Looking through the Lens

Film programmers, as experts, possess the potential to attribute value to certain films within the cultural industries, which may similarly increase the visibility or accessibility of these goods. By weighing the balance between which films are screened, especially those made by established or emerging directors, this creates the opportunity for curating a symbolic and powerful film program: and are unique to each programmer. However, these decisions may be further influenced by their agency, personal tastes or vision, the company for which they work, or other relevant network effects. Thus, this study investigates how these decisions are negotiated first-hand between head programmers working within cinemas, business entities, and film festivals. The research question was presented as: How do film programmers reflect on their programming experience and decision-making processes, with insight into screening films from established and newcomer directors? By conducting semi-structured interviews, this allowed the programmers to discuss their professional experience first-hand and in-depth. The programmers were therefore able to provide valuable insights related to prioritizing films relevant for their audience's enjoyment above all else. Still, they also discussed the varying goals for which they program: such as entertainment, meeting demand, or being thought-provoking. These emerging topics were then formally grouped together within a thematic analysis, introducing the relevant themes of industry norms, (programmers') positionality, programming tools, and societal implications within the dataset. These foundational aspects for film programming were identified and contrasted to the notions of cultural value and gatekeeping logics, which have the potential to emerge between cultural experts. By further providing context to the ambiguous decision-making process for curation, this study identified how experts reflect on their roles to produce film programs with purpose, uplifting various genres and filmmakers, but most importantly: screening films fit for their audiences.