Titlebook: Documentary Film Festivals Vol. 2; Changes, Challenges, Aida Vallejo,Ezra Winton Book 2020 The Editor(s) (if applicable) and The Author(s),

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https://doi.org/10.1057/9781137319159 the influences of the broadcasters, their largest funding source. In this interview,?Thierry Garrel, who stood at the foundation of the Franco-German public service broadcaster ARTE?in the early?’90s, discusses the needs of the public broadcaster and the role of documentary festivals in film curati

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https://doi.org/10.1057/9781137319159reated by an alliance of European documentary festivals. The discussion touches on topics of festival collaboration, curation, submission procedures, the festival circuit, distribution, TV broadcasting, online circulation, regionalism, event platforms, festival competitions and premieres, film acces

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https://doi.org/10.1007/978-3-030-17324-1Documentary Film; Film Festivals; Global Cinema; Documentary Festival Circuit; Film Festival Organizatio

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978-3-030-17326-5The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerl

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2946-3734 professionals who have intimate knowledge of the festival ci.This book provides the first comprehensive overview of the global landscape of documentary film festivals, looking at its contemporary and future challenges. Contributors from across the globe reflect on how documentary has positioned itse

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Interdisciplinary Studies in Human Rightseas of inquiry align with the argument that film festivals participate in the cultural restructuring of Europe during the post-1989 transition period. Through original data sets, the chapter offers pioneering insight into the developing relationship between Northeastern Europe and documentary film festivals.

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https://doi.org/10.1057/9781137319159l for Documentary and Animated Film Leipzig (DOK). She is also head of the documentary competition at Sarajevo Film Festival (SFF) and is co-founder and co-organiser of the Eastern Neighbours Film Festival (ENFF) in The Hague. In this interview she reflects on programming, selection and funding within the documentary festival sphere.

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https://doi.org/10.1057/9781137319159carnations, institutional contexts, pedagogical models, pitch sessions, crowdfunding and standardisation.?Tealdi recounts his experience as a Documentary Campus executive, reflects on the importance of training workshops for documentary filmmakers and recounts the outcomes that these workshops develop for producing new films.