Film festival coverage: an interview with journalists, critics, and event
programmers of Latin American lm festivals
La cobertura de festivales cinematográcos: una entrevista con periodistas,
críticos y programadores de festivales de Iberoamérica
doxa.comunicación |
nº 39, pp. 421-439
| 421
July-December of 2024
ISSN: 1696-019X / e-ISSN: 2386-3978
How to cite this article:
Karbaum Padilla, G.; Barredo Ibáñez, D.; Chura Pilco, C. and Ortiz Mory, R. (2024). Film festival coverage: an interview with journalists, critics, and
event programmers of Latin American lm festivals.
Doxa Comunicación
, 39, pp. 421-439.
https://doi.org/10.31921/doxacom.n39a2081
Gerardo Karbaum Padilla.
Research professor at the
Universidad Peruana de Ciencias Aplicadas
[Peruvian University
of Applied Science], where he specialises in narratives related to the audio-visual world, television journalism,
and transmedia ventures. He has published three books that address these topics, as well as articles in journals and
conferences that are indexed in the Web of Science and Scopus. Professor Karbaum Padilla also teaches at other
Peruvian institutions, such as the
Universidad de San Martín de Porres
,
Universidad Privada del Norte
, and
Universidad
de Ciencias y Artes de Latinoamérica
. In addition, he also works as a post producer of television news programmes,
and as a director of short lms, the latter of which have received national and international recognition. He is currently
working toward a PhD in Journalism, and he holds a Master's Degree in Advertising, as well as a Bachelor's Degree in
Communication Science, both of which were attained at the
Universidad de San Martín de Porres
.
Peruvian University of Applied Science, Peru
[email protected]
ORCID:
0000-0002-8089-3640
Daniel Barredo Ibáñez.
Researcher at the University of Malaga, Spain, under the auspices of the
Emerg
ia Programme,
which is funded by the Oce of Universities, Research and Innovation of the Andalusian Regional Government. e
nature of his work is interdisciplinary, as he explores the following lines of research: public opinion and the media;
violence in Latin America; and comparative international studies. Professor Barredo Ibáñez holds a PhD in Journalism
from the University of Malaga, as well as a Master's Degree in Communication and a Bachelor’s Degree in Hispanic
Philology and Audio-visual Communication, both of which he achieved at the University of Granada. He has published
more than fty works in JCR and/or Scopus, in addition to having served as a guest lecturer or visiting researcher at
institutions in various countries, such as Ecuador, Canada, China, Colombia, and Spain. Moreover, he has the distinction
of being the Honorary President of
ICOMTA
2023..
University of Malaga, Spain, and Fudan University, China
[email protected]
ORCID:
0000-0002-2259-0756
Claudia Chura Pilco.
Ms. Chura Pilco is a student who is currently working toward a Bachelor’s Degree of Audio-visual
Communication (ninth cycle) at the
Universidad Peruana de Ciencias Aplicadas
. roughout her studies, she has
been learning to use
Adobe Illustrator
,
Premiere
, and
After Eects
at the intermediate to advanced levels, in addition to
enhancing her abilities in the areas of writing, research, digital marketing, and soft skills as well. ese eorts have led to
an interest in audio-visual research, which has culminated in her participation as an assistant on projects that address
issues related to audio-visual sports narratives in the era of COVID-19, as well as lm festivals and their relationship with
the specialised press.
Peruvian University of applied science, Peru
[email protected]
ORCID:
0009-0000-6107-9558
is content is published under Creative Commons Attribution Non-Commercial License. International License CC BY-NC 4.0
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Film festival coverage: an interview with journalists, critics, and event programmers of Latin American lm festivals
ISSN: 1696-019X / e-ISSN: 2386-3978
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Received: 26/09/2023 - Accepted: 06/11/2023 - Early access: 16/01/2024 - Published: 01/07/2024
Recibido: 26/09/2023 - Aceptado: 06/11/2023 - En edición: 16/01/2024 - Publicado: 01/07/2024
Abstract:
Film festivals are places of encounter where dierent social actors
come together, including professionals from the audio-visual industry,
students, lm bus, and journalists, as well as the gures who organise
these events. e aim of this research is to describe the journalistic
coverage of lm festivals carried out by the Ibero-American media,
which is composed of generalist, traditional, specialised, and digital
native outlets. e authors have used a qualitative methodology
based on semi-structured interviews with lm journalists and festival
managers. e most signicant ndings reveal that each journalist
develops their own particular type of frame building to cover an event,
which is subject to the informative agenda of the media through
which they are commissioned. At the same time, new actors such as
inuencers have also appeared, who report on the festivals as well. In
addition, the festivals themselves have created their own platforms
in order to ll the information gap resulting from the failure of the
specialised press to report on certain aspects of these events. As a result,
the authors conclude that festivals have become media hubs where
dierent types of content generators converge, and in which they oer
a diversity of information thanks to the technological facilities oered
by digitisation, the Internet, and social media.
Keywords:
Film festivals; press coverage; journalists; lm critics; audio-visual.
Resumen:
Los festivales de cine son espacios de encuentro donde conuyen distin
-
tos actores sociales como agentes de la industria audiovisual, estudian
-
tes, cinélos, periodistas y los mismos organizadores de estos eventos.
