Abstract
Moving from art to politics, this chapter examines European A festivals’ claims to a political-humanist universality. I investigate how such claims are underpinned by their construction of, and contradictory attempts to integrate, figures of the social other. I consider this as a kind of product differentiation: a mode of distinction from film festivals’ nominal opponent, Hollywood. The chapter investigates the status of gay, Turkish-Italian director Ferzan Ozpetek as not only an auteur, but figure of “acceptable otherness,” as well as Karlovy Vary’s representation of Facing Window (2003) as a narrative of closure through the integration of a queer, Jewish “other,” Davide. The chapter concludes that European film festivals’ promotion of social inclusion is undercut by their investment in structures of difference.
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