ABSTRACT This article explores the intersections of festivals and film canons to vindicate the active role of the festival site in shaping film history. The recent growth of film festival studies has demonstrated the importance of curatorial practices and alternative patterns of film circulation for the visibility to cinemas from non-hegemonic geo-political regions, to independent productions, as well as to minor genres (such as documentary or short film). In this article, I propose revisiting film canons that conform classic film histories, through analysis of programming and awarding practices of key film festivals such as Venice or Cannes. I examine the influence that these events had on (1) (re)defining film genres– such as documentary–, (2) bolstering film movements and (3) discovering cinemas and filmmakers from peripheral regions. Finally, I argue that world cinema history can be better framed if we call for geolocated history(ies) of cinema, as a way to counterbalance the classic approaches to film history produced in hegemonic centres of academic production. In this context, film festivals are key players whose agency in the articulation of world cinema canons shouldn’t be underestimated.

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重新思考经典：电影节在塑造电影历史中的作用

摘要本文探讨了节日和电影经典的交集，以证明节日场所在塑造电影历史中的积极作用。电影节研究的最新发展表明，对于从非霸权地缘政治地区到独立制作以及次要类型（例如纪录片或短片）的电影院来说，策展实践和电影发行的替代方式对于看电影的重要性很重要。电影）。在本文中，我建议通过分析关键电影节（例如威尼斯或戛纳）的节目编排和颁奖实践，回顾符合经典电影历史的电影经典。我研究了这些事件对（1）（重新）定义电影类型（例如纪录片），（2）促进电影运动以及（3）从周边地区发现电影院和电影制片人的影响。最后，我认为，如果我们呼吁对电影进行地理定位的历史，可以更好地构筑世界电影史，以此来抵消在学术霸权中心产生的经典电影史方法。在这种情况下，电影节是关键人物，他们在表达世界电影经典方面的作用不容小.。