Inhalt

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  I. Introduction
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   1. Latino/a film festivals
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   1.1 Identity, politics of place and commerce
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   1.2 Promotion of latinidad
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   1.2.1 The festivals
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   1.2.2 Research questions
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   1.3 Situating my project
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   1.4 Contents
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  II. Contextualizing Latino/a film festivals within current film festival research
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   1. Emergence of the film festival
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   2. De Valck and Loist’s “six axes of film festival research” (2009) and Peranson’s business / audience film festival paradigms (2009)
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   2.1 Festivals as discursive constructions (axis one)
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  2.2 Economic dimension (axis two)
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   2.2.1 Festivals as arenas for film markets vs. trading centers for symbolic and economic capital
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   2.2.2 Difference classic and alternative distribution
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   2.2.3 Nurture
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   2.2.4 Star power and premieres
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  2.3 Institutionalization (axis three)
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   2.3.1 Film festivals as “field-configuring events” (Rüling)
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   2.3.2 Festival identity vs. stakeholder interest/s: Competition vs. cooperation and solidarity
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   2.4 Reception
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   2.4.1 “Making time matter” (Harbord): The urgency of the festival event
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   2.4.2 Festival atmosphere: Cultural performance and “festival communitas” (Cadaval)
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   2.5 Politics of place (axis five)
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  2.6 Festival circuits and history (axis six)
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   2.6.1 Festivals: “Networks for solidarity” (Torchin)
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   2.6.2 U.S. Latino/a film festivals: Overview
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   III. Historical Overview: Determining the environment of the Latino/a film festival
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   1. First film activist generation: Los Angeles area and beyond
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   1.1 Public affairs shows (1968-77)
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   1.2 Rocky road towards professionalism (1974-84)
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   1.3 Professionalism at the crossroads: The Chicano Cinema Coalition (CCC, 1978-80)
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   1.4 Impact of New Latin American Cinema: Repository of language, empowering alliances
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   1.4.1 Convergences, diverging paths
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   1.5 The location of Chicano Cinema, or: “Notes on Chicano Cinema” (Johansen 1979)
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  1.6 CineFestival (since 1976). Challenges of professionalization
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   1.6.1 Profile: Beginnings and politics of place
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   1.6.2 Organizational development
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   1.6.3 Negotiation of festival identity: Ethnic, pan-ethnic, and transnational repercussions
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   1.6.4 Early CineFestival: Arena for filmmakers
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   1.6.5 Turning point cultural affirmation / commerce: Going “Hispanic International” (1980-82)
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   1.6.6 Lessons from CineFestival (1981-82): Festival identity and the stakeholder perspective
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  1.7 The Chicago Latino Film Festival (since 1985)
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   1.7.1 Profile
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   1.7.2 CLFF 1990: Solidarity and crossover challenge
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   2. Eyes on the prize: Marketing latinidad and the formation of Latino/a Hollywood
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   2.1 Towards “Hispanic Hollywood”: Changing media landscape and film markets
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   2.2 Hispanic Hollywood Boom
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   2.3 The pioneering force of Luis Valdez’s Zoot Suit (1981)
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   2.4 Creating a habitat for Latino/a cinema
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   2.5 Edward James Olmos: Broker of “Hispanic Hollywood” to pater familias of Latino/a feature film
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   2.5.1 The man, the myth
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   2.5.2 As media activist
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  2.6 LALIFF: The Hollywood festival (since 1997)
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   2.6.1 Profile
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   2.6.2 Commitment to filmmaking constituencies
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   2.6.3 Edward James Olmos’s welcome editorial
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   2.6.4 Awards politics: Bridging difference; advancing an international agenda
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   2.6.5 Diversity through the years
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   2.6.6 Outlook: Disruptions, continuances, and 2018 reinvention
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   3. One step beyond? U.S. Latinos/as at Sundance
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  IV. The San Diego Latino Film Festival (SDLFF; since 1994)
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  1. Core Facts
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   1.1 Location in the Latino/a film festival network
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   1.2 Legacies
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   1.3 Key points
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   1.4 Restaurant trope
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  2. History of SDLFF and MACSD
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   2.1 Cine Estudiantil (1994-1997). Incubation on campus, gradual transnational orientation
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   2.2 Cine ’98 to SDLFF (1998-99). Growth and commercialization in the Gaslamp Quarter
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   2.3 SDLFF and MACSD (2000-2014). Consolidation: Chula Vista to Mission Valley
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   3. Engine behind SDLFF: Media Arts Center (MACSD, since 1999)
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   3.1 Naming and inclusivity
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   3.2 Business logic
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   3.3 Staffing: Continuity and professionalization
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   3.4 Programs: Education, nurture, entertainment
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   4. Border as resource
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   4.1 The border’s “polyvalence” (Fox): “Place” vs. “space”
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   4.2 SDLFF’s “underserved” border communities
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   4.3 Border lessons: SDLFF’s advocacy of diversity
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   4.3.1 Diversification of programs and sponsorship relationships
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   4.3.2 Borders, bridges: Programming diversity
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   4.3.2.1 National diversity and border theme
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   4.3.2.2 Showcases of diversity: Cine Gay, Cine Mujer, and Jewish Latino
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   4.3.2.3 Challenging the semantic boundaries of latinidad: “Guest Director” slot
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   4.4 Foil and Hollywood alternative: Tijuana’s "cultura de la necesidad" (Monsiváis)
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   5. Resources: Education, nurture and atmosphere
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  5.1 Education
