June 2006 Issue No 44 Page 2 June 2006 CILECT News No 44 Contents

CENTRE INTERNATIONAL DE LIAISON DES ECOLES DE CINÉMA ET DE TÉLÉVISION THE INTERNATIONAL ASSOCIATION OF FILM AND TELEVISION SCHOOLS CILECT NEWS

Centro Sperimentale di Cinematografia, 70 years 3 international filmschool cologne 6 L’Ecole des Médias de l’Université du Québéc 8 Student Academy Awards 9 Universidad del Cine, 15 years 10 Training the Trainers 11 New Technologies Update 12 Our Heritage, GEECT Conference 14 FAMU at its Origins 15 En Transito, CILECT Project 18

CILECT Congress 15-22 October 06 ECAM, Madrid CILECT NEWS No 44 June 2006 Page 3

Centro Sperimentale di Cinematograﬁ a 70 years of vital contribution to the Italian Cinema

The beginnings the magazine enjoyed rather wide- he founding of a spread popularity. National School of On 13th April 1935, the new Centro Cinema was first Sperimentale di Cinematografia made From 1938 on, the CSC began to proposed by the di- its temporary home in the basement of work on professional full-length films, rector Alessandro a middle school. such as L’ultima nemica by Barbaro and La peccatrice by Palermi, shot in- Blasetti in 1930 and, Building of the school on Via side the Centre. the same year, Anton Tuscolana (where it still is located to- Giulio Bragaglia gave a report to The day) began in 1937 with funds diverted In 1942 it produced Chiarini’s Via T delle cinque lune with a crew of teach- Performing Arts Guild on the founda- from the safes of the Venice Casino. The tion of such an institution: the idea new building was specifically designed ers, students and alumni. In the final was that of a polytechnic dedicated to to serve the needs of teaching; it was an years of the war, however, it was forced teaching the various cinematic skills. incredibly well-equipped architectural to close and was stripped of its equip- Initially, only that part of the project gem, and echoes of the project were ment by the Wehrmacht; the Film concerned with acting was realised, heard internationally. Luigi Chiarini Archives suffered particularly badly as a branch of the Conservatory of held that cinema must hold up a mirror and its materials were lost forever. Santa Cecilia directed by Blasetti and to the national physiognomy and to the In that decade the CSC was the ful- under the control of the Ministry of common man and woman, in bold con- crum for the shaping of writers who Education and the Ministry of Guilds. trast with the “middle European” inter- would be the protagonists of the new The teaching took a naturalistic ap- nationalism of the “light comedies” of era of Italian cinema: Michelangelo proach: students were brought into the period. Antonioni; Giuseppe De Santis, Gianni contact with cases of the extremes of He was also concerned with the tran- Puccini, Steno, Luigi Zampa. Also of human experience (for example insane sition from a cinema of propaganda to actors like Gianni Agus, Paolo Carlini, asylums and hospitals) in order to teach a political and educational cinema. He Andrea Checchi, Arnoldo Foil Massimo them a strictly realistic style of acting. was joined in this struggle by Umberto Serato; ‘divas’ like Clara Calamai, Carla In 1934, Galeazzo Ciano established Barbaro, the critic, writer, scriptwrit- Del Poggio, lrasema Dilian, Mariella a new governmental office grouping er and translator of Eisenstein, and Lotti and Alida Valli; world-famous disciplines which had previously been Balazs. set and costume designers and costum- ers like Mario Chiari, Vittorio Nino divided between several ministries and The courses began on 1st October, Novarese, Gianni Polidori and Maria placing them under the direct control 1935, and were divided into five disci- De Matteis (who in the years to come of the regime. plines: acting, optics, sound, stagecraft would break through in Hollywood); Luigi Freddi, who considered the and production. Some classes, such as and above all, directors of photography training of new students the priority, aesthetics and cinema history, social like Pasqualino De Santis and Gianni was placed at the helm of this structure function of the cinema and history of Di Venanzo. There were also anoma- and, dissatisfied with the School, creat- art, were common to all courses. The lies such as Pietro Germi, who gradu- ed in its place the Centro Sperimentale course lasted two years with an option- ated in acting but would also become di Cinematografia, putting Luigi al third year on request. famous as a director, and Leopoldo Chiarini in charge. Freddi dealt with The CSC contained a library and a administration and relations with the Trieste, who graduated in direction but Film Archives which was numbered went on to act in films by Fellini and state while Chiarini laid out the struc- among the largest in the world for the ture of the courses after a careful study Germi; Dino De Laurentiis, who had richness of its materials. Another cor- studied acting, went on to become one of the rare institutes already working in nerstone of the centre’s activity was the same field abroad. The aim was that of the most important producers in the Bianco e Nero, a journal of cinema his- world. of linking filmmaking to a wide ranging tory and criticism of a kind previously It is noteworthy that, during the cultural education. The first National unknown. New directions were studied years of fascism, the CSC was home to School of Cinema was thus dissolved. in terms of an increasingly demanding the development of a critical conscience public, and despite its scientific style, which was antagonistic towards the re- Page 4 June 2006 CILECT News No 44 gime, and was a rare home to intellec- January 20th, 1947 was the inauguration the founding fathers of CILECT and tual debate and liberal culture. of the first biennium with, among oth- equipped itself with television equip- In addition to those already men- ers, Michelangelo Antonioni and the ment, becoming one of the first schools tioned, the teaching staff of this first, director of photography Carlo Nebiolo in the world to display an interest in the fundamental, period included Rudolf teaching, and Visconti, De Sica, Germi, new media. Arnheim (who later moved to America), Soldati and Lattuada giving seminars. In these years, the CSC became a

the art historian Giuliano Briganti, the In 1949, a law that established the fundamental reference point, not only director and writer Corrado Pavolini, Cineteca Nazionale was passed (for for Italian cinema but for cinema from etc. the first time in a Western country), the all over the world, attracting many as- legal deposit requirement to prints all piring film makers from countries with Italian films. small film schools or entirely without The Post War Period In the fifties the CSC became active them. For around twenty years from the in the fields of research and publishing These foreign students, mainly end of the war, the conflict between as in training and in the preservation Latin-American, but also African Arab, marxists and catholics determined of the national film heritage. It pub- Greek, Slav and from the Far East, stud- continuing shifts in the direction of lished the Filmlexicon degli autori e ied at the CSC and then returned home the CSC. At its reopening in 1946, delle opere, an international biographi- where, in addition to carrying out their Umberto Barbaro was made director cal film dictionary, which was the first professions, they also contributed to the of both the CSC and Bianco e Nero. of its type in the world. It was one of CILECT NEWS No 44 June 2006 Page 5

