Lena Dunham's 'Girls'
Jojo Whilden/HBO Lena Dunham's 'Girls'

Dunham's show was a natural fit for SXSW, which had screened both of her previous features, "Creative Nonfiction" and "Tiny Furniture," but also provided an unusual platform for the people who'd worked on it. "A point that the Judd Apatow reiterated to me one on one was that writers for TV rarely get to hear feedback on their work," Pierson continued. "Sure they can read about it, and see the numbers, but they don't get the experience of actually hearing the audience laughing, coughing, on the edge of the seats, or shifting -- the way filmmakers often do." In the future, she said, "Certainly, we'll be open to incorporating more work for TV, and the web," noting that the festival created a new stream for online work called Digital Domain last year.

Hirokazu Koreeda's 'Going Home'
Fuji TV Hirokazu Koreeda's 'Going Home'

The International Film Festival Rotterdam has section devoted to serialized storytelling on TV and the web this year as well -- Changing Channels, which will include screenings of, yes, "Girls," as well as Japanese domestic drama "Going Home," Hirokazu Koreeda's first TV series; Agnieszka Holland's historical miniseries "Burning Bush"; Andrew Barchilon and Kitao Sakurai's surreal Adult Swim talk show "The Eric André Show"; and Ry Russo-Young's Paper Magazine web series "Muscle Top."

"Since the late '90s television, particularly cable television, has become a more innovative medium that allows for productions with deep character development and more complex story lines," explained programmer Inge de Leeuw. "At the same time, the recent development in the major U.S. film studios [is] opposite: there is less and less interest in original scripts and quirky drama." The increase in filmmakers developing original series "is very interesting for a film festival to show in the cinemas," she said, noting that this is also true outside the abroad, where pay channels like HBO's international branches (who funded, for instance, Holland's series) and Canal+ are boosting the production of original, local programs, even as the resources of public broadcasters dwindle.

Ry Russo-Young's 'Muscle Top'
Paper Magazine Ry Russo-Young's 'Muscle Top'
De Leeuw pointed out that the strand also reflects shifts in the way TV is made -- "The traditional division of labor between writer and director in this series is not applied. Normally the writer has the creative control, but in the Changing Channels' examples the responsibility for both the idea and the execution lies with the filmmaker. Not only in style but also in terms of production it resembles more a feature film." She added that she does think we'll be seeing more projects made for TV at film festivals, and that in turn web is the future of TV.

Of course, in some ways these festivals are just catching up with the writer-centric Austin Film Festival, which has included a focus on TV for years -- 2012's iteration showcased the work of and presented an award to "The X-Files" creator Chris Carter. "When we started programming television creators and showcasing their work, there really was no precedent set by other festivals," said Executive Director Barbara Morgan. "We experimented with ways to present it." In the end, Morgan explained, there was no resistance to the showcasing of TV next to film. "Ultimately, we discovered that the audiences responded very favorably to the programming and were just as curious to hear from the show creators as they were from filmmakers. As the lines between the big screen, little screen and computer screen blur, we are seeing a much larger film contingency embracing the world of television. I expect it to become regular programming at festivals internationally."