Taking her cues from Yuri Tsivian’s seminal reflections on technological innovation and changing reception patterns (which seem relevant not only to early cinema but also to the new forms of spectatorship in the age of YouTube), Guść traces the fascinating career of director Andrzej Kondratiuk who in the second half of the 1980s deliberately turned from being a state filmmaker into an independent filmmaker and developed a radically personal “home movie” aesthetic, using his extended family as actors. Iwona Guść in her contribution “Polish Film Culture in Transition: On the ‘Private Films’ of Andrzej Kondratiuk (1985-1996)” looks at the tensions that can arise between the structures of small national cinemas and “small” forms of filmmaking. With a case study on the Transilvania International Film Festival, I attempt an inquiry of three interconnected aspects employed in exploring film festivals and their transnational dimension: the impact of the new media on the audience, the challenge of identity and the possibility to create a city/ country branding.
European identity, and the possibility of building a cultural city/ country branding.
The article examines the cultural determinants and the new vocabulary of visual discourse, exploring the implied questions regarding national identity vs. The international film festivals are seen as cosmopolitan spaces (Chan 2011, 253), yet, the new morphology of film festivals-perceived as "public spheres" or as new objects of historical research-bring a new light on film festivals and the theory of culture and visual discourse, especially with the new reconfiguration of festivals in Europe, the insertion of new technologies and new opportunities to explore local identity. Abstra ct: European film festival venues are explored in their relation to transnationalism, a " supranational sphere ", as well as with political and economic implications (Acciari, 2014).
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