subsequently by the producer Alfredo creation of new training institutes struc- Bini and the university professors Orio tured along the lines of the CSC. One Caldiron and Lino Miccichè, the latter of them was Gabriel García Marquez responsible for a great deal of publish- who, along with Fernando Birri, founding during his presidency. ed the Escuela Internacional de Cine y The CSC also took a position on the Televisión in Cuba. European and international stages with Caterina d’Amico who was president The Rossellini Period of the European Grouping of Film In the pivotal year of 1968, Roberto schools (GEECT) for eight years and Rossellini was named Commissario has been president of CILECT since straordinario (general delegate) of the 2000. CSC and took his position with the In 2002 a new Board of Directors was idea of initiating interdisciplinary re- appointed which included some of the search on the collective means of mass most illustrious names in culture and communication, with an eye on televi- film. Its president is Francesco Alberoni, sion. He also proposed the radical re- a world-famous sociologist. His advisers thinking of the traditional syllabus: in are the set designer Dante Ferretti, wo addition to the technical courses, there worked on some of Martin Scorsese’s would also be academic courses in psy- most famous films, among which The chology, economics and sociology, and Aviator for which he was awarded an a new approach which no longer par- Academy Award; Giancarlo Giannini, celled up individual cinema skills but one of the most famous actors in Italian aimed at the education of the total film cinema who has worked with Visconti, maker. He promoted the self-manage- Scola, Wertmüller, Coppola and Scott ment of the syllabus by the students to name a few; Carlo Rambaldi (three and eliminated the acting course. The time Oscar winner), father of the cel- student movement and the intellectual ebrated creatures King Kong, Alien and disputes which raged between 1968 and E.T.; and Gavino Sanna, world famous 1972 caused crises in many cinemato- master of advertising communication. graphic institutions, such as the Venice Under Alberoni’s presidency, the festival and made serious problems digital laboratory “Telecom Italia”, one for Rossellini’s experiments. In 1974 of the few in Europe, was founded. Co- Rossellini was removed from his post. production contacts were established with RAI Cinema to guarantee graduates immediate involvement in the mar- The last twenty years ket and with the audience. In 1981 the courses for professional The school has grown and diver- specialisation in directing, camera, pro- sified nationally: the department of duction management and set and cos- animation in Turin has been enlarged. tume design were brought back. A year In Ivrea, an archive for industrial cin- later the Board of Directors with fif- ema has been founded; in Milan the teen members from public and private Lombardia department has been set up, companies was reinstated. Giovanni which includes the European School of Grazzini was appointed president. In Television Drama, and the European 1983 50 directing students were admit- School of Industrial Cinema as well ted, 15 of them being foreigners. The as the Research Centre and the Digital acting course was re-opened as an ex- Cinematography Lab; and in Palermo periment, and large scale technological the Department of Documentary updating of equipment undertaken, Cinema has been set up. particularly in the television department. The school reached an agreement with the Producers’ Guild for the insertion of its graduates in the thick of production work. 1987 was an unfortu- ••• nate year, with problems in the Board of Directors and a fire which destroyed Theatre 1, which contained around 3,000 rolls of film. Grazzini was suc- ceeded in 1988 by Lina Wertmuller and Page 6 June 2006 CILECT News No 44 international ﬁ lmschool cologne creativity and communication

tantly, given the increasing international Due to the changes in filmmaking nature of the industry, we wanted to of- and communication caused by digital fer a degree to our students that would technology, our courses in media and guarantee some measure of success cultural sciences focus very much on across the German border and beyond. the aesthetic and economic implica- Furthermore, the process involved in tions in the digital era. Naturally, the setting up such qualifications was not students also receive extensive train- complicated. Being a fairly young insti- ing through historical and analytical tution, we did not have to face the diffi- courses, as well as hands-on practice in culties of restructuring four-year diplo- filmmaking. we had to describe the ma courses. So we entered the so-called In addition to all this, ifs has con- ifs international film “Bologna Process” without anxieties tinued its further education programs school cologne in a . for young professionals. We offer ten few words, most of What is innovative about our cur- programs all of which follow the same us would emphasize ricula? basic principles as mentioned above. the following charac- These programs are: The Screenwriter’s teristics: young, crea- At ifs we believe that, in the arts, Program, Animation, Film Editing, tive,If flexible, small in student numbers, building a strong personality, which Sound Design, Costume Design, Set broad in study programs. involves discovering and managing Design, Make Up, Acting, International Among all the film schools in your potential, is of enormous signifi- Producing, and Media Design. cance. In special courses, students at ifs Germany, ifs is indeed the youngest. It On the film productions and stu- are encouraged to spread their creative was founded in 1996 as an institution dent’s project work, learners of dif- wings to encompass different art forms, for further education by Dieter Kosslick ferent ages and various professional such as theater and performance. In ad- who at the time was CEO of one of experiences from all departments are dition, they receive a comprehensive Germany’s most powerful public film brought together in a fruitful interdis- training in the field of professional com- funds, the Filmstiftung NRW, and is ciplinary cooperation. Thus, the proc- munication. This consists of leadership now President of the Berlinale. ess of film production at ifs is a very training in the management of teams Since 2002, with the support of autonomous one, much like in a small and projects, self-management, and the government of North Rhine independent studio, requiring external presentation skills, where they acquire Westphalia, we have been offering assistance only in the field of cinema- the tools necessary to transport their an innovative three year Film Studies tography. This is supported through ideas and their potential to others. Program with an emphasis on script- our very fortunate close cooperation writing, directing and creative produc- Furthermore, we ensure that our with the students and the professors of ing. Our students graduate with short students never lose sight of one of our the Cinematography Department of films and a Bachelor of Arts. A Master most important principles: the social the University of Applied Sciences in Program for directors and producers in- relevance of the filmmaker’s work. Dortmund. Not only do we try to sharpen the stu- volving feature-length film projects will Interdisciplinary cooperation and dents’ perceptions towards the realities be following from next year on. project work inside and outside the they will find themselves confronted To this day, ifs is among one of the school is considered essential at ifs. with, we also try to experiment with first publicly funded film schools in “Reflection” - a Polish-German co-pro- political and social content and with Germany to offer the Bachelor of Arts duction documentary on small-town new didactic forms and methods in or- degree at the end of a Film Studies lives, shot near Warsaw and Cologne, der to equip their ideas with knowledge Program. was presented at this year’s Berlinale and personal experience. In the end, Talent Campus. Right from the very start, our deci- we hope they will understand and re- sion to offer internationally recognized gard their inner and outer world as their On an international arena, we degrees was clearly the best thing to do, main source of inspiration. have built strong relations via various and this for several reasons. Most impor- projects, such as the MEDIA-funded CILECT NEWS No 44 June 2006 Page 7 program EKRAN with the Andrzej Wajda Master School of Film Directing in Warsaw, and the FTII, the Film and Television Institute of India, Pune. And we are more than interested to expand our international relations. Moreover, ifs is currently, and for the third time in a row, receiving MEDIA funding for another program with a strong European focus. Our Media Design Producing Program appeals to filmmakers and designers wishing to train in the fields of marketing and promotion for their audiovisual products. The program for young professionals is greatly involved with exploring new marketing forms and methods for diverse media, such as for web sites or mobile phones, and has a strong inter- cultural approach. Workshops are held in several blocks in Cologne, London and Rome. WDR, RTL, the BBC, the Italian training program MAGICA, the Dutch training initiative MEDIAMATIC FOUNDATION, and the French Initiative CICAE are partners of this program. Being initiated and, to this day, financed by the Filmstiftung NRW and mainly the state of North Rhine Westphalia, the school also raises tuition fees of 3,500 € on average per year. This being still quite unusual in Germany, the school also offers schol- arships financed by the “ifs students film fund”. This fund was both developed and is operated by the students only small numbers of students (8-10 themselves. per course) and a method of very individual tutoring, has been successful and Since our first graduates of the Film of this, we are very proud. Studies Program received their BAs in 2005, we have been given reason to be However, there is still much to im- quite pleased. A considerable number prove. We are constantly trying to bring of our graduates have participated in innovation to our courses, to learn with several film festivals all over the world and from our students and partners, to and have won awards with their gradu- explore and experiment with new meth- ation films. A good number of ifs films ods and techniques, and, most of all, to have been sold to national and inter- continuously foster the good spirit at national broadcasters. Many of our the ifs. graduates have had their new projects Simone Stewens funded or have been hired by the in- Executive Director dustry. A concept for a series that was [email protected] developed within the ifs Film Studies www.filmschule.de Program in the scriptwriting class has been sold to a national broadcaster and has brought six young authors into jobs. It seems that our concept, of admitting ••• Page 8 June 2006 CILECT News No 44

