The platformization of film festivals in Spain: the case of Filmin (2020-2024)

Descripción del Articulo

In the contemporary context, where hybridisation predominates in media culture as a result of media convergence, new relationships are produced between certain actors in the audiovisual industry. This research aims to analyse the phenomenon of the platformization of film festivals in Spain in two wa...

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Detalles Bibliográficos
Autores: Blázquez-Jordán, José Manuel, de la Torre-Espinosa, Mario
Formato: artículo
Fecha de Publicación:2025
Institución:Universidad de Piura
Repositorio:Revista de Comunicación
Lenguaje:español
OAI Identifier:oai:revistas.udep.edu.pe:article/3721
Enlace del recurso:https://revistadecomunicacion.com/article/view/3721
Nivel de acceso:acceso abierto
Materia:festivales cinematográficos
festivales de cine
festival studies
distribución audiovisual
exhibición audiovisual
streaming
plataformas de vídeo bajo demanda
Filmin
comunicación audiovisual
festival films
film festivals
audiovisual distribution
audiovisual exhibition
video on demand platforms
audiovisual communication
Descripción
Sumario:In the contemporary context, where hybridisation predominates in media culture as a result of media convergence, new relationships are produced between certain actors in the audiovisual industry. This research aims to analyse the phenomenon of the platformization of film festivals in Spain in two ways. On the one hand, it examines the new model of distribution and online retransmission of these film events on streaming platforms and specifically on the national video-on-demand platform Filmin. On the other hand, this phenomenon is analysed from the outbreak of the COVID-19 pandemic until 2024, a disruptive context that consolidated the digitisation processes of these festivals. A hundred and thirty-two film festivals organised by Spanish entities that have screened their films online on the streaming service provider Filmin have been evaluated through a diachronic and comparative analysis. Variables related to their nature –hybrid or exclusively online–, geographical scope, denomination –competition or exhibition–, themes and programming policies are examined. The results show a notable increase in the online exhibition of film festivals at the current time, which consolidates this new type of cultural events as a key player in the contemporary audiovisual industry.
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