Report of STANISLAV SEMERDJIEV

General Assembly, Melbourne 6-13 April 2002

P I N O C C H I O - 2

Audiovisual Products for Children: The Spiritual Alternative for the Third Millenium

Educational Modules for CILECT Schools’ Graduates

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002

1. INTRODUCTION

(for all those who have forgotten or who have never heard about the PINOCCHIO Project)

Now, looking from the time distance, I understand what a long journey we, in CILECT, and particularly in PINOCCHIO, have all gone through. And I, personally, never knew what I was stepping in when I quietly proposed that maybe we could spend some time to find out how to teach our students to produce good audiovisual products for kids. Probably, if I knew what I was up to I would have never begun this. And - I would have never felt so delighted and charmed. And - I would have never been able to meet so many wonderful people. And most of all – I would have never been able to understand what my own daughter really likes or feels. For this last reason only it would have been worth while spending five years of my creative life. But in a nutshell: where were we then and where are we now? Five years ago we had no idea how many films or hours of TV programs per year are produced for children, how many festivals for such products exist, what are the good ones, who are the people that run them, are there students’ sections in them, etc. We were completely unaware how many experts were there in the world, how to find them and how to use them. We didn’t know what kind of research and/or pragmatic literature exists and in what way we could benefit from it. There was not even one member school where we could go and ask for a collection of students’ or professional examples of good children’s audiovisual products. We were unaware how we should educate the students in our schools who might be interested in launching a career in children’s films and/or TV and what perspectives are there in front of them. PINOCCHIO-1 (1997-2000) made a huge step in the direction of laying out the logistic, organizational and documentation foundations for the later development of the project. Most importantly, it laid down a strategic goal: to stimulate the member schools of CILECT to establish specialized educational module(s) that could help their students to successfully create audiovisual products for children.

PINOCCHIO-2 (2000-2002) had to reach further. What we felt as essential for the successful development of the above goal were three major tasks: 1. To found a CAPTAIN (Children’s Audiovisual Production Tutors & Advisors International Network) that could provide qualified services to anyone interested in getting individual and/or specific practical help (inside or even outside CILECT). 2. To create a PINOCCHIO RIP (Representative Information Pool) comprised of libraries of respective audiovisual products and printed teaching materials, referative bibliographies and filmographies as well as regularly updated information for festivals, conferences, workshops, symposia, master-classes and other related initiatives. 3. To establish a Teaching Curriculum that could suit either short courses or a special Master’s Degree for students who would want to launch a career in the field of audiovisual production for children.

We worked hard to achieve results. And if I am allowed to say it here: PINOCCHIO (2002 and further) is already able to walk by himself. He made tons of friends (whom he believes to not be cats and foxes) and he also learnt the vital lesson of his 100-years older printed brother: “if you want to be OK – stay close to your loving CILECT-father”. You know what that means:)

PINOCCHIO-2 Page 2

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

2. CAPTAIN (CHILDREN’S AUDIOVISUAL PRODUCTION TUTORS & ADVISORS INTERNATIONAL NETWORK)

2.1 STAN’S JOURNEYS (Stanislav Semerdjiev, Chair) After the Ebeltoft’2000 Congress it was extremely important to me not to lose the pace. We had managed to obtain some information and to meet some people, we had begun to create libraries of films and books, we had promoted the idea of education on a more serious basis to some schools and we have tested some of our teaching ideas to some students. But this had to be transformed into a solid background. Therefore, I immediately began searching for partners who could also invest in out activities.

BULGARIA: Naturally I began with my own country which has long ago created traditions in the field of audiovisual production for children but in the last decade the enormous economic difficulties and the political turmoil completely stopped any activities in the direction. I had to try and revive some of them. I managed to contact some major institutions like the Ministry of Education & Science and the Ministry of Culture as well as The Committee for The Rights of the Children and the Bulgarian Children’s Forum (NGOs with a lot of popularity). I didn’t get much financial help but I got lots of advice and the necessary official backing for my future meetings with the people who have the money – SCHENKER, The Union of Bulgarian Filmmakers, Boyana Film Company, The Rotary Club – Dupnitsa, The National Film Centre, Film House Duga, Idolo Club and the Bulgarian Cinema Foundation. They all expressed the firm belief that the idea to develop such educational initiatives needs support and next thing we did was to sit down and calculate how much, when and how… So, I could sleep calmly – the first workshop (planned for 2001) was to happen.

NORDIC AND DUTCH EXPERIENCES: Interestingly enough while researching possible financing sources for the second workshop which we have planned to be in Sweden, Goran Guner, the Vice Chair, has managed to organize trips to the Nordic Children’s Film Festival in Haugesund and to CINEKID in Amsterdam. Haugesund turned out to be an interesting place where one could peacefully talk about children and education, see films and meet tons of experts together. A most useful contact which later turned to be a great help in promoting PINOCCHIO was Lennart Strom – the Executive Director of the BUFF Film Festival in Malmo. Directors such as Caecilia Holbek Trier, Lisbeth Gabrielsson, Ingebjorg Torgeresen, Harald Hamrell, Asa Sjostrom and many others were open to discussions and gave us valuable opinions on topics such as: what is a children’s film, how should a child actor be directed, how the product could be distributed successfully, is it possible to make co-productions not only between the Nordic countries but also on a larger scale, how to intrigue a child, genre and character building in children’s films, etc. Comparisons between edutainment and entertainment prevailed and an urge to build several layers of possibilities for the involvement of the young audience was refrained by everyone. I have to specially underline here the help we got throughout the festival both from Malte Wadman, Rector of the Norwegian Film School and from VP CILECT/TDC Henning Camre. (Maybe this is the right place to also say that during the whole two-year period Henning was one of those few people who quickly and effectively helped whenever I asked him for help. Thank you, Henning!) A meeting in Amsterdam in October 2000 with CILECT’s long-serving member Rolf Orthel in his capacity of Chair to the SOURCES programs led to hopes that Children’s screenplay development might become a part of their later workshops. This happened indeed. SOURCES already initiated three such workshops in Sweden and Finland and thanks to Dr.Renate Gompper and Marion Gompper – the two ladies behind the stage who manage to skillfully run tens of workshops simultaneously (!) - I was invited to all three of them. This was an extremely positive promotion for PINOCCHIO and CILECT as at each one of the workshops there were literally bunches of people demanding information about us and our activities. They also PINOCCHIO-2 Page 3

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002 suggested ways of obtaining crucial practical knowledge as well as formulated their own necessities for training. I have to admit here that out of these workshops also sprang many new possibilities for contacts in different countries. My experience there straightened my faith in the correctness of the direction we had chosen. CINEKID was too hectic but anyway we managed to get hold of Harry Peters, the most important person there for years, and Signe Zeilich-Jensen – his right hand (or at least one of them). Lots of useful advice on every topic, lots of practical information, and - we were introduced to directors, producers and writers of all genres – Ben Sombogaart, Burny Bos and many others (see names in the end). Documentary, animation and fiction, age groups approaches, laws and regulations, censorship, grants and other mechanisms of financing, music and dances, sexual differences that have impact on the perception – it was all there and all into our discussions. For a while I had to return to my everyday routine as Christmas was coming but the year further was already planned well. And when everything seemed fine, I heard from Goran again: Dramatiska Institutet is pulling out of PINOCCHIO! It is not my job to comment this and I had no time to grieve over it. The only thing I had to do was to find a new partner. It took quite some time – also because I decided not to go for an educational institution but for a production company, and also because I wanted it to be from the Nordic region – the region that produces the major part of children’s films in Europe. I spent the whole year searching for the right one and in the end I found it – this happened to be Film I Skane, a Swedish company which recently decided to turn all of its production to the children’s market. Together with Ralf Ivarsson, its Director, and Lisa Nyed – his first AD - we formed a new strategy for holding up the next PINOCCHIO Workshops and even for integrating them in a whole continuous training program. I also found the right tutors. Their names can be found further in the report but I am happy to announce one of them here, as we are in Australia - the well known guru and expert from the Australian Chidren’s Film/TV Foundation – Dr. Patricia Edgar. All this was a very important result but this wasn’t all for the 2001-2. As I said – promoting PINOCCHIO and creating a network was as important. The Oulu Festival and the BUFF Festival were two of the forums where I found really precious contacts and participation in them turned out to be well rewarded. In Oulu’2001 festival director Penti Kejonen, POEM Director Markku Flink, writer/directors Sakari and Hanna Kirijavainen, Saara Cantell and Joona Tena, Laon film festival President Raymond Lefevre and Vice-President Paul Ben-Said and many others consulted me in regard to organization of festivals, TV and film production in Finland, France, Sweden, Canada, etc. And BUFF’2002 was another major event for PINOCCHIO as I was invited by the above mentioned Lennart Strom and Ralf Ivarsson to provide a special lecture under the title Chidren’s or Childish: Adults' views on children from a historical perspective. Cognition development as a story decoding factor. Screenwriting problems in children's films discussed in the light of current sociological research. It inevitably had to include all our achivements and this was the best place to check whether we have managed to develop a good training program. I pitched all the ideas from the still hot Workshop 1 (March 2002, Sofia, Bulgaria). Response was great.