L’École des Médias de l’Université du Québec- Montréal

n lieu de cir- entre étudiants et le milieu de la pro- Parallèlement aux ateliers de produc- culation et duction, l’École des Médias a conçu tion, les cours théoriques permettent à d’échanges une formation qui emprunte diverses l’étudiant de situer son travail dans une En septem- formes : des professionnels sont réguliè- tradition cinématographique. Ainsi, en bre 2005, la fa- rement invités à venir donner des cours, plus des grands mouvements cinémato- culté des com- conférences ou ateliers pratiques. graphiques, une attention particulière munications Les étudiants ont l’occasion de met- est apportée à l’étude du cinéma docu- de Ul’Université du Québec à Montréal tre leurs travaux à l’épreuve du public. mentaire qui représente un mouvement (UQAM) inaugurait sa nouvelle École Ainsi, les émissions produites dans le fondateur de la tradition canadienne des Médias. cadre du programme télévision sont et québécoise. Autant à la réalisation, qu’au montage ou à la direction de la Une telle décision témoigne de l’im- diffusées sur le Canal Savoir alors que photographie, le documentaire est traité portance que l’UQAM reconnaît aux les films étudiants sont régulièrement avec la même importance que la fiction. communications dans le monde con- présentés dans les festivals montréalais temporain. Pour sa part, le directeur tel que le Festival International du Film pprendre les réalités du métier de l’École, Yves Théorêt, explique qu’il sur l’art, les Rendez-vous du Cinéma, A entend bien mettre en valeur la position le Festival du Nouveau Cinéma, etc. À l’École des Médias on croit que le stratégique de l’UQAM au confluent monde télévisuel peut offrir un champ des grands courants culturels interna- Dimension historique et tradition multiple d’expérimentations et qu’il ap- tionaux. « Ce qui nous distingue, dit-il, documentaire partient aux jeunes d’en renouveler le c’est notre double appartenance à la cul- Contrairement aux universités cana- langage. ture américaine et européenne. La création diennes anglophones, l’UQAM dessert Dans le flux de la télévision, les québécoise emprunte à ces influences et s’en une population relativement restreinte émissions quotidiennes ou hebdoma- démarque tout à la fois. Nous allons miser de 6 millions de francophones. daires représentent autant de mini-la- sur cette spécificité. Car ces approches euro- Elle reçoit annuellement 800 deman- boratoires d’où surgissent parfois des péenne et américaine, c’est sans doute ce qui des d’admission en cinéma, télévision trouvailles. L’important est d’appren- se fait de meilleur au monde.» et médias interactifs. Parmi ces candi- dre aux étudiants à analyser leur con- Favoriser les échanges entre milieux datures, seules 90 seront retenues. De texte de production et à en tirer profit. professionnel et académique ce processus de sélection très exigeant, L’apprentissage favorise aussi l’acqui- À l’École des Médias, la formation émergent les meilleurs postulants, ceux sition d’une capacité d’analyse et de intègre autant la pratique professionnel- qui présentent des notes exceptionnel- recul au cœur même de la tourmente. le que l’analyse et la réflexion scientifi- les, une grande détermination et beau- Ce qui constituera une précieuse habi- que. Ainsi, des chercheurs issus de tous coup de créativité. tude dans la vie professionnelle où les les programmes de l’École, se regrou- délais de livraison ne laissent habituel- La création de l’École des Médias pent autour de travaux sur les théories lement pas beaucoup de temps pour la veut donc répondre plus adéquatement médiatiques qui traversent les diverses réflexion approfondie. aux attentes de ces étudiants à la fois spécialisations. studieux et créatifs. La collaboration entre les divers pro- Par ailleurs, plusieurs professeurs grammes est fortement inscrite dans la Par exemple, le cursus du proviennent du milieu de la production pédagogie de l’École des Média. Les Baccalauréat spécialisé en cinéma se professionnelle. La circulation des sa- étudiants en cinéma ont accès à des divise en deux temps. Pendant la pre- voirs favorisée par ces échanges entre la cours sur l’histoire de l’art, sur la dra- mière année et demi, tous les étudiants réflexion universitaire et l’expertise du maturgie et sont amenés à travailler se familiarisent avec l’ensemble des terrain constitue une des valeurs fon- avec des étudiants en musique. En télé- fonctions du cinéma à travers diverses damentales de l’École des Médias. On vision, on crée des bulletins de nouvel- expériences de production. Les futurs trouve, parmi les professeurs et ensei- les de concert avec les programmes de réalisateurs ou monteurs seront ainsi gnants, des cinéastes renommés tels que journalisme ou de stratégie de produc- plus sensibles aux exigences de la prise Paul Tana, Michel Brault, Léa Pool, tion. Des recoupements se font aussi de vue, par exemple. Et vice versa. Au Jean-Claude Labrecque, des directeurs entre les démarches des médias interac- terme de cette étape, une spécialisation de la photographie tels que Thomas tifs et de la production télévisuelle. À est offerte, soit en réalisation, en direc- Vamos et Michel Caron, des com- travers ces croisements, les étudiants se tion photo ou en montage. L’étudiant positeurs comme Pierre Desrochers. voient confrontés, de manière concrète, apprivoise le métier choisi pendant la Particulièrement sensible à la rencontre aux réalités de la profession, que ce soit deuxième moitié de sa formation. le travail en équipe, le respect des bud- CILECT NEWS No 44 June 2006 Page 9 gets, la pression exercée par les dé- lais de livraison, etc. Ils apprennent 33rd Annual Student Academy Awards également à tenir compte des besoins des diverses spécialisations dans la Honorary Foreign Film Category production médiatique. De bons citoyens La préparation à la réalité professionnelle peut prendre toutes sortes de formes. À la dernière année du Winning Film: bac en médias interactifs, deux op- FELALINI AFDA, South Africa tions sont offertes aux étudiants : soit Tristan Holmes un projet de « recherche-création » en vue d’une œuvre collective, soit un stage supervisé en milieu de travail Five Finalist Films: ou dans le secteur communautaire. (Listed in alphabetical order by title) Car des passerelles sont possibles entre l’utilitaire et cet art sophistiqué. BEING HOLGER DDF, Denmark Ainsi, la création d’outils adaptés Kasper Gardsoe à des besoins spécifiques peut faire l’objet de ces stages. L’expérience se THE MEASURE OF THINGS Filmakademie Baden-Württemberg, Germany serait déjà faite avec des populations Sven Bohse amérindiennes. MELODRAMA The Polish National Film School, Poland Car il ne s’agit pas seulement Filip Marczewski d’initier les étudiants à la maîtrise d’une technique. Ils sont amenés à THE NATURAL ROUTE ESCAC, Spain prendre conscience des symboles et Alex Pastor des idéologies avec lesquels ils travail- lent. « La mission de l’École des Médias, explique son directeur Yves Théorêt, est bien sûr de répondre aux besoins de The winning student filmmaker will be brought to Los Angeles in June to l’industrie. Mais lorsqu’on envoie un participate, along with U.S.-based winners of the 33rd Student Academy étudiant de l’UQAM dans le marché du Awards, in a week of industry-related activities and social events, culminating travail, c’est un professionnel compétent, in the awards presentation ceremony on June 10 in Beverly Hills. mais aussi un excellent citoyen, capable de porter un jugement critique sur sa so- Several past winners in the Foreign Student Film competition have gone on to ciété, sur les actions de son gouvernement achieve further recognition by the Academy. et aussi sur sa propre création. C’est ce qui nous distingue des écoles techniques. » Most recently, student winner Ulrike Grote’s “Ausreisser” (“The Runaway”) was nominated in the live action short film category at the 78th Academy Awards®. Cette approche semble fructueuse puisque les anciens, les Léa Pool, les Jean-Claude Lauzon, Denys Two previous winners, Jan Sverak, who was a student in the former Villeneuve et Louis Bélanger pour ne Czechoslovakia, and Mike Van Diem of the Netherlands, have gone on to nommer que ceux-là, ont su créer des win Oscar® statuettes in the Foreign Language Film category for subsequent films acclamés par le public québé- works. cois et international. Avec la création de cette École In 2000, the winning foreign student film, “Quiero Ser” by Florian Gallenberger des Médias, l’Université du Québec of Germany, won the Oscar in the Live Action Short Film category and in à Montréal montre qu’elle ne cesse 2002, the maker of the winning foreign student film, Martin Strange-Hansen de se renouveler pour s’ajuster à la of Denmark, won an Oscar for “This Charming Man.” (His Student Academy marche du monde. Car on y est à la Award winning film that same year was “Feeding Desire”). fois inscrit dans l’histoire et sensible aux vibrations du présent. Diane Poitras Cinéaste et Chargée de cours, Ecole des Médias de l’UQAM ••• ••• Page 10 June 2006 CILECT News No 44