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   5.1.1 “Youth Visions”
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   5.1.2 Educational sponsor: Neighborhood House Association
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   5.1.3 Educational sponsor: The Walt Disney Company
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   5.2 Professional enhancement and nurture
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   5.2.1 Nurture
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   5.3 Festival atmosphere: Identity, branding and community-building
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   5.3.1 Festival atmosphere as resource: Between identity and brand
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   5.3.2 Tapping the festival community: La Mission (2009) and El Estudiante (2009)
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  V. The Reel Rasquache Arts and Film Festival (RRAFF)
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  1. Core facts
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   1.1 Profile
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   1.2 Premises, goals, and strategic resources
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   1.3 Relationship with the U.S. Latino/a film festival network
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   2. History of RRAFF: Campus to Latino/a arts organization
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   2.1 Campus festival (2004-2009): California State University-Los Angeles
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   2.2 Transformation as filmmakers’ festival (2010/11): Regency Academy 6 Cinemas
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   2.3 “Home for the Future” and gentefication (2012-14): CASA 0101
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   3. Focus on U.S. latinidad: RRAFF’s strategic essentialism
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   4. Lo rasquache as performative resource
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   4.1 Rasquachismo: Validation of marginality; link to first wave Chicano/a cultural activism
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   4.2 Lo rasquache and RRAFF’s community-building project
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   5. Resource: Hollywood. RRAFF’s awards politics
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   5.1 Career film awards
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   5.1.1 Ethnic-cultural and regional diversity
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   5.1.2 Industry vs. independence
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   5.1.3 Awards politics according to their synchronic constellations
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   5.1.3.2 “Raíces (roots)” (2006): RRAFF’s dialectic building of community and genealogy project
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   5.1.3.3 “Latino Next” (2010): Focus on immigration and challenging strategic essentialism
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   5.1.4 Education as goal and symbolic capital
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   5.2 Competitive awards: Tapping Hollywood proximity, championing education
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   5.2.1 Competitive award winners 2011 and 2012
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   5.2.1.1 Best Features: Revenge of the Bimbot Zombie Killers; Smuggled
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   5.2.1.2 Audience Awards: Searching for the “Latino/a formula.” Food Stamps; Lola’s Love Shack
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   5.2.1.3 Best Short: In Times of War / En Tiempo de Guerra; Botes al Amanecer / Cans at Dawn
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   5.2.1.4 Best Documentary: The Calling; TRUST: Second Acts in Young Lives
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   5.2.1.5 Web based genres: Focus on nurture and new technology
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   5.2.1.5.1 Best Webisode: Police Chicks: Life on the Beat [episode one]; Fixing Paco
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  6. Resource: Education and nurture
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   6.1 Relationship triangle RRAFF – CSULA – sponsors
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   6.1.1 Close-up: Examining CSULA’s support of RRAFF
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   7. RAAFF: Home for the Future?
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   VI. Bay Area festivals: Cine Acción’s festivals, the International Latino Film Festival San Francisco, and the San Francisco Latino Film Festival
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  1. Cine Acción
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   1.1 Core facts
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   1.2 Beginnings: 1980-1990
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   1.2.1 Latinidad: Non-essentializing, diverse, and intersectional
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   1.2.3 Intersectional latinidad in practice: “Women of the Americas in Film & Video” (festival, 1988) and “Cruzando Fronteras” (conference, 1990)
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   1.3 1990s: Increased cinematic exhibition: From Cineteca to ¡Cine Latino!
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   1.3.1 Resource: Cine Acción’s “networks for advocacy”
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   1.3.2 Academic and artistic cross-validation: Curation and festival catalog articles
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   1.4 Challenges: Facing a changing organizational environment
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   1.4.1 ¡Cine Latino!’s reinvention and demise in the 2000s
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   1.4.2 Discontinuation of Cine Acción
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  2. The International Latino Film Festival San Francisco (ILFF)
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  2.1 Core facts
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   2.1.1 Profile
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   2.1.2 Resource: Education
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   2.1.3 Envisioned situation in the film festival network / circuit
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   2.1.4 Cross-validation: 1997’s endorsal by Edward James Olmos
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   2.1.5 ILFF’s success formula: Celebration and marketing of latinidad
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   2.1.6 Conclusion: Leadership and brand preservation as strengths and weaknesses
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   3.1.1 Key points: Strategic alliances and the Bay’s unique atmosphere and politics of place as main resources
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   3.1.2 Key issue: Empowering locality and community
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   3.1.3 Beginnings and organizational composition
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   3.1.4 Legacies, continuities, and solidarity: Relationships with ILFF and Cine Acción
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   3.1.5 Festival identity: Cultural affirmation, bridging and putting down roots
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   3.2.1 Consistent corporate image
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   3.2 Strategic relevance of Cine+Mas / SFLFF’s wide net of partnerships
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   3.2.2 Partnerships: Formation of cross-audiences and the sharing of resources
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   3.2.2.1 Media Sponsor: KQED
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   3.2.2.2 Cultural organizations: Mission Cultural Center for Latino Arts and Artists’ Television Access
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   3.2.2.3 Academia: University of San Francisco
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  3.3 Resource: Tapping the Bay’s atmosphere: Filmmakers and their films
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   3.3.1 Ebony Goddess: Queen of Ilê Aiyê (2009). Celebrating Afro-Brazilian identities and Afro-Latina femininity
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   3.3.2 A reportage in search of outreach and validation: Voices of Chile (2012)
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   3.3.3 Social justice documentaries: Children of Memory (2012) and Justice for my Sister (2012). Outreach, education, and empowerment
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   3.3.4 Spotlight on urban Latino/a communities: Sin Padre (2012) and La Vida Loca (2012)
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   VII. Concluding remarks
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   References
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   Index: Selected associations, organizations, and institutions
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   Eigenständigkeitserklärung