"This edited collection aims to document the effects of Covid-19 on film festivals and to theorize film festivals in the age of social distancing. To some extent, this crisis begs us to consider what happens when festivals can't happen; while films have found new (temporary) channels of distribution
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(most often in the forms of digital releases), the festival format appears particularly vulnerable in pandemic times. Imperfect measures, such as the move to a digital format, cannot recapture the communal experience at the very core of festivals. Given the global nature of the pandemic and the diversity of the festival phenomenon, this book features a wide range of case studies and analytical frameworks. With contributors including established scholars and frontline festival workers, the book is conceived as both a theoretical endeavour and a practical exploration of festival organizing in pandemic times." (Publisher description)
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"Various terms are in use to describe violent, bullying, demeaning, or otherwise antagonistic expressions on social media platforms. Hate speech is common, but also not limited to the online world. While it does signal that these expressions are speech acts, and therefore, as we maintain, performati
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ve, the reference to ‘hate’ does not always seem justified. While many different motivations and affects can be involved, and hatred on the part of the sender is surely one of them, other motivations exist too (as considered for instance in chapters two, three and seven). The term is thus both too broad and too narrow in its seeming attribution of motives. Feminist scholar Emma Jane has introduced the term ‘e-bile’, which is useful, but particularly designed for the specific category of misogynist and objectifying comments addressed to women online. We propose online vitriol as a term to think about this phenomenon, because it stresses both the violent and the uncontrollable aspects of the phenomenon and its typical excesses, such as shitstorms, and speech acts that silence, threaten, or harm others [...] Online vitriol seems to be a particular product of the Web 2.0, the ‘participatory’ or ‘social web’ that has evolved since the early twenty-first century, and that revolves around ‘user-generated content’ and conceives of the web as a space of interaction, rather than a collection of static sites where one can read information. The term ‘Web 2.0’ was coined in 1999 by Darcy DiNucci in an article prophetically titled ‘Fragmented Future’. Fragmentation does indeed seem to be one of the key aims and effects of online vitriol enabled by the interactive structure of social media platforms. In recent years particularly, online vitriol has come to serve political powerplay, with actors often operating from a stance of victimhood and supposed powerlessness, while at the same time attracting considerable attention, visibility and influence." (Pages 13-14)
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