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FIS02
European FilmCultures II
PP 087
European Film Festivals: The Making of Cosmopolitan Spaces in Colombian Cinema
M. Luna
1
, P. Meers
2
1
ALADOS-MIDBO - Latin American Association of Documentary Filmmakers, Bogotá, Colombia
2
UNiversity of Antwerp, Communication Studies, Antwerp, Belgium
There is an increasing presence of Latin American films in the main European festival circuits and today Film Festivals selection and prizes play a determinant
role in recent Latin American productions. Currently, Colombian cinema presence in EU Film Festivals constitutes a representative example of transnational
media flows of Latin American cinemas in Europe. However, despite the strong relationship of Latin-American Cinema with its exhibition spaces in Europe,
the subject still remain under-researched in film and transnational media studies. Focusing on the transformation of Colombian cinematic landscape as
a representative case of study among emergent cinematographies, this research project will analyse the main aspects of transnational dynamics of co-pro‑
duction, distribution and exhibition mechanisms among both continents. The study is a mapping of four relevant aspects in a transnational context: spaces
of co-production, international training networks, national locations present on international promotion of the films and the exhibition of the films in
the cosmopolitan arena of European film festivals. The research focuses on Colombian contemporary films co-production with European countries and aims
to explain the role of Film Festival in the transnationalization of the emergent cinematography in Colombia. Film festivals in these research are defined in
terms of cosmopolitan spaces, these are lived-social spaces, that encourage, shape and condition the circulation, funding and in a transnational context,
also influences the creation of new representational cinema spaces in Latin America. The working hypothesis is that film festivals in Europe, understood in
terms of global/cosmopolitan spaces, have a determinant role in the transformation of the national cinemas in emergent cinemas in Latin America. The re‑
search derives from a theoretical approach to geographies of communication, previously developed for the dissertation Mapping Heterotopias, focused
on contemporary Colombian films of the armed conflict in which the documentary recording of remote rural zones was connected to the ideas of national
legitimization of the films as transnational products. This research apply the theoretical model based on Lefebvre’s approach to the production of social/
representational space for the study of the emergent Colombian fiction films of the last decade, particularly because most of them seems to be inspired in
true stories in remote regions of the country. Thus, this proposal, establishes a relationship between the cosmopolitan tradition, very present in the training
of contemporary filmmakers, and the flow of glocal products characteristic of the world cinema exhibition logic of European Film Festivals. Here, the figure
of the explorer of an unknown country has a relevant role in the transformation of a representational social space, in other words, the transnationalization
of Latin American emergent cinemas is transforming this cinema traditions, not only in terms of the generation of new market opportunities, but also in
the cultural relations with their traditional exhibition spaces.
PP 088
The Double Circuit of Film Culture: The Movie Awards Show as Cultural Intermediary
H.K. Haastrup
1
1
University of Copenhagen, Department of Nordic Studies, Copenhagen S, Denmark
Movie awards shows are a central part of contemporary international film culture in many different ways and what role they play in the complex media
culture of today can be analyzed by an analytical frame work that I tentatively have named ’the double circuit of film culture’.The purpose of this frame work
is to focus on a particular aspect of film culture and that is the media circuits concerning one particular film and the workings of a specific awards show. My
case study is thus The Academy Awards Show 2016 (the live broadcast) and the Danish nominee in the Best Foriegn Film category AWar (Krigen) directed
by Tobias Lindholm, (2015). The double circuit of film culture consists of: 1) ’a first circuit’where the movie AWar opens in theatres in Denmark (September
2015) and the analysis of the critical reception. This is done by using Janet Staigers understanding of ’the film as an event’, where the film reviews are ana‑
lyzed as part of a specific cultural context (Staiger 1993). 2) The ’second circuit’is when AWar secures a nomination for an Academy Award (January 2015).
In this ’second circuit’ the film becomes part of a global media event that is the live broadcast Oscar Ceremony (February 2016) as argued by Dayan and
Katz (1992) and Couldry (2012). Of particular interest analyzing the ’double circuit’is the notion of ’the cultural intermediary’as defined by Bourdieu (1984)
and developed further by Maguire and Matthews (2014). The ’cultural intermediary’ opens up a different way of analyzing the Oscar-show as part of film
culture, because it becomes possible not only to recognize that The Oscar’s have cultural authority in the industry (MacDonald 2013, Wasko 2012), but to
analyze how and in what way in a specific cultural context and in specific media texts. The theoretical framework is a thus combination of sociological and
cultural theories Bourdieu (1984) and Maguire and Matthews (2014), theories on media events (Dayan and Katz (1992) and on film and cultural context
Staiger (1993) and Jenkins (2006). As well as theories of celebrity culture Rojek (2001), Driessens (2014) and Dyer (1979) as well as theories of Hollywood
industry (MacDonald (2013) and Wasko (2012). The method is a combination of analysis of selected media texts (critial reception in a the Danish daily
newspapers) as well as an analysis of the Oscar live broadcast on Danish television concentrating on the Foreign Film-category. Additionally the national
framing celebrtrating the Danish nominees (apart from AWar the documentaryThe Look of Silence waas nominated as well) will also be addressed.The aim
is to demonstrate how contemporary film culture productively can be analyzed using the ’double circuit’and the notion of the cultural intermediary and thus
addressing the strategic cultural authority as well as significance of both the critical reception (film event) and the awards show.