Esta investigación tiene como objetivo describir las experiencias en la
cobertura periodística de festivales cinematográcos para medios: ge
-
neralistas, especializados tradicionales y nativos digitales de Iberoamé
-
rica. Para ello se aplicó un enfoque cualitativo a través de entrevistas
semiestructuradas a periodistas cinematográcos y gestores de festi
-
vales. Los resultados más relevantes han revelado que cada periodista
aplica sus framebuilding para realizar la cobertura del evento, lo que
se supedita a la agenda informativa del medio que los comisiona. En
paralelo, también han aparecido nuevos agentes que comunican sobre
los festivales como son los inuencers, además los festivales han creado
sus propias plataformas para cubrir los vacíos informativos que la pren
-
sa especializada no informa sobre el festival, por ello se concluye que
los festivales son epicentros mediáticos donde actualmente conuyen
distintos tipos de generadores de contenidos que diversican la oferta
informativa gracias a las facilidades tecnológicas que ofrece la digitali
-
zación, el internet y las redes sociales.
Palabras clave:
Festivales cinematográcos; cobertura periodística; periodistas; críticos;
audiovisual.
Raúl Ortiz Mory.
Master's Degree in Multimedia Journalism from the
Universidad de San Martín de Porres (USMP)
,
and a Bachelor’s Degree in Political Communication from
Ponticia Universidad Católica del Perú
(
PUCP
). He has also
worked as both editor and co-editor of the lm magazine
Revista Godard
, in addition to having participated on the panel
of judges in several lm festival editions, including the
Lima Film Festival
,
Al Este
,
Lima Independiente
, and
Festival del
Cortometraje Peruano
(the Peruvian Short Film Festival). He served on the panel of judges for
FIPRESCI
at the
Buenos
Aires Festival Internacional de Cine Independiente
(Buenos Aires International Independent Film Festival –
BAFICI–
in
Argentina), in addition to having held the post of President of the
Asociación de Prensa Cinematográca del Perú
(the
Peruvian Film Press Association –
APRECI
). Moreover, he works as a university lecturer in courses related to the audio-
visual and journalistic elds, in addition to holding workshops on lm appreciation and media training. He has his own
lm review column, which is published in the online version of the newspaper
Gestión
(Peru). In the same newspaper,
he also publishes news reports and interviews, and he is a regular contributor to the digital lm magazine known as
Perro Blanco
[white dog], in Argentina.
University of Sciences and Arts of Latin America, Perú
[email protected]
ORCID:
0009-0007-2624-4651
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
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1. Introduction
Film festivals are gatherings in which audio-visual content is displayed for the duration of these events. is fosters assemblies
of generalist and specialised audiences based on the festivals’ programmes, which help to promote new lmmakers (Ruof, 2012;
Peirano, 2016; Campos, 2020; Jurado-Martín, 2006). Vallejo (2014) denes lm festivals as magnetic events, which are composed
of a variety of features due to their institutional nature and the fact that they take place on a periodic basis. According to Peirano
(2016), festivals are legal platforms where activities converge that link them as markets, cultural showcases for exhibitions, and
competitive environments, which can be described as a combination of diverse interests on the part of organisers, audiences,
exhibitors, and others. Devesa et al. (2012) classify festivals according to their economic, touristic, cultural, social, and even
physical impact. Some festivals play an important role in the production and distribution process, as they complement the
support provided by states as alternative funding instruments (Campos, 2012; Campos, 2013). Other festivals help promote and
strengthen the audio-visual culture of countries that must confront dominating inuences, such as that of Hollywood (De Valck,
2007). us, these events represent points of convergence among symbolic epicentres and intermediaries for the interrelation of
a wide variety of institutions linked to the culture industry, which serve as mediators in this value chain (Burgess, 2020). Some
festival audiences have prior knowledge that determines how they participate in such events. eir presence in festivals conrms
their interest in the audio-visual world (Calderon-Acero, 2020). Participants are linked to the festival according to various
criteria, including their preferences, expectations, and socio-demographic aspects (Alonso, 2019), as well as similar interests and
compatible personalities (Dayan, 2000). From this viewpoint, Radakovich (2019) asserts that specialised assistants are erudite
and postmodern lmgoers, due to their interest in
auteur
cinematography and non-commercial lms. More specically, these
lms have the honour of being screened at these festivals, which oers the only opportunity for their exhibition, thereby enabling
socialisation and immersive experiences among the public based on non-commercial genres such as documentaries (Salles,
2021). On the other hand, certain thematic festivals such as those related to science are associated with audiences that are not
necessarily regular lmgoers (Archer, 2020).
With the appearance of the Covid-19 pandemic, festivals were postponed, cancelled or reduced to online events. is led to an
increase in the virtual attendance of some festivals, which managed to become established despite the connement, ultimately
leading to a global re-invention of these events (Meier, 2020; Galletti, 2021). However, some experts argue that festivals which
have chosen the hybrid format have achieved a massive number of views, yet these viewings must be carefully analysed, as the
audience does not watch many of the lms in their entirety (Fernández et al., 2021). Nevertheless, among the advantages of the
hybrid format is the ability to disseminate very local products to a global audience. Despite this advantage, the format has led
to gaps between festivals with more resources and a longer history, and the more local events. In the case of the pandemic, the
former managed to adapt their websites in order to reinforce the dynamics of the festival, whereas the latter were forced to use
adapted platforms such as social networks in order to survive (Salles, 2021). On the other hand, medium-sized and small festivals
were aected not only economically and in terms of self-suciency, but also in terms of the relationship with the community
in which they operate (De Valck and Damiens, 2023). Another peculiar feature that resulted from the pandemic was that several
festivals were launched specically due to the health crisis by exploiting the virtual situation and the pandemic theme (Escalante,
2020). Cheyroux (2022) concludes that despite the bleak outlook of those years, festivals presented themselves as an opportunity
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to create new partnerships. In short, the post-pandemic era has meant the end of isolation almost everywhere in the world, and
is bringing about new scenarios for a return to in-person contact. In Europe, festivals are undergoing a transformation: some
festivals are exclusively presenting lms in-person, while others are using a hybrid system in which online lm viewing caters to
timeframes when streaming is predominant (Smits, 2021).
erefore, the aim of this research is to describe the rst-hand experiences of journalists in their coverage of lm festivals,
including generalist, traditional, specialised, and digital native media in Ibero-America. is will be achieved through interviews
with intermediaries, or journalists, as well as those who have rst-hand knowledge of these events, such as festival managers.
