Over the last decades Film Festival has indicated a prominent growth. Within a short duration it has taken over the entertainment industry and has still blossomed globally. Due to this rapid growth this report focuses on the literature of this subject growth by examining the theoretical, historical, methodological and practical background of Film Festival. The history includes the origin of Film Festival and its development. Nevertheless, this report also explores on the archival and ethnographic research which is incorporated in the programming practice. Theoretically, Film Festivals are perceived as open air viewing whereby a crowd attends and the event dominates over the public by offering a feeling of happiness and glamour which also portrays celebration (Marijke, Brendan & Skadi, 2016). The feeling is also driven out to a point whereby one feels they are part of one community through a social environment.
These events have the power to generate news of various opinions that further make impacts on the social and historical changes. One of the changes that have led to the diversity of Film Festival is the method of screening festivals. Regarding technological changes, there has been conversion of movies that are viewed in theatres to the digital form (VALLEJO, 2017). Many Festivals are now being converted to DCP format. This however has not outdone the format of analogue projection which looks appealing for some film festivals style. Historically early cinema presentation of silent films was a technological style in Film Festival that was preserved and still thrills the modern audience.
The preservations can be portrayed through cultural projections, as in the case of silent shown films at archival film festivals. The preservation depicts the transitional method of a quality festival execution whereby a theatrical projection or big open air screens are used. Most Film festivals are comfortable with this kind of traditional setting, and then later they can explore other exiting digital media platforms like iPod, televisions and monitors. The reason for using these digitalized programs is because the filmmakers would also wish to reach out to other locations like hotel rooms or even churches and open-air screening limits. Even with the digital dominant festival setting there is a likelihood of a new error of film festivals coming up and taking over (Baumann, 2001).
The historical nature of Film Festivals is part of a worldwide cultural field. There have been several turning points in the expansion of Film Festival organizational structure. On the other hand many events have influenced general archives of the history of film festivals. The practical aspect of filmmaking also requires factual information linked to the film and also a connection of linked events which form up a whole event. The target audience is also important whereby film makers will have to identify the type of audience as a general public, a professional audience or specific communities. A thematic outline that is relevant is also a core element in filmmaking practice. In summary, the whole process of film making involves a lot of activities linked together to bring out one picture that is explicitly curatorial in nature. A unique history of events should also be explicitly selected and scrutinised.
Baumann, S. (2001). Intellectualization and art world development: Film in the United States. American Sociological Review, 404-426.
Marijke de Valck, Brendan Kredell, & Skadi Loist (2016) History, Theory, Method & Practice
VALLEJO, A. I. D. A. (2017). FILM FESTIVALS AND ANTHROPOLOGY.