1 Aristotle University of Thessaloniki, Greece The School of Film of the Aristotle University of Thessaloniki was established in 2004 and is the first public higher-education film school in Greece, based in the country’s second biggest city, Thessaloniki. Its creation as the fourth School of the Faculty of Fine Arts at A.U.Th. came to fill a significant educational gap and to respond to a long-lasting request of both the film and academic community. According to its founding statute, the aim of the School is “to cultivate and promote film art through theoretical and applied tuition and research”. Thus, the school combines theory and practice, training professionals in all film & TV specializations, capable of contributing to the national (and international) film/TV production, as well assome researchers devoted to cinema andtelevision history and theory. Being the first of its kind in Greece, the School has become a meeting place for Greek young talent,as well as acclaimed professionals who teach as permanent staff or visiting lecturers. The School also maintains a close connection to the prestigious Thessaloniki International Film Festival, which,twice a year, becomes an integral part of its studies program. Degree levels and specializations The School of Film offers a five-year program of studies, covering both the 1st and 2nd cycle, leading to an integrated Master degree. In the first two years all courses are obligatory and provide an insight into all aspects of filmmakingand basic theoretical foundations. From the 3rd year students are free to choose courses dependingon their special interests in 9 possible directions: Scriptwriting, Directing, Production, Sound and Music, Set and Costume Design, Cinematography, Editing, Augmented/Virtual/Mixed Reality, Theory/History of Cinema and Television. Parallel to the main five-year program the School of Film offers two post-graduate MA courses: the Anglophone MA Program “Film and Television Studies” which is a three-semester program taught by the school’s faculty and a lineup of world-renowned scholars. The program covers a wide array of topics including classical and contemporary theories of cinema, digital ontology and new media, history on cinema, politics in film and television etc. The Interdisciplinary MA Program “Creative Writing” in which the School of Film is a partner in collaboration with the University of Western Macedonia. The program lasts four semesters and accepts up to 90 students each academic year in three (3) directions: Creative Writing and Film – Television Writing; Creative Writing and Literary Writing; Creative Writing and Education. Finally, the School of Film offers the opportunity to do theoretical or practice based research on a PhD level. Language of Studies The MA in “Film and Television Studies” is in English and PhDs can also be written and monitored inEnglish. All the other programs, mainly the undergraduate five-year program is in Greek. Howeveroccasionally some lectures can be in English, as well as private tutorials,to accommodate for exchange students. Tuition Fees for Residents/Non-Residents The undergraduate five-year program is free, as all undergraduate programs of Greek public universities. Postgraduate Program fees are €3,500 both for Residents and Non-Residents Number of Students in the Current School Year (Male/Female) The first-year students admitted in the academic year 2021-22 are 94 (59 female and 35 male). The total number of enrolled students currently is 643 (402 female and 241 male) Student Admission Criteria & Exams Students from High schools take the Panhellenic national level Examinations (Baccalaureate type exams) in order to be admitted. University graduates take examination in 3 subjects: i. Short script exercise ii. 2 Photo storyboard exercise iii. Film theory & history. Types of Practical Exercises/ Student Graduation Obligations All applied courses are structured around the execution of practical exercises, either in groups or individually. Short films, scenes made under specific restrictions, scripts, treatments, mood boards,sound exercises, production dossiers, set models, drawings, photographs etc. Depending on the choices students make in their 3 rd and 4 th year of studies in their graduation year(5th year) students complete their diploma thesis (60 ECTS) in one of the nine specialization areas: scriptwriting, film direction, production, sound and music, set and costume design, cinematography, editing, augmented/virtual/mixed reality, theory and history of cinema and television. For the applied directions the diploma thesis takes the form of a work of art in the fieldof the respective direction accompanied by a written dissertation. For example, in scriptwriting the diploma thesis involves writing a feature length film script or a TV series pilot, in film direction directing a short film (fiction, documentary or experimental) etc. In the theoretical direction the diploma thesis is a dissertation of 10.000 – 12.000 words. Participation in International Collaboration The School of Film is participating in the Erasmus + network and receives an average of ten students each year from film schools and audiovisual departments mainly from Europe. Similarly, students and staff travel for academic exchanges regularly and take part in conferences and festivals. Student films participate in international festivals and workshops such as Berlinale talents, Sarajevo etc. Occasionally the school participates in international academic projects, for example during the 2021 quarantine in the “You + me” project made by 74 artists, 17 universitiesand 14 countries. Successful Graduates Director Konstantina Kotzamani’s short movies have premiered in major festivals, such as Cannes,Venice, Berlinale, Locarno, and have received numerous international