Titlebook: Documentary Film Festivals Vol. 2; Changes, Challenges, Aida Vallejo,Ezra Winton Book 2020 The Editor(s) (if applicable) and The Author(s),

ambivalence

https://doi.org/10.1057/9780230277472entaries to parallel sections. The study retraces documentary films screened in the festival in order to explore how many and what kind of documentaries are usually programmed at Cannes, in which sections, and which guidelines for including or not including a documentary are in the Official competition.

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,Introduction—Volume 2: Documentary Film Festivals: Changes, Challenges, Professional Perspectives,ing policies at documentary festivals, with a special focus on production and distribution. Firstly, we articulate a definition of the documentary festival. Drawing concepts developed by Bill Nichols, we elaborate on the discussion started in the introduction of our first volume (where we look at ep

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IDFA’s Industry Model: Fostering Global Documentary Production and Distributiontudy of their presence in the festival program. These pitching forums, markets, workshops, industry talks and networking events extend the festival’s influence in film promotion towards production and commercial distribution, expanding the classic role of festivals as exhibition sites. I analyse the

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Connecting and Sharing Experiences: Chilean Documentary Film Professionals at the Film Festival Circnal recognition as a result of both national and international trends. Conditions in Chile have changed in such a way as to facilitate the production of a diversity of documentary films. Moreover, international film festivals and markets have played a major role in both the production and circulatio

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