Human rights film festivals have been steadily growing in number in recent years. They are all bound by a common thread, human rights, and yet show distinctly different films. What leads them to be so different, and how is the universalism of human rights made sense by each?

Movies, stars, auteurs, and critics come together in film festivals as quintessential constellations of art, business, and glamour. Yet, how well do we understand the forces and meanings that these events embody? This work offers an overview of the history, people, films, and functions of the festival world.

Building on a growing body of literature, this Handbook provides an up-to-date and authoritative survey of Arab cinema. The collection includes contributions from academics and filmmakers from across the Arab region, Europe, and North America, and fills a gap in media studies by examining the entire Arab region, rather than focusing on one country or theme. The Handbook also sheds light on the heterogeneity of Arab filmmaking not only within the Arab region, but also globally, within diasporic communities. It is split into six parts: Part 1 provides an overview of each sub-region in the Arab world, including a chapter on Arab animation films. Parts 2, 3, and 4 address topical themes, encompassing the representation of gender, religion, and identity politics in Arab cinema. Part 5 discusses the theme of diaspora and Part 6 concludes the volume with reflective essays penned by selected diasporic filmmakers. This book is an essential reference for Arab media and cinema scholars, students, and professional filmmakers. With case studies from across the Arab region, it's also a valuable resource for anyone interested in film and media, global cinema, and the Middle East generally.

The last decade has witnessed an explosion of interest in film festivals, with the field growing to a position of prominence within the space of a few short years. Film Festivals: History, Theory, Method, Practice represents a major addition to the literature on this topic, offering an authoritative and comprehensive introduction to the area. With a combination of chapters specifically examining history, theory, method and practice, it offers a clear structure and systematic approach for the study of film festivals. Offering a collection of essays written by an international range of established scholars, it discusses well-known film festivals in Europe, North America and Asia, but equally devotes attention to the diverse range of smaller and/or specialized events that take place around the globe. It provides essential knowledge on the origin and development of film festivals, discusses the use of theory to study festivals, explores the methods of ethnographic and archival research, and looks closely at the professional practice of programming and film funding. Each section, moreover, is introduced by the editors, and all chapters include useful suggestions for further reading. This will be an essential textbook for students studying film festivals as part of their film, media and cultural studies courses, as well as a strong research tool for scholars that wish to familiarize themselves with this burgeoning field.

Tracing the history of Africa's relationship to film festivals and exploring the festivals' impact on the various types of people who attend festivals (the festival experts, the ordinary festival audiences, and the filmmakers), Dovey reveals what turns something called a "festival" into a "festival experience" for these groups.

Bringing theory and practice together, African Cinema and Human Rights argues that moving images have a significant role to play in advancing the causes of justice and fairness. The contributors to this volume identify three key ways in which film can achieve these goals: documenting human rights abuses and thereby supporting the claims of victims and goals of truth and reconciliation within larger communities; legitimating, and consequently solidifying, an expanded scope for human rights; and promoting the realization of social and economic rights. Including the voices of African scholars, scholar-filmmakers, African directors Jean-Marie Teno and Gaston Kaboré, and researchers whose work focuses on transnational cinema, this volume explores overall perspectives, and differences of perspective, pertaining to Africa, human rights, and human rights filmmaking alongside specific case studies of individual films and areas of human rights violations. With its interdisciplinary scope, attention to practitioners' self-understandings, broad perspectives, and particular case studies, African Cinema and Human Rights is a foundational text that offers questions, reflections, and evidence that help us to consider film's ideal role within the context of our ever-continuing struggle towards a more just global society.

M. Cherif Bassiouni / Human rights and international criminal justice in the twenty first century : the end of the post-WWII phase and the beginning of an uncertain new era -- Thomas A. Cromwell and Bruno Gélinas-Faucher, William Schabas / The Canadian Charter of rights and freedoms, and international human rights law -- Emmanuel Decaux / The International Convention on the Protection of All Persons from Enforced Disappearance, as a victim-oriented treaty --Kathleen Cavanaugh and Joshua Castellino / The politics of sectarianism and its reflection in questions of international law & state formation in The Middle East -- Sandra L. Babcock / International law and the death penalty : a toothless tiger, or a meaningful force for change? -- Marc Bossuyt / The UN optional protocol on the abolition of the death penalty --Christof Heyns and Thomas Probert and Tess Borden / The right to life and the progressive abolition of the death penalty -- Zhao Bingzhi / Progress and trend of the reform of the death penalty in China -- Margaret M. DeGuzman / Criminal law philosophy in international criminal law scholarship -- Frédéric Mégret / Is the ICC focusing too much on non-state actors? -- Shane Darcy / The principle of legality at the crossroads of human rights and international criminal law -- Alain Pellet / Revisiting the sources of applicable law before the ICC -- Mireille Delmas-Marty / The ICC as a work in progress, for a world in process -- Carsten Stahn / Legacy in international criminal justice -- Andrew Clapham and Paola Gaeta / Torture by private actors and 'gold plating' the offence in national law : an exchange of emails in honour of William Schabas -- Hirad Abtahi and Philippa Webb / Secrets and surprises in the Travaux préparatoires of the genocide convention -- Jérémie Gilbert / Perspectives on cultural genocide : from criminal law to cultural diversity -- Beth Van Schaack / Crimes against humanity : repairing Title 18's blind spots -- Leila Nadya Sadat / A new global treaty on crimes against humanity : future prospects -- Mark A. Drumbl / Justice outside of criminal courtrooms and jailhouses -- Charles Chernor Jalloh / Toward greater synergy between courts and truth commissions in post-conflict contexts : lessons from Sierra Leone -- Geoffrey Nice and Nevenka Tromp / Criminal trial as a tool to control historical narrative -- Mary Ellen O'Connell / The arc toward justice and peace -- Adama Dieng / The maintenance of international peace and security through prevention of atrocity crimes : the question of co-operation between the UN and regional arrangements -- Emma Sandon / Law and film : curating rights cinema -- Wayne Jordash / The role of advocates in developing international law -- Diane Marie Amann / Bill the blogger

The entries are designed to be relatively brief with clear, accessible, and current information.

Proposing a radical vision of cinema's queer globalism, Karl Schoonover and Rosalind Galt explore how queer filmmaking intersects with international sexual cultures, geopolitics, and aesthetics to disrupt dominant modes of world making. Whether in its exploration of queer cinematic temporality, the paradox of the queer popular, or the deviant ecologies of the queer pastoral, Schoonover and Galt reimagine the scope of queer film studies. The authors move beyond the gay art cinema canon to consider a broad range of films from Chinese lesbian drama and Swedish genderqueer documentary to Bangladeshi melodrama and Bolivian activist video. Schoonover and Galt make a case for the centrality of queerness in cinema and trace how queer cinema circulates around the globe–institutionally via film festivals, online consumption, and human rights campaigns, but also affectively in the production of a queer sensorium. In this account, cinema creates a uniquely potent mode of queer worldliness, one that disrupts normative ways of being in the world and forges revised modes of belonging.

Pedagogy of Global Events explores a relatively new phenomenon of cultural events—concerts, media experiences, and film series—designed to bring attention to global problems and spark action. This case-based analysis addresses a range of events to consider questions about what it means to educate the wider public about significant global challenges, the meaning and limits of these efforts, and how media refracts these experiences. The analyses are informed by data collected from organizers of special events, participants in attendance, those viewing online or after-the-fact through media representations, as well as through a careful analysis of web artifacts created by and in response to the events. By offering rare empirical analyses of global events, this book is valuable reading for organizers and attendees alike.