awards, as well as being broadcast in Europe, Asia and the USA, and distributed on platforms like Criterion and Mubi. She has been thrice awarded by the Hellenic Film Academy with the best short film award and twice nominated by the European Film Academy for the best short of the year (EFA award). Her latest film, “Electric Swan,” was declared Best Short of the Year by the French Critics’ Association. https://www.imdb.com/name/nm4944246/?ref_=fn_al_nm_1 Director Gavriil Tzafkas’ short films, Oblivion, Sailor and Euroman have travelled in numerous festivals and were honoured with more than 30 international awards. An alumnus of Berlinale and Sarajevo Talents, after graduation he migrated to Denmark where he completed his first feature film, Thorn (2017) that received the Eurimages Lab Award. Ode To Joy is his second feature film andhas been developed in Sam Spiegel Jerusalem Film Lab and selected for Cinefondation’s L’Atelier inFestival de Cannes 2019. https://www.imdb.com/name/nm4367499/?ref_=fn_al_nm_1 Cinematographer Konstantinos Koukoulios’ short films have been granted awards around theworld. He has received the Best Cinematography award for his short film “Fawns” (2014) in the 20thInternational Athens Film Festival, the Best Cinematography and Cinematic Achievement awards forhis short films “Dust” (2013) and “Penguins”(2012). He is also a Berlinale Talents alumnus. “Copa- Loca” (2017) premiered at the 70th Cannes Film Festival “Director’s Fortnight”. His short “HectorMalot: The Last Day of the Year” won the Leica Cine Discovery Award as the best short of the 57thCritics Week at the 71st Cannes Film Festival. “Pity”, his first feature film, had it’s world premiere atSundance Film Festival ’18, World Dramatic Competition. He has been lensing TV Commercials since 2013, working with leading advertising agencies and production companies in Athens and abroad. http://www.koukoulios.com/ Cinematographer Michalis Gatzogias has worked as a director of photography in various short films, TV shows, corporate films and documentaries. He has shot one feature film named “4DAYS” 3 (2017, Greek Film Center co-production), selected in various festivals (41st SAO PAULO IFF, 58thThessaloniki IFF). His work in short films includes “Zarnten” 20’ (2010, Drama Film Festival Greece, Fesancor 2011 Santiago Chile, Unlimited#5 Cologne Germany, Fenaco 2011 Cosco, Peru), “Who is afraid of the Dark” 17’ (2015, 5th Syros International Film Festival), “We the Others” 13′ (2016, Concorto Film Festival, Italy). He has also shot corporate videos and TV commercials for prominent institutions and corporations in Greece as well as the doc series “Herbs, earth’s seeds” for the National Broadcaster, ERT. https://www.mihalisgkatzogias.gr/ Editor Smaro Papaevangelou The shorts she edited while studying traveled to a lot of renowned festivals and in 2014 she was invited to Berlinale Talents. One of her first feature film projects, Moderation (2016) premieres in Berlinale and continues its festival course in BFI London. She continues editing short films that have a distinctive festival course like Fox (2016, Locarno Youth Jury award) and Hiwa (2017) byJacqueline Lentzou and Silence of the Dying Fish (2018) by Vasilis Kekatos that premiere at Berlinale and Locarno. In 2018 she gets invited to Sarajevo Talents and starts editing on To Sail Close to the Wind by Gregoris Rentis, a hybrid documentary feature. At the same time she edits commercials for brands like Aegean Airlines and Ford, winning a Grand Ermis Production Awardin 2018. https://www.imdb.com/name/nm4943980/?ref_=fn_al_nm_1 Giannis Sotiropoulos Producer https://www.imdb.com/name/nm5566148/ Eleni Pnevmatikou Film Director, Producer & Editor http://www.pnevmaproductions.gr/pp/index.php/el/ Katerina Gerothanasi Scriptwriter
Dafni Psarra Sound recordist/designer https://www.dafnipsarra.co.uk/sound-projects Chrysa Serdari Set and costume designer https://www.imdb.com/name/nm8920167/ Sotiris Petridis Screenwriter- producer https://www.imdb.com/name/nm5794321/ https://www.youtube.com/channel/UCxie5Sba6ymeyzJPYyBbhkg LINKS TO STUDENTS’ WORK Candidate films for Hellenic Film Academy Awards 2021 4 Tolis Live (or Toronto) Password: Toronto Small Talk with The Bad Man drive.google.com/file/d/1WuLtB73r7Qxf1x04Bn8uKGQhh425h7wm/view Mundial https://vimeo.com/424833900; Password: mundial2020 Sandy at Home https://drive.google.com/file/d/1Zl66i8yQnXE4YEKznGRNIo1YOMr2MfFQ/view?usp Nutmeg https://drive.google.com/file/d/1X-frEG3Cm0PQtTsXmgfcl7h-mbZW_feo/view?usp=sharing Real Life Eyes Bleeding Amber https://drive.google.com/file/d/1tK44CbbEiAIY9c05CxaBF9kL4Z6eKspT/view?usp=sharing Containers https://drive.google.com/file/d/17iFFLtOLRS4FfdrqvLS9acR25JJ5S64Q/view
Barbara Evans is Associate Professor and former Chair and Graduate Programme Director of the Department of Cinema and Media Arts in the School of the Arts, Media, Performance and Designed at York University in Toronto, Evans specializes in documentary production and history. An award-winning filmmaker, she has worked extensively as a director, producer, writer, researcher and editor. She is currently completing a book on the work of early women documentary filmmakers.
Bruce Sheridan is a filmmaker from New Zealand who from 2001-2017 was Head of Film & Video at Columbia College Chicago, USA, where he is now a professor teaching Directing and Producing. He won the 1999 New Zealand Best Drama Award, and his last feature project, a documentary he produced called Our Blood Is Wine, was invited to the 2018 Berlinale. Professor Sheridan investigates creativity through the lenses of play and improvisation, and looks for ways to apply this to professional screen production and related pedagogy. He is President of CILECT (The International Association of Film, TV and Media Schools) since 2018.