UNIVERSIDAD DEL CINE BUENOS AIRES – ARGENTINA 15th Anniversary tional cinemato- Argentinean cinema. graphic space with Fifteen years later, the artistic activi- special character- ties developed in the Universidad del istics. Education, Cine are remarkable: more than 1,000 culture and pro- short films in 16mm and 35mm, 5 duction are the long feature films, “Moebius”, “Mala areas in which época”, “Sólo por hoy”, “Mercano el we feel proficient. Marciano”, theatrically released with Universidad del important repercussion both in terms Cine is not only of audience and worldwide reviews; not a school but also forgetting over 2,000 shorts shot in vid- a cultural envi- eo. To these achievements we can add ronment; further- the productions made by graduate stu- more, a space of dents with the support of Universidad film production del Cine, some of them have travelled from which we try over the world as examples of the pres- to open the youth tigious New Argentinean Cinema: “Los to professional Rubios”, “La prisionera”, “Mundo ways, to offer them grúa”, “Pizza, birra y faso”, “La liber- opportunities and tad”, “Los muertos” “25 watts”, among to serve them as a others. bridge in the com- In addition to all these achievements plex and difficult films produced by Universidad del Cine world of today. and directed by students obtained very In short, a school important prizes in different sections of that produces or the recent 59th Cannes Film Festival: a producer who Cinefondation (“GE & Zeta”, directed teaches. by Gustavo Riet, First Prize) and Un Universidad certain regard (“Hamaca Paraguaya”, del Cine is today directed by Paz Encina, Fipresci Prize). a prestigious point Besides, the latest film of our graduate of encounter for Lisandro Alonso, “Fantasmas”, was youths with au- specially invited to open the Quinzaine diovisual vocation des Realisateurs. and, therefore, the possibility of real Without pausing, without look- modern and prac- existence of an institutional space ing behind or at the sides and, finally, tical educational for their dreams. It is the answer to showing the means and new ways of Institution, this is a challenge of a different time and education and film production. what Universidad a certain step toward a possible and del Cine thinks of different world. Paraphrasing Goethe, we are con- vinced that “cinema is the audible and itself at the time Since its creation, Universidad del visible dream”. Reality or fantasy twen- of answering ques- Cine has had three ambitious goals: ty-four frames per second. Obstinate tionsA asked by journalists in interna- to generate a space of creation which and sure, always. tional film festivals. would make new projects possible; This is probably encouraged by the to structure film education within Fifteen years have passed and the constant appearance of our logo at the framework of a comprehensive aim remains exactly the same. the beginning of Argentinean mov- and humanistic education; and to be- ies screened in festivals since 1995, come a production centre in order to four years after our appearance in the strenghthen our educational action, Argentinean educational environment. connecting our students with the in- Therefore, Universidad del Cine arises dustry. Established in San Telmo, the permanent attention. ••• historical quarter of Buenos Aires, The answer given is always clear and we developed from the start a con- direct. We have developed in the educa- stant activity that has nourished the CILECT NEWS No 44 June 2006 Page 11

Training the Trainers

Review: dents, you will lose them. Using analo- European examples is that the accom- Training the Trainers – Dick Ross for gies that are relevant to student’s every- panying “Sonnets of Cinema” are for den norske/filmskollen -The Norwegian day life and inserting generous doses of the most part films from a decade ago. Film School. Box Set of Booklets and humor are invaluable ways to make stu- While this can attest to the timeless na- DVD dents feel comfortable to ask questions ture of good cinematic storytelling it as Dick points out. The demystification can also be a liability to the “now” and raining is often over- processes of how to handle a class are “new” MTV generation of students. looked by schools of presented throughout the booklets as Training is an ongoing learning ex- film and television practical solutions to the teaching chal- perience. That is the beauty of teaching because they assume lenges in classroom situations. - you are always in a position to learn. that professionals in Most schools work with limited fis- If you find a person who knows and their area of exper- cal, physical and staff resources. Within wants to teach, then you have found a tise come equipped this context there is little time for the gold mine. This booklet series attempts withT not only their accumulated knowl- faculty and chairs of departments to to address the “newbie” and the old edge but also the ability to convey those take on the mentoring burden of new pro, some lessons for all of us. experiences and practice to students. hires. Also, given budget constraints, it In a paper that Dick sent to many This is more often than not a mistake. of us in CILECT, he wrote that more In this series of booklets Dick Ross has often than not the materials generated methodically addressed a path to teach- by CILECT never reach the teachers. ing success. The problem with this practical series Many pros can be impatient people. of useful booklets is that they will prob- They will often resolve student’s probably suffer a similar fate because of lems without teaching them how to re- their cost outside of Europe and the dif- solve them on their own. These articu- ficulty of obtaining them – even from late booklets wisely address these issues the website. Another issue is that of the in a systematic progression. form the materials take – one of book- This volume can help new faculty lets. Packaging the product so to speak. achieve their mission of conveying A CD version along with the Sonnets their knowledge more effectively and of Cinema DVD and those really great better serve their respective academic #9 Short Steps… Long Journey - com- constituencies. Often administrators re- pilation exercise note cards would be a alize that they didn’t budget the time or welcome alternative package that may money to get their staff trained to get be made more affordable so that faculty the most benefit of new tutors to their – new and continuing could purchase students. This “book set” work attempts for their own use and bypass the obsta- to address these pragmatic issues. cles that Dick alludes to. The basic philosophy of CILECT As Dick points out - no two teach- for decades has been that training the is not always possible to send new staff ers are alike and certainly no two chefs trainer assumes that new knowledge members for outside training often re- cook a recipe the same way. This teach- can be passed down to students over ferred to as professional growth and er and chef sees merits in both kinds of time, while training of students usu- development seminars and workshops. packages. No matter what, Training the ally benefits a few for a much shorter Owning a set of resources such as this Trainers is a genuinely useful and prac- period. Dick has been “on the interna- “Training the Trainers” nine-volume tical box set that deserves the attention tional circuit” for years accumulating booklet set in the teaching process be- of the worlds schools, mainly its teach- the experience, frustration and wisdom comes a pivotal tool. This individual ers. This series is meant for those that of teaching in many countries and cul- self-training program can be empower- know and want to teach – who could be tures. While he has always worked with ing, and it allows small departments to against that? students, teachers have played a sig- develop more effective teachers at ear- Don Zirpola nificant role in his pedagogical work. A lier stages in their association with the School of Film and Television good reason for this series of booklets. film school. Loyola Marymount University The ability to teach people at differ- While the Training the Trainers se- Los Angeles ent skill levels can be intimidating, espe- ries can have universal application, cially to new teachers. If you move too there are some areas that may not fast or do not explain the information work as well outside Europe. The main in a language that is familiar to the stu- drawback for this series of excellent ••• Page 12 June 2006 CILECT News No 44

NEW TECHNOLOGIES UPDATE

HDV is probably the last video tape format that will be around for some time. After it, new formats will, probably, be based on disk or solid state technologies. However, HDV is yet starting its life as the cheapest HD format available and, thus, as a very appealing one for the Cilect members. As with DV, more and more users are discovering that, apart from camcorders, they also need tape decks in order to download the footage to/from the NLE systems but also to record larger amount (up to 4 hours) of information on a single tape. Therefore, we are presenting here the current choice of HDV recorders. Nenad Puhovski, Chair NT Committee

between “REC RUN” and “FREE RUN”. In addition to the SONY HVR-M10 time code, user bits can also be set. With the optional NP-F970 Battery Pack attached, the HVR-M10E can continuously record in HDV mode for up to 545 minutes, or up to 630 minutes in DVCAM/DV mode with the LCD monitor off.