2. eoretical framework. Media coverage of festivals
As festivals transform their jovial value into media value, they are considered major hubs where a large amount of information
is generated and disseminated to its fullest extent during the festival period (De Valck, 2007). ese events bring together a wide
range of participants including lmmakers, programming specialists, industry professionals, critics, journalists, lm bus, and
the general public (Lordanova, 2013). As such, lm festivals can be seen as events with various perspectives, often representing
diverse positions from the miscellaneous participants (Vivar, 2016). With regard to specialised press coverage, this would be
a useful subject of research and analysis (Paz and Vallejo, 2021), as lms are analysed and presented by journalists to a larger
audience, thereby fullling their intermediary role (Maza, 2008). Covering these types of international festivals requires lm
journalists to have a budget, which is an investment that allows them to transcend the coverage of local festivals. According
to Navarro (2018), working at these events involves watching ve or more lms per day. In spite of this, not all the activities
organised by the festivals are covered by the specialised press, as some subjects are simply not of interest to them. Nevertheless,
such activities are often covered by other media due to their importance, such as checking data on audience attendance, panels
of judges, the relationship with the industry, and other issues (Panel of Judges, 2018). us, news coverage should be viewed as
a process in which the information produced is recorded, which is of two types: expected or planned coverage; and that which
is unexpected (Estremadoyro, 2004). Broadly speaking, lm reviewing is seen as a genre of cultural journalism and is carried
out by journalists, writers, and audio-visual researchers (Noguera and Esqueda, 2011), all of whom adhere to the journalistic
practice of timeliness and immediate relevance, together with the logical connection of the latter to the newsworthiness of the
event, or to news published in the media (Gutierrez Palacio, 1984). From a broad perspective, Bordwell (1996) places lm reviews
into three categories: journalism, which is published in newspapers, weekly magazines, and journals; the lm essay, published
in specialised media on a monthly or quarterly basis; and academic critiques, based on scientic research. At the same time,
the lm review is considered a journalistic genre, along with news or information, reportage, features, and articles (Martínez
Albertos, 1991; Gomis, 2008).
With the digital convergence, many paradigms and conditions have changed, including one that seemed impossible before, which
is having a media company (Rey, 2022). anks to lower costs of news production, we have witnessed the emergence of digital
native media, which are dened by the Gabo Foundation (2022, p. 39) as “those who produce or distribute 50 percent or more of
their own information through dierent types of digital media”. Moreover, generally speaking, we have also seen the rise of cyber-
journalism, which is a type of reporting designed to be carried out on the web (Larrondo and Meso, 2011). In this context, digital
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native newspapers are considered to be those that have emerged in the digital domain, or which have been digitally transformed
in a period of no more than ve years (Olivar-Julián, et al. 2022). While it is assumed that online journalism adheres to traditional
journalistic values, this type of media requires deontological considerations of the profession due to the innovations proposed by
these native media in comparison to the journalism practised by analogue outlets (Suárez, 2015). ese new media are specic to
a context in which narratives have been created that are disseminated on social media. As such, they are known as social media
narratives (Karbaum, 2018). It should also be kept in mind that genres and narrative formats generally shift from a dominant
medium to one that is emerging, in a process known as
discursive transfer
(Karbaum, 2021). Moreover, there are now claims
that the Internet and the new media are enabling lm-related content to be created by citizens, or cinephile bloggers, who are
challenging the hegemony of the traditional media (Vivar, 2016, pp. 133, 138).
Finally, festival coverage should not be approached without referring to the theory of framing. According to Gitlin (1980) and
Entman (1993), this concept allows for the selection, ltering, emphasis, exclusion, and prescription of a certain fact that is
transformed into an informative text, which is then communicated to the audience. To do so, the following aspects must be
considered: the content included in the information; how and where it is published; and its cognitive and aective features
(Ghanem, 2009). Koziner (2013) argues that frames enable journalists to process large amounts of information, thereby allowing
them to decide what is newsworthy and what is not. From a frame building perspective, journalists demarcate their coverage
according to their own viewpoint and interpretation of a news event, and they decide what is a matter of public interest and what
is not (Koziner, 2022).
3. Method
As the purpose of this research is to study the experiences of journalists as primary sources of lm festival coverage, the authors
have used a foundational, non-experimental, descriptive, and cross-sectional methodology. is research has also taken a
qualitative approach, which delves into the experiences, opinions, and perceptions of a group of participants (Quecedo and
Castaño, 2002; Creswell, 2013; Katayama, 2014; Krause, 1995).
According to Peirano and Vallejo (2021), the qualitative approach is relevant in studying festivals, as it enables an understanding
of the interconnected relationships and networking that is created at these events. is interconnection is a narrative created
by the social actors and institutional organisations that converge in these festivals. Furthermore, the study of the symbolic and
discursive elds that are developed at these events allows them to be placed in their respective cultural elds. e design is
phenomenological, as it “enables the consciousness of the person to be explored; in other words, it allows the researchers to
understand its very essence, the way of perceiving life through experiences, the meanings they encompass, and the way they are
dened in the psychic life of the individual” (Fuster, 2019, p. 205). For this purpose, an analytical methodology was used, as it
enables an examination of the essential elements of the two communicative spheres –festivals and the lm press– along with their
interconnection. With regard to the foregoing, the following research questions have been formulated:
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Main question:
What are the conditions that inuence the journalistic coverage of lm festivals in the Ibero-American region, according to
the journalists and managers of these events?
