Wet Dreams: Erotic Film Festivals of the Early 1970s and the Utopian Sexual Public Sphere

2006 ◽  
Vol 47 (2) ◽  
pp. 59-86 ◽  
Author(s):  
Elena. Gorfinkel
Keyword(s):  
Public Sphere ◽  
Film Festivals ◽  
Erotic Film

scholarly journals Who Debarred "you‟?

2016 ◽  
Vol 15 (3) ◽  
pp. 81
Author(s):  
Vineetha Krishnan
Keyword(s):  
Public Sphere ◽  
Film Festival ◽  
Film Festivals ◽  
The Public ◽  
Select Group ◽  
Key Factor ◽  
History Of ◽  
International Festival

The paper examines the idea of „unqualified public‟ in International Film Festival of Kerala, IFFK.  The general notions about the public in IFFK will be described by narrating incidents and tales of hindrances people faced while entering into the above-mentioned space. The criticisms leveled against cinema in the discussions, outside the space, always contributed to number of censures of the Film Festival too, spurring debates centering around who should watch a movie or who should participate in IFFK. A paper that aims to understand the notion of public, in an international festival on films in Kerala, cannot possibly neglect the typical perspectives and publicnotions about movies, especially among a select group of people in Kerala. While unpacking the notions of who these public individuals are and what their opinions on films are, the paper will also raise questions such as: Do films really imagine a homogeneous public, an idea of public without differences? What is the film‟s conception of public sphere? Do films create a new kind of public sphere? Then, what about cinema kottakas and film festivals? The paper takes note of one of the burning controversies in 2014 in the history of IFFK, that each delegate should submit a note on his/her ideas about cinema. Adoor Gopalakrishnan, Malayalam film director had suggested that only those who know English can enjoy all the movies as the Festival includes movies in other languages with subtitles (Ramnath 2014). So I here look at how specifically, language becomes a key factor to determine a „qualified public‟ in IFFK, among other factors that aid in the manufacturing of the „qualified public‟. For this study on IFFK the aim would be to focus on  the description and analysis of (unqualified) public in IFFK in relation to the recent controversies, to reveal the multi-layered construction of the „qualified public‟. 

The Gothenburg International Exile Film Festival in Context

2019 ◽  
pp. 94-102
Author(s):  
Boel Ulfsdotter ◽  
Mats Björkin
Keyword(s):  
Public Sphere ◽  
Large Range ◽  
Film Festival ◽  
Film Festivals ◽  
Iranian Immigrants ◽  
Western Films ◽  
Commercial Art ◽  
Immigrant And Refugee

This chapter explores how in 1993 two Iranian immigrants to Sweden, Hossein Mahini and Hassan Mahini, launched a film festival in Sweden’s second largest city Gothenburg for films related to exile and refugee experiences, the Exile Film Festival. The programming of the festival represents the large range of exilic, diasporic, ethnic, immigrant, and refugee communities that are part of the contemporary public sphere. The festival also constitutes an overlooked elsewhere of cinematic programming outside of the main commercial, art house, or mainstream film festivals. It is also part of local, national, and international “ecology” of exhibition of non-Western films in general, and exile or diaspora film festivals in particular, including through the festival’s intervention into Gothenburg suburbs that rarely otherwise see this kind of cinematic programming. The chapter also discusses exilic cinephilia cultures in Sweden and the kinds of films that are screened at the festival. By so doing, it introduces a range of cinematic elsewhere.

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