In the study of Thomas Alsace on the loop of contemporary European film and international film festivals, the film festival as a cultural mechanism was founded in Europe before World War II (the Venice Film Festival established in 1932), which was “20 In the 1940s and 50s, cultural, economic, and political maturity also matured, and gradually went global. Elsace further explained that in the “post-national era” “to grasp the importance of the film festival, the International Film Festival must be seen as a network (with nodes, circulation and exchange).”
In the early 1980s, the Cannes Film Festival and its film market became “the center of activities, new independent films and business booms,” and in the late 1980s “most independent productions left.” The film festival network is undergoing a profound transformation when Hollywood tries to “counter” and win back the audience that is deeply influenced by the arrival of the multimedia era.
Dutch scholar Maleka Dewak noticed that in the 1980s and 1990s, “the global film festival boom” and “circulation of alternative films around the world” resulted in many film festivals becoming major film markets and media events. “And most of the film festivals play a diverse role, from discovering film director genius to supporting identity groups such as gays and lesbians.” At the same time, if the film festival network is discussed in the language of globalization, it should also be noted that “the film festival is marked by a conceptual similarity and cultural differences.”
The World Film Festival system not only plays an important role in the revival of European or other national film traditions, it also plays a role in the subtle rivalry of Hollywood. Taiwanese scholar Wu Jiazhi cites Bill Nichols’s exposition: “The European Film Festival not only promotes the avant-garde film lovers, but also supports these groups. For this reason, the film festival has accelerated the classification of non-Hollywood movies. The art film’s process, and provides an “international platform for continuous image culture circulation and exchange”, thus maintaining the international “film circulation”.” Wu Jiazhi believes that the European Film Festival once “with the new wave of European cinema and The Third World Films work closely together, and both “consciously advertise themselves as the classic Hollywood narrative ideology and form of the other.” The most appropriate example of this third-world film culture discovered by the film festival is the new Iranian film, with its filmmaker Abbas Kiarostami winning the Palme d’Or at the Cannes Film Festival in 1997. Ten years later, Cannes repositioned the international cinema fashion by crowning the Romanian film “April, Three, and Two Days” directed by Christian Monge. The Rotterdam International Film Festival and the Hubert Bass Fund have also actively supported Southeast Asian films in the past decade, and in recent years have ushered in the birth of a new wave of Malaysian cinema.