Film festival coverage: an interview with journalists, critics, and event programmers of Latin American lm festivalsLa cobertura de festivales cinematográcos: una entrevista con periodistas, críticos y programadores de festivales de Iberoamérica doxa.comunicación | nº 39, pp. 421-439 | 421July-December of 2024ISSN: 1696-019X / e-ISSN: 2386-3978How 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.n39a2081Gerardo 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: 0000-0002-8089-3640Daniel Barredo Ibáñez. Researcher at the University of Malaga, Spain, under the auspices of the Emergia Programme, which is funded by the Oce 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: 0000-0002-2259-0756Claudia 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 Eects 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 eorts 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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422 | nº 39, pp. 421-439 | July-December of 2024Film festival coverage: an interview with journalists, critics, and event programmers of Latin American lm festivalsISSN: 1696-019X / e-ISSN: 2386-3978doxa.comunicaciónReceived: 26/09/2023 - Accepted: 06/11/2023 - Early access: 16/01/2024 - Published: 01/07/2024Recibido: 26/09/2023 - Aceptado: 06/11/2023 - En edición: 16/01/2024 - Publicado: 01/07/2024Abstract:Film festivals are places of encounter where dierent social actors come together, including professionals from the audio-visual industry, students, lm bus, 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 signicant 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 inuencers 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 dierent types of content generators converge, and in which they oer a diversity of information thanks to the technological facilities oered 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 conuyen distin-tos actores sociales como agentes de la industria audiovisual, estudian-tes, cinélos, periodistas y los mismos organizadores de estos eventos. Esta investigación tiene como objetivo describir las experiencias en la cobertura periodística de festivales cinematográcos 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 cinematográcos 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 inuencers, 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 conuyen distintos tipos de generadores de contenidos que diversican la oferta informativa gracias a las facilidades tecnológicas que ofrece la digitali-zación, el internet y las redes sociales.Palabras clave: Festivales cinematográcos; 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 Ponticia 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 Cinematográca 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

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doxa.comunicación | nº 39, pp. 421-439 July-December of 2024Gerardo Karbaum Padilla, Daniel Barredo Ibáñez, Claudia Chura Pilco and Raúl Ortiz MoryISSN: 1696-019X / e-ISSN: 2386-3978| 4231. IntroductionFilm 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) denes 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 inuences, 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 conrms 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 specically, these lms have the honour of being screened at these festivals, which oers 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 connement, 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 aected not only economically and in terms of self-suciency, 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 specically 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
424 | nº 39, pp. 421-439 | July-December of 2024Film festival coverage: an interview with journalists, critics, and event programmers of Latin American lm festivalsISSN: 1696-019X / e-ISSN: 2386-3978doxa.comunicaciónto 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 festivalsAs 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 bus, 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 fullling 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 scientic 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 dened by the Gabo Foundation (2022, p. 39) as “those who produce or distribute 50 percent or more of their own information through dierent 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