International Screen Industries Consortium (ISICon)
In December 2016, Deb Verhoeven (kinomatics) and I established an international network of screen industry researchers and organisations to analyse the relative position of women in film industries across the globe.
ISICon has three major objectives:
- To enable researchers to undertake meaningful comparative studies of different screen industry jurisdictions (or territories)
- To assess the impact of different policy mechanisms across those jurisdictions and to establish an international evidence base for policymakers looking to improve equity in screen industries
- To apply new digital research techniques such as Social Network Analysis to understand how different jurisdictions overlap and to assess the impact of gendered creative networks on the screen industries at international scale
The network comprises of individual and organisational members from eleven film industries (with more to follow) covering the vast majority of screen production centres around the world. Currently included are Australia, Canada, France, Germany, Hong Kong, Ireland, New Zealand, Romania, South Africa, United Kingdom, United States.
This international network brings together existing studies on local and regional data for the first time and tackles methodological challenges for assessing local differences and global similarities in data-driven studies.
Contact Deb Verhoeven: deb[dot]verhoeven[at]deakin[dot]edu[dot]au or Skadi Loist: skadi[dot]loist[at]uni-rostock[dot]de for further information.
Special Issue on Queer Film Festivals (2017)
Together with Leanne Dawson (University of Edinburgh) I am editing a special issue on “Queering Film Festivals” as part of a series exploring Queer European Cinema, past and present for the peer-reviewed journal Studies in European Cinema to be published in 2017. The Call for papers (deadline for abstracts 4 April 2016, deadline for full articles 31 August 2016) can be found here.
Mapping Queer Film Festival History
This map lists 326 LGBT/Q film festivals in 346 locations operating globally since 1977, many are now extinct (pin with a dot=existing festival, empty pin=terminated fest).
The historical development of the LGBT/Q film festival circuit is represented by color-coding, each color indicates a specific period. I follow the 4 phases proposed in Ragan Rhyne’s PhD thesis “Pink Dollars: Gay and Lesbian Film Festivals and the Economy of Visibility“ (2007). 1st phase (BLUE: 1977–1990): these festivals were established; 2nd phase (GREEN: 1991–1996): marked by building relationships between festivals and the commercial industry; 3rd phase (YELLOW: 1996–2001): the gay and lesbian film festival model proliferated globally; 4th (RED: 2001–2006): major sponsorship links to television developed (Rhyne: 4-5). The current, final phase (VIOLET: 2007–2015) is largely characterized by differentiation and network building. [18/9/2014]
When looking for a specific festival or city, use the search button. The festivals are not listed alphabetically but by their founding year.
For suggestions and additions please get in touch!
Film Circulation: TEDDY Film Study
Together with sociologist Ann Vogel (HU Berlin) I am conducting a survey-based study with the aim to map queer film circulation through the international film festival circuit. Based on a large sample of films that screened at the Berlinale (2001-2014) and were listed as eligible for the TEDDY Award, we are asking the filmmakers, producers, sales agents and distributors to provide information about the festival and theatrical run of their films after the Berlinale screening. On the basis of the incoming data, we will investigate the relationship between films, prizes, film festivals, the circuit, and commercial exploitation.
EWA Study “Where are the Women Directors in European Film?”
The European Women’s Audiovisual Network (EWA) released the report “Where are the women directors in European films? Gender equality report on female directors (2006-2013) with best practice and policy recommendations“, which is the result of a two-year study and statistics-gathering exercise in seven countries: Austria, Croatia, France, Germany, Italy, Sweden, UK. EWA’s data has been gathered through two sources: a comprehensive survey of national contexts and statistics provided by the seven research teams, and a questionnaire distributed through national professional organisations to almost 900 professionals, male and female, working in and associated with the European film industry. The results have been analysed with the assistance of experts from Sheffield Hallam and Rostock Universities. Findings have been discussed at a series of meetings held during the research period.
Together with Elizabeth Prommer I have written the National report on Germany.
Together with Marijke De Valck and Brendan Kredell I have been working on a textbook on film festival studies Film Festivals: History, Theory, Method, Practice, which features 12 original essays by key authors in the field. It is has been published with Routledge in March 2016.
Who Directs German Feature Films? Gender Report: 2009–2013
Only every fifth feature film (22%) between 2009 and 2013 has been directed by a woman. These films obviously impress with their high standard of artistic quality as films by women receive film awards at a higher rate and have a more successful festival run. This success is remarkable considering that on top of the underrepresentation of women in film production their films usually have to be realized with smaller budgets. These are the results of the study “Who Directs German Feature Films? Gender Report: 2009–2013” (Feb. 2015) by the Institute for Media Research at the University of Rostock led by Prof. Dr. Elizabeth Prommer and Skadi Loist.
The full report can be downloaded here.
Conferene taking place 14-15 October 2014 at the University of Hamburg in conjunction with the 25th Lesbisch Schwule Filmtage Hamburg | International Queer Film Festival (14-19 October 2014).
The conference was metioned and reviewed in a few high-profile publications:
- B. Ruby Rich’s keynote lecture “Publics and Privates: Revisiting the New Queer Cinema” has been translated into German and published online by Spiegel Online as “Queeres Kino: Einsam durch Netflix?“.
- Jan Künemund wrote about the second day of the conference and the discussions of recent trends in Queer Cinema taking place there in “Queer, entzaubert” for SISSY: Magazin für den nicht-heterosexuellen Film #24 (2014): 32-33. [Online PDF here]
- Katharina Lindner (University of Stirling) wrote an excellent review of the full conference for the academic journal Transnational Cinemas.