Dorota Ostrowska is Senior Lecturer in Film and Modern Media at Birkbeck, University of London. At the School of Creative Arts, Culture and Communication she directs the MA Film and Screen Media. She is the author of Reading the French New Wave: Critics, Writers and Art Cinema in France (2008) and co-editor of the volumes: Shaping Film Festivals in a Changing World: Practice and Methods (2025); Popular cinemas in Central and Eastern Europe: film cultures and histories (2017) and European Cinemas in the Television Age (2007).

• AcknowledgementsIntroductionFilm Festivals: Expanding Giuliana Bruno’s “Atlas of Emotion”Bakhtin’s ChronotopesThresholds: from Bakhtin to KristevaIntimate Spaces of Film FestivalsFestive ChronotopesMapping Festive ChronotopesA Journey Through Film Festival CulturesEuropean Film Festivals and Beyond?Part 1: Assembling Festive ChronotopeChapter 1: Festive Chronotope: The Carnivalesque1.1 The Carnivalesque Logic1.2 The Carnivalesque: Regeneration, Renewal and New Beginnings1.3 The Carnivalesque: The Collective Affect1.4 The Carnivalesque: The BodyChapter 2: Festive Chronotope: Space2.1 Film Festival as a Non-place2.2 Heterotopic Spaces of Film Festivals2.3 Film Festival as a PlaceChapter 3: Festive Chronotope: Programmers and Curators3.1 When is Programming Curating? Affect, Emotion and Care3.2 Programmed Industry-based Festivals and Curated Audience Festivals3.3 Programming Intellectually, Programming Affectively and Team Programming3.4 Creating Communities Through Programming3.5 Film Programming as Emotional Labour3.6 Archiving Programming Practice, Resisting MemoryChapter 4: Festive Chronotope: Cinephilic and Trade Critics at Film Festivals4.1 Cinephilic Critics4.2 Cinephilic Moment4.3 Cinephilic Moment: History and Technology4.4 Mediatisation of the Social4.5 Film Industry at Film Festivals4.6 The Last “New Wave”: Latin American Cinema at Cannes 20084.7 Trade Dailies: Micro-world of Business Film Festivals4.8 Roland Barthes at a Film Festival: From “Written-Fashion” to “Written-Cinema”4.9 Screen International: The JuryPart 2: Festive Chronotopes in ActionChapter 5: Imaginary Festive Chronotope: Cannes Film Festival and the French Riviera5.1 The Carnavalised Space and Space of the Film Festival5.2 The Cult of Death and Pleasures of Stardom5.3 Horticulture and the Picturesque Image Production5.4 Modernist Artists, Architectural Projects, Auteur Film-makers and the Cult of the Seventh ArtChapter 6: Utopic Festive Chronotope: Film Festivals and the 19th Century World Exhibitions6.1 World Exhibitions6.2 Mission of International Film Festivals6.3 Representation, Visualisation and Exhibition of FilmsChapter 7: Crisis Festive Chronotope: Sarajevo Film Festival During the Yugoslav Wars of the 1990s7.1 The 1993 Sarajevo Film Festival – A One-off Film Festival7.2 Crisis Festive Chronotope7.3 Sarajevo’s Siege as Seen on ScreenChapter 8: Migrant Festive Chronotope: Human Rights and Documentary Film Festivals8.1 Setting the Scene: 2015 Migrant Crisis8.2 One World International Human Rights Documentary Film Festival (Prague) and Verzió International Human Rights Documentary Film Festival (Budapest)8.3 Festival Event as a Home8.4 The Humanitarian Gaze8.5 The Programme “Looking for Home”Chapter 9: Indigenous Festive Chronotope: Indigenous Films on the International Film Festival Circuit9.1 The Utopic Festive Chronotope of the Berlin International Film Festival9.2 NATIVe: A Journey into Indigenous Cinema – A Journey into the Heart of Berlinale’s Utopic Festive Chronotope9.3 Collective Programming9.4 Irregular Section of Berlinale9.5 Disrupting the Notion of Arthouse Cinema9.6 Festival Audiences vs Community Audiences9.7 Relationship with Film IndustryConclusionWhere Are the Films?Are Critics Gone?From Film Festival Circuit to Chronotopic GalaxyBibliography