In recent years, an increasing number of film festivals have engaged closely with film production and distribution. This engagement has been realized via a variety of festival-specific models, such as talent campuses, pitching sessions, project funding, distribution labels, streaming platforms, and so on. Thus, the film festival (which, as I have argued elsewhere, has essentially been an exhibition vehicle) is transforming from primarily a display site of completed films into an important factor that often triggers the very cycle of a film’s conception, financing, development, production, and circulation. This short essay outlines the changing status of the film festival as a cluster of creativity and commerce and as a node in more general transnational infrastructures. It comments on the status of scholarship and sets out priorities for research.
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|Published - 2015