Prof. Herman Van Eyken has a background in script writing, producing and directing. He directed more than 200 films of all genres. Herman’s research interests lay in the area of film policies and film training needs for professionals. Herman originally crafted his film and education career in Brussels, at RITCS. In 2005, he founded Singapore’s first film degree and headed the Puttnam School of Film at LASALLE College of the Arts. He now heads the Griffith Film School, Brisbane – Australia’s largest film school. In 2014 he was elected as Chair of CAPA (CILECT Asia-Pacific regional association) and was re-elected in 2018.
Karla Berry leads the XR Collective and EdNA (Education iNnovation Accelerator) at Southern Illinois University Carbondale, and is an experienced professor, administrator, and media artist. Her current projects explore the convergence of learning design, extended reality, and emergent media creative practices. She has served as President of the University Film and Video Association (UFVA), and of the International Digital Media & Arts Association (iDMAa).
Leif Holst Jensen is Head of Department, Westerdals Institute of Film and Media, Kristiania University College, Oslo, Norway. Graduated in Media and Communication, Law, Journalism, Directing and Production, and a MBA strategic management. Former General Secretary, Norwegian Film, TV and Games Producers Association. Head of Arts and Culture, Danish Broadcasting Company, DR, Program Director, Metropol TV, Norway, and several positions in NRK, Norwegian Broadcasting Company, as Head of Youth department and regional office in Northern Norway. Practice as journalist, director, producer and executive director and producer including more than 200 programs.
Manuel José Damásio holds a Ph.D. in Media Studies from the New University of Lisbon. He is the Head of the Film and Media Arts department, Universidade Lusófona, Lisbon, Portugal. He is currently the Chair of GEECT (CILECT Regional European Association of Film Schools). He is the author of three books and several papers and chapters in international peer reviewed publications. He regularly works as an evaluator both for the EU and national accreditation agencies at an international level. He is on the board of the European Joint Masters Erasmus Mundus “Doc-Nomads”, “Kino-Eyes” and “Re-Anima” and is the Coordinator of FilmEU – The European University of Film and Media Arts.
Marcellin Zannou is CARA (CILECT African Regional association) President since 2018. In 2006, he created the Higher Institute of Audiovisual Professions (ISMA), Cotonou, Benin, where journalists, directors and audiovisual technicians from 15+ African countries are trained. He has been a jury member of school film festivals in France and Lebanon. He is the President of the Union Nationale Des Établissements Privés de L’enseignement Supérieur du Benin (UNEPES Benin). He created the Foundation for the Support of the Film and Audiovisual Industry (FOSICA) to finance projects designed by ISMA graduates.
Michael Kowalski has a B.A. in Semiotics from the University of Pennsylvania and an M.A. in Visual Anthropology from the University of Southern California. His areas of specialization are sound design and documentary film. He has taught at Chapman University’s Dodge College of Film and Media Arts since 2000. He has been the school’s Associate Dean, Chief Academic Officer, from 2011 to 2020 and is currently its Senior Associate Dean. Since 2018 he has been the Chair of CILECT North America (CNA). He continues to work as a freelance sound designer on documentary films.
Raúl López Echeverría specialized in editing and screenwriting at Centro Sperimentale di Cinematografia, Italy, and is Film Directing Professor at Universidad de Guadalajara, Mexico. He represents UG at FEISAL (Federación de Escuelas de Imagen y Sonido de America Latina). Member of the Selection Committee at the Guadalajara International Film Festival. Kinesis Film House production Company associate. Winner at Festival Biarritz Amérique Latine. Grant recipient of the State Council for Culture and Arts, México. Winner of the first trust for film production, Ministry of Culture of Jalisco, and IMCINE. His most recent film, Domingo, premiered at the Shanghai International Film Festival.
Stanislav Semerdjiev is CILECT Executive Director since 2011 (Vice President 2002-2010). He founded the first undergraduate, graduate and doctoral Screenwriting Programs at the National Academy for Theatre and Film Arts (NATFA), Sofia, Bulgaria (1991). He created the first Bulgarian long-running TV serial Hotel Bulgaria (2004). His hybrid film The Hamlet Adventure (2008) as well as his dance performance Bulgarian Mystery (2020) have been widely acclaimed and awarded. Script-editor, screenwriter and/or producer for 60+ Europеan projects. President of the Bulgarian Association of Film, TV and Radio Scriptwriters (BAFTRS, 2006-present), Board Member of the Federation of Screenwriters in Europe (FSE, 2007-2015), Rector of NATFA (2003-2011, 2015-present).
Daria Kashcheeva studies animated film at FAMU, Prague. To Accept (Nespresso Talents 2017 Award, Cannes). Daughter (Best Student Film, Annecy Animation Film Festival); (Winner Student Academy Award 2020); (Nominee, 92th Oscar Academy Award). Currently she is preparing her Master’s degree film ELECTRA: a poem in stop motion pixilation technique.
Zuzana Krivkova (1990) works for Czech Television since 2014. Graduated from FAMU in Production (2019) with Daughter (Best Student Film, Annecy Animation Film Festival); (Winner Student Academy Award 2020); (Nominee, 92th Oscar Academy Award).
Julia Orlik (1996) is a student of the department of the Animated Film and Special Effects, at the Polish National Film School, Lodz. Her films include: Banquet (2016), My strange Elder Brother (2018), Quidquid Latine Dictum Sit, Altum Videtur (2019), I’m here (2020).
After studying political sciences, Eliott Khayat entered la Fémis in 2015 in the Production department. At la Fémis, he produced a dozen short films, including Clean With Me (After Dark) by Gabrielle Stemmer (Jury Prize, Clermont-Ferrand Film Festival) and Far from the South by Janloup Bernard (selected at the Brussels Short Film Festival). Since 2019, he has been working at Haut et Court as a junior producer.
