Issues and the future of film festivals
Behind the shiny appearance of grand film festivals, it is unexpected that there are quite a lot barriers and difficulties for taking next step. As a matter of fact, film festival industry can be claimed to be one of the most insecure industry (Loist 2011), which is more severe than any other industries that are seemed to be more unassuming at ordinary times. So what does ‘insecure’ exactly mean in film festival industry?
Actually, there are two main kinds of film festivals can be categorized, which are international film festivals and specialised film festivals (Loist 2011). What are the most worthy of mention for international festivals absolutely are Berlin, Cannes and Venice. To our surprise, those outstanding and magnificent film festivals actually are also experiencing insecurity environment. The first need to be noted is funding.
For all the time, film festivals are mainly relying on municipal authorities and company sponsorship (Loist 2011). As it known to all, sponsorship is an unstable capital source, which means if one film festival itself has little value for those stakeholders, it cannot get the sponsorship opportunities. No sponsorship will lead to the direct failure of the host of film festivals. Owing to the involvement of funding problem, film festival industry itself is defined as a precarious entity.
Besides, festival workers are mostly young and doing part-time job rather than full-time job, which is on account of low salary. It indicates that staffs working for film festivals are always changing, which leads to the fact that the host of those festivals every year are comparably unstable and unsustainable. At the same time, only young people are more inclined to devote their time to do the job because they pay more attention to culture capital than physical capital in order to get relative experiences. In the long term, few people would like to do the festival job persistently.
Actually, the insecure situation of film festivals derives from uncertain value in the whole society from my perspectives. Film festival industries show to be quite passive and dependent while the existence of it greatly depends on sponsorship and it does not has its own mature market. This case is even more pronounced at specialised festivals, especially queer film festivals. This type of topic has smaller group of audiences. Even some of those subjects are sensitive, such as homosexual and religion, which are hardly favoured by the public. As a consequence, the organisers of queer film festivals get into a difficult situation on fund with the lack of municipal authorities financial support.
For the future of film festival industry, there is still a long way to develop. How to establish their own industry market and find a reason for sustainably holding matter a lot.