TURKEY AND INDIA: Sounds exotic after the section on Europe but I have to say that in those two countries the PINOCCHIO ideas and platform were heartily accepted and developed. Although Turkey is not a member of CILECT yet (I am working on changing that) it has a powerful education scheme in the film/TV field and lots of it is connected with children’s production. I managed to contact with probably the most important schools in the country – Istanbul University and Mimar Sinan University. Prof.Dr. Sami Sekeroglu, Prof.Dr. Simten Gundesh, Alev Idrisoglu, Selcuk Hunerli, Jem Odman and many others contributed enormously to the ideas of the project by providing both research literature and films. In May/June 2001 we exchanged students and films for similar panorama events in Istanbul and Sofia and a major part of the stuff shown there was exactly: children’s films. A continuation of the same events is planned for the respective period in 2002 and further years. Meetings with famous directors added flavor to the screenings and obtaining precious Turkish children’s films enriched the library we are creating. India was unexpected. It wouldn’t have happened hasn’t it been for our friend from FTII-Pune, Dr. Mohan Agashe, who has suggested to Sai Paranjpey, the President of the Children’s Film Society in India, the idea of inviting me to the well known festival in Hyderabad. As a member of the International Jury I had the opportunity to really get acquainted with almost everything new and valuable that has PINOCCHIO-2 Page 4

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002 been created in the children’s area in the last two years. Hyderabad’s slate included more than 160 films from all genres as well as several panoramas and tributes. Never in my life have I seen such a quantity of children gathered at one place. Just for information I would like to cite that the festival calculated more than 1 000 000 admissions at its theatres during the festival week. And one other important thing – Sai Paranjpey, a director herself, embraced my proposal for opening a special students’ section in the next edition of the festival. She is also ready to introduce a special CILECT or PINOCCHIO award (if we wish to provide any funds for it) and to place it under the jurisdiction of the Children’s jury (very important if we want popularity!). Producer DVS Raju, Chinese director Huang Shu Qin, Iranian director Ebrahim Fourouzesh, Egyptian animator Zienab Zamzam and producer Layaly Badr and tens of directors, actors, writers and cinematographers from India and the whole of Asia shared their experiences and knowledge with me. India was truly a jewel in the crown.

BULGARIA again. One can be sure that after all these meetings I came to Bulgaria full of energy to finally hold the long intended workshop. Most of you know how depressed I was after I didn’t receive enough applications. And maybe if it wasn’t for my friends from the Executive – Wolfgang Langsfeld, Don Zirpola, Henry Verhasselt and Henning Camre (again!) - who all demanded that I hold it, I would have still grieved. It turned out to be a revelation and a test for every step up to now. But anyone interested will find out more information about it in the special section in this report. (And in the special booklet which is to be published after the follow up session in Sweden in July.) As for now I stop here and acknowledge once again the enormous help of the following experts in the audio-visual production for children:

Anette Funch Thomassen Programme Director, North by Northwest, DENMARK Anne Ingvar Producer, Felicia Film, SWEDEN Alev Idrisoglu Vice-dean, Film/TV dept., Mimar Sinan Univ., Istanbul, TURKEY Asa Sjostrom Director, SWEDEN Ayse Buchara Director/Writer, GERMANY Ben Sombogaart Fiction Film Director, NETHERLANDS Bitte Eskilsson Expert, Swedish Film Institute, SWEDEN Burny Bos Producer, NETHERLANDS Caecilia Holbek Trier Director, DENMARK Cecilia Forgren Producer, SWEDEN Charlotte Denward TV Distributor, Expert, Swedish Film Institute, SWEDEN Charlotte Giese Danish Film Center, Children’s Dept., DENMARK Dr.Renate Gompper Director, SOURCES, GERMANY DVS Raju Producer, INDIA Ebrahim Forouzesh Director, IRAN Elisabeth Lysander Swedish Film Institute, SWEDEN Ella Lemhagen Director, SWEDEN Felix Vanginderheusen Distributor, Head ECFA, BELGIUM Harry Peters Director, CINEKID, Amsterdam, NETHERLANDS Hanna Kirijavainen Writer/Director, FINLAND Harald Hamrell Director, SWEDEN Huang Shu Qin Director, CHINA Ingebjorg Torgeresen Director, NORWAY Ingela Magner Writer/Director, SWEDEN

PINOCCHIO-2 Page 5

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002

Ingrid Edström Expert Production and Distribution, SWEDEN Irene Wellersdorff Head of Production, Kinderkanal, GERMANY Jem Odman Prof., Film/TV dept., Mimar Sinan Univeristy, Istanbul, TURKEY Ivanka Grubcheva Fiction Film Director, BULGARIA Joona Tena Writer/Director, FINLAND Kalle Fürst Head, Children’s Dept. NBK, NORWAY Kine Aune Animator, SWEDEN Kjell Grede Director DI, SWEDEN Klaus Haro Director, FINLAND Lars Petersson Producer/Director/Writer – Film Form AB, SWEDEN Layaly Badr Vice President, Art Teens Channel, EGYPT Lennart Strom Director, BUFF, SWEDEN Lisbeth Gabrielsson Producer/Director, SWEDEN Lise Lense-Möller EAVE, SWITZERLAND, DDF,DENMARK Mari Marten-Bias Wahlgren Director, SWEDEN Mariana Evstatieva-Biolcheva Fiction Film Director, BULGARIA Marion Gompper Vice-Director, SOURCES, GERMANY Markku Flink Director, POEM, FINLAND Marko Stoychev Screenwriter, BULGARIA Martin Thau Writer, Executive Director - Drehbuchwerkstatt Munchen, GERMANY Mogens Rukov Professor of Screenwriting – DDK, DENMARK Monica Boracco Writer/Director, Norwegian film center, NORWAY Nikolaj Scherfig Writer, DENMARK Ola Tedin Ex-Director, BUFF, SWEDEN Patricia Edgar Executive Director - Australian Children's Film and TV Foundation, AUSTRALIA Paul Ben-Said Vice-President, Children’s IFF, Laon, FRANCE Pentti Kejonen Director, Children’s IFF, Oulu, FINLAND Rada Moskova Screenwriter, BULGARIA Ralf Ivarsson Director, Film I Skane, SWEDEN Raymond Lefevre President, Children’s IFF, Laon, FRANCE Richard Simkin BBC, UK Roger Cantin Director, CANADA Rolf Orthel Chairman, SOURCES, NETHERLANDS Rosa M Gonzales UNESCO, FRANCE Rosmarie Strand Swedish Film Institute, SWEDEN Rumen Nikolov Producer/Writer, Bulgarian National TV – Children’s Programs Saara Cantell Writer/Director, FINLAND Sai Paranjpey Fiction Film Director, Chair of the Children’s Film Society, INDIA Sakari Kirijavainen Director, FINLAND PINOCCHIO-2 Page 6

