Notes Toward a History of the Edinburgh International Film Festival, 196977
Bibliographic Data
| ID | 20238115 |
|---|---|
| Authors | Peter Stanfield (0000-0003-2982-4823, Edinburgh International Science Festival, corresponding author) |
| Year | 2008 |
| Volume | 6 |
| Issue | 4 |
| Pages | 62-71 |
| Publication date | 2008-10-07 |
| Open Access | No |
| Type | ARTICLE |
| Venue | Film International (JOURNAL) |
| Journal identifiers | ISSN: 1651-6826 • E-ISSN: 2040-3801 |
| Publisher | Intellect (PUBLISHER • GB) |
| DOI | 10.1386/fiin.6.4.62 |
| OpenAlex | W2057598672 |
| Language | EN |
| Citations received | 2 |
Looking back over developments in British film culture since the late 1960s, one of the principal organizers of the Edinburgh International Film Festival (EIFF), David Will, wrote that the Festival 'arrived as an institution of oppositional culture in 1969' (Will 1982: 20).During the 1970s the EIFF radically challenged the accepted idea of a film festival as a showcase for new releases and a benign cultural event designed to foster tourism and investment.Against the grain, the Festival gave a platform to film theory, experimental film, new European and world cinema, maverick film-makers and American exploitation movies.The paradox of an established organization working as an instrument of resistance towards the dominant culture underscores the history of the EIFF during the 1970s, when the Festival became notorious for its provocations and interventions into film culture.No other film festival has set the agenda for the way that films might be viewed and understood as happened at Edinburgh between the Samuel Fuller retrospective in 1969 and the History/ Production/Memory event in 1977.Uniquely among film festivals, the EIFF maintained not only a dialogue with film theory, but was also a primary platform for its dissemination
Art · Art history · Visual arts · Cinema and Media Studies · History
| Citations per year | 0.25 |
|---|---|
| Citation span | 2018 - 2020 (3) |
| Highly cited | No |