festival3

Edited by Dina Iordanova and Ruby Cheung

ISBN:
978-0-9563730-3-8 (paperback)
978-0-9563730-4-5 (hardback)

PRICE:
£19.99 (paperback), 292 pages
£50.00 (hardback), 292 pages

St Andrews Film Studies, 2011

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Film Festivals and East Asia

Film Festival Yearbook 3

The most exciting developments in world cinema over the past two decades have been linked to East Asian countries such as China, Japan and South Korea. Films made in East Asia triumph at festivals around the globe. Booming film markets are attached to the most important film festivals in Hong Kong, Pusan, Tokyo and Shanghai. The West is only just beginning to wake up to the importance of these film festivals to global film distribution.

In the latest volume of the Film Festivals Yearbook, scholars from the University of St. Andrews and beyond chart these cutting-edge developments in global film. And by opening up debates on the worldwide network of film festivals, they lay the necessary groundwork for a greater understanding of global film circulation.

Contributors

James Bell, Birgit Beumers, Felicia Chan, Yun-hua Chen, Ruby Cheung, Dave Chua, Marijke de Valck, Alex Fischer, Chris Fujiwara, Dina Iordanova, Adam Knee, Kong Rithdee, Sangjoon Lee, Seunghee Lee, Skadi Loist, Adrian Martin, Abé Mark Nornes, Ragan Rhyne, Julian Stringer and Tom Vick.

Contents

East Asia and Film Festivals: Transnational Clusters for Creativity and Commerce (Dina Iordanova)

Part I: Contexts

Asian Film Festivals, Translation and the International Film Festival Short Circuit (Abé Mark Nornes)

East Asian Film Festivals: Film Markets (Ruby Cheung)

Japan 1951-1970: National Cinema as Cultural Currency (Julian Stringer)

News for Whom? Critical Coverage of the 10th Jeonju International Film Festival (Adrian Martin)

Washington, Pusan, Rotterdam, Udine and Back: Programming East Asian Films for American Audiences (Tom Vick)

Part II: Case Studies

Bulldozers, Bibles and Very Sharp Knives: The Chinese Independent Documentary Scene (Abé Mark Nornes)

Comrades and Citizens: Gay and Lesbian Film Festivals in China (Ragan Rhyne)

Programming Southeast Asia at the Singapore International Film Festival (Felicia Chan and Dave Chua)

Taipei Film Festival: Creation of a Global City (Yun-hua Chen)

Tourism and the Landscape of Thai Film Festivals (Adam Knee and Kong Rithdee)

North Korea's Pyongyang International Film Festival (James Bell)

Between Europe and Asia? A Chronicle of the ‘Eurasia' International Film Festival (Kazakhstan) (Birgit Beumers)

Part III: Resources

The Resources: Necessary Groundwork (Dina Iordanova)

Interviews

1. ‘We believe in "film as art"' An Interview with Li Cheuk-to, Artistic Director of the Hong Kong International Film Festival (HKIFF) (Ruby Cheung)

2. A Platform to the World: An Interview with Kim Ji-seok, Executive Programmer of the Pusan International Film Festival (PIFF) (Seunghee Lee)

3. ‘It's very simple. We like to give the audience the chance to see good films' An Interview with Hayashi Kanako and Ichiyama Shozo of Tokyo FILMeX (Chris Fujiwara)

4. Do Vodka and Sake Really Mix? An Interview with Natalia Shakhnazarova, Executve Director of Pacific Meridian: Vladivostok International Film Festival of Asian Pacific Countries (Alex Fischer)

Tables

Location Map (Alex Fischer)

Table 1: The Asia-Pacific Film Festival (from 1954) (Sangjoon Lee)

Table 2: East Asian Festivals by Decade (Ruby Cheung and Alex Fischer)

Table 3: Festivals Featuring Significant East Asian Cinema Content (Andrew Dorman and Alex Fischer)

Table 4: Film Festivals in Mainland China (Ma Ran)

Table 5: Film Festivals in Hong Kong (Ma Ran)

Table 6: Film Festivals in Taiwan (Yun-hua Chen)

Table 7: Film Festivals in Japan (Alex Marlow-Mann)

Table 8: Film Festivals in South Korea (Yun Mi Hwang)

Table 9: Film Festivals in Singapore (Dave Chua)

Table 10: Film Festivals in Central Asia and the Asian Part of the former USSR (Birgit Beumers)

Table 11: Documentary Film Festivals in Asia (Abé Mark Nornes)

Table 12: GLBT Festivals in Asia (Ragan Rhyne)

Table 13: Monetary Value of Awards at Top Festivals in East Asia (Alex Fischer)

Bibliography:  Film Festivals and East Asia (Alex Fischer)

What is New in Film Festival Studies - Thematic Bibliography on Film Festival Research: Update 2010 (Marijke de Valck and Skadi Loist)

Reviews

Chris Fujiwara (editor of Undercurrent)

This new anthology captures the enthusiasm for East Asian cinema felt by film lovers and film professionals the world over.

Chris Berry (Goldsmiths University of London)

 A vital contribution to both Asian Film Studies and Film Festival Studies.

Chonbuk Daily, 22nd February 2011 [in Korean]

Read feature.

Jo Ji Hoon, [Feature on Film Festival Yearbook 3: Film Festivals and East Asia], 24th February 2011 [In Korean]

Read feature.

Anna Page, ‘Film Festival Yearbook 3: Film Festivals and East Asia’, Viewfinder, 83, June 2011, p. 27.

The decision to dedicate an entire volume to East Asia seems particularly appropriate at a time when the available academic literature on film festivals from the region is sparse despite the fact that its films have penetrated the global market, and in turn spurred the rapid growth of film festivals there...The overall structure of the text offers an innovative approach to the subject matter and the volume proves to be an insightful and valuable resource in the field of film festival research.

Saër Maty Bâ,, ‘Film Festival Yearbok 3: Film Festivals and East Asia’, Transnational Cinemas, 2:1. 2011, pp.123-125.

The FFY series’ uncontested strength resides in [the section] ‘Resources’, while, undoubtedly, Iordanova’s team can attract a wide range of top scholars for it. Simultaneously, FFY series editors engage with methodology and history. They also use each volume’s introductory essay as a theoretical framework whose claims surpass mere conceptualization of case studies so as to inform and cement the volume’s logic and raison d’être.

Shelly Kraicer, 'Film Festival Yearbook 3: Film Festivals and East Asia', Cineaste, 37:2, Spring 2012, pp.65-66.

This valuable book…gathers sharp and thought-provoking analyses from a variety of viewpoints…It offers useful groundwork for a better understanding of why film festivals in general, and Asian film festivals in particular, matter to anyone interested in cinema as an internationally dispersed and engaged art form.