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

Sami Sekeroglu Prof. Dr. Dean, Film and TV School, Mimar Sinan University, Istanbul, TURKEY Selcuk Hunerli Animation Prof., Film/TV Dept. Istanbul University, TURKEY Séverine Gautier Executive Manager, le Conservatoire Européen d´Ecriture Audiovisuelle, FRANCE Signe Zeilich-Jensen CINEKID Amsterdam, NETHERLANDS Simten Gundesh Prof. Dr., Documentary, Chair Film/TV dept., Istanbul Univeristy, TURKEY Susan Benn PAL Labs, Kent, UK Suzanne Müller Head of EBU’s Children Dept. GERMANY Ursula von Zallinger General Secretary of Prix Jeunesse, GERMANY Zienab Zamzam Animator, Chairman of EDIA, EGYPT

PINOCCHIO-2 Page 7

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002

2.2 GÖRAN’S JOURNEYS (Göran Gunér, Vice Chair) Those of you who have read my part of the PINOCCHIO report for Ebeltoft’2000 will remember that I concentrated it mainly around the visits I had in England at the PAL Labs and on the ambitious Kjell Grede Project. I had no time to really summarize my other meetings and I was not sure what effect they could have on the report. Now I feel it’s the right time to include them together with the follow-ups they lead to.

UK: Just a few weeks before Ebeltoft I had an inspiring meeting in London with Richard Simkin, previously active with childrens´ programming at BBC. He told me about EBU’s drama exchange activities where you have to face the problems of languages in the different member countries. The solution is to use storytelling with voice over, which facilitates the making of versions for different audiencies. Simkin recommended us to contact Anna Hume, former head of Childrens´ Dpt at the BBC now leading the Childrens´ Film Foundation and he mentioned Marilyn Fox of Granada TV, Philippe Jacot, EBU and Theresa Plummer Andrews - head of acquisitions and coproduction at the BBC. In Ireland a possible contact would be Kevin Linehan from Dublin – head Children´s Film Unit. And in France – maybe Pierre Marchand, active at Gallimard´s dpt for books for children. Finally: the new head of BBC Greg Dyke who was just about to launch a concentration on quality.

NORWAY: A couple of weeks later I went off again to gather information. To prepare this trip I had a meeting with Kalle Fürst from NRK, the Norwegian Broadcasting company, where Kalle is the head of children´s department. He is also the vice chairman in the EBU exchange of childrens´films. He told us that EBU:s drama cooperation is based on 15 min long fiction stories for children 6 – 9 years old. Each year 13 such films are made. Only 2-3 of the turn out to be pretty good. There is a three year plan for this European cooperation. In the near future they will make 25 min films instead of 15.

GERMANY: I headed for Munich to meet with Ursula von Zallinger, general secretary of Prix Jeunesse, a biannual festival for children´s TV from all over the world. Ursula von Zallinger also mentioned some experts for us to contact:. Danielle Lunenburg Dutch TV-station NHS VPRO and the Dutch Production company run by Burny Bos. I continued to Mainz where I met Suzanne Müller, head of EBU’s drama exchange for children and also one of the persons responsible for the newly established Kinderkanal, a special channel for children. Suzanne Müller mentioned an ongoing cooperation with Reinhard Hauff and his students at the German Film und Fernseh Akademie in Berlin. She also mentioned Nathalie Labourdette, active at EBU Geneva and Séverine Gautier from the Pygmalion project in Paris – see more below.

I also talked with Irene Wellersdorff, head of production at Kinderkanal, which has proven to be very popular among kids – more popular than the commercial ”Nickelodeon.” Kinderkanal is finaced by a raise of license-fees that was made possible after the politicians were made aware of the need of quality tv for children. Thus Kinderkanal has a yearly budget of 45mill. USD. The channel transmits daily between 06.00 – 19.00. Irene Wellersdorff said there was a lack both of good drama and documentaries for children.

BELGIUM: Next stop was Brussels and a meeting with Felix Vanginderheusen, film distributor, specialised in childrens ´ filmsand the head of the European organisation for childrens´ Film festivals ECFA. ECFA organises conferences, has exchange of information about good films for children and has a simple member newsletter. ECFA has tried to influence the Media Programme and has managed to get a short sentence into the directives: priority should be given to children and the young. The main yearly seminar allways takes place in Como, Italy. Vanginderheusen recommended Bernie Bos (again!), the Danish producer Per Holst and the Italian director Gianni Amelio. Finally I also had a meeting with Neill MacCall at the main MEDIA office. He was a nice man but did not understand why children´s films should be of special interest.

PINOCCHIO-2 Page 8

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

NETHERLANDS: In Amsterdam I met with Signe Zeilich-Jensen of Cinekid and Jeanne Wikler from Maurits Binger Instituut. Jeanne then was absolutely sure that there is not a good future for European cooperation about childrens´ films. There is simply too little money to earn in this area and thus no incentive for the industry. This did not prevent the Maurits Binger Instituut not much later to establish training programmes for kids ´films!

Almost simultaneously with the Ebeltoft Congress the Nordic Council of Ministers granted USD 15.000 to my application which planned the arranging of a Nordic European Seminar on children´s films and on how to develop training and curricula in this field at film schools. This made possible further investigations, often together with Stanislav Semerdjiev – Chair of the Pinocchio Project.

GERMANY: In June I went to Prix Jeunesse again - a very interesting experience and a chance to once again meet with many of those here mentioned. I got plenty of documentation there – the most precious though was the thick file we got containing information about all the films and programmes screened. The level of quality of the winning films was quite high, but there was only a thin layer of that standard. Was this the best from all over the world? Is there not more made aimed at children and made with ambition, money and talent?

NORWAY/NETHERLANDS: The same question Stanislav and I put to ourselves after having visited the screening of Nordic Children´s films in Haugesund, Norway in August 2000 and Cinekid in Amsterdam in October 2000. We saw that the best production conditions are offered in the Nordic Countries and in the Netherlands. The consequnce is a fairly high quality level and a reasonable though not sufficient number of good films.

It was at this time that I understood there was no use of arranging a seminar on training activities for children´s films. We learnt enough through the contacts and journeys we took and were able to formulate the principles for a curriculum. We tried to get financing from the Nordic Council of Ministers to organize one of two or three workshops in Sweden. Our application was rejected – the Council found our project too international to be funded through them. From this I found big difficulties for us in Sweden to house an international workshop and together with Kjell Grede we decided to withdraw Dramatiska Institutet from this way of developing Cilect´s Pnocchio project and instead contribute to the promotion of the making and training of/for children´s films on a more pure Nordic basis.

FRANCE: The last journey to investigate possible sources of international financing for Pinocchio was made by me in December 2000. I then visited UNESCO in Paris where I met with Rosa M Gonzales ([email protected]) . She took great interest in our project but had to say that she and UNESCO only could support third world countries include. to some extent Eastern Europé. In Paris I also met with Séverine Gautier, from Le Conservatoire Européen d´Ecriture Audiovisuelle. Séverine was nice, effective and clever – I was very impressed by how she was managing the Pygmalion project – a script training programme aimed at tv-series for the young. Now they were in their second phase. These two last meetings did not help us further for Pinocchio but they were a valuable addition to our list of useful contacts.

SWEDEN: Although we were already withdrawing from CILECT’s PINOCCHIO my interest in the field was still very high so in January 2001 I attended the large conference organized by the Swedish government about children and media in Stockholm. Since the conference was more about the harmful sides of contemporary media it did not give us much to use for Pinocchio. But violence in media, media concentration and advertising aimed at children are very important issues to consider as special parts of the training. This conference produced some valuable docuements that I have saved. Statistics and

PINOCCHIO-2 Page 9

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002 other facts are collected and evaluated through Nordicom which houses the UNESCO International Clearinghouse on children and violence on the screen.

