The Universal Declaration of Cultural Diversity (UNESCO, 2001) and the subsequent Convention on the Protection and Promotion of the Diversity of Cultural Expressions (UNESCO, 2005) have addressed the term cultural diversity. Within this frame, there are several studies about cultural diversity on the audiovisual field since 2011 to our days (Benhamou & Peltier, 2011; Albornoz, 2016), based on the concepts of variety, balance and disparity from the Stirling methodology (Stirling, 2007). Since the 1990s and overall 2000s, film festivals begin to create production and distribution funds, usually aimed at areas with low rates of production (Iordanova, 2015; Falicov, 2016). San Sebastián Film Festival has been a key player in this field with the program “Cine en construcción” it created for Latin American countries (Campos, 2012). In 2017, San Sebastián created the fund Glocal in Progress which is until this day the only one focused on minority languages. Our first objective is to establish if and how Glocal in Progress has helped to increase audiovisual diversity. To do so, we’ve conducted an explanatory sequential design (Creswell, 2015): we started analysing quantitatively the diversity of the program and afterwards we’ve interviewed filmmakers, distributors and programmers to explain its results. Results are limited but show this program has already had impact and may be a guideline for film festivals. On the other side, its constraint to European countries and even an award to a basque film could be seen as an important limitation.
Antonio Peláez-Barceló, Universidad San Pablo CEU, Spain
Stream: Film Criticism and Theory
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