Yingying, Zhenzhen, and Fenfen? China at the festivals

Dina Iordanova

doi:10.1057/978-1-137-55016-3_11

Yingying, Zhenzhen, and Fenfen? China at the festivals

Research output: Chapter in Book/Report/Conference proceeding › Chapter

Abstract

The chapter focuses on an array of Chinese film festivals and dedicated programs that take place in the West, with examples primarily from France, the UK, and the USA. Adapted from a longer study that explores the determinants of global circulation of cinematic material as related to film festivals, Iordanova’s chapter argues that it is the stakeholder configurations, the context of reception, and the projected/desired relationship outcomes that ultimately shape the nature of the festival and the material that will be screened at it. It offers a categorization that distinguishes between different types of festivals depending on the interests of major stakeholders: in this case, represented by the cultural diplomacy festival, the “corrective” festival, and the business card exchange festival.

Original language	English
Title of host publication	Chinese film festivals
Subtitle of host publication	sites of translation
Editors	Chris Berry, Luke Robinson
Place of Publication	New York
Publisher	Palgrave Macmillan
Chapter	11
Pages	217-235
Number of pages	19
ISBN (Electronic)	9781137550163
ISBN (Print)	9781137554802
DOIs	https://doi.org/10.1057/978-1-137-55016-3_11
Publication status	Published - 16 Feb 2017
Event	AHRC-funded network on Chinese FIlm Festivals - UNiversity of Hong Kong, Hong Kong, Hong Kong Duration: 1 Apr 2014 → 2 Apr 2014

Publication series

Name	Framing film festivals

Workshop

Workshop	AHRC-funded network on Chinese FIlm Festivals
Country/Territory	Hong Kong
City	Hong Kong
Period	1/04/14 → 2/04/14

Keywords

Film festivals
Film industry
Soft power
Concurrent event
Dress code

Access to Document

10.1057/978-1-137-55016-3_11

Cite this

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AB - The chapter focuses on an array of Chinese film festivals and dedicated programs that take place in the West, with examples primarily from France, the UK, and the USA. Adapted from a longer study that explores the determinants of global circulation of cinematic material as related to film festivals, Iordanova’s chapter argues that it is the stakeholder configurations, the context of reception, and the projected/desired relationship outcomes that ultimately shape the nature of the festival and the material that will be screened at it. It offers a categorization that distinguishes between different types of festivals depending on the interests of major stakeholders: in this case, represented by the cultural diplomacy festival, the “corrective” festival, and the business card exchange festival.

KW - Film festivals

KW - Film industry

KW - Soft power

KW - Concurrent event

KW - Dress code

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SP - 217

EP - 235

BT - Chinese film festivals

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ER -

Yingying, Zhenzhen, and Fenfen? China at the festivals

Abstract

Publication series

Workshop

Keywords

Access to Document

Other files and links

Fingerprint

Dina Iordanova

The film festival: principal node in film culture

Cite this

Yingying, Zhenzhen, and Fenfen? China at the festivals

Abstract

Publication series

Workshop

Keywords

Access to Document

Other files and links

Fingerprint

Profiles

Dina Iordanova

Research output

The film festival: principal node in film culture

Cite this