Sadly enough, this was actually the last thing I did in my capacity as a Vice-Chair… But I hope I will be able to be of help to any of you who would need my advice or contacts through me. And I know that PINOCCHIO will continue with or without me – this is what makes me at least a little more cheerful.

NB: Here are some useful addresses: • The American Center for Children and Media E-mail: [email protected] • CIFEJ - international organization for childrens´ films www.media-awareness.ca • ECTC. European Children´s Television Centre www.children´s-media.org • Egmont Media www.egmont.com • Parent Power www.fau.org.uk • EU Net ArtEuropean Network of Art Organisations for children www.eunetart.org • Swedish Film Institute www.sfi.se • Danish Film Institute www.dfi.dk • Norwegian Film Institute www.nfi.no • Swedish Education Broadcastng www.ur.se • Valhalla, Nordic Network for Children´s & Youth Culture www.valhalla.norden.org • UNICEF www.unicef.org • TVE Children www.tve.org

PINOCCHIO-2 Page 10

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

3. RIP (REPRESENTATIVE INFORMATION POOL) In all my meetings with experts – professional practitioners, researchers and educators – I always asked these three questions: 1. Which fiction films/TV programs are the most important to be shown to our students? 2. Which children’s film/TV festivals are the most useful for showing our students’ productions? 3. Which research publications on children’s perception/psychology are the most practical for our students and professors?

The three different tables that I propose to you now may not be called “sociologically representative” as the research process has not been carried out using the well known tools of the much respected science. These tables are the result of hundreds of conversations – sometimes not even making the 268 interviewees aware that their opinions would become part of some systematized scientifical research. Nevertheless I am convinced that they contain quite precious information and above all – that this information conveys the extremely positive personal aura of the people who have spent lots and lots of years in the field (and in some cases – almost a whole productive life).

3.1 The Most Important 100 Children’s Fiction Films Ever

Children’s Films (for all the age groups between 3-12) undoubtedly are a subgenre of the much broader genre of the Family (General Audience) Films. Basically it is close to impossible that a child of that age would watch alone unless it lives in a dysfunctioning family or by chance has an opportunity to skip away from parent/guardian control. Therefore from the very beginning of the research I knew that when looking for classical film examples (in the case of creating the RIP) or for would-be film classics (in the case of organizing workshops and stimulating the development of scripts) I had to put some distinct criteria that underline the above differentiation. Well, one has to admit that it is a difficult task to define what a child appreciates and wants to watch. A more difficult one it is to find out what would the child’s memory preserve, what would affect it to the extent which would (de)form all its future adult life. How can we skip the facts: • that our childhood games were deeply affected both by the life of Pippi Longstockings and that of Robinson Crusoe; • that we were swirling in the most flamboyant fantasies with Peter Pan and Mary Poppins but our imagination was not less triggered by the worlds of Superman, Luke Skywalker and Indiana Jones; • that we cried as bitter as we could both for Oliver Twist’s and the Little Mermaid’s unhappy fates but also at Don Quixote’s and Spartacus’s tragic endings; • that our hearts were beating intensely with the desire to find out what would happen to Remi or Maugli but they were trembling not less powerfully at every move of Robin Hood, d’Artagnan, Fanfan the Tulip and the Count of Monte Christo; • that we were singing happily with Dorothy in the wonderful land of Oz but we were also dancing and kissing to death under the melodies of Grease and Saturday Night Fever; • that we were laughing with the mischievous Max and Moritz till we had to run to the toilet but that we had no less fun with Tartaren de Tarascon or Baron von Munchausen.

The careful reader though will easily find out that this selection DOES NOT include (no matter how popular they might be with children’s audience!) ANY films in which the protagonist is an adult.

PINOCCHIO-2 Page 11

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002

The arguments for such a decision lie down not in the lack of appreciation for those films but in the firm belief that The PINOCCHIO Project (and CILECT) should support and encourage the production of films in which the world is seen through a CHILD’S POV.

Although without whatsoever doubt that they enormously enrich the treasury of the Children’s Films sub-genre any films which one could label as animation or documentary had to also be completely excluded from the proposed selection for the obvious reason that at this stage of its development the PINOCCHIO-2 Project was only directed towards the stimulation of fiction film/TV making.

It is reasonable here to note too that maybe some of the films proposed in this selection should not be shown to our children of today. There is a high risk that they would find them boring and probably even uncomprehensible. But I am more than convinced that our students (even the ones who don’t intend to start a carreer in children’s film/TV making) MUST watch at least some of them. Only thus we can give them a chance to understand that films intended for the target group of children should not be considered as second-rate production either in quality or content (this is exactly what 95% of them think right now!); and also – that there is a great potential audience neglected. An audience which, if reached, could later become the most dedicated adult fans of their future products for adults.

And finally, it is also important to point out that in order to be selected in this list films had to stand to several criteria, amongst which the most important ones were:  Comprehensibility (i.e. the plot is clear and understandable for the children from the intended target age group)  Involvement (i.e. the plot is not told in a didactic way but allows children to also entertain themselves while watching the film)  Uniqueness (i.e. the plot strives to preserve its national identity in the global world)  Spirituality (i.e. the plot encourages children to perceive human existence from a positive POV) and  Aesthetical Film Quality (i.e. the imagery is powerful and the plot allows possibilities for the personal growth of children).

PINOCCHIO-2 Page 12

THE MOST IMPORTANT 100 CHILDREN’S FILMS EVER (in alphabetical order)

01. English Title Original Title Country Year Director Adventures of Goopy and Bagha, The Goopy Gyne Bagha Byne INDIA 1968 Satjajit Ray Synopsis: Two wandering musicians encounter the King of Ghosts who offers them three wishes and a pair of magic slippers.

02. English Title Original Title Country Year Director Adventures of Pinocchio, The Le Avventure di Pinocchio ITALY/ 1972 Luigi Comencini FRANCE Synopsis: The well-known story of Pinocchio, the wooden boy that manages to pass all the dangerous temptations of real life and finally grows up to become a human boy.

03. English Title Original Title Country Year Director Adventures of Remi, The Sans Famille FRANCE 1958 Andre Michel Synopsis: Remi, a little boy from wealthy background, is sold to a wandering player by his foster parents, but is sought by an Englishman, acting for a wicked uncle.

04. English Title Original Title Country Year Director Ake and His World Ake Och Hans Varid SWEDEN 1984 Allan Edwall Synopsis: Six-year-old Ake, the son of a country doctor, commits a small misdemeanor and imagines that all sorts of punishments will befall him.

05. English Title Original Title Country Year Director Alice Neco Z Alenky CZECHO- 1988 Jan Svankmajer SLOVAKIA Synopsis: Alice bored, sits in a room full of strange objects. When a stuffed white rabbit comes to life in his glass case, dresses up and leaves through an open table drawer, she follows him and falls down a deep tunnel to a cellar. She sets off in pursuit through a maze of subterranean vaults, meeting among others a hookah-smoking caterpillar, the Mad Hatter, the March Hare and the King and Queen of Hearts.

06. English Title Original Title Country Year Director Alsino and the Condor Alsino Y El Condor NICARAGUA 1982 Miguel Littin Synopsis: A 12-year-old peasant boy from a jungle village in Nicaragua during the struggle against Somoza dictatorship, dreams of flying like the helicopters he sees.

07. English Title Original Title Country Year Director Babe Babe AUSTRALIA 1995 Chris Noonan Synopsis: Babe, a pig raised by sheepdogs, learns to herd sheep with a little help from Ferdinand the duck who thinks he is a rooster, Fly the dog who he calls mom and most of all from his master - Farmer Hoggett.

08. English Title Original Title Country Year Director Bach and Broccoli Bach and Broccoli CANADA 1986 Andre Melancon Synopsis: Fanny is only 10 and Grandma can't take care of her anymore so she moves in with Jean-Claude, her uncle. But Jean-Claude is used to live alone and he doesn't know much about children. While trying to find a new family for Fanny (even though she doesn't want to hear about it), Jean-Claude is learning a lot about himself and his relations with others.