After a master’s degree in literature, Gabrielle Stemmer studied the art of editing at la Fémis. During her schooling, she directed Doug’s Theory, a false fragment of a real documentary, and Clean with Me (After Dark), her graduation film. In addition to her work as an editor (Bertrand Bonello, Céline Devaux), Gabrielle focuses her personal projects on internet archives, the theme of misleading images and the question of the female model.
In 2015, after 16 years of dancing professionally, Quita decided to dive into the film industry by starting at the Dutch Film Academy. In her third year, she produced her film Family Food (Roshan Nejal, 2019) selected for the Go Short festival 2020, and she graduated with the documentary Why Didn’t You Stay for Me? (Milou Gevers, 2020). In both films, socially sensitive themes are presented in a clear and profound way. Quita’s goal is to make more movies that touch people’s hearts. While doing so, she loves to see the world while traveling and hear what people have to say.
After finishing her pre-university education, Annerose immediately started at the Netherlands Film Academy with the course for production assistants and got accepted for the Bachelor in Production the following year. Annerose has worked on many professional sets as a production assistant and 3rd AD. In addition, she has produced several projects. For example, Femme (Emma Branderhorst, 2017) and the documentary series The Art of Being (Leora Kannekens, 2019). After her internship at Witfilm, Annerose realized that her passion lays with documentaries. In her graduation year, Annerose produced the documentary Why Didn’t You Stay for Me? and the fiction Blue Monday.
During elementary school, Milou was a member of the film club at the local community center. Armed with a handycam and many cheeky interview questions, she made her first videos. Her curious attitude led her to study Cultural Anthropology at the University of Amsterdam; afterwards she continued her studies at the Netherlands Film Academy. Milou likes to address difficult topics in an open and direct way in her films and is not afraid to show her own vulnerability in her work. She loves animation and has a passion for interview-techniques.
Teodora Shaleva is a London-based producer, originally from Bulgaria. In 2016, she completed a BA at Brown University. She then worked as a development assistant in LA, before relocating to the UK to pursue an MA in Producing at the National Film and Television School. Teodora has worked on live-action, animation and documentary shorts, which have screened at festivals like Santa Barbara, Sheffield Doc/Fest, Sarajevo and more. Her NFTS graduation short, November 1st won a Student Academy Award in 2019 and was shortlisted for a BAFTA for Best British Short. She is currently developing her first feature with BBC Films.
Charlie Manton is a writer/director based in London, UK. His NFTS graduation film November 1st stars Lindsay Duncan and was a winner at the Student Academy Awards in 2019. It went onto screen at over 100 festivals, winning over 30 awards and was shortlisted to the final 10 for the BAFTA Best British Short Film Award. He is currently working on his debut feature, Dry Stone, with Try Hard Films and The Bureau. He also has a feature project in development with BBC Films which he’ll write and direct.
After studying Philosophy, Adam Martinec studies Directing at FAMU, Prague. He perceives truth and sincerity as the most important attributes and therefore he vigorously tries to capture them in his films. His last short film Anatomy of a Czech Afternoon was selected as one of the Top 10 Student Films from Europe for Future Frames and won Best Short Film Award at the Czech Film Critics’ Awards and two Czech Lions. Currently he’s working on his feature length debut Pig Slaughter.
Matěj Paclík is a producer and founder of Breathless Film. He produced short films such as Sugar and Salt which premiered at SSIFF in 2018 and won multiple awards. Anatomy of a Czech Afternoon won the Best Short Film Award at the Czech Film Critics’ Awards and two Czech Lions, one for the Best Short Film and the second one for the Best Student Film. Currently he is developing the feature length documentary Misplaced and the feature length fiction Pig Slaughter.
This presentation examines the impact Streaming Video On Demand (SVOD) platforms such as Netflix and Amazon Prime Video and online social media platforms such as Facebook and YouTube, have had on audience behaviour and how they have disrupted traditional distribution models for screen storytelling content, with particular reference to broadcast television. Using Australia as a case study, it investigates approaches to screen content that are currently succeeding in broadcast in the face of this disruption, and explores future directions in content, production practice, delivery, curation and audience engagement that are important because they offer broadcast networks (and their partnered production companies) means to stay relevant to audiences and survive into the future.
This presentation will also discuss potential changes in focus in the curriculum for audio-visual educational institutions to adapt and stay relevant in light of the prospective transformation in broadcast content. The presentation will conclude that screen educators can prepare students for a constantly changing media environment by increasing emphasis in their curricula in areas that include: audience interactivity and participation; social media integration and delivery; live production and streaming; multicam production; ‘event’ programs and television; impact producing; data visualisation; honesty of information in content; and ‘pro-audience’ content.
Andy Nehl is a Senior Lecturer in Television and Online Content at Griffith Film School and former Head of Television at the GFS, Australia. He is the producer of award-winning Australian television programs The Chaser’s War On Everything (2006-09) and Hungry Beast (2009-11) and a range of other innovative broadcast productions including: Hack Live (2015-17), Filthy Rich and Homeless Live (2017-18) and Faboriginal (2020). In the production of these programs his practice in industry has focussed on innovation in content, audience participation and engagement, live broadcast and streaming and delivering social media experiences.