SONY HVR-M15

This affordable, portable professional deck was launched at the same time as the famous HVR Z-1 camcorder and runs on AC or DC. It can switch between HDV 1080i, DVCAM and DV recording, providing full fl exibility to record in either The HVR-M15U is a new, 50/59.94Hz selectable light- Standard or High-Defi nition. In addition, it can be switched weight, compact HDV 1080i VTR capable of standard between 50i and 60i modes (PAL and NTSC). or mini-cassette record and playback of HDV-2 1080i, The HVR-M10E can convert material from 1080i down DVCAM and DV (SP). HDV-2 1080i recorded tapes can to 576i and 480i and output these video signals through its also be downconverted with time code to an appropri- i.LINK interface. In addition, these signals can also be output ate DVCAM VTR using the standard defi nition DV out- via either analogue component, composite, or S-video con- put mode via an i.LINK® connection. Additionally, the nectors. This allows editing of recorded material with a non- i.LINK® HDV Mode, and the DV/DVCAM Modes allow linear editing system using current DV editing software as well for time code input. The HVR-M15U will also playback as recording SD signals to an external VTR, while simultane- select HDV-1 720p pre-recorded tapes but only with ana- ously recording HDV signals with the HVR-M10E. The HVR- log output, not over i.LINK M10E can also down-convert to 576p and 480p and output these signals through its analogue component video connec- tors. When down-converting these signals, the aspect ratio displayed can be converted from 16:9 to 4:3. Display modes can be selected from Squeeze, Letterbox or Edge crop. The HVR-M10E includes a 3.5-inch type color LCD monitor with a high-resolution of approx. 250,000 pixels, allowing operators to view the input source during recording or check the playback picture, in a widescreen aspect ratio of 16:9. This large screen is also helpful when setting menus or audio recording levels, as well as for monitoring the VTR and audio status. The time code can be preset using any number in H/M/ S/F (hours/minutes/seconds/frames) to record desired tape- position information. The time code mode can be selected CILECT NEWS No 44 June 2006 Page 13

both HD and SD programming. In addition, it includes SONY HVR-M25 versatile input and output connections including analog component (BNC), Y/C and Composite (BNC) as well as RS-422 control.

JVC CU-VH1U

The HVR-M25U is a new, 50/59.94Hz selectable lightweight, compact HDV 1080i VTR capable of standard or mini-cassette record and playback of HDV-2 1080i, DVCAM™, and DV (SP). HDV-2 1080i recorded tapes can also be downconverted with time code to an appropriate DVCAM VTR using the standard defi nition DV output mode via an i.LINK® connection. Additionally, the i.LINK® HDV Mode and the DV/DVCAM Modes allow for time code input. The HVR-M25U will also playback select HDV-1 720p pre-recorded tapes but only with analog output, not over i.LINK® HDV as a native transport stream (*note: compatibility of HDV from different manufacturers is actually not guaranteed). The fi rst of JVC HDV recorders is still sold in USA and other 60Hz countries. It features a 3.5-inch LCD monitor, a digital iLink interface for non-linear editing JVC BR-HD50U and dubbing, S-Video, composite and audio connec- tors function as both inputs and outputs, component outputs for multi-format playback, and an SD memory card slot for capturing stills from tape. It will play back signals recorded in 720/30p (MPEG- 2), 480/60p (MPEG-2) and 480/60i (DV) The CU-VH1 can also capture progressive HD, SD and DV 1280 x 720 JPEG stills and save them to a memory card. In addition, tape time code or day and date subcode can be displayed on screen. To satisfy immediate viewing needs in the fi eld, HD footage can also be viewed on the CU-VH1’s built-in While Sony recorders are working in HDV 2 standard, i.e. 3.5-inch, 240,000 pixel high-resolution LCD monitor 1080i format, JVC opted for HDV 1 - 720p. Thus, it’s recorders that features brightness control, a speaker, and the are tailored to support this format. monitor folds fl at into the top of the unit when not in The BR-HD50U includes a full size/miniDV compatible use. mechanism that has the capacity to record up to 276 minutes of video in either standard or high defi nition. The unit supports signals that are recorded in 720 24p, 25p, 30p and 480/60p HDV, and 480/60i and 24p DV. A front panel 8-digit LED provides display of time code, user bits and VTR status. With its built-in HDV decoder, it has the ability to convert 720p MPEG2 recordings to 1080/60i or 480/60i for monitoring purposes. The BR-HD50U provides an HDMI output for direct digital connection to the HDTV display monitors. With switchable HDV and DV recording mode functionality along with DVCAM playback it allows users to transfer both HD and DV recordings to and from non-linear editing systems. The BR-HD50U features digital input and output via an IEEE 1394 standard 6-pin connector for lossless dubbing and recording of Page 14 June 2006 CILECT News No 44

OUR HERITAGE SCHOOLS BEST KEPT SECRETS III

GEECT CONFERENCE at VŠMU uniform European film school con- Film and Television Faculty cept, we have decided to explore the Bratislava rich heritage of our schools and try to 29 May – 1 June 2006 re-evaluate the well-established teaching methods and curricula of the older and more experienced European film The “family silver” or how it all schools. The conference has examined began the relevance of certain traditions and At the very beginning – there wasn’t methods to the 21st century teaching, a word, but the “idea of sharing”, which and shared the well-preserved knowl- was raised by Renen Schorr, the former edge among GEECT members. Every president of GEECT. The plan was presentation has included some clips quite simple: to prepare some seminars and excerpts from early films, followed based on the generosity of all of us. It by the screening of some of the earliest could only succeed by sharing the in- films from our member schools in the formation, secrets and interesting ideas late afternoon. we all had about training our students, from the selection process through the Questions we have asked and got re- first exercise, from the visual language ally interesting answers to, were: to ‘building the muscles’ of imagina- • How did our schools begin? tion, from the Graduation evening • What were the initial ideas behind to the Morning after. Comparing our the setting up of the film schools? heritage to praxis nowadays. These • What were the ideas of the first projects soon became priority GEECT teachers and school directors? activities . • What were the results of our first The first of our SCHOOLS´ BEST students? KEPT SECRETS sequel was organ- • How much was the early unique- ised at the Film and Television Faculty ness of a film school dependant on the VSMU in Bratislava 2004. It brought national cultural identity? lots of knowledge, tips and new per- • Is a classical, master - apprentice spectives in an extending Europe. It was relation the best way to teach/learn a successful and satisfying experience, arts? bringing new inspiration for all of us. • What do we really teach in a film And it tasted for more. Our colleagues school? from NFTA, Amsterdam, especially • Why do we change our curriculum Henk Muller, Marieke Schoenmakers so often? and Ernie Tee hosted the second edi- • How much are the distinctiveness tion in 2005. Both conferences have of our schools endangered by the Bo- been inspiring enough to put all shared logna process? ideas and best contributions together in • How much could we learn by go- a booklet, which will be published for ing back to the roots? all CILECT member schools. The pub- • Is there (apart from the techno- lication will be available at the General logical one) a real progress in teaching Assembly in Madrid 2006. arts? Aren’t they inspiring for you as well? The third part of this project was Zuzana Gindl-Tatarova conceived in much wider context. In Nenad Puhovski the changing world of globalisation GEECT Executive and “Europeanisation”, with some of the administrators believing that the Bologna process would encourage a ••• CILECT NEWS No 44 June 2006 Page 15