09. English Title Original Title Country Year Director Behold Thy Son Kiiroi Karasu JAPAN 1957 Heinosuke Gosho Synopsis: When his father, whom he has never seen, returns home from an enforced 10-year sojourn in China, a young boy suffers intense feelings of resentment at the intrusion of a “stranger”, which increase when a baby sister is born.

10. English Title Original Title Country Year Director Big Big USA 1988 Penny Marshall Synopsis: When a boy wishes to be big at a magic wish machine, he wakes up the next morning and finds himself in an adult body literally overnight. Now he must learn how to cope with the unfamiliar world of grown ups including getting a job, and having his first romantic encounter with a woman.

11. English Title Original Title Country Year Director Billy Elliot Billy Elliot UK/FRANCE 2000 Steven Daldry Synopsis: Eleven-year old Billy Elliot, whose father and brother are participating in the minors’ strike, whose mother has died quite some time ago and whose grandmother is not completely aware of what's going on, doesn't like the brutal boxing lessons at school. Instead, he falls for the girls' ballet lessons. He keeps on training secretly but when his teacher gets him an audition for the Royal Ballet School, he finally has to open his heart to his family.

12. English Title Original Title Country Year Director Boot Polish Boot Polish INDIA 1954 Prakash Arora Synopsis: Innocent 10-year old Bhola and his younger sister Belu (7) beg every day on the streets of Bombay and live in constant abuses, bickerings and beatings from Kamla Chachi had made the lives of these kids a veritable hell. Their only ray of hope is their neighbor, an old eccentric boot legger with a sharp tongue but a golden heart. He inspires them to start the work of polishing boots.

13. English Title Original Title Country Year Director Boy Shonen JAPAN 1969 Nagisa Oshima Synopsis: A 10-year-old boy is trained by his parents to be knocked down by cars so that they can demand money from the frightened drivers before moving onto the next town.

14. English Title Original Title Country Year Director Boy Who Stopped Talking, The Le Garcon Qui Ne Voulait Plus Parler Netherlands 1996 Ben Sombogaart Synopsis: In order to escape from the troubles in Turkey, Mohammed joins up with his father living in exile in Netherlands. Completely lost in a country he doesn’t wish to remain in, he refuses to utter a single word.

15. English Title Original Title Country Year Director Boys of Paul Street, The A Pal Utcai Fiuk HUNGARY 1967 Zoltan Fabri Synopsis: A mock war between the boys in the neighborhood slowly turns into a real war and seems to get out of hand all too quickly. Finally all the participants understand that a game should not make us forget that we are humans.

16. English Title Original Title Country Year Director Bruno-Sunday’s Child Bruno, L’enfant du Dimanche FRANCE 1968 Louis Grospierre Synopsis: Thirteen-year-old Bruno, whose parents’ divorce is about to come through, sees his father, whom he adores, one Sunday in each month but, during the August holidays, they spend a long weekend together in Belgium.

17. English Title Original Title Country Year Director Bugsy Malone Bugsy Malone UK 1976 Alan Parker Synopsis: A gangster movie where all the gangsters are children. Instead of real bullets they use "splat guns" that cover the victim in cream. The story tells of the rise of "Bugsy Malone" and the battle for power between "Fat Sam" and "Dandy Dan".

18. English Title Original Title Country Year Director Children of Petroleum Bacheha-ye-Naft IRAN 2001 Ebrahim Forouzesh Synopsis: In the absence of the father, the family lives on the verge of poverty. The 11-year old son risks his life to save his sister from a forced marriage with an old creditor.

19. English Title Original Title Country Year Director Chuquiago Chuquiago BOLIVIA 1977 Antonio Eguino Synopsis: Four stories about four people from different social strata in La Paz: an Indian boy, working for a drink vendor, a restless teenage son of workers, a middle-aged lower middle-class functionary and playboy and a university student and spoiled daughter of the haute bourgeoisie.

20. English Title Original Title Country Year Director Cinema Paradiso Nuovo Cinema Paradiso ITALY 1988 Giuseppe Tornatore Synopsis: Salvatore, a little boy whose father has been killed in World War II, lives with his harassed mother in the grimness of a small, war-torn Sicilian village where the local priest rules with a rod of pious iron. He finds refuge from the daily misery of life by sneaking into the cinema where he becomes a thorn in the side of Alfredo, the projectionist.

21. English Title Original Title Country Year Director Color of Paradise, The Rang-e-khoda IRAN 1999 Majid Majidi Synopsis: Blind Mohammad loves nature and wants to study but his father is ashamed to show him to his would be wife and prefers to leave him in the village to become a carpenter’s apprentice. Only after Grandma takes crucial steps the boy gets a chance to live a decent life and the Father understands his mistake.

22. English Title Original Title Country Year Director Come and See Idi I Smotri USSR 1985 Elem Klimov Synopsis: A boy is unwillingly thrust into the atrocities of war in WWII Byelorussia, fighting for a hopelessly unequipped resistance movement against the ruthless German forces. Witnessing scenes of abject terror and accidentally surviving horrifying situations he loses his innocence and then his mind.

23. English Title Original Title Country Year Director Dog in a Drawer Kuche v Chekmedzhe BULGARIA 1982 Dimitar Petrov Synopsis: Three children decide to buy a dog together and to care for him at shifts during the week. But with the dog’s coming, problems also come because adults would much rather prefer their children to have plush dogs in drawers.

24. English Title Original Title Country Year Director E.T. – The Extraterrestrial E.T. – The Extraterrestrial USA 1982 Steven Spielberg Synopsis: An alien is found by 10 year old Elliot. Through their friendship E.T learns about life on earth and Elliot learns about some new values for the true meaning of life.

25. English Title Original Title Country Year Director Emil and the Detectives Emil Und Die Detektive GERMANY 1931 Gerhard Lamprecht Synopsis: Young Emil becomes a hero when he tracks down a notorious thief with the help of the child population of Berlin.

26. English Title Original Title Country Year Director Forbidden Games Jeux Interdits FRANCE 1952 Rene Clement Synopsis: In 1940, as refugees flee the Germans, an orphaned five-year-old girl and the young son of a peasant family who takes her in, build a cemetery for animals, stealing crosses from the churchyard to do so.

27. English Title Original Title Country Year Director Forest, The Kaalu INDIA 1973 Girish Karnad Synopsis: Kitti, a ten-year-old boy, accompanies his aunt on a nocturnal visit to the witchdoctor in the forest to obtain a spell to stop his uncle spending his nights with a widow.

28. English Title Original Title Country Year Director 400 Blows Les Quatre Cents Coups FRANCE 1959 Francois Truffaut Synopsis: A 12-year-old Parisian boy, neglected by his mother and step-father, plays truant and takes to petty crime. He is placed in a reform school, but escapes to the coast.

29. English Title Original Title Country Year Director Freedom is Paradise SER USSR 1989 Sergei Bodrov Synopsis: Thirteen-year-old Sasha is an inmate of a residential school for problem children. His mother is dead and his father, whom he has never known, is in prison far across the country. The boy, who has FIP (Freedom is Paradise) tattooed on his wrist, is determined to escape and find him.

30. English Title Original Title Country Year Director Germany, Year Zero Germania, Anno Zero ITALY 1947 Roberto Rossellini Synopsis: In Occupied Berlin, a 17-year-old boy, trying to feed his family, poisons his sickly father to lessen the burden, but unable to live with the deed, he throws himself off a ruined building.

31. English Title Original Title Country Year Director Goodbye, Children Au Revoir Les Enfants FRANCE 1987 Louis Malle Synopsis: January 1944. Jean Bonnet, an intelligent and reserved boy, arrives at a Catholic boarding school where he becomes friendly with Julien, one of the brightest pupils at the school. Julien gradually discovers that Jean is one of three Jewish boys given refuge by Father Jean.

