... This chapter takes the institution as its organizing term. It examines the queer film festival, which provides a vantage point from which to view cinema’s shifting role in world politics. Today, queer film festivals proclaim both that queers make films more worldly and that films make the world...

... Indonesian cinema Taiwan cinema women’s film festivals LGBT film festivals lesbian directors ...

... indie rock indie film authenticity (indie/nationalist) film festivals archipelagic ...

... The Binisaya film movement wrests archival power away from the Manila film industry to reconstitute the ongoing history of Cebuano vernacular cinema. Originating as a Visayan-language film festival in 2009, Binisaya now names a community of filmmakers, scholars, artists, and audiences...

... Binisaya vernacular cinema Iskalawags (Scalawags) audience problem film festivals ...

... art cinema auteur theory Cannes Film Festival New Argentine Cinema Iranian New Cinema ...

... in international film festivals alongside other forms of Manila indie rock culture’s (namely, touring bands) involvement in global U.S.-based music festivals. By instead shifting the focus to diy (do it yourself) musical events—such as shows and screenings not sponsored or organized by large indie cultural...

.... Indonesian cinema Taiwan cinema women’s film festivals LGBT film festivals lesbian directors ...

... The major European film festivals articulate aesthetic value with gender in distinctive ways. Historically, very few women directors gained entry to this elite world, despite the impact of second-wave feminism. But in the first decade of the twenty-first century, younger women filmmakers, many...

... by the state. This chapter looks at works by three filmmakers that have won prizes at European film festivals while sparking debates in national and regional contexts. It analyzes Pakistani filmmaker Sabiha Sumar’s Silent Waters (2003), which explores the revelation of a Pakistani mother’s traumatic past...

... States at the New Directors/New Films festival held at the Museum of Modern Art on 18 March 1983. A cameo appearance by Richard “Crazy Legs” Colón of the Rock Steady Crew in Flashdance suggested that breaking could cross over to a wider audience. Roxy owner Steve Haenel hired AM/PM’s Vito Bruno to help...

... at the New Directors/New Films festival held at the Museum of Modern Art on 18 March 1983. A cameo appearance by Richard “Crazy Legs” Colón of the Rock Steady Crew in Flashdance suggested that breaking could cross over to a wider audience. Roxy owner Steve Haenel hired AM/PM’s Vito Bruno to help Ruza Blue...