Film Festival Selection

The selection, selection and competition criteria of the festival will reflect the “multi-center aesthetics” or “alternative aesthetics” as Sum and Shawhat call, but the evaluation of film works at European and American film festivals often cannot be rid of. The desire for progress, democracy, justice, and the value judgment of human rights; these criteria are often modified in light of the hot topics of multiculturalism and political correctness.


Not only is there a hierarchy between program units of a particular film festival, but there is also a hierarchical relationship between film festivals. The roots of the grades are related to the development history of each film festival, its cumulative influence, and the appeal of discovering newcomers. Therefore, there is a so-called “big three” in the industry, namely the Venice, Cannes and Berlin Film Festivals.


The Paris-based International Federation of Producers Associations is an international organization that oversees and certifies international film festivals. The organization has rated some film festivals as the highest category A, although these A-type film festivals are now called “races”. Drama film festival.” The vast majority of the 12 A-type film festivals were held in developed European countries.


From this point of view, it is probably not too extreme to talk about the selection of film festivals with the “taste” and “gaze” of Eurocentrism and the English mainstream media circulating in these films to judge the films of other countries and regions. Any “choice” or “elimination” about film festivals and awards has never been purely aesthetic or artistic. Most of the choices are related to the ideology, value system and other social and political issues inherent in the festival’s discourse. closely related. For example, at the 58th Berlin Film Festival in 2008, Brazil’s competition “TropaDeElite” caused widespread dissatisfaction and controversy among film critics because of its questionable fascist complex, even though the film itself became a Brazilian One of the most popular annual works. However, with the spread of the film festival around the world, there is also reason to believe that the tastes and viewpoints of “Eurocentrism” are also becoming more diversified through a process of “de-localization.”



At the Tribeca Film Festival in New York, programmers divide and conquer according to specific expertise. “Our team is categorized by region and genre at all levels. All of this is to ensure that the person submitting the assessment is the one who is proficient and most likely to appreciate the film’s strength,” Tribeca Cara Cusumano’s senior programmer told in an email. “Our selection process is very consensus-based, so while we sometimes see movies on festivals or private shows, which makes it difficult to share with the entire team, we don’t usually invite movies that only one person has seen.” 2016 The Tribeca Film Festival screened about 7,000 topics and short film submissions.



M, R (2009), The Changing Chinese “Urban Generation” Movie: The Cultural Orientation of China’s “Film Festival Movie” in the Global Era


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