32. English Title Original Title Country Year Director Good Morning Ohayo JAPAN 1959 Yasujiro Ozu Synopsis: Two young boys living with their parents in suburban Tokyo, are refused a TV set. Told to shut up by their father, they take a vow of silence, refusing even to say ‘good morning’ to a neighbour.

33. English Title Original Title Country Year Director Grandma Yaaba BURKINA 1989 Idrissa FASO Ouedraogo Synopsis: In a remote tribal village in Burkina Faso, two young cousins, Nopoko and Bila are in the cemetery conducting a ritual in memory of Nopoko’s dead mother. They are watched by Sana, a very old woman who, having been orphaned in childhood, lives as an outcast and is thought to be a witch. At first fearful of the woman, the children gradually strike up a relationship with her and finally begin to call her Grandma.

34. English Title Original Title Country Year Director Harry Potter & the Sorcerer’s Stone Harry Potter & the Sorcerer’s Stone USA 2001 Chris Columbus Synopsis: Tortured by his aunt’s family 11 year-old orphan Harry Potter finds out that he is the son of wizards, killed by the evil Voldemort. Harry goes to a special witch school where he experiences tons of adventures and acts brave and with dignity in all the dangerous situations.

35. English Title Original Title Country Year Director Home Alone Home Alone USA 1990 Chris Columbus Synopsis: An eight year-old, who is accidentally left behind while his family flies to France for Christmas, has to defend his home against idiotic burglar's.

36. English Title Original Title Country Year Director Hooligans, The Los Golfos SPAIN 1959 Carlos Saura Synopsis: To finance their friend Juan, in his ambition to become a bullfighter, a group of slum boys, living on the outskirts of Madrid, turn to crime and get one of their number killed.

37. English Title Original Title Country Year Director Hugo and Josephine Hugo Och Josefin SWEDEN 1967 Kjell Grede Synopsis: Lacking playmates, Josephine is lonely and unhappy until she meets Hugo, whose conscientious-objector father is in prison, and who spends most of his time in the woods and fields. The children become close friends, sharing their thoughts and many adventures.

38. English Title Original Title Country Year Director Ice Palace, The Is-Slottet NORWAY 1987 Per Blom Synopsis: Unn and Siss, two 11-year-old schoolgirls in a remote Norwegian village, develop a close friendship. One afternoon they remove their clothes and awaken mutual consciousness of their sexuality. The emotional shock of their feelings disturbs both of them, particularly Unn.

39. English Title Original Title Country Year Director Ikingut Ikingut ICELAND 2000 Gisli Snaer Erlingsson Synopsis: In the middle ages a small Greenland boy comes drifting with an Iceberg to a remote and superstitious settlement in Iceland and is believed to be an evil spirit by his looks. He saves a young boy from an avalanche and they become friends. The young Icelandic boy has to fight for his friend’s existence against the ignorant villagers, who want him imprisoned or even killed.

40. English Title Original Title Country Year Director I’m Jumping Over Puddles Again Uz Zase Skacu Pres Kaluze CZECHO- 1970 Karel Kachyna SLOVAKIA Synopsis: Little Adam, whose father trains and rides horses for the Imperial stables of the Austro-Hungarian Empire, dreams of the day when he will be old enough to participate, but contracts polio which paralyses both his legs. Determined to ride, the boy fights his disability.

41. English Title Original Title Country Year Director Impudent Girl, An L’Effrontee FRANCE 1985 Claude Miller Synopsis: Thirteen-year-old Charlotte lives with her widowed father and older brother. Shy, withdrawn, and feeling unloved, because she is gawky, she relies on the housekeeper and a sick younger child for company.

42. English Title Original Title Country Year Director Ivan’s Childhood Ivanovo Detstvo USSR 1967 Andrei Tarkovsky Synopsis: When 12-year old Ivan’s family is wiped out by the Nazis, he is hell-bent on revenge and joins a detachment of Partisans who are able to use his size and agility for intelligence purposes.

43. English Title Original Title Country Year Director I was Born But … Umarete Wa Mita Keredo JAPAN 1932 Yasujiro Ozu Synopsis: Two boys aged 10 and eight, see their father whom they love, kowtowing to his boss and playing the fool in order to ingratiate himself. Disgusted, they go on hunger strike until things become clearer to them.

44. English Title Original Title Country Year Director Jaime Jaime PORTUGAL 1999 Antonio-Pedro Vasconcelos Synopsis: When Jaime finds out that his mother’s lover has stolen all his hard-earned money, he runs away to his father’s miserabale barrack. But the depressed father hangs himself and Jaime’s best friend dies in a incident at the place they illegally work. Will jaime be able to begin a new life and to finish school after all the sorrow in his life?!

45. English Title Original Title Country Year Director Juliana Juliana PERU 1988 Fern. Espinoza Alejandro Legaspi Synopsis: A little girl who dresses like a boy joins a gang that her brother is in and finds out what life really means.

46. English Title Original Title Country Year Director Kes Kes UK 1969 Ken Loach Synopsis: Billy Casper comes from the poorest end of town. He is beaten up regularly by his elder brother and disregarded by everyone. Then one day he sees a wild kestrel and this leads to a whole new side of his character being discovered.

47. English Title Original Title Country Year Director Kid, The Kid, The USA 1921 Charles Chaplin Synopsis: Charlie finds a baby and makes a home for him. Five years later the mother who has become famous wants it back. The authorities come to take him away but Charlie steals him back. He is betrayed by the owner of a hostel where he hides but in the end things turn right and he is reunited with the kid at his mother’s mansion.

48. English Title Original Title Country Year Director Kolya Kolya CZECH 1996 Jan Sverak REPUBLIC Synopsis: In Soviet-occupied Czechoslovakia, a confirmed bachelor and a lady's man loses his place in the state orchestra and has to play at funerals. When a friend suggests a scheme for making a lot of money by marrying a Russian woman so that she can get a Czech passport, he agrees and finds himself left with the woman’s five-year-old son, while she escapes in West Germany. Life between them is difficult but finally they will manage un understanding.

49. English Title Original Title Country Year Director Labyrinth Labyrinth UK/USA 1986 Jim Henson Synopsis: Grown angry about the fact, that she must watch over her little brother Toby, Sarah wishes the child to the goblins who take this literally and get the child. In order to save him back Sarah has to find the way to The Goblin King Jarethґs castle through a dangerous labyrinth.

50. English Title Original Title Country Year Director Lazarillo El Lazarillo De Tormes SPAIN 1959 Cesar Ardavin Synopsis: A fatherless boy, abandoned by his mother, finds a living with a series of employers who are a blind beggar, a miserly sacristan, a fake nobleman and a troupe of traveling players. He encounters vanity, cupidity and deception, and learns the skills of cunning and connivance in order to survive.

51. English Title Original Title Country Year Director Little Ida Liten Ida NORWAY 1981 Laila Mikkelsen Synopsis: During the Nazi occupation of Norway in 1944, seven-year-old Ida has to endure an incomprehensible agony of loneness and malicious abuse because her mother takes up with a German soldier.

52. English Title Original Title Country Year Director Little Lord Fauntleroy Little Lord Fauntleroy UK 1980 Jack Gold Synopsis: By misunderstanding an old English earl asks 9-year old New Yorker Cedric and his mother to move to his place in England as they are his lawful heirs. The Earl is a penurious misanthrope, hated by everyone who knows him. But Cedric sees only good in him and soon the old man is completely changed for good. The sudden appearance of a vulgar American claiming that her spoiled brat of a son is the true heir is a more grievous blow to him than anyone would have thought possible.

53. English Title Original Title Country Year Director Little Match Girl, The La Petite Marchande d’Allumettes FRANCE 1928 Jean Renoir Synopsis: Unable to sell her matches, the destitute girl is reduced to striking them in the futile effort to keep warm and comforts herself with dreams of a fantasy world. In the morning her tiny, frozen body is found dead in the snow.