Specic questions:
What are the limitations perceived by the target population groups with regard to understanding the content disseminated at
lm festivals?
How does the appearance of new actors associated with social media narratives inuence the coverage of these events?
e empirical gathering of information was carried out using semi-structured interviews, for which a questionnaire was prepared
with foundational questions validated by experts. As a preliminary step, a bibliographic search was carried out (Corbetta, 2007),
which helped to dene the categories, subcategories, and research indicators in order to design the questionnaire. In turn, the
literature review allowed for the state of the issue to be drawn up (del Río and Velázquez, 2005). Using this conceptual framework
as a foundation, the interviews were carried out. e interviewees were selected according to contrast and complementarity. e
former criterion was used to gather the opinion of one group of participants regarding the functions of the other group, and the
latter was used to reveal the typologies, opinions, experiences, and functions they have in common. us, the target population is
divided into two subgroups; the rst is comprised of journalists and lm critics; the second consists of lm festival managers. In
order to segment the population, a non-probability sampling by judgement was used based on one characteristic: the relationship
of the individuals of each group with lm festivals. e constraint of this type of sampling is that the results cannot be generalised.
Nevertheless, it is useful for populations that are dicult to access (Otzen and Manterola, 2017; Vasilachis, 2006), and for which it
is dicult to calculate a sample size using statistical methods. Due to the limited access to the participants, some were contacted
through a key individual who assisted with the interview arrangements, and others were reached through their personal or
professional social media channels. A pilot interview was conducted with a lm journalist who has had a long professional career,
which yielded a nding that refocused the research, as it was revealed that some of the participants had professional experience in
both elds: lm journalism and festival management. is allowed for the triangulation of data from both subgroups. Interviews
were conducted by video calls from May to August of 2023. e rst step in designing the questionnaire was to use an initial script,
which was created on the basis of previous literature. e second step was to make adjustments to the questions by contrasting
and reconsidering the concepts garnered from the rst interviews, which contained seven structured questions on the categories
studied. is allowed the authors to redesign the questions in order to delve more deeply into the information provided. As the
interviews were semi-structured, it was possible to rely on the interviewer’s expertise and ask reformulated questions, which
provided more specic information about the research categories to be extracted and explored more deeply. After the data
collection was completed, transcription was carried out, which allowed the information to be processed, coded, and organised
into results (Strauss and Corbin, 2002). Participants were selected based on to the following criteria:
a.- Festival managers were chosen according to the following criteria: demonstrated experience in performing managerial
duties in international festivals, with a variety of audio-visual genres including ction, animation, and documentaries, among
others; and contributions made in carrying out activities that run parallel to lm competitions, including workshops, talks,
parallel exhibitions, and others.
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b.- Film journalists were selected according to demonstrated experience covering national and international festivals for
various media and platforms.
Based on these criteria, the sample was comprised of the following participants:
Table 1. Participant list
Participant
Professional experience
Country
Years of experience
Luis VélezJournalist and lm critic
Peru10
Federico KarstulovichJournalist and lm critic
Argentina17
Sergio LópezJournalist and lm critic
Mexico22
Leopoldo MuñozJournalist and lm critic
Chile20
Rob ReynaFilm and cultural journalist
Peru14
Sugey López
Director of International Short Film Festival
Cortos de vista
[short-sighted]
Peru10
David Jean Robert Dupunchel
Director of the International Festival
Al Este
[toward the east]
In France,
Colombia and
Peru
17
Natalia Morales
Director of the International Film Festival of
Fusagasugá
Colombia10
Enrique García
Director of the International Festival
Ojo
Móvil
[moving eye]
Peru13
Jon Apaolaza
Film journalist and lm festival programme
coordinator
Spain44
Joel Poblete
Film journalist and programme coordinator
of the
Iquique
International Film Festival
and the
Ñuble
National Film Festival.
Chile19
Source: prepared by the authors
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4. Results
4.1. Festivals and the lm press during the COVID-19 Pandemic
During the pandemic, lm journalists had to transform their reporting procedures, as there were diculties associated with
widespread isolation: “e pandemic made us rethink not only the way we related to each other, but also the way we were able to
cover festivals, and the lms that were coming out on platforms” (Federico Karstulovich). One of the changes mentioned in the
interviews was the continuity of observation: viewing the content remotely did not allow for the same ow of observation as in a
cinema. In a lm theatre, the observation is continuous. During the COVID-19 connement, lms could not be viewed in cinema
screen format. Instead, they were seen on whatever device the critic or journalist had at hand, which limited the experience. On
the other hand, one advantage of multi-device viewing was the ease of access to the material through links. Nevertheless, the
lack of a large screen due to the closure of exhibition halls restricted the experience of these professionals and, above all, the
factor of social interaction among journalists, the public, guests, and others (Federico Karstulovich, Leopoldo Muñoz). e same
diculties were also experienced in the concurrent activities such as talks, workshops, press conferences, and debates:
“We were discussing that issue. In those places, you address something that is very interesting; you compare the ideological-
political view versus the ideological-aesthetic perspective in the author’s theory. en, one colleague said, ‘I can’t vote for a lm
that humanises evil.’ So I told him if that were the case, art would not exist. Art is precisely a contradiction. at conversation would
have been much more enriching and interesting if it had taken place while sitting around a table. I wish I had been able to talk to him
about the issue in person, but instead, it was quite sanitised; you had to follow certain protocols and use very diplomatic behaviour”
(Leopoldo Muñoz).
