Public interest in and support for film festivals has grown throughout the United States, giving new filmmakers broad exposure and audiences varied entertainment. Carolee Walker is a staff writer with the Bureau of International Information Programs of the U.S. Department of State.

In the United States alone, more than 300 film festivals provide moviegoers the chance to see short and featurelength films that might otherwise miss the silver screen. And they offer independent filmmakers, especially young and newly trained artists, the unique opportunity to showcase cutting-edge works and dramatically moving documentaries that might have a positive impact on their careers in the film industry.

Film festivals serve two important purposes: They shine the light on independent filmmakers who need more exposure before studios will hire them to make commercial pictures, and they offer cinema enthusiasts and local communities a way to come together to talk about ideas. Film festivals come in an array of sizes and shapes, from the internationally well-known Cannes Film Festival in France and Sundance Film Festival in Utah, to such lesser-known events as the Silk Screen: Asian American Film Festival in Pittsburgh, Pennsylvania, and the Cascade Festival of African Films in Portland, Oregon. Some festivals have been around for decades, while others are relatively new, like the three-year-old Stories From the Field, a documentary film festival sponsored by the United Nations that is as much about conquering world problems as it is about effective filmmaking. (For further information about Stories From the Field, visit http://www.mcainy.org/common/11040/ ?clientID=11040.)

Although most film festivals use a combination of jury and audience awards to put some films and filmmakers in the spotlight, they also show films that are not entered into competition. Usually this is a way for films to be marketed to distributors and for independent directors and lesser-known actors to gain exposure. The Academy of Motion Picture Arts and Sciences, which presents the Academy Awards each year, recognizes the grand prize winners of 60 film festivals in the United States and worldwide and awards Oscars to the best live-action short film and the best documentary among them.

Increasingly, film festivals are becoming annual events, and many of the most successful festival organizers have been able to attract paid memberships from film enthusiasts who sign up to see whatever festival coordinators choose to showcase. For Americans, in particular, this amounts to a leap of faith because members pay in advance year after year. In many cases, membership dues merely entitle film enthusiasts to purchase tickets in advance. One incentive for Americans to become members of film festivals is that they are often a key venue to see foreign films in the United States. Directors and actors who attend screenings often participate in workshops, adding to the festive atmosphere and helping communities and organizations increase much-needed support. Because of the growing community involvement and interest in film festivals, the events have also become popular sponsorship opportunities for local businesses and large companies.

A listing of film festivals of the Academy of Motion Picture Arts and Sciences is available at http: //www.oscars.org/80academyawards/rules/rules_shortfest. html.

The Box-Office Numbers
The Motion Picture Association of America (MPAA)* has produced a 24-page report that summarizes boxoffice data, primarily using bold charts and graphs. To access the entire report, “2006 U.S. Theatrical Market Statistics,” go to http://www.mpaa.org/2006-US-Theatrical-Market-Statistics-Report.pdf.

Highlights of the report include:
• In 2001, the U.S. movie industry’s box-office revenues totaled $16.96 billion, with almost half of that, $8.41 billion, produced from domestic (U.S.) audiences and the rest from international audiences.
• In 2006, the U.S. movie industry’s box-office revenues totaled $25.82 billion, with just over one-third of that, $9.49 billion, coming from domestic audiences and the rest from international audiences. Both domestic and foreign ticket sales increased from 2005, but the foreign revenues grew more.
• For the first time in 2006, a film earned more than $400 million domestically (Pirates of the Caribbean: Dead Man’s Chest). Films earning between $50 and $99 million grew in number, going from 36 films in 2005 to 45 films in 2006. Overall, films earning more than $50 million went from 56 films in 2005 to 63 in 2006.
• Number of new films released in the United States: 1996 420 films 2002 449 films 2005 535 films 2006 599 films
• Film lovers keep going to the movies, even when they have alternative technology at home. Those who own or have access to four or more other technologies (DVD player, satellite TV, etc.) went to a theater to see a movie about 10 times per year. Those who owned fewer than four alternative technologies went to the movies only seven times per year.
 • U.S. movie admissions were at an all-time high in 2006, with nearly 1.5 billion tickets sold.

*MPAA is a nonprofit organization formed by six large studios to work on behalf of the film industry. On its Web site [http://www.mpaa.org/], MPAA describes itself as “The Voice and Advocate of the American Motion Picture, Home Video and Television Industries.”