In this presentation we will introduce the basics of virtual production, from pre-production, content creation, set preparation to performance capture, recording the digital environment and characters through a hand-held virtual camera. We will explore the possibilities that virtual filmmaking offers as well as investigate how virtual production might rearrange and reshape the filmmaking process. Our artistic research group consists of individuals affiliated with the Film & Media Department at Stockholm University of the Arts. We explore narrative design workflows and virtual production pipelines using inexpensive and/or free software, tools and apps. The aim of this ‘indie’ approach is to develop methods that give students and ‘everyone’ opportunities that have only been available to big production houses in the past. How much is it actually possible to achieve with access only to low cost or free equipment? And how will this low budget pipeline approach affect a production’s visual style, aesthetics and the design of the piece?
Arash is the Educational Manager and curriculum designer at Luleå University of Technology. He runs the BA programs Visual Effects and Film Design which collaborate closely with Stockholm University of the Arts. Arash teaches computer graphics, animation and motion capture and continues to research into projects involving virtual and augmented reality and virtual production.
The impact and relevance of modern audio-visual design curriculum is shaped by striking a balance between the ever increasing “Need for Learning” and the fast diminishing “Shelf life of Courseware”. This is especially the case for young creative story tellers riding the top-wave of these antagonistic forces. Their target audience (GenZ and Millenials) already account for 40% of all consumers worldwide, while 97% of them have a smartphone as their primary device for media consumption. Thus, future storytelling increasingly demands novel media formats, that are mobile, immersive and provide instant access to multiple, simultaneous sources. These formats are short, action packed, full of wow-moments, but always stay focused on unique stories while offering spectacular interactive footage.
We present how Immersive Media in combination with Artificial Intelligence offer the opportunity to create personalized, adaptive content for learning and edutainment. We discuss through practical production examples i) how to leverage the power of emotions as a catalyst to turn information into knowledge, ii) how viewer freedoms shift from being passive (classical) towards the ability to “look- and walk around” (VR/AR, Free Viewpoint Video, 6DOF content, MultiView streaming), and finally, iii) how AI-assisted Tool Sets streamline future productions and lead to novel experiences.
Dr. Barnabás Takács is an internationally recognized technology leader and production expert in the fields of artificial intelligence, virtual- and augmented reality, human modeling, animation, computer vision, and facial information processing. During his professional carrier, he worked as a CTO and Director for a number of high profile start-up companies from Hollywood to Budapest in the film, XR technology, defense, medical, consulting and entertainment sectors. He also held academic positions in technical and medical universities, leading cutting-edge research in EU- funded projects. With 20+ years of scientific and industrial R&D experience, 75+ technical publicationshe recently joined Moholy Nagy University of Art and Design (MOME). LinkedIn: https://www.linkedin.com/in/barnabastakacs
This presentation is a threefold case study on the possibility of establishing a meaningful global impact, in a ‘Zoom-ified world,’ from within CILECT’s global courts. In 2016 The Ethics Lab launched an innovative ethics pedagogy, predominantly grounded on Eurocentric and Anglo-Saxon philosophical perspectives: Greek, German, English, French, and American. Since 2018, we push the argument that in order to trigger a change of heart-and-mind for the greater number of students and beyond, creating a purposeful commitment that would meet the ethical demands of our digitized times, CILECT needs to open up its students, across six continents, to the ethical heritage of worldwide cultures, stretching beyond the immediate concerns raised by media courses and filmmaking training.
In this presentation we report on the plausibility of this strategy and discuss its current products and future prospects. Three CILECT forces joined hands, throughout the pandemic to test the waters; shifting from words to action. Dan Geva, Founder of The Ethics Lab, Yu Ran, host of a Zoom based Ethics Lab workshop in China, advocator of embedding Chinese ethics (Tao and Confucius), and Jaime Rodolpho Ramirez Rodriguez from Colombia, host of an extensive series of Zoom-based Ethics lab workshops, promoter of ‘Pachamama ethics’.
Professor Dr. Dan Geva graduated from JSFS in 1994 with honors. He has made 25+ full-length documentary films, garnering world acclaim in festivals and broadcasts alike. Visiting scholar at The Johns Hopkins University and the Maryland Institute of Art (2010). Recipient of numerous honors, including the lucrative Tel-Aviv University 2011 Dan David Prize for Promising Researcher in Cinema and Society; the 2017 CILECT Teaching Award; and Beit Berl’s 2020 Innovative Pedagogy Award. Founder of the CILECT project “The Ethics Lab” (2016). His publications include Toward a Philosophy of the Documentarian (Palgrave, 2018); and Documentary: A Philosophical History (Palgrave, 2021, In print).
We present case studies from BA Animation and VFX at Falmouth University, to demonstrate and evaluate our work on ‘live briefs’, in which second year students work with external clients on animation projects that will have impact in the real world.
Case studies include our work with the charity Survival International, on the creation of animations to explain to children the challenges faced by tribal people in the Amazon rainforest, alongside films made with Devon and Cornwall Police aimed at helping to reduce hate crime in the area. We show short films that communicate with sensitivity and humour the principles of Restorative Justice and present the work of students on funded archive research projects, such as ‘Voices from Greenham Common’, that captured stories from the peace-seeking movement of the Greenham Common women who protested against nuclear weapons in the 1980’s and whose actions still influence the shape of protests and feminist campaigns today.
Through these and further meaningful case-studies, we aim to show how the role of the lecturer as facilitator, advisor and mediator in the relationship with the client, allows students to safely venture outside of the confines of education, to collaborate and communicate in the professional world.