FAMU at its origins (1945 – 1965)

he origins of the and who won an Oscar award for his fi lm The school’s fi rst applicants could study Prague film school The Shop on Main Street.3 directing, dramaturgy and fi lm photogra- 4 come from at least Both projects were based on the idea of phy as of 1947, when 35 were accepted two historical sourc- providing a wider aesthetic and practical from more than 1,000 applicants. Amongst es. education to students who wanted to make them were also some students from Poland One was a group fi lms that were more artistic than the cheap (Jerzy Passendorfer), Bulgaria (Ljuljana of left-oriented fi lm- mainstream melodramas and comedies. Christova - Lorencová, Kiril Ilinčev) and makersT and artists interested in art fi lm or These students had few other opportuni- Yugoslavia. avant-garde fi lm. In the fall of 1934, lead- ties to obtain necessary information from Until 1948, the school’s home was on ing artists organized a lecture series taught professionals, who kept their knowledge the fourth fl oor of a building on Havlíčkova by Otakar Vávra (scriptwriter and direc- secret. street (no. 13, now 11); it then acquired its tor), Alexandr Hammid - Hackenschmied Once the project of nationalization fi rst space in the “Vančura building” on (cinematographer, fi lm editor and docu- was accepted by both exile governments Klimentská street no. 4, where students mentarist), Karel Smrž (fi lm history re- (London, Moscow), realised in a revolu- classes on theory and history were held searcher), Joe Jenčík (choreographer), and tionary way in May 1945 and legalised until 1960 (after 1950 students also had others.1 The activity of this group continued by decree of President E. Beneš from practical classes there). Jaroslav Novotný within the Czechoslovak Film Society’s August 11, l945, it was only logical that became head of the practical exercises or- proposal of post-war nationalization of the the school would become a reality too. ganised by the Film Institute. Students of fi lm industry (and exhibition) with the ini- Beneš signed the decree on the founding directing and cinematography were sup- tialization of a Film School project, written of AMU on October 27, 1945. This be- posed to graduate with one documentary by O. Vávra and theatre directors Jindřich came internationally recognised by the fi rst and one narrative movie (both about 500 Honzl and Karel Dostál. The proposal, en- International Meeting of Filmmakers in meters), and scriptwriters were supposed titled We Are Preparing a School for the Mariánské Lázně initiated by A.M. Brousil to have scripts for one feature fi lm and one Education of Film Youth, was published in the summer 1946, where the proposal to short fi lm or for three shorts. in Zlín in 1939 with the participation of teach fi lm in schools was accepted. In the beginning, the school shared a fi lm engineer and producer František Pilát. FAMU originated as a fi lm section of the building with the Film Institute, which This was originally intended as a two-year Academy of Performing Arts in Prague in was closed soon after (in 1949) by Oldřich course in a trade school associated with 1946/47, making it – after Moscow (1919), Macháček, the new Communist director of the Bata Shoe Factory and its fi lm studio Berlin (1936), Rome (1935) and Paris Czechoslovak State Film, who had previ- in Zlín. To research the school Alexandr (1939) – the fi fth fi lm school in the world. ously worked as an insurance company (Sasha) Hammid went to the Moscow Film In a statement of reasons for the president´s director. Subsequently many former staff School (VGIK) in the USSR in the 1930s, decree we can fi nd arguments that are both of the Film Institute began teaching at Jaroslav Brož brought information from economic (to have the possibility to experi- FAMU. Berlin, and Ladislav Novotný, producer of ment in fi lmmaking) and political (to com- Thus, the FAMU faculty originated from the Zlín Studio, brought information about pete in the world fi lm production). a group of fi lm enthusiasts, who dared to the system of education from department of share their experience and dreams with stu- fi lm at the University of California (headed In May 1946, the Ministry of dents, and from a group of progressive and by Prof. Morkovin)2. Information appointed the fi rst three professors of the new fi lm school - Karel independent fi lmmakers who were mostly The second source was the attempt of Plicka, Josef Bouček (from the Technical documentary fi lmmakers at the Bata Zlín Karel Plicka to create a two-year school University in Brno, author of some innova- Studio, as well as from the Film Institute for documentary fi lm cinematographers tion patents in sensitometry, a member of producers, editors and historians. This cre- and directors in the School of Applied Arts UNIATEC - Union internationale des as- ated an independent and creative atmos- (Škola umeleckých remesiel) in Bratislava sociations techniques cinématographiques phere which culminated in the autumn of in l937. (Karel Plicka was a teacher, eth- and later SMPTE - The Society of Motion 1947. nographer, photographer and documen- Picture and Television Engineers) and Then, as result of confl icts between the tary fi lmmaker who directed the fi lm Zen A.M. Brousil (fi lm researcher and fi lm re- Ministry of Information (led by Communist spieva, which was awarded a prize at the dactor in agriculture newspapers - Venkov, Václav Kopecký), which had fi lm under 2nd Venice Film Festival in l934.) His Zemědělské noviny and the communist its auspices (including the practical class- project came to a halt one year later with newspaper Rudé právo and member of es of FAMU students) and the Ministry the creation of the Slovak state by local FIPRESCI). However they were appointed of Education (led by national socialist clerics, nationalists and fascists. Still, one professors only three years later in August Jaroslav Stránský), adjunct professors were of the students at the school was Ján Kadár, 1949. not paid, so they decided to teach for free to who later continued his studies at FAMU Page 16 June 2006 CILECT News No 44 keep the school running. lum and the majority of lectures and semi- held in Lešná castle near Zlín-Gottwaldov, “Young people were just clamouring to nars were improvised, based on common where the fi rst fi lms were shot by students get in”, remembers one of the school’s fi rst group discussion, and often held in private (director Zdeněk Podskalský, cinematogra- instructors, the legendary Czech director apartments, restaurants and a unique lec- pher Ján Šmok), using the silent camera of Václav Wassermann. “Right from the start ture hall in the building on Klimentská. The K. Plicka under the technical supervision there were thousands of applicants …the majority of them were held for all students, of student Vojtěch Jasný. Some other fi lms fi rst entrance interviews were held by… as were screenings and analyses of fi lms. were shot with 16mm cameras, and Brichta the founders, such as Karel Plicka, A.M. Plicka held a seminar in composition was teaching time-lapse shooting with a Brousil, Julius Kalaš, Jaroslav Bouček… I of photography, encouraging students to 35mm high speed camera. Guest lectures