Despite the lack of direct human interaction, due to the virtual life resulting from the pandemic, the situation sparked the
development of a new level of professional competence, which later provided the option of covering foreign festivals remotely.
Before the pandemic, it was often dicult for critics and journalists to travel to these international events, as it raised the cost of
coverage immensely. However, during the pandemic, as festival websites were already operational, they were merely adapted
in order to carry out the events virtually and, in other cases, specialised platforms such as
Festival Scope
were used (Luis Vélez).
Moreover, some festivals relied on social networks like Facebook for live broadcasts. In these cases, certain criteria had to
be applied in order to broadcast the content. e regular activities of the festivals such as lectures and workshops were not a
problem; however, restrictions had to be applied when broadcasting the lms, due to exhibition criteria based on the copyrights
of the lms programmed in the festivals. is protocol is still in place in several festivals as an innovative legacy of the pandemic
(Sugel Lopez). Several interviewees stated that there were three phases, depending on the evolution of Covid-19 itself, and its
inuence on global health: total virtuality; partially in-person; and the return of in-person festivities, while leaving only a few
virtual activities at the festivals, which also implied the return to on-site coverage.
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4.2. Self-management of coverage
Before, during, and after the pandemic, the key moment of interaction between the press and the festival organisers has always
been the opening of the festival. However, one of the factors that inuences journalistic participation is the economic component,
because not all festivals cover the expenses of reporters and critics: “e fact is, not all festivals invite all critics from all parts
of the world. Some festivals only cover the costs of participants from Europe or the northern hemisphere, or those who do not
have connections to airports” (Leopoldo Muñoz). Several of the interviewees said that the big media with resources send their
reporters, but the coverage is not necessarily related to journalism or lm reviewing, but rather to the journalistic coverage of
big
shows
. In this regard, some of the interviewees stated that nancing the coverage also depends on each festival’s communication
plan and budget for allocating resources to fund the journalists’ stay. Otherwise, they have to manage their own expenses: “e
Cannes Film Festival [...] usually invites very few international journalists. In other words, it’s the media or journalist who pays all
the expenses of attending the festival” (Jon Apaolaza). “Now the festivals have less money, and those cuts obviously don’t go to
their international guests –they go to the press” (Sergio López). is type of budget also includes invitations for new participants
in the communication ecosystem of the festivals, based on the broadcasting dynamics and the acceptance of communication-
based products, which is the case of inuencers. In these circumstances, some lm journalists even nance their own stay at
festivals by generating income through the creation of content for various media in the genres and formats requested of them:
“When I rst started going to the Cannes Film Festival, I paid for my own expenses at the festival. Both accommodation and food
are very expensive, and I had to organise a series of collaborations with dierent media, which consisted of selling interviews with
famous actors and radio reports to magazines. I managed to carry out the task due to my years of experience in radio, so I had some
contacts, and I also managed to do some reports for a radio station” (Jon Apaolaza).
“You have to make arrangements with other colleagues to pay for a place to sleep, or you have to know someone who can oer the use
of their sofa. In my case, I had an acquaintance who let me sleep on his couch. I worked for two media at the time, but neither of them
paid me to do the coverage; you do it out of love for the cinema, not because it’s economically protable” (Luis Vélez).
According to two of the interviewees, Karstulovich and Vélez, the economic issue determines the coverage of the festivals, yet in
some cases it can be overcome due to the help provided by international lm press associations such as FIPRESCI, which provide
support through their aliates. In this way, support is given to the reporters who are sent to cover the festivals. However, when
the journalists have to manage the resources on their own, the quality of the coverage itself is compromised. ere is another
criterion by which both the media and festivals do not invite or commission journalists to cover these events, which is related to
nationality. Journalists are often not sent, or not invited, because there are no lms from their country competing in the event:
“Many times, either the festivals don’t invite you because there are no lms from your country competing, or the media don’t
support you nancially in covering the festival, even if you are invited, because there are no lms from your country” (Leopoldo
Muñoz).
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4.3. Coverage as a process of discursive selection
Once the nancing of the festival coverage has been arranged, planning the venture begins, which depends on aspects such as the
number of journalists that the media is able to commission. According to Robinson Reyna, planning starts by understanding that
some festivals are permanent, and others are not. Based on this information, the annual agenda is drawn up. Another important
stage is the press conference that takes place when the festival is presented, at which time the agenda of the event is announced.
For Karstulovich, the way a lm magazine organises coverage is to start by coordinating the lms to be covered by the reporters,
which implies dening the specialised interests of each one and avoiding crossovers. us, in some editions, more than twenty
journalists sign up. In the generalist mass media, which have a greater capability for coverage, the allocation of commissions can
vary depending on whether the media outlet assigns several reporters to the festival, or just one: “[is] depends greatly on the
platform for which you work. I’ve worked with teams that were assigned for just one day, with three or four reporters in charge of
the coverage. At other times, only one person covers all ve days of the festival” (Rob Reyna). One must also bear in mind that the
coverage of a festival is a very intense process, and the work is much more demanding than the weekly coverage of premieres used
to report on lm listings (Sergio López, Luis Véliz). Coverage is organised according to the nature of the medium, whether it is
television, the print press, networks, or radio. Depending on the prole of the medium, an agenda of coverage is designed for the
most important lms, interviews, talks with guests from the industry, masterclasses, or the awards ceremony, as well as the red
carpet spectacle (Rob Reyna). Broadcasting is also targeted on the basis of lms that are of the nationality of the media sending
the journalist, lms under the radar
1
, and show business:
“You have to add a bit of show business air, such as which personalities walked the red carpet, or what cocktail parties they went
to. I don’t know if it’s so much about how they’re dressed, but you have to enhance the narration a bit by using the glitter inherent to
the festival itself, which shouldn’t be ignored. Otherwise, for that you could just watch the lms on the laptop” (Leopoldo Muñoz).
