Abstracts
Abstract
The aim of this essay is to offer some coordinates for the analysis of the impact of film festivals on cinema historiography. Although film festivals have had a pivotal role in film studies since the 1940s in determining various aspects of research interests, both on a critical and theoretical level, it is only in recent years that they have gathered academic attention as an autonomous research field. Moreover, even among most studies of film festivals, the relationship between film festivals and cinematic historiography seems to have been overlooked. This essay is conceived, therefore, as a provisional contribution, attempting to delineate the scope of the topic and set some parameters for further research. After defining what we mean by the impact of film festivals on cinema historiography, we try to construct a conceptual framework, capable of examining how the strategies deployed by film festivals—such as their structure, schedules, published materials and round tables, as well as their identification of a target audience—implicitly highlight the potential impact of film festivals on cinema historiography. To exemplify our theoretical statements, we refer to different kinds of film festivals and, more particularly, make a few remarks about a very particular case, Il cinema ritrovato in Bologna.
Résumé
L’objectif de cet article est d’offrir des points de repère pour étudier l’impact des festivals du film sur l’historiographie du cinéma. Depuis les années 1940, les festivals du film ont joué un rôle crucial en études cinématographiques, contribuant au développement de diverses avenues de recherche, tant chez les critiques que chez les théoriciens. Toutefois, ce n’est que récemment que les festivals du film ont attiré l’attention du milieu universitaire en tant que champ de recherche autonome. Qui plus est, dans la plupart des recherches qui leur sont consacrées, la relation entre les festivals du film et l’historiographie du cinéma est généralement négligée. On tentera donc ici de décrire l’étendue actuelle de ce champ de recherche et de proposer certains paramètres pour son étude future. Après une description générale du rôle qu’occupent les festivals dans l’historiographie du cinéma, nous tenterons d’ériger un cadre théorique capable d’expliquer comment les stratégies mises en oeuvre par les festivals — leur structure, leurs horaires, leurs publications, les tables rondes qui s’y tiennent, mais aussi leur façon de cibler un certain public — mettent en lumière, de façon implicite, leur impact potentiel sur l’historiographie du cinéma. Pour exemplifier nos propositions théoriques, nous nous référerons à différents types de festivals, dont un cas très particulier : Il cinema ritrovato de Bologne.
Appendices
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