remember the early days when there was move framing straps on screened slide in were held by Barrandov professionals, in- barely anything here. When there were no a way to fi nd the best possible one and he cluding Jiří Weiss, who was later head of teaching aids, no facilities, no technical or took them on walks through Prague show- directing department. fi nancial resources – but over time we saw ing them compositions for photography of Weiss, along with cinematographer the creation of a fi lmic chytron (smartin- architecture. Karel Degl, director Václav Wasserman ion), the creation of much from little, great Bouček, who had been in the USA in and with people from FAMU’s Student 5 success from few resources”. 1947, was teaching cinematographers sen- Association (Spolek posluchačů), created During all that time, FAMU had to sitometry and laboratory processes. Brousil the fi rst curriculum. In this curriculum, overcome the resistance of fi lm profes- taught literature and theatre, Smrž taught students in the fi rst year were supposed to sionals at Barrandov Studiosagainst aca- scriptwriting and fi lm history, Kalaš taught learn the technique, in the second to de- demically trained fi lmmakers, fi ght off an fi lm music through analysing screened velop their talents, in the third year to learn attempt at its closure, survive attempts by movies, Klos taught history of fi lm direct- the profession and in their fourth year to the AMU Action Committee to expel stu- ing and fi lm language, Lehovec and Šulc master these skills. A great importance was dents (only two of them were really ex- taught documentary and short fi lm, and placed upon practical exercises and student pelled) and teachers after the communist fi nally Brichta, who founded the national fi lms. coup détat, and begin to create a system- cinematheque in l945 and directed the Film In 1950 the various disciplines were di- atic form of education based on the experi- Institute, taught fi lm history. vided into their own departments. Later, the ences of Moscow’s VGIK. It must be said Brousil invited Béla Balász and actors Department of Production was established that the school was really supported by the from Stanislavsky´s MCHAT to do guest and the Dramaturgy Department saw a spe- communist party and its situation became lectures, and later Giuseppe de Santis, cialisation in fi lm theory. On Klimentská more stable when Zdeněk Nejedlý, com- Vittorio de Sica, Joris Ivens and John Street, a former German Theatre was munist musicologist, became Minister of Grierson. renovated into a small studio which was Education in 1948. In the fi rst year, before the fi nal exams, equipped with a sound camera. In the beginning there was no curricu- a four week seminar in fi lmmaking was The years of 1948-1950 brought “stu- CILECT NEWS No 44 June 2006 Page 17 dentocracy” to FAMU; students taught and Contact between students and profes- with original music). The thesis fi lm was chose their teachers. According to mutual sors was quite intimate – the professor accompanied by a short theoretical expla- agreements with the USSR, two FAMU taught only a few students and shared his nation. The system changed only a little students - František (Frank) Daniel (mem- own experiences, working methods, took (documentary in 1st year, studio fi lm in ber of the CP and chairman of the FAMU them along when shooting a fi lm and put 2nd, on location in 3rd, TV drama in 4th) Commission for reforms) and Zdeněk them in contact with his colleagues, which until the end of the Nineties. Podskalský (member of the CP FAMU is excellent for the beginning of a student’s In 1952 FAMU was given the former committee and of Action committee) were own professional career. Students could Jewish cinema – Roxy on Dlouhá street sent to VGIK for postgraduate studies. learn skills by shooting short fi lms (one no. 33 – where it set up another fi lm stu- They were consulting (without any real per year), mainly documentaries and a nar- dio (in 1955). The head of the Directing knowledge of the Russian language and so rative one in the last year. Documentaries Department, Václav Krška (1953-57), es- rather through their experience with VGIK used to focus on current themes of the tablished a specialisation in documentary lecturers) on the creation of the fi rst real Communist Party politics. In this way stu- and popular scientifi c fi lm, as well as an FAMU curriculum, expanded by Ján Šmok dents could see the difference between po- editing subdivision headed by Jan Kučera. litical theory and reality, which in the time based on the VGIK curriculum which had Around the second half of the 1950s, of the political thaw after Stalin´s death and been brought to Prague by the delegation of the Department of Film and Television in the sixties gave them the possibility to Czechoslovak Film from Moscow in 1949. Technique was formed (Bouček, Pecák), speak about reality more openly. In the early fi fties it was enriched by Jan with subdivisions for music (J. Kalaš, J. Kučera, editor, avant garde fi lmmaker and In some of these fi lm exercises we can Srnka) and sound (O. Tichý). theoretician, based on Lev Kuleschov´s see the infl uence of Dziga Vertov´s fi lms The Camera Department was renamed book Elements of Film Directing. and of the Italian neorealistic fi lms. Some the Department of Film Photography and of these documentaries were shot for edu- While Weiss was critical of the fact that Television Image (in 1964 the Roxy studio cational purposes, like Face and Mask students didn’t have the opportunity to was equipped with TV technology pro- (1949, Tatterová, Baran), about the art of shoot fi lms with actors until their third year duced by the students and professors of the make-up, Development of Film Negative(P. (throughout the fi rst two years students secondary technical school for media on Solan, 1951), Blow-up (J. Šikl,1951), from all departments studied together) and Panská street). of little attention placed on the work with Measuring of Exposition (1952), Taking In 1955 at the Cannes Film Festival the actor, Kučera divided education into Care of the Film Copy (V. Delong, 1957), FAMU was one of the eight founding four steps: 1. From reality to the image A Box With a Film Reel (V. Sklenář 1958), members of CILECT. (Aesthetics) 2. From idea to script (knowl- including portraits of music composers edge of life and following art creation) 3. and interpreters, representantives of the In 1957/58 Otakar Vávra headed again From script to live realisation 4. From di- Czech puppet theatre and records of the the Directing Department, with a new ap- recting to movie (methods and practical us- Theatre school (DAMU) performances: proach to lectures and the admissions proc- ing of technology). When Weiss headed the Central Puppet Theatre (F.Filip, 1954), ess. He personally selected his students, directing department (1952-3), he asked Karel Pokorný, a Sculptor (J. Vašta, 1954), whom he formed into the core of the new Karel Hoeger, one of the best Czech actors Before Puppet Come Alive (J. Hannibal, V. wave (Věra Chytilová, Evald Schorm, Jiří of the time, to teach a class on working with Sklenář, 1955), Before the Curtain Comes Menzel, Jan Schmidt). It was his funda- actors. This created a tradition, continued Up (V. Plívová, l957). mental belief that a director must “know by Hoeger´s assistant Radovan Lukavský, Narrative fi lms in this fi rst period were all types of art which he works with, work for the next half a century. mainly versions of some scenes from with actors… also philosophy and aesthetics. Mastery of the technology of fi lm Thus we can say that in beginning of scripts for Barrandov fi lms, shot in the comes second. At school, he should get to the fi fties, when FAMUgraduated its fi rst FAMU studio. know all fi elds of knowledge as they relate students, it was a highly selective school In the second half of the 1950s, the cin- to fi lm work. Theory should be on an equal (based on the admission exams and the se- ematography and directing departments footing as practice, because a director both lective exams at the end of fi rst year - in established the following system: the fi ve creates and realizes a vision”.6 1952 only 50% students passed), with not head lecturers asked younger directors to only a practical, but a universal education teach the students while the older profes- This group of students was educated by (which included philosophy, art, theatre, sors were shooting their fi lms. (This is a Vávra personally for all fi ve years of study. fi lm and music history and theory). system that is very similar to the one used Later the system was changed into a system of course teachers (1st Zdeněk Forman, 2nd FAMU concentrated on directing, still today and relates to the fact that the main Elmar Klos, 3rd Václav Wasserman and 4th and fi lm photography, scriptwriting and teachers at FAMU are usually the best Vávra) and worked this way until the end editing, all of which were taught by ex- Czech directors.) The system of practical of the Nineties, when it was changed into perienced professionals. A.M Brousil, as exercises was divided into common and a system of selective workshops. Vávra chancellor of AMU and later head of the specialized ones. insisted that students have a wide range of theory department, kept students in con- In the fi rst year, students created two knowledge (seminars in analysis of fi lm tact with the actual world of fi lmmaking photoscripts, in the second year they make music, history of music, architecture and even when borders were strictly closed and a documentary on 16mm, in the third year arts, lectures of Václav Mencl on the lige fi lms from the West had not been released they did studio work with actors, and in the style in different historical periods) and on in Czechoslovakia. fi fth a fi lm for their thesis. (on location and Page 18 June 2006 CILECT News No 44 detailed analyses of important fi lm parts Škola múz. 40 let založení AMU v Praze. with the help of the editing table (so called AMU Praha, 1989 EN TRANSITO “back script”), serving as basis for analys- Skokánek Jan: Historie jednoho chao- ing narrative continuity, editing, sound and su. Diploma thesis, Dpt. of Documentary to compare the fi nal fi lm with its literary Film, FAMU, Praha 1988. Manuscript. base and with script. he Project “EN Šmok Ján: Dvacet let oboru Filmovýa TRANSITO” (In The years 1960/61 represent a turning televizní obraz.1946 - 1966. Dpt. of Film and Transit) was pro- point; the departments and offi ces of the TV Image, Dpt. of Film and TV Technique, posed by CIBA chancellor and dean moved into Lažanský FAMU, Praha 1966. Manuscript. schools, (the Palace (Smetanovo nábřeží 2) and the fi lm Vogelová Pavlína: Vědecký svět fo- Iberoamerican re- shool lost its intimacy in which all stu- tografi e a fi lmu profesora Jaroslava gionalT association of CILECT) and dents met in the same spaces. Over time, Boučka. In Sborník prací Filozofi cké fakul- approved by the CILECT General the school began to see a reorganisation of ty Brněnské univerzity, řada fi lmologická č. Assembly in Helsinki in 2004 departments as well as curriculum, with 2. Masaryk´s University Brno 2005 more emphasis on graduates’ success in the Even though CIBA was recog- world of television. In the mid-1960s, most Vávra Otakar: Historie katedry fi lmové nized as a regional association of departments – and the school as a whole a televizní režie FAMU. Undated, approx. CILECT in 2004 only, its member – received the modifi er “fi lm and televi- l970. Manuscript. schools had already enjoyed a long re- sion”. lationship marked by a large number of shared activities, meetings and The year 1961 saw the founding of an in- Notes seminars as was the case for instance dependent Department of Film Journalism, 1 Some of the lectures of this series in 2002-2004 with the CILECT later renamed the Documentary Film were published by K. Smrž in A-Z of Film Project “Relationship between Film Department; in 1963 the discipline of fi lm Scripwriter and Actor,1935. Training and Distribution”. and television editing was established, with 2 Years later in the 1950s this school, instructors supplied by the editing cabinet This project made us face one of which was a practical school training fi lm of the Department of Film and Television our most urgent needs: to provide professionals, was founded in Čimelice Directing. Film and television theory was students with enough knowledge in Southern Bohemia as a competitor to made independent in l959, with instruction and tools to make it possible for FAMU. In the 1990s the Film High School ensured by the subdivision of fi lm and tel- them to market their films through in Čimelice was closed and reopened in its evision theory at the Department of Film distribution and exhibition. original home in Zlín, where it is now part and Television Dramaturgy (in 1965 theory While all our schools knew how of the University of Tomáš Baťa. Another receives its own department). Starting in to teach narrative techniques and the school, now called the Film School of 1966 Ján Šmok worked to make art pho- tools and logistics of contemporary Miroslav Ondříček, was then opened near tography an independent discipline, fi rst production, we started to train stu- Čimelice in Písek. as a subdivision within the Department of dents in the business associated with 3 Film and Television Image. In Bratislava the Film and TV School the commercial exploitation of film was established later (1965-7. dpt. of scrip- In the 1960s, the school graduated two products. trwriting, 1990 full programme) as a part to three generations of students who made One of the results is the current of VŠMU and was based on the FAMU FAMU a name recognised throughout the project to produce the series “En model. world. For the next thirty years, FAMU Tránsito,” a pilot production com- 4 would become practically the only source In the FAMU statute we can fi nd plans posed of 13 television programmes of fi lm (and to some extent television) pro- to establish departments for fi lm theory, conceived as a whole along the same fessionals in Czechoslovakia. technique and design too, but these were editorial line. With it we plan to de- established only later. The fully established and fi xed system of velop a relationship with the audio- 5 fi lm and TV education was presented at the V. Wasserman: “Nejlepší léta života” visual industry to market the pro- Prague Congress of CILECT in l966, and (“The Best Years of Life”) in Sborník ductions of our schools FAMU was declared an “école modèle”. prací Akademie múzických umění v Praze Our project aims at building a Just a few years later, after the invasion by (The Collected Works of the Academy of bridge at a regional level between the the Warsaw pact armies, the Communist Performing Arts in Prague). SPN Praha schools and the industry . Party, which helped to establish the school, 1966, p. 81 The CIBA schools are associated tried to change the education from fi lm art 6 Otakar Vávra: Historie katedry fi l- in a network of 8 countries and plan back into education of agitprop. But the es- mové a televizní režie FAMU (The History to market the programmes of the se- tablished system proved to be more resist- of the Department of Film and Television ries. ent than they expected. Directing). Manuscript, p. 19 The schools have agreed the fol- Jan Bernard lowing: Sources: 1.- To confront students with the Sborník prací Akademie múzických commercial reality that will rule umění v Praze. SPN Praha, 1966 ••• their professional life in first place and while they are still under the CILECT NEWS No 44 June 2006 Page 19

