Festival Review: TIFF 2013, The Neoliberal Labyrinth of Cinema

Authors

  • Ege Edener

DOI:

https://doi.org/10.5195/cinej.2013.85

Keywords:

film festivals, TIFF

Abstract

TIFF’s history coincides with the rise of national cinema in Canada. Since its foundation in 1976, it has played a large role in promoting homegrown talents and introducing them to international markets. Although it’s difficult to talk about the binding principles that define the Canadianness in Canadian films, we can still conclude that the “Canadian film canon has been predominantly bicultural” (Czach 1994: 81). This dual-cinemas tradition, (Anglo-Canadian and Quebecois), challenges the classic notion of national cinemas, where a cultural and/or national unity and homogeneity are the defining norms. But where do festivals like TIFF come into play?

References

Ackland, Charles. “Screen Space, Screen Time and Canadian Film Exhibition”. in William Beard and Jerry B. White eds. North of Everything: English-Canadian Cinema Since 1980. Calgary: University of Alberta Press, 2002.

Czach, Liz ‘Film Festivals, Programming, and the Building of a National Cinema’, The Moving Image Volume 4, Number 1, (Spring 2004): 76:88.

Nichols, Bill, 'Discovering Form, Inferring Meaning. New Cinemas and the Film Festival Circuit', in Film Quarterly, Volume 47, Number 3 (Spring 1994): 16-30.

Official Film Schedule, TIFF 2013.

Downloads

Published

2014-04-08

How to Cite

Edener, E. (2014). Festival Review: TIFF 2013, The Neoliberal Labyrinth of Cinema. CINEJ Cinema Journal, 3(1), 181–185. https://doi.org/10.5195/cinej.2013.85

Issue

Vol. 3 No. 1 (2013): Fall 2013

Section

Articles

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