Derek Hayes is a Senior Lecturer and animation director. His company Animation City, made commercials for companies like Lego and Carlsberg, TV graphics, including the BAFTA winning titles for ‘Jeeves and Wooster’, and pop videos for Madonna, Rod Stewart and Elton John. He has directed award winners like ‘The Victor’ and Channel Four Christmas special ‘Prince Cinders’, while feature films include The Miracle Maker’ (2000), an award-winning animated life of Christ and ‘Otherworld’ (2003), a retelling of ancient Celtic legends. Derek has also created the experimental film, ‘Deep’ and is currently directing a short film ‘ACME’.
The first German language Netflix series Dark (2017-2020) was developed by Baran bo Odar (in collaboration with Jantje Friese) and received critical acclaim and numerous award nominations. The writer and director bo Odar directed three films before starting to work on the series and thereby followed the lead of established film directors (e.g. David Fincher, Jane Campion, Spike Lee, Steven Soderbergh) in what could be called a 21st century conversion from cinema to serial storytelling. The growing popularity of serial storytelling formats and the trend towards streaming of serial content will presumably even more predominant in the post-pandemic age thus the trend of film directors converting (partially) to serial storytelling formats is set to be reinforced. What implications on storytelling does conversion have on serial formats? In bo Odar’s case the conversion can be perceived as an augmentation of narrative complexity through hybridification of genre conventions, expansion of the narrative spectrum and percipient foregrounding of the characters’ backstory. The series Dark shares patterns, themes and conventions with bo Odar’s debut film The Silence (2010). This case study analyses how Baran bo Odar converted elements of The Silence through a prism of serialized storytelling.
Dirk Hoyer is Associate Professor of Audiovisual Arts at BFM in Tallinn, Estonia. He obtained his Master at the Sorbonne, France and his Doctor of Arts at Aalto University, Finland. His research is focusing on Scriptwriting, the films of Dimitri Kirsanoff, Utopia and Artistic Research. Hoyer has also directed and written two feature films and two documentary films. Currently he is working on his second monograph “Retopia- Spaces of Possibility” which has been commissioned by Routledge and on his new film project “Interstice”.
Eli has run degree courses in the narrative and spatial design field over the past 15 years and has held posts at a number of film schools and universities in Scandinavia and the United Kingdom. She set up the first ever production design course in Scandinavia, at the Norwegian Film School in 2005 and is now Professor of Design for Film & Media at Stockholm University of the Arts. Eli researches into narrative design methods for interactive storytelling and virtual production alongside traditional production design practices. She is a trained architect and a production design graduate of the National Film & Television School, UK.
The expanded universes are modifying the way to create, produce and consume audiovisual stories. The curriculum of our universities (UBA & UNAL) have been affected by the phenomenon described above, therefore, the proposal of a didactic strategy that addresses the issue, is fundamental. The objective of this work is focussed on two classes: Writing for Audiovisual Media 4 (UBA) that encourages students to design an expanded universe, then retaken by students of Film Editing (UNAL) in order to build universes in the editing room, with their own materials and found footage.
As teachers, we propose a double reading that reflects on the figure of the showrunner and the postproduction director and their links in the production of expanded universes. The relationship between the narrative and the montage allows the construction of universes – a proposal for creation, from narration, narrative progression and montage with the movement image. The proposal requires the understanding of multiplatform and multiformat narrative, montage methods, user habits and new consumption experiences. In addition, studies of world building and branding techniques, with the idea of articulating the product design with the audience. The conclusions aim to create renewed teaching strategies that collaborate in the design of stories of expanded universes through the interaction between screenwriters and editors.
Javier Olarte is an Associate Professor at the Film School of the Fine Arts Faculty, National University of Colombia, since 2000. Professor Olarte received a Bachelor in Communication and Media; then a Bachelor in Film Studies; Specialization in Multimedia Design and Development; and Master in Cultural Studies. His research and artistic projects are focused in issues like Internal Displacement in Colombia; Resilience Movements through Art Languages; Visual Narratives, Transmedia and Alternative Models of Storytelling; Art and Early Childhood; Montage as Storytelling at Film in Latin America.
Through these and further meaningful case-studies, we aim to show how the role of the lecturer as facilitator, advisor and mediator in the relationship with the client, allows students to safely venture outside of the confines of education, to collaborate and communicate in the professional world.
Katharine Nicholls is a Senior Lecturer on BA(Hons) Animation and VFX at Falmouth University, with a further role as external examiner for the University of Greenwich. Her professional background is in animation, illustration and design. She painted backgrounds and worked in the art department on films, TV series, commercials and title sequences. At Falmouth, with the The Cross Channel Film Lab Katharine has helped to develop feature-films that innovate in their use of visual effects, bringing together screenwriting, technology and production design. She is currently undertaking research into the role of VR in a drawing education.
Advancements in technology allow digital natives to absorb unprecedented amounts of creative content before they arrive in the learning situation. This shapes them in ways that trainers need to understand in order to respond with appropriate educational solutions that enrich the learning experience and maximize learning. From conversations with film and television trainers, we experiment with a typology of digital native film and television leaners and their didactic implications.