EN TRANSITO shelter of the institution. Thus, when organisations are being considered for Gerais, Brazil, which recently joined they leave school, our young talents the purpose of obtaining resources. CILECT. Besides, students from will benefit from a better portfolio and Half-hour television episodes must Escuela de Medios Audiovisuales de la greater possibilities of finding a well- have the following format: Universidad del Centro, Argentina, had paid job without yielding their artistic been invited. and formative essence. A foreigner, who comes from one the countries participating in the project, Guest professors were in charge of 2.- To continue the process begun arrives at a public transport station, in Project CILECT 2002-2004: training the seminar, which was attended by the which is located in a city of the country executive committee and the general teachers in the commercialisation field of origin of the producer school, and coordinator of the project. New agree- through the production and distribu- goes around the city. The actor playing tion of the proposed series, as well as this role must come from the country he ments were reached and adjustments in through seminars and courses. represents. The city must be a character. the calendar were made. Some specifi- 3.- To position our schools as refer- The episode script must have the televi- cations were laid down, such as the for- ent institutions for the audio-visual in- sion format – writing in three blocks. mat to be used, which is HDV, aspects dustry. In order to homogenise the different concerning the series music and sounds, Immediately afterwards, a ques- schools’ products, it is proposed that the subtitles, separators, rights and way tionnaire on six topics was designed: every area should have a coordinator of identifying cities and countries, obli- Legal status of the schools, Project and a general producer coordinator, gations and commercial aspects. development, Implementation, Rights, whose duty should be to homogenise At the moment we are organizing Commercialisation, Academics. the different products. the final seminar which will take place All schools agreed to answer the Audience: in Sao Paulo in August. questionnaire before a meeting of the The series addresses an internation- CIBA school representatives and direc- We have been able to achieve many al, urban audience with a focus on the of the things we intended to do; others, tors which was held in Buenos Aires in youth. The different episodes must be unfortunately, we haven’t. Six television August 2004. During the encounter we equally attractive at national and inter- received advice from TV professionals national levels. programmes have been produced and and drew up the final agreement: there is one in pre-production stage. In Duration on screen: (excerpts) The Project “EN the light of these results, we hope that TRANSITO” will develop the audio- Series of 13 episodes of 22:30 min- some more schools will be able to start visual commercialisation and distribu- utes to be programmed quarterly. the production of their programmes. The writing of the script for every tion in a conceptual and practical way. I am in charge of the project coor- episode must conform to the television It is proposed that schools should make dination and the members of the ex- use of their strengths making innova- format of 3 blocks. ecutive committee are professors Maria tive proposals with the firm intention Following this agreement, CIBA of penetrating the market. Dora Mourao, ECA/USP, Brazil; schools started work. Each of them Mireya Letelier, UNIACC, Chile and Every participating school will pro- presented two alternative synopses, and Juan Ramón Mikelajauregui, CCC, duce an episode of a television series. a group of advisor professors especially México. Prof. Ignacio Rey from UBA, The series commercialisation will invited by them chose one from each Argentina, was appointed executive be the joint responsibility of all CIBA school for the script to be developed. producer. schools. The guest teachers were: Russell Porter, Silvio Fischbein As for the genre, an interaction be- Gustavo Montiel, Michel Marx, Paula DIyS / FADU tween fiction and documentary is pro- Cavalcanti, Sergio Ramirez and Oscar Universidad de Buenos Aires posed. Barney Finn. “EN TRANSITO” is an initiative for In August 2005, we held a Seminar the academic training of CIBA school on Script, Direction and Production teachers, which will include the par- at the Universidad de Buenos Aires in ticipation of students who are finish- ••• ing their studies and graduates whose order to correct our project editorial graduation date should not be older line. They were days of intensive work than two years. and discussion among the delegations At the end of the project, a final representing each school, which in report will be prepared, which may most cases included two students and a give rise to a joint publication by CIBA teacher in charge of the project. schools. Almost all the project schools par- Each school will bear the costs of ticipated in this seminar, with the producing every episode. addition of Escola de Belas Artes Joint presentations to international da Universidade Federal de Minas CILECT NEWS

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CILECT Congress 15-22 October 06 ECAM, Madrid Editors: Henry Breitrose Henry Verhasselt ISSN 1563-4442

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