54. English Title Original Title Country Year Director Lone White Sail Byeleyet Parus Odinoky USSR 1937 Vladimir Legoshin Synopsis: Two young boys hide a mutinous sailor from the battleship Potemkin and help him to make contact with fellow revolutionaries in Odessa in 1905.

55. English Title Original Title Country Year Director Lord of the Flies, The Lord of the Flies, The UK 1963 Peter Brook Synopsis: Shipwrecked on an island, a group of castaway boys eventually revert to savagery despite the few rational kids' attempts to prevent that.

56. English Title Original Title Country Year Director Marcellino Marcelino Pan Y Vino SPAIN 1955 Ladislao Vajda Synopsis: Abandoned at birth on the steps of a humble monastery, Marcellino is brought up by the gentle monks who impart purity and compassion to the boy without curbing his high spirits. Finding a life-sized crucifix in the attic where he has been forbidden to go, he thinks the Christ figure is real and brings it food. Christ reaches out for it and thanks the boy.

57. English Title Original Title Country Year Director Mary Poppins Mary Poppins USA 1964 Robert Stevenson Synopsis: Two banker's children lose their nanny due to her frustration with them. A change in the wind blows in an assertive nanny who matches the qualifications of the children and not the father. As she helps them magically explore the world around them the father grows increasingly disapproving of her methods, and must eventually deal with his own distance from his children.

58. English Title Original Title Country Year Director Matilda Matilda USA 1996 Danny de Vitto Synopsis: While trying to put up with her parents’ & principal's cruelty, Matilda starts to unwittingly unleash telekinetic powers. With enough practice, she learns to control and use them on her principal so she can drive her away from the school.

59. English Title Original Title Country Year Director Melody Melody UK 1971 Waris Hussein Synopsis: Two ten year olds declare to their parents that they want to get married. Not sometime in the future but as soon as possible. And they are ready for sacrifices…

60. English Title Original Title Country Year Director Miracle in Milan Miracolo A Milano ITALY 1950 Vittorio De Sica Synopsis: Toto, a foundling rescued from a cabbage patch, grows into an optimist who loves his fellow men, thanks to the old lady who adopted him. Through force of circumstance, he becomes the youthful leader of a colony of homeless poor in Milan, and fights injustice with the help of a magic dove given to him by the ghost of his long-dead guardian.

61. English Title Original Title Country Year Director Muddy River Doro No Kawa JAPAN 1981 Kohei Oguri Synopsis: Nine-year-old Nobuo makes friends with Kiichi, a boy of his own age who lives on a barge with his sister and their widowed mother. When Nobuo’s parents learn that the widow is a prostitute, they warn him not to visit the barge at night but friendship between the boys is stronger.

62. English Title Original Title Country Year Director My Brother Has a Wondeful Brother Muj Bracha Ma Prima Brachu CZECHO- 1975 Stanislav Strnad SLOVAKIA Synopsis: Little Martin always follows his older brother Honza. Although Honza is mad at that, in the end it turns out that Martin is maybe his guardian angel who can help him in even impossible to be solved situations.

63. English Title Original Title Country Year Director My Home Is Copacabana Mitt Hem Ar Copacabana SWEDEN 1965 Arne Sucksdorff Synopsis: Four child outcasts from the underbelly of Rio make a home for themselves in a cliff-top shelter and carry out an existence by begging, pilfering and executing a number of ingenious con-tricks.

64. English Title Original Title Country Year Director My Life as a Dog Mit Liv Som Hund SWEDEN 1985 Lasse Hallstrom Synopsis: Twelve-year-old Ingemar lives with his dog, elder brother and sick mother until he is sent away to stay with relatives in a small country that seems populated entirely by eccentrics – an experience that entirely changes his views on life.

65. English Title Original Title Country Year Director Naked Childhood L’Enfance Nue FRANCE 1968 Maurice Pialat Synopsis: Ten-year-old Francois abandoned by his mother, is sent to a working-class foster family where his behavior is disturbed. After several incidents, including his throwing a cat down a stairwell to prove it can land on its feet, he is removed.

66. English Title Original Title Country Year Director Neverending Story, The Unendliche, Geschichte, Die GERMANY 1984 Wolfgang Petersen Synopsis: Tormented by school bullies little Bastian escapes into a book shop where he finds an ancient story-book. The book mysteriously gets him into the mythical land of Fantasia, which desperately needs a hero to save it from destruction.

67. English Title Original Title Country Year Director No Holiday for Inochkin Dobro Pazhalovat ili… USSR 1964 Elem Klimov Synopsis:

68. English Title Original Title Country Year Director Oliver Twist Oliver Twist UK 1948 David Lean Synopsis: Orphan Oliver Twist runs away from a workhouse and joins a household of young boys who are trained to steal for their master. Oliver, however grateful for being taken in, is not a thief and cannot live like one. Ultimately he finds decent people who help to bring him into his own.

69. English Title Original Title Country Year Director Oliver! Oliver! UK 1968 Carol Reed Synopsis: A musical version of the same old story of Oliver Twist – much more popular with children than the sad original:)

70. English Title Original Title Country Year Director Pelle The Conqueror Pelle Erobreren DENMARK 1987 Bille August Synopsis: At the turn-of-the 20th century, Lasse, a widowed farmer, and his nine-year-old son Pelle, leave poverty- stricken Sweden for what they hope will be a better life on the Danish Baltic Island of Bornholm. But the father finds himself little more than a slave as a cowherd, while his son suffers at the rural school. Pelle decides to leave and conquer the world.

71. English Title Original Title Country Year Director Pippi Longstockings Pippi Langstrump SWEDEN 1970 Olle Helbom Synopsis: NB: Actually there is also TV series and several movies (sequels) that are made by the same director and are worth seeing as they tell different episodes of the life of Pippilotta Victualia Transparanta Mentolka Ephraim Captain Longstocking…

72. English Title Original Title Country Year Director Pixote Pixote BRAZIL 1981 Hector Babenco Synopsis: During a routine police sweep of the squalid streets of Sao Paulo, Pixote, an abandoned 10-year-old boy, the effeminate 17-year-old Lilica and another youth are taken to a detention center. The three boys escape, aided by Lilica’s lover and get involved with a homosexual drug dealer and an aging alcoholic prostitute.

73. English Title Original Title Country Year Director Pollyanna Pollyanna USA 1920 Paul Powel Synopsis: When Pollyanna is orphaned, she is sent to live with her crotchety Aunt Polly. Pollyanna discovers that many of the people in her aunt's New England home town are as ill-tempered as her aunt. But Pollyanna's incurable optimism - exemplified by her "glad game," in which she looks for the bright side of every situation - bring a change to the staid old community.

74. English Title Original Title Country Year Director Prince and the Pauper, The Prince and the Pauper, The USA 1937 William Keighley Synopsis: On the same day two boys are born: the pauper Tom and prince Edward. As a kid, Tom sneaks into the palace garden and meet the prince. They change clothes with each other but the guards discover them and throw out the prince, since they are almost identical. Nobody believes them when they try to tell the truth. Soon after, the old king dies and the prince will inherit the throne.

75. English Title Original Title Country Year Director Red Balloon, The Le Ballon Rouge FRANCE 1956 Albert Lamorisse Synopsis: A boy finds a balloon - or is it the other way around? Together the pair wanders the beautiful streets of Paris, coping with grownups and the local bands of children. When one of the pair disappears, the loss is but temporary...

76. English Title Original Title Country Year Director Ronja, the Robber’s Daughter Ronja Rovardotter SWEDEN/ 1984 Tage Danielsson NORWAY Synopsis: During a thunderstorm, two children are born. A girl - the daughter of Mattis, the Robber, and a boy - the son of Borka, the leader of the other part of the stronghold. The two bands are the worst of enemies. But the two children grow older, each in their part of the strong hold, till one day, they are old enough to go out in the forest on their own, to meet its dangerous creatures, to experience fantastic adventures, and to become... friends.

