Displays

Sel, Zehra Gokce; Aktas, Gurhan
Event management, 2019-03, Vol.23 (2), p.207-221


The visual, textual, and symbolic elements used in printed advertising can help target markets in that these appeal to their expectations and needs. This research investigates the historical evolution of printed advertising, namely posters, for the Cannes Film Festival. It aims to understand how the design and content of these posters have altered over time and what contextual and symbolic meanings could be derived from their analysis.

DeRoo, Rebecca J.
Camera obscura (Durham, NC), 2021-05, Vol.36 (1), p.127-153


This article examines how Agnès Varda used speeches and activism at the Cannes Film Festival in recent years to reveal and challenge the underrepresentation of female directors in the film industry. At the 2015 Cannes Film Festival, she accepted an honorary Palme (lifetime achievement award) in the name of other creative directors not yet in the spotlight. In 2018, Varda joined with the 50/50 en 2020 collective, a gender equity campaign, on the Cannes red carpet to call for gender parity and greater transparency in the festival's process of selecting films to screen.

Rich, B. Ruby
Film quarterly, 2022-09, Vol.76 (1), p.86-92

Film Quarterly’s editor-in-chief B. Ruby Rich offers her take on the 75th edition of the Cannes Film Festival. After two years of pandemic-related disruption, the storied festival was in a celebratory mood despite the proximity of the war in Ukraine, which lent a sense of significance to proceedings that resonated with its anti-fascist origins. The official competition, however, emphasized traditional (male) auteurs over selections that broke new ground aesthetically. Instead, it was in the festival’s other sections —the parallel Un Certain Regard, the once-oppositional Directors’ Fortnight, and the Semaine de la Critique—that Rich discovered works that renewed her sense of cinema as both consequential and urgently necessary.

Salti, Rasha
Film quarterly, 2019-09, Vol.73 (1), p.77-84

Veteran festival film programmer Rasha Salti reports from the seventy-second edition of the Cannes Film Festival. She devotes the first part of her report to an anthropological description of the Darwinian “biosphere” that is Cannes, a psychosocial experiment where status is measured in the type and color of your festival badge. After calling attention to the particular hypocrisies of the Cannes subculture, according to which the social injustices rendered on-screen attract more interest than those encountered outside the screening room, Salti turns her attention to the cinematic highlights of the festival. Observing that it was an exceptional year for African and Arab cinema, Salti notes the prevalence of themes relating to zombies, ghosts, and possession in films from these regions, including Mati Diop's Grand Prix winner, Atlantique.

González Zarandona, José Antonio
International journal of heritage studies : IJHS, 2016-11, Vol.22 (10), p.781-798

This paper is a discussion of how and why film should be considered heritage, by analysing the role of the Cannes Film Festival (CFF) in turning films into a form of heritage, through a number of different initiatives focused on the preservation and promotion of films as heritage. In doing so, the present article charts the evolution of the CFF against the background of cultural diplomacy and heritage.

Ward, Elizabeth M.
German life and letters, 2015-01, Vol.68 (1), p.37-53

This article examines the previously unexplored role of the Cannes Film Festival as an alternative arena for Cold War politics and the playing out of the West German Hallstein Doctrine in 1957 and 1959.