“e more specialised media tend to give more importance to reviews, whereas the media that’s more focused on what could be
called the ‘entertainment press’ are more interested in getting racy or controversial statements from guests. ey’re more focused on
fame” (Luis Vélez).
Conversely, the agenda set by the traditional media in covering festivals emphasises topics that are considered to be of interest
to the mass audience. Nevertheless, festival organisers often have to lobby for exclusive lms, festival side-events, and even
interviews with renowned guests in the audio-visual eld:
“Festivals in Latin America are a constant struggle because journalists, or our colleagues, sometimes focus only on two or three
things, neglecting very important aspects. As a press or communications ocer, you nearly have to beg to get an interview with
certain directors” (Joel Poblete).
As for the selection of lms to be screened, each journalist systemises his or her coverage procedure, with two trends having
been identied. e rst is oriented toward the exclusivity that the festival oers. For example, for lm journalists or critics, one
of the selection criteria for viewing lms at festivals is to programme the lms that “do not reach the screens at the national level,
and also because you get an idea more or less of what the momentum is, or what’s happening in lm production in the rest of
the world” (Leopoldo Muñoz). is criterion is similar to that of Karstulovich, who makes a tiered selection by establishing the
viewing according to certain criteria that consider the potential impact of each lm: “e rst is to choose lms that have no
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repetition; then, the ones that have a bit more repetition; and nally, the ones that I know might be released, or that are actually
in the library. ose are the ones I leave” (Federico Karstulovich). ere is another selection criterion that reects mass media
logic: “Usually, what is customary is to schedule regular coverage of the most important lms, or those that are in competition
within the festival” (Rob Reyna). e journalist plans the viewing according to the distribution made by the festivals, as there are
viewings for the press, while others are scheduled as part of the event’s own programme, which is open to the public (Luis Vélez).
4.4. Communicational convergence
According to the interviewees, the festivals also have dynamics of co-participation, thereby allowing views to be interchanged.
us, beyond simply covering the event, journalists either participate in the festivals’ own activities, or the festivals oer
opportunities for training or promotion of lm journalism.
Several of the interviewees stated that journalists and lm critics have a role within the festivals, in most cases as judges for the
dierent sections or activities of the event, such as talks, workshops, lectures, or curatorships. Another highly valued role is that
of participating in various activities aimed at educating audiences (David Duponchel). In addition, communicators can also
work within the festival organisation on a more permanent basis. For Jon Apaloza and Joel Poblete, this situation occurs when
journalists have previously covered festivals and, by networking with the organisers, they are later called on to work at the festivals
as programming managers, press ocers, content producers, coordinators who work with press agencies, and other positions:
“Many programming managers started out as lm critics. at tends to be the case because the critical observer has certain tools to
oer a ne-tuned appraisal of what makes a good lm in terms of cinematographic expression” (Luis Vélez).
When journalists become part of the organisation of a festival, they acquire skills and knowledge related to the audio-visual industry
which, when they return to journalism, provides them with narrative, networking and logistical resources that allow them to
understand and deal with issues that the media agenda does not require:
“We don’t know more about how the lm was funded, what is going to happen to it afterwards, whether they have a sales agency or
not, and whether they got any international sales during the festival. In other words, all these kinds of things are information that
I think are interesting for the public to know about, but they’re not normally talked about. However, they are important, and the
fact that you have access to a lot of this information by working at the festival, this helps you as a journalist, without a doubt” (Jon
Apaolaza).
Some of those interviewed in this study do not believe it is necessary to participate in the organisation of festivals, nor to work as
judges: “I believe the place of the lm critic always has to be distant with regard to the power structure at all times, whether it’s
the political power of the moment, or the power of discursive hegemony” (Federico Karstulovich). However, those who decide
to participate do so because there is some connection with their interests, such as the fact that apart from being journalists,
they might also be lmmakers, or that some festivals match their lm interests. Faced with the questions that might arise
from these relationships of similar interests, it is important to make a deontological distinction, in order to avoid being both
judge and interested party at the same time (Luis Véliz). “I’ve never been paid for being a judge, perhaps because I’ve always
been on the side of those who oer criticism, so by not receiving a stipend, you have freedom. ere is no coercion or suggestion
of going any further” (Leopoldo Muñoz). From the perspective of festival organisers, the participation of journalists and lm
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critics is highly valued, as these professionals oer dierent points of view, such as having their own opinions regarding the eld
of audio-visual distribution, but also because the journalist or lm critic is essentially a huge lm fan, so his or her opinion has
signicant artistic value (David Duponchel). In many festivals, there is also a panel of judges composed of journalists or critics
who are part of the festival, and who award prizes (Luis Vélez).
A reverse process also occurs in which the festivals and their organisers design activities linked to journalism and lm criticism.
In these spaces, training in these communication disciplines is promoted:
“We decided to open a section in our festival that would focus on lm reviews and lm appreciation as such. We did this because
there wasn’t much opportunity for young people to learn about these aspects” (Sugel López).
To this end, training workshops are oered, and the publication of reviews, reports, features and interviews is encouraged.
Moreover, some of these compositions are then published in specialised media. During the pandemic, other formats such as
podcasts were also used for this purpose. Some festivals provide spaces for this content on their websites, yet it is not just a matter
of educational work; several festivals create their own content based on journalistic logic in order to communicate information
that the media fails to cover. To do so, they have implemented digital platforms to create newspapers, magazines, podcasts, blogs,
and broadcasts:
“I nd this very interesting, because the festival itself created a separate channel to reinforce what the traditional media sometimes
doesn’t do. I’m referring to all the directors and guests that the traditional press were ignoring. I was giving coverage to these people
using our own medium” (Joel Poblete).
