Assignment 1 – Reflection on Film Festival Culture
- What were the key insights about staging film festivals in Australia you took away from Richard Sowada’s guest lecture, and from attending a film festival screening in Melbourne?
Through Richard Sowada’s insights I was able to gain a fundamental understanding of developing and staging a film festival especially within the context of Australia. I took my learnings and applied a critical lens when I attended a special screening of ‘The Fall of the American Empire’ at The Alliance Française French Film Festival. Understanding both the operational and programmatic aspects of film festivals were the most important takeaways from Sowadas presentation. Through these elements; highlighting the importance creating people-to-people bonds, and how in the 21st century, they are critical to the success of a festival.
In terms of festival operation; I attended the screening at the Palace Como in South Yarra. A venue endowed with plush foyer decor and amenities, quite fitting for the French atmosphere. As the film was a part of the Canadian francophonie, a series running for a week during the festival; thematic elements of both Canada and France were present throughout the pre-function canapes, pre-screening and post-screening. Guests were bestowed with metal Canadian flag pins and served French wine and cheese complimentary with the ticket price. Small Canadian paper flags were placed on top of each dish and served by the roaming volunteer waiters and waitresses. Furthermore, photo opportunities presented themselves with the festival director in front of a branded photography wall. Marketing materials and festival programs were sprawled around the pre function area as guests quietly chatted away in both English and French. An overall impressive pre-function experience, which set the tone nicely for the rest of the night.
In some aspects, I was personally taken back by the bourgeois nature of the pre-festival experience, considering the exorbitant ticket price of $35 coupled with lavish food. Moreso, when I knew that narrative of the film was “a richly amusing rumination on the excesses and amorality of capitalism” (Variety). Despite the irony of the situation, I found myself fully engrossed in the experience.
Entering the cinema, a holding screen displayed the festival branding and a lectern was illuminated at downstage left. In Sowata’s words, my experience was set from the moment I entered the cinema. By 7 O’clock, the film festival director spoke briefly about: the festival, the film, and the importance of the Canadian francophonie series. An additional holding slide with his name and job title would have been beneficial, as I was unsure of his relation to the festival or film. He then stated that there would be a Q&A at the commencement of the film with the program director of ACMI.
This speech was followed by an address from a Canadian or French consulate official (again I was unsure of her role due to limited information). She discussed the importance of Canadian and Australian Bilateral relations, French-Canadian film making and a ‘Zero Plastic Waste’ Canadian government initiative. The speech highlighting the importance of how culture itself can influence soft power and international relations.
In terms of the programming; the sponsorship advertisements, festival promotion packages and indeed film were apt choices for the special event night. However, I assume subsequent daily screenings would have less impact than the special screening. Nevertheless the thematic elements of money and art, mixed with the underpinnings of philosophy and socrates ideology on ethics presented a film which was complementary to issues currently present within modern culture.
The Q&A session at the end of film was although interesting, albeit a little unnecessary. More than half of the audience left the cinema once the Q&A commenced, thus showing somewhat of a disconnect between the nights programming and the audience attending. Questions prompted by the festival director seemed far too structured and no natural discourse was created. Additionally, the lapel microphone levels were slightly quiet requiring one presenter to yell louder. This created further disengagement between the audience and the festival.
In conclusion, an overall positive experience of a festival. I accredit it to the overall planning and implementation by the staff both at the festival on the night and those working behind the scenes. A more holistic approach could have been taken from the festival organisers to ensure the later part of the event to be more natural and engaging.
- What were your key takeaways about international film festival culture, present and past, from viewing Film Spa?
International film festival culture, while somewhat implied in the name should be international in nature. However upon viewing Film Spa and unpacking the required readings, I have come to realise that even international film festivals vary in caliber, and should be looked at in there own unique and individual cultural frames. Valck (2016) highlighted the importance of including certain fundamentals such as: red carpets, open-air screenings, paparazzi, movie stars and of course the bustling crowds. Additionally, including certain elements such as subtitling, press offices, special press screenings, facilitating video booths, networking and social events are most certainly common ground amongst international film festivals.
Stevens (2016) contends that what is of critical essence is that international festivals need to be acutely aware where they place themselves on the ‘audience spectrum’. That is, are they more centred towards the industry model (catering to distributors, sales agents, buyers and sponsors) or are they more centred towards an audience model (general public or those who actively enjoy film).
Karlovy Vary represented within Film Spa, in its current form, appears to sit nicely in between the industry model and audience model. Showcasing film premieres, exclusivity, a-list celebrities and special events that one would expect from a high profile International film festival. But also seems to be steeped in egalitarianism and openness to a wider audience, including elements such as: free camping, inexpensive programs, widely distributed marketing materials and cheap ticket prices. A far juxtaposition of the boring, heavily political and totalitarian cultural event shown earlier within the film. Closer to home, the Melbourne International Film Festival appears to be representative of the audience festival model. This could be somewhat of a strategic and operational decision based on geographical location and limitations of the overall Australian film industry. It would be of interest to see if the Melbourne International Film festival were to adopt a more industrial model, or even as Karlovy Vary does, adopt A-List status in order to be recognised amongst the most prestigious festivals in the world including Cannes, Shanghai & Berlin. And thus what lead on effects that would have for the broader industry. However unfortunately, due to their current position, I would assume them to be far less risk advise and stick to their safer model of operation.
Through viewing the documentary Film Spa, Karlovy Vary highlighted what can happen when political ideology intersects with film festival culture, historically hinting that the two things should be mutually exclusive. However one must consider within this current frame of film festivals; how fast consumption of over the top (OTT) media and limited attention spans of audiences, how feasible these models actually are and whether intervention should be made in order to uphold broader cultural practices.