This paper seeks to differentiate learners into distinguishable groups to offer trainers and researchers additional tools for analysis. As a starting point, the paper draws on the cognitivist and constructivist perspective that individuals are able to process information (declarative and procedural knowledge) and store them in knowledge structures (Rumelhart & Norman, 1978). Further, we borrow Piaget’s (1979) idea of noyeau fixe to account for the predispositions of learners. We expand on the idea of prior knowledge by proposing four (4) characterizations of digital native students of film and television; high-exposure, high-motivation (HeHm), high-exposure-low motivation (HeLm), low-exposure, high-motivation (LeHm) and low-exposure, low-motivation (LeLm) and we layer this over a Fixed to Flexible learner continuum.
Laurene Manaa Abdallah is a lecturer at National Film and Television Institute, Accra, Ghana, and an accomplished video producer. Two of her recent works, Keteke (2017) and Side Chic Gang (2018) are on Netflix and her latest work, Aloe Vera (2020) is the highest grossing film in Africa. She has served as a juror on Mini Input panels and has since 2017 served on the local Oscar jury of Ghana. Laurene has 18 years of experience as a lecturer. She holds a master’s degree in film production from EICAR, France, and her research interests are in African film history and representation.
Dr. Marcela A. Negro is a Professor of Audiovisual Writing and Audiovisual Project at Image and Sound Design of Design Faculty, Buenos Aires University and member of FADU-UBA Phd Commission. She is Professor of Structure of Audiovisual Narrative at Patagonia Austral National University. She is co-author of the book Writing Web Series (2017, Ed. Manantial) and she has collaborated in Writing TV series 2nd. edition (2019, Ed. Manantial, Schrott). She participates in research projects linked to narrative and audiovisual writing. At this moment she is a Coordinator of a Professional Update Program The Audiovisual Documentary. To Narrate and Represent the Real at FADU-UBA.
Dr. Zsuzsanna Vincze is the principal curriculum designer and developer of MOME Open’s recent courses as part of the university’s newly acclaimed MA Producer course series. She has worked as a creative producer and has a strong background in film and XR, including a Hollywood Independent Award-winning production entitled ‘Metamorphosis: Immersive Kafka’. More recently, she was the principal producer of ‘Moholymotion’ a film part of the official selection at the prestigious Annecy film festival in 2021, and the short promotional film ‘Invented in Hungary’ commissioned by the Hungarian Government and distributed around the world. LinkedIn: https://www.linkedin.com/in/vincze-zsuzsi-3b459a188/
Associate Professor, National University of Colombia, since 1994. PhD in Engineering, Industries and Organizations. His research interests are focused in: Research Methods Oriented to Film Projects; Television Technology; Film and Television Analysis; and Community Television and Public Mass Media Access. He has been invited to give academic talks at Channel 10 in San Salvador, El Salvador; telecommunications conference, Galápagos Islands, Ecuador; research methods in documentary films, Universidad Nacional Autónoma de México (UNAM) and Universidad Veracruzana, México; community television channels, Universidad de Zacatecas, México and Universidad de Guadalajara, México; and creative projects about social justice, Purdue University, USA.
The workshop will give insight how the pandemic transformed the Screen Acting curriculum at AFDA, the South African TV and Film school. How students were trained online and in contact to make authentic and innovative character choices in order to strategize and overcome the obstacles they face. How to create story characters that have more complexities to serve longer character arcs in serial drama. The first part of the workshop will cover the theory that informs this approach, the second part will be practical scene work for all participants facilitated online.
Sir Roel Twijnstra is an actor, lecturer, director and writer. Originally from the Netherlands he lives and works since 2012 in South Africa. Currently he is the Head of School Live Performance at AFDA Durban, focusing on the development of screen acting. He acted in films and series like Imbewu, Durban Gen and the feature film Tokolosh. Since 1980 he directed more than 50 theatre productions including international collaborations in Russia, USA and different African countries, and wrote books about acting, directing and producing, the latest: Acting in South Africa (2019). In 2019 he was knighted by the king of the Netherlands for his contribution to the arts.
Associate Professor, Communication University of China. Coordinator of “International Professor Workshop Programs” and Festival Manager of CUC International Affairs Office. Yu Ran teaches photography and film production. His students’ films were selected to Cannes International Film Festival – Short Film Corner, Toronto Short Film Festival, Los Angeles Independent Film Festival, and others. As a documentary director, he has won national top awards such as “National Best Works Award” and “Annual Top-Ten Documentary Award”. He is also a CILECT Teaching Award Winner (2019) and “Beijing Young Teacher Competition” Gold Award winner. Books: “The Aesthetic of Light”; “Photography Technique”; and “Photography Composition”.
The BFA in Cinema and Video at Lusófona University has, since 2016, implemented the concept of the Transversal Project among all the disciplines of the 1st semester of the 1st year. The Transversal Project follows a cross-disciplinary approach where we push students to be able to deal and manage different skills when part of a production. We divide randomly the students into different teams (max 8) to produce a short movie. The project is organized in 5 stages (1 – Team identity development, 2 – Scriptwriting, 3 – Production, 4 – Post-production and 5 – Screening tests). One of the disciplines is Introduction to Computing. It introduces 2 major topics: (1) Computational Thinking and (2) Audience Reach and Impact. In this curricular unit and for each project stage, the students produce and share on each Instagram team project account different kinds of content. At the same time, computational thinking lessons are given during the scriptwriting stage to help students develop a more structured and logical script line. The objective of this approach is dual, (1) to produce a meta-narrative storyline for each project and (2) impact and engage with potential audiences. Our presentation will be focused on showing how this approach contributes to the overall Transversal Project methodology.
Paulo Ferreira is a Teacher and assistant researcher in the Cinema and Media Arts Department at Universidade Lusófona. He is also an IT Project Manager.
