By Kirsten Stevens
This is thefirst ebook to supply an in-depth exam of the background, operation, and progress of movie gala's as a cultural phenomenon inside of Australia. Tracing the start of movie fairs in Australia within the Fifties via to their current abundance, it asks why movie gala's have prospered as audience-driven spectacles all through Australia, whereas by no means constructing a similar and industry foci in their overseas fellows. Drawing on over sixty-years of archival files, competition observation, interviews with pageant insiders and ephemera, this booklet opens up a principally uncharted background of movie tradition job in Australia.
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Additional resources for Australian Film Festivals: Audience, Place, and Exhibition Culture
Without the support of the FVFS, the largest of the state federations, the ACOFS event became impractical and the notion of an Australia-wide festival was abandoned. Although the possibility of a single national celebration had been removed, however, the notion of film festivals had taken hold. In the wake of Olinda Australia developed a range of festivals catering to the needs and interests of local audiences. Some of these new festivals were small, shortlived affairs such as the film festival in Canberra, which had disappeared by 1961 after some four years of operation.
These significant points of divergence from the European festival model resulted in the Australian events developing as different types of festivals, with their own distinct historical trajectory that cannot neatly be co-opted into the established thinking on the early evolution of film festivals at an international level. BEGINNINGS OF A FESTIVAL MOVEMENT: THE TALE OF TWO CITIES The first phase of the film festival development in Australia is shorter than that identified by de Valck at the international level and highlights the core differences that separate the Australian festivals from their international counterparts.
STEVENS in Australia the opportunity to present a recognised festival. This most notably affected the festival taking form in Sydney, limiting the event’s access to films. In order to overcome this, Rado in his role as director of both MFF and the AFI saw an opportunity to circumvent these restrictions through the establishment of a single Australian Film Festival. To be launched in 1959 and organised officially by the AFI, the Australia-wide event was intended to travel its programme annually to several Australian cities, beginning with Melbourne, Adelaide, Canberra and Sydney in its first year.
Australian Film Festivals: Audience, Place, and Exhibition Culture by Kirsten Stevens