1. For an elaborated overview of the rise of coproduction markets, see Marijke de Valck, “Filmfestivals, coproductiemarkten en de internationale kunstcinema: het CineMart model van matchmaker onder de loep,” Tijdschrift voor Mediageschiedenis 13.2 (2010): 144–156.
2. Read more on this topic in Julian Stringer, “Global Cities and International Film Festival Economy,” Cinema and the City: Film and Urban Societies in a Global Context, ed. Mark Shiel, and Tony Fitzmaurice (Oxford, UK: Blackwell, 2001), 134–144;
3. and Marijke de Valck, “Berlin and the Spatial Reconfiguration of Film Festivals,” in Film Festivals: From European Geopolitics to Global Cinephilia (Amsterdam: Amsterdam University Press, 2007), 45–82.
4. Berlinale Talent Campus, “General information,” 4 April 2012,
http://www.berlinale-talentcampus.de
/story/62/1862.html (accessed May 9, 2012).
5. TorinoFilmLab, “About us,”
http://www.torinofilmlab.it
/about.php (accessed May 9, 2012).