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The controversy brought a wave of local and international publicity. MIFF has been a fixture in the news pages and on the radio. The overseas coverage included mentions in The New Yorker, a live interview with CNN and coverage on the BBC. The attention, Mr Moore hopes, might have a flow-on effect, a reminder to people that this is an important festival. The festival had already become the subject of news stories when director Ken Loach withdrew his feature film, Looking for Eric, because of MIFF sponsorship by the Israeli Government.

"It's a very, very concerted and pointed attack," Mr Moore said. "Everyone's watching this - it's totally global." The email provides instructions for loading tickets into "shopping carts" from the festival's website, and Chinese are being urged to teach others how to "purchase" MIFF tickets online.

the documentary The 10 Conditions of Love, about Ms Kadeer

Ms Kadeer will take part in the screening of the documentary next Saturday.She will also meet members of Australia’s 2000-strong Uighur community.

Her involvement in the festival led to seven Chinese-language films — from China, Hong Kong and Taiwan — being withdrawn.

‘‘This latest attack is just extraordinary,’’ the festival director said. ‘‘What’s happened is that this has become a question of Chinese nationalism where it has almost become people’s official duty to register a protest.’’

Loach's

The role of political actors, and the nation state in particular, in the film industry is enormous.

the film appears as the product of an individual visionary. This view of filmmaking is about as realistic as the standard Hollywood happy ending. The reality is that films are rarely, if ever, the personal, unadulterated vision of a director. They are influenced or, depending on your point of view, compromised from the start by those who bankroll the films.

In some respects, the most surprising thing about these kerfuffles is not that they have happened, but that they don't happen more often. While most of us think of film festivals as cultural events, the truth is that they are also deeply political events.

what gets far less attention is the extensive role played by political actors in the filmmaking process.

most films would not be made were it not for generous state subsidies.

And in spite of nice-sounding claims about facilitating cultural dialogue, nation states don't fund films because they love a good story. They do so because film can be a highly effective means of spreading influence. Since they're footing the bill, it's understandable that they want a say in the content of the film and how it is positioned.

films and film festivals are the continuation of politics by other means. It shouldn't be imagined that this applies only to authoritarian states such as China or political organisations with clear political objectives. Nearly every Australian film is made with some public money, and so filmmakers are subject to similar, if far more sophisticated and subtle, forms of state influence.

China has miscalculated the extent of its reach and, in the process, provided both the Kadeer documentary and the film festival an avalanche of publicity. And Ken Loach, in remarkably poor political judgment, has effectively silenced himself by withdrawing his film.