“I make some notes and a blog, and the person in charge of social media tells me to continue because it seems to have very good
results. So, to give you an example, I write an entire article with pictures. en the article is re-written, more pictures are added, and
so on. And she says the ranking is high, so it makes the number of searches go up” (Natalia Morales).
4.5. Inuencers involved in the coverage
In the course of the research, the interviewees disclosed the presence of new participants in the media communication dynamics
of the festivals, such as inuencers. All the journalists included in this study arm that the presence of inuencers is increasing
at these events. Some, in fact, agree that the content generated by these creators does not meet the rigour applied by journalists
and lm critics. Nevertheless, despite the lack of precision, they are invited to festivals because of the audience they have on their
social media accounts: “Now the hits are measured by Twitter. In other words, a mention made on Twitter, Instagram, Facebook
and TikTok is becoming the equivalent of a journalistic essay, a well-crafted article, or a long interview” (Sergio López). Several
of the interviewees agreed that the content generated by inuencers does not meet several criteria that are fundamental in lm
reviews, such as argumentation or reection for content writing. Moreover, they do not generally receive broad support from
either mainstream or lm culture:
“e reason is, what is important today are youtubers and inuencers, who are now the driving force of communication, transfer, and
inuence for the audience. As a journalist and lm critic, it is also important to have your own point of view. If you don’t have your
own opinion, you’re basically useless –you’re an inuencer” (Leopoldo Muñoz).
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“From what I have observed, inuencers can be at festivals, on red carpets, at cocktail parties, and at all the social events, but you
don’t see them in the theatre watching the lms. So, I would say their role is more for propaganda purposes, because they’re not
necessarily involved in the festivals” (Luis Vélez).
According to Kartulovich, the views expressed above can be contextualised by the existence of a fallacious standardisation and a
deceptive audio-visual democratisation. In addition, this circumstance also results from the fact that access to production teams
and publishing networks does not guarantee the quality of what is published, and this also extends to content generators and
inuencers (Federico Karstulovich). Several interviewees believe that this situation is correlated with a lack of reading. As the
public no longer reads, they prefer to consume short audio-visual content made by inuencers rather than long texts published in
newspapers or magazines. Consequently, this type of long, specialised content such as reviews, columns, and lm sections have
been disappearing. Some of the interviewees agree that there are shortcomings in the content produced by inuencers. As such,
the latter do not usually take a critical stance in their content in order not to be banned by the festivals. Furthermore, there is an
inherent constraint in the TikTok platform, which limits the duration of the content, whereas on YouTube there are creators who
produce more elaborate content, such as productions broadcast by the traditional media on this platform (Rob Reyna). Faced
with this scenario, some of the interviewees feel that lm reviewers are navigating through some very rough seas at the moment:
“I would say that lm reviews are a dying occupation. Of course, I say this in the most classical sense” (Leopoldo Muñoz).
On the other hand, some journalists have a dierent point of view, especially the interviewees who operate in the realm of festival
organisation. For these professionals, there is no comparison between lm critics and cinematic journalists, on the one hand, and
inuencers on the other. Each of the groups belongs to dierent communication elds, and the festivals that include the latter as
part of their accredited members do so because they understand that the communication channels must be diversied in order
to obtain the necessary dissemination of their activities:
“Festivals have to modernise as much as possible (...) because, obviously, it would’ve been very old-fashioned to think that journalists
from the mainstream media would be the ones to support you, or the ones to help you in the promotion and dissemination of the
festival. Nowadays, youtubers and inuencers are very important (...) I think we have to be very attentive to these modern times in
the sense of being open to all these dierent ways of communicating” (Joel Poblete).
“We check our Instagram accounts to see how many followers they have, because we know it can help us. What I know is that
social media has become increasingly important and is becoming more and more specialised, so it’s absolutely essential” (David
Duponchel).
In spite of this, inuencers are not the only communicators who use social media to provide coverage and content related to
festivals. According to several of the interviewees, some journalists and lm critics have already migrated to digital media and
are creating their own content according to the discursive options oered by each platform or social media; “Gradually, we have
witnessed the change: from Facebook fan pages to Instagram and TikTok accounts, and for those who want to expand a bit more,
to YouTube. And now, another medium that is crucial is podcasting” (Luis Vélez).
5. Discussion
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Film festivals bring together a diversity of audiences with various interests and perspectives (Dayan, 2013; Campos, 2020; Jurado-
Martín, 2006; Vallejo 2014). us, they are events that promote both convergence and inter-connection among a variety discourses
(Vivar, 2016). De Valck (2007) calls them major hubs, insofar as the attending media generate content that helps to disseminate
and expand the reach of the exhibited works. Nevertheless, the use of online resources has been transforming the festivals and
their coverage; regarding the festivals, a variety of content creators have converged, such as traditional media, digital native media
(Gabo Foundation, 2022), inuencers, and even channels launched by the festivals themselves. In this sense, the authors can
arm that festivals are
media epicentres
, which can be dened as events or happenings where an extensive variety of content is
generated for dierent audiences and platforms. According to Jurado (2018) many of the events that take place at a festival are not
covered by the mass or specialised media. For that reason, some festivals create their own media by taking advantage of digital
technology. In this way, they manage to cover the issues that are not covered by the press, using genres characteristic of traditional
or contemporary journalism, such as interviews, reports, reviews, print or digital magazines, photo-reports, podcasts and others,
which allow them to establish their own agenda and informative approach.
