ABSTRACT
Nation-states have provided financial and institutional support to film industries, playing a key role in the financing of films and facilitating traffic between national cinemas through specific agreements and structures. Turkish cinema has witnessed an incredible revival since the second half of the 1990s, becoming most recognized national cinemas on the global stage. In the chapter on film festivals, the authors discuss the case of Iranian and Romanian cinemas on the world stage, whose presence and meaning was first generated by their presence at film festivals, then put firmly in place by the critical and academic discourse. Vital and effervescent national cinema is the cinema of Argentina, which has the largest film industry in Latin America. The distinct characteristics of contemporary Slovenian cinema is that it is a "small" cinema, in the scheme introduced in Hjort and Petrie's work on "the cinema of small nations", with a population of about two million people and about eight features produced annually.
