. Heather Mair for your facilitation and support. Thank you all for your incredible support. The dissertation could not have been written without the amazing support of Dr. Nadine Fladd and her colleagues at the UW Writing Centre who assisted, advised and supported my research and vi writing efforts. The genesis of this thesis was inspired by an organization that provides a space for cinephiles to indulge in social imagination - Toronto International Film Festival (TIFF) Group. Special thanks to the team at TIFF for their time, energy and effort in making the interviews possible. The spirit of creativity lives in your veins, exemplified through your curation of the world’s most amazing audience-centered film festival. To my fellow colleagues, who have become dear friends, writing partners and sages, I express my appreciation for the academic sparring. My thanks for the times spent and shared reassuring one another through the challenges of the academic demands, and especially the satisfaction that ultimately comes in the end. My love to my family, both immediate and extended, for being a source of inspiration and a driving force for good; even when the going got tough and the tough got going. I am especially grateful to my parents Delroy Alison Simmonds (posthumously) and Gathilda Verona Simmonds for fostering an environment that allowed the social imagination to thrive and live my dreams. To you my dearest mother, your inspiration and belief continues to make a superb difference in my life and for that I am forever grateful. To my life partner, Sharon Barnes-Simmonds, for your unwavering support and prayers, and for being a sounding board who intellectually sparred and bantered with me from epistemological, ontological and methodological perspectives. To Bentley, Garnett, Jeffrey, Seoma, Leon Christopher, Jordan, Stevelmarc, Sydné, Carolyn, Lawrence, Cecile, Dave, Beneitch, Marilyn, Maxwell, Mawuli, Rohan, Sonia, Eric, Becky and Victoria for your belief, confidence, and unconditional love. My thanks to you for being unwavering in your belief, love and support along this incredible journey. My love to you always!! vii TABLE OF CONTENTS Examination Committee Membership ……………………………………………….... ii Author’s Declaration ...……………………………………………………………….... iii Abstract …………..………………………………………………………………….... iv Acknowledgments………………………………….…………………………………. vi List of Figures ………………………….…………..…………………………………. xiv List of Tables ……………..………………………..…………………………………. xv List of Images …..……..……………………………………………………………… xvi 1. Introduction ……..……………………………………..…………………. 1 1.1 Aim and Objectives of the Research ………………………………… 5 1.2 Purpose of the Research …………………………………………..… 6 1.3 Research Questions ……………………………………………..…… 7 1.4 Significance of the Research …………………………………………. 8 1.5 The Conceptual Framework ……...…………………..…………..….. 9 1.6 Supply-side Perspective ………………………………………………. 13 2. Review of Related Literature.……………………………..……………….. 17 2.1 Institutional Theory ………………….……………………….……… 18 2.2 Field-Configuring Events ………………………....…………….…… 24 2.2.1 Field-Configuring Events: The Development of Field Change and Transformation ……………………………………... 32 2.3 Film Festival Research ………………………………………………