Within these media epicentres, journalistic coverage takes place, which is a series of actions that journalists carry out in order to
collect, record, and narrate the facts (Estremadoyro, 2004), based on certain frames or criteria of selection and hierarchism of the
events (Gitlin, 1980; Entman, 1993).
6. Conclusions
is research arms that there are no longer only two traditional media approaches to covering lm festivals –shows, and
cinephile specialisation. Instead, at least six trends now coexist, which can be analysed from the perspective of frame building
(Koziner, 2022), due to the fact that journalists use frames to dene their coverage based on their own perspective of the news as
follows:
a.- Generalist media coverage is guided by the frames of entertainment journalism.
b.- Specialised coverage is organised according to the frames of lm journalism for traditional media, such as magazines, and
is dened by a close relationship with the world of cinephiles, which is also spreading to digital native media.
c.- Coverage carried out by inuencers from a perspective that converges with the festival’s promotional objectives. is is
part of what Karbaum (2018) describes as social media narratives.
d.- Specialised social media coverage is carried out by lm journalists, but produced specically for digital media, whether
digital native media or the accounts of the journalists or lm critics themselves.
e.- Internal coverage is produced by the festivals’ own in-house media, which addresses topics that are important for the
values of the festival itself, yet not for the mainstream press.
f.- Remote coverage was implemented during the pandemic through the Internet; this was a temporary solution to widespread
connement and, even though its use has declined, it is still used for specic events at certain festivals.
e rst two approaches are taken by the traditional media, which use the genres and formats of journalism and lm reviews.
e remaining four are specic to the digital realm. ey take advantage of social media, mobile telephony, and the digitisation
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of production devices and the web for their publications, which are known as social media narratives (Karbaum, 2018; Karbaum,
2021). is outline clearly shows that as media epicentres, festivals encourage the coexistence of coverage frames that cater to the
interests and agendas of each of the creators of the news content. Festivals are encounters that foster relationships among diverse
social actors in the development of these events (Campos, 2020; Jurado-Martín, 2006; Alonso, 2019). As such, the present research
also concludes that relationships have been established between journalists and festival organisers in which the following trends
have been conrmed:
a.-
Management relationships.
e journalist or lm critic makes a professional shift and holds a permanent position within
the festival organisation, such as that of a festival planner, press ocer, or media agency coordinator, among others.
b.-
Collaborative relationships.
e journalist or lm critic carries out activities that are specic to the festival, such as working
as a panel judge, workshop leader, speaker, or curator, all within the context of carrying out the event.
c.-
In-house discursive productions of the festivals
. e members of the festival promote the creation of their own media, with
journalistic content they produce themselves, through which they disseminate the issues that the mainstream media do not
cover in their agenda and frames. e festivals also create activities and training spaces for lm reviewing and journalism.
Another aspect revealed by the research involves impediments to nancing the cost of coverage. As stated by Navarro (2018),
journalists who cover these events must have a budget that is large enough to allow them to transcend local coverage carried out
in their home countries. With regard to funding, this research has also enabled us to establish certain categories in this regard:
a.- Coverage funded by the media companies.
b.- Self-management of the cost of coverage, which the journalists and lm critics carry out themselves by diversifying their
content and oering it to several media or platforms at the same time, in order to pay for their expenses.
c.- Collaborative nancing, where journalists rely on their associations to fund the tasks they carry out.
d.- Coverage nanced by the festivals themselves, in which these organisations assume all or part of the expenses of the guest
reporters.
Although this research has been carried out meticulously in order to achieve a comprehensive analysis, it is not without
limitations. One constraint is the selection of the sample. Despite the fact that there are a wide variety of festivals, there are
considerable obstacles that must be overcome in gaining access to their organisers, as well as to the journalists and lm critics
who cover these events. Nevertheless, a strong eort has been made to identify and organise the trends that create a link between
the various actors who generate information content and the managers of these events. Although the ndings of this research
cannot be considered broadly applicable, they can be used in other studies in order to contrast the conclusions of this work with
other techniques or samples, in order to reach further conclusions that could be more extensively applied.
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7. Acknowledgements
is article has been translated into English by Charles E. Arthur, to whom we are grateful for his meticulous work.
e authors would also like to thank the Research Department of the Peruvian University of Applied Sciences (UPC) for the
support provided in carrying out this study –
Expost
2024.
Finally, the participation of Daniel Barredo Ibáñez (PhD) was nanced by project number EMC21_00240, funded by the General
Secretariat for Research and Innovation, Junta de Andalucía (Spain), under the auspices of the
Emergia
Programme.
8. Specic contributions of each author
Name and surname
Conception and design of the workGerardo Karbaum Padilla
Methodology
Gerardo Karbaum Padilla and Daniel Barredo Ibáñez
Data collection and analysisGerardo Karbaum Padilla, Claudia Chura Pilco and Raúl Ortiz Mory
Discussion and conclusionsGerardo Karbaum Padilla and Daniel Barredo Ibáñez
Drafting, formatting, version review and approvalGerardo Karbaum Padilla and Daniel Barredo Ibáñez
9. Conict of interest
e authors declare that there is no conict of interest contained in this article.
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https://acortar.link/e1an9k
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
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nº 39, pp. 421-439
|
July-December of 2024
Film festival coverage: an interview with journalists, critics, and event programmers of Latin American lm festivals
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<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
<p>[Enlace de URL / hc (has AS)]</p>
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nº 39, pp. 421-439
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Gerardo Karbaum Padilla, Daniel Barredo Ibáñez, Claudia Chura Pilco and Raúl Ortiz Mory
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https://acortar.link/2PRLhi
<p>[Enlace de URL / hc (has AS)]</p>