A well-developed, digital infrastructure and a relatively strong purchasing power means that new digital megatrends have established themselves early in Norway. Already six years ago, over 60% of the population subscribed to a streaming service. As the first public broadcaster in Europe NRK decided in 2016 to make the streaming service as the primary platform – ahead of the traditional linear TV publication. How has this affected the drama content on NRK? The rest of Europe is soon where NRK was six years ago. Can NRK's experience say anything about what will happen in Europe?
Ivar Køhn has been Head of Drama at the Norwegian Broadcasting Corporation (NRK) since 2013. Former professional experience includes Head of the Development and Production Department at the Norwegian Film Institute (NFI), TV-drama & Film Commissioner at the Norwegian Film Fund, Co- owner and Development Producer at Maipo Film, Head of Development at Swedish Television Drama and Chairman of the Board at Nordic Film & TV Fund. He has also been a writer/creator for three TV- drama productions.
Powered by realtime technology and spearheralding transformative collaborative practice, Virtual Production is redefining film’s future – as a commercial endeavour, a creative process and an artform.
In this keynote presentation, Alex Stolz will reveal how these emerging workflows and systems are becoming integral to the filmmaking process, leading to significant industrial and creative change.
Breaking down VP into a series of discrete elements, the presentation will showcase how these interconnected components are being deployed by a variety of agents to create new efficiencies and unlock previously unimaginable storytelling opportunities.
Contextualising these changes within the history of film, as well as exploring their potential role in addressing issues of sustainability and inclusion, the presentation will conclude with a vision of the future of virtual production filmmaking and its crucial part in the emerging phenomenon of the metaverse.
Alex Stolz is an executive, consultant and creator, specialising in the nexus of film and innovation. Through over 21 years experience, he has developed deep expertise in film and digital technology and established a global network across film, media and tech. In 2017, Alex founded Future of Film, initially as a podcast and now a global community and annual summit. Dedicated to bridging the gap between new technologies and emerging creative practice, Future of Film’s mission is to empower creators and inspire industry change. In addition, Alex drives innovation in the film marketing space as Head of Film at the media tech company, usheru. Previously, he has held senior positions at Picturehouse, the UK Film Council, and the BFI, the latter in the role of Head of Distribution. He continues to consult for numerous media organisations.
Indigenous peoples have identified and communicate core cultural values to global audiences through principles known as the Five R’s: respect, relationality, responsibility, relevance, and reciprocity. These Five R’s give us a framework for understanding Indigenous storytelling as place- based ethics and aesthetics that are also forms of spiritual governance. This presentation will discuss the importance of Indigenous ethics and aesthetics at the cultural interface of western education systems, curriculum design, and pedagogy for the purpose of creating what Elder Willie Ermine describes as a shared ‘ethical space of engagement,’ and how such spaces are imbued with possibility.
Dr Romaine Moreton is Goenpul Yagerabul Minjungbul Bundjalung from Tjerangeri (Stradbroke Island, Queensland) and what is now northern New South Wales, Australia. Romaine is the Director of First Nations & Outreach at AFTRS, and is an internationally recognised writer of poetry, prose, and film. While a Research Fellow Filmmaker in Residence at Monash, she completed the powerful transmedia work One Billion Beats that examined the historical representation of Aboriginal people in Australian cinema. Prior to that, she was a post-doctoral researcher at the University of Newcastle and worked on a project that interrogated Indigenous Cultural Intellectual Property in the digital space. With Dr Lou Bennett, Romaine has been working closely with AFTRS on a first-of-its-kind Indigenous Curriculum for media, screen, and broadcast, focussed through the lens of Indigenous ethics and aesthetics.
There is no doubt that the word impact’ has become a buzzword across the film industry and like with any ’newish’ entity its definition has become pioneered, owned, limited, exacerbated and in some cases even diluted. In this masterclass I plan to share our vision at Think-Film Impact Production on the scope and potential of strategic socio-political impact, both in terms of ‘financial revenue’ for the film itself but also and even potentially more importantly the ‘issue revenue’ of a powerful impact strategy for people and communities locally and globally. Why do we make films? There are those creatives who will say “I am only interested in the art itself I do not pander to audiences” and others who say “I want as many people as possible to see my story”. Both approaches will have a community of like- minded people who appreciate and respect them for their decision and approach to film. But as we approach an age of TURNING POINTS strategic impact can provide space for these approaches to merge. Market trends have started to demand meaningful content that provides audiences with agency. So impact done well can:
Danielle is the Founder and Executive Director of Think-Film Impact Production. Before Think-Film, Danielle worked within the highest levels of creative policy strategy in President Martin Schulz’ Cabinet in the EU as well as members of parliament across the EU. She spearheaded many projects on radicalisation, minority rights and women’s empowerment with Nobel Peace Prize Winner Nadia Murad. Danielle's film credits include nominated and Emmy-winning feature The Cave (dir. Feras Fayyad), Dark Waters (dir. Todd Haynes), Oscar-shortlisted and Emmy-nominated My Enemy, My Brother (Ann Shin 2015 short & 2017 feature), award-winning documentary iHuman (dir. Tonje Hessen Schei), Eminent Monsters (dir. Stephen Bennett) and the multiple award-winning docufiction La Soledad (dir. Jorge Armaud Thielan). Danielle is the award winner of World in 2050 for innovation by the World Economic Forum and UN General Assembly in the artistic stream.