Management of events in films is not simply defined by festival reports, event recaps, notes used to program the film or even from what the press says about the film. Not even the existence of a blue print will make film management simpler. The true facts behind film management are characterized by events that are structurally easy to explain when observed. This can be exhibition sites, places where films are collected for screening. The tentative nature of such events portrays qualities of festival organization that inspire film management and answers questions of film organisers. These managerial characteristics have been adopted by festival directors on many occasions. For instance, Mill Valley Film Festival organizers focused on the experiences and observations they came across from Telluride Film Festival to come up with their own. However coping does not actually offer the best solutions to difficulties that come up in film management because observations or rather attending an event only offer a fraction of the operational complexity the event displays (Fischer, 2013).

For an event to be successful a lot of co-ordination is involved, time involvement, negotiations and endless efforts are required. Film festival functionality entails the basic concepts which lay out the conceptual framework for film management.  The framework provides purposeful highlights that are vital for a sustainable and successful festival film management. The explained concepts are not engrossed with glamour for an event to look sexy but focus on the organizational arrangements which command how the festival should be.  Nevertheless, conceptualization of connecting basic tips of operational film events is a process that requires assessing required dots of operation and identifying some that can be done away with. This is because some aspects can seem technical, pedantic and even laborious thus leading to a distorted event.

Clear conceptual links provide a clear picture of the film festival operation. The said links start by understanding the whole system of a film festival that requires assemblage of many parts that form a complex sequential whole. A systematic film festival operation can be considered successful through a combination of programs and guests will attend and finally the complex components that are portrayed by how united the events are. Viewing of the film only is rewarding tool that indicates the consequential nature of the many made decisions.

The managerial process should not exclude the filmmakers, bodies that fund the event and any distributor to the event. Managerial decisions to the inclusion of these groups and individuals should reflect well as a unified event (Ruoff, 2012). The process of film management also requires a logical perspective of operation whereby one will identify procedural drawbacks that come up. Before the whole work is screened a series of interrelated elements and events should be considered. Selected films that are meant for programming are viewed through issued screeners by sales agents or distribution companies. The selection can alternatively be done through bringing fourth an individual who is involved in the film production in the media stories. This will actually motivate the festival organizers to pursue the film for programming.

In summary, the framework provides purposeful highlights and guidance that are vital for a sustainable and successful festival film management. An organised film festival operation can be considered successful through a blend of programs and guests who will attend and finally the compound components that are portrayed by how united the events are.





Fischer, A. (2013). Sustainable projections: Concepts in film festival management. St Andrews: St Andrews Film Studies.

Ruoff, J. (2012). Coming soon to a festival near you: Programming film festivals. Scotland: St Andrews Film Studies.

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