77. English Title Original Title Country Year Director Salaam, Bombay! Salaam, Bombay! INDIA 1988 Mira Nair Synopsis: Twelve-year-old Krishna owes his tyrannical brother money and runs away from his village to Bombay, determined to earn it. He becomes a tea delivery boy for a stall keeper and is soon familiar with the city’s low life.

78. English Title Original Title Country Year Director Scarecrow Chuchelo USSR 1983 Rolan Bykov Synopsis: A little girl who lives only with her Grandpa experiences all the cruelty of children from her class but preserves dignity and grows up as a highly moral human being.

79. English Title Original Title Country Year Director Secret Garden, The Secret Garden, The USA 1993 Agnieszka Holland Synopsis: A young British girl raised in India loses her neglectful parents in an elephant stampede. She returns to England to live at her uncle's castle but meets with a similar negligence. She begins exploring the estate and discovers a garden that has also been locked and neglected. Aided by one of the servants' boys, she begins restoring the garden, and eventually discovers some other secrets of the manor.

80. English Title Original Title Country Year Director Shower Of Gold Guldregn DENMARK 1988 Soren Kragh- Jacobsen Synopsis: Five young kids accidentally discover 800.000 Danish crowns buried in the woods. They later find out that its stolen money from the local post office. They decide to keep them until they issue a reward for the money, but the two robbers are on to them...

81. English Title Original Title Country Year Director Small Change Argent de Poche FRANCE 1976 Francois Truffaut Synopsis: In the town of Thiers, summer of 1976, teachers, parents and children find out that life is “hard but wonderful”. Children are born, children discover love and sex, children become friends, children try to come on terms with parents and teachers, children have fun…

82. English Title Original Title Country Year Director Somewhere in Europe Valahol Europaban HUNGARY 1947 Geza Radvanyi Synopsis: After the Second World war a bunch of homeless children roam around the streets and experience all the aspects of tough life, social injustice and class prejudices. Nevertheless they manage to preserve their dignity and optimism.

83. English Title Original Title Country Year Director Splendid days, The Seryozha USSR 1960 Georgii Daneliya, Igor Talankin Synopsis: Five-year-old Seryozha lives on a farm with his widowed mother. One summer’s day, she brings home the burly Korostelyov and introduces him as the boy’s new father.

84. English Title Original Title Country Year Director Song of the Road, The Pather Panchali INDIA 1955 Satyajit Ray Synopsis: In the early years of the century Apu is born to a poor Brahmin family in a village in Bengal. The father, a poet and priest, cannot earn enough to keep his family going. Apu's sister, Durga, is forever stealing mangoes from the neighbor's orchards. All these add to the daily struggles of the mother's life, notwithstanding her constant bickering with old aunt who lives with the family.

85. English Title Original Title Country Year Director Summer at Grandpa’s, A Dongdong De Jiaqui TAIWAN 1984 Hou Hsiao-hsien Synopsis: When the mother of a 12-year-old boy and his little sister, who live in Taipei, has surgery, the children are sent, escorted by an irresponsible uncle, to spend the summer with their grandfather who is an old-fashioned country doctor. Once there, a variety of experiences and adventures, from the amusing to the frightening, befall them.

86. English Title Original Title Country Year Director Three Nuts for Cinderella Tri Orisky pro Popleku CZECHO- 1973 Vaclav Vorlicek SLOVAKIA Synopsis: In this version Cinderella is already a princess who begins to experience the stepmother’s cruelty after the death of her father – a situation that shows itself to be much tougher than the one in the original tale.

87. English Title Original Title Country Year Director Tom Sawyer Tom Sawyer USA 1930 John Cromwell Synopsis: Tom and his pals Huckleberry Finn and Joe Harper have numerous adventures, including running away to be pirates and, being believed drowned, attending their own funeral. The boys also witness a murder and Tom and his friend Becky Thatcher are pursued by the vengeful murderer.

88. English Title Original Title Country Year Director Тsatsiki, Mum and the Policeman Tsatsiki, Morsan och Polisen SWEDEN 1999 Ella Lemhagen Synopsis: 8-year old Tsatsiki has never met his father, a Greek octopus fisherman who doesn’t know that he has a son. He persuades his mother to go to Greece and find the father but life has its own laws and it seems that in the end he and Mum will have a new father/husband - Goran, the policeman that has moved in their house as a tenant.

89. English Title Original Title Country Year Director Two of Us, The Le Vieil Homme Et L’Enfant FRANCE 1966 Claude Berri Synopsis: During the Nazi occupation of Paris, an irrepressible eight-year-old Jewish boy, Claude, is sent to stay with an elderly couple in the country. Since Pepe, the old man, is a rabid anti-Semite, the boy is instructed to conceal his origins and is taught the Lord’s prayer. Once there, Claude and Pepe forge a close relationship.

90. English Title Original Title Country Year Director Two Times Lotte Das Doppelte Lotthen GERMANY 1950 Josef von Baky Synopsis: Two girls find out that they are separated twins, and decide to change identities, in order to reunite their divorced parents. This, of course, leads to many complicated and funny situations.

91. English Title Original Title Country Year Director Wall, The Duvar FRANCE 1983 Yilmaz Guney Synopsis: A Turkish prison is full of both criminal and political prisoners. In Dormitory 4 the young boys are treated like slaves by the sadistic guards. When they revolt, the riot is brutally quelled.

92. English Title Original Title Country Year Director War of the Buttons, The La Guerre Des Boutons FRANCE 1962 Yves Robert Synopsis: Two rival gangs of small boys wage a daily battle in a sandpit between their two villages, taking prisoners whose belts, braces and buttons are cut off. Lebrac, leader of one gang, conceives the idea of surprising the other side by going into battle naked and chalks up a victory. As the war games become more elaborate, the parents have to intervene and Lebrac and his rival counterpart end up in a reformatory.

93. English Title Original Title Country Year Director When Father Was Away on Business Otac Na Sluzbenom Putu YUGOSLAVIA 1985 Emir Kusturica Synopsis: In 1950, six-year-old Malik lives a normal family life in Sarajevo, until Mesac, his womanizing father, is denounced by his mistress as a Stalinist and sentenced to a three years’ exile.

94. English Title Original Title Country Year Director Where Is the Friend’s Home? Knahe-ye Doust Kojast? IRAN 1987 Abbas Kiarostami Synopsis: A little boy finds out that his friend forgot his textbook and thus will not be able to write down his homework. And who has no homework will be punished by the teacher next day. The boy decides to undertake a journey into the unknown world outside his village but to help his friend.

95. English Title Original Title Country Year Director Where the Spirit Lives Where the Spirit Lives CANADA 1898 Bruce Pittman Synopsis: In 1937, a young Amerindian girl named Komi is kidnapped from a village as part of a deliberate Canadian policy to force Native American children to abandon their culture in order to conform with the white Christian one. She is taken to a boarding school where she is forced to endure racist brutality. Only one sympathetic white teacher who is repelled by this bigotry offers her help. That, with her force of will, Komi is determined to hold on to her identity.

96. English Title Original Title Country Year Director Wild Child, The L’Enfant Sauvage FRANCE 1970 Francois Truffaut Synopsis: In 1978, a boy who resembles a wild beast is discovered in the woods in central France. He is sent to the Institute for the Deaf and Dumb in Paris where Dr Jean Itard struggles to make him walk upright, wear clothes and give him speech.

97. English Title Original Title Country Year Director Wizard of Oz, The Wizard of Oz, The USA 1939 Victor Fleming Synopsis: Little Dorothy is swept by a tornado appears that carries her to the magical land of Oz. On her way to the wizard of Oz who can help her get back home, she meets a Scarecrow who needs a brain, a Tin Man who wants a heart, and a cowardly Lion who desperately needs courage. They all hope the Wizard of Oz will help them, but finally everyone understands that the Power for change lies in him.

98. English Title Original Title Country Year Director Yo-ho-ho Yo-ho-ho BULGARIA 1981 Zako Heskija Synopsis: A ten-year old boy and a young man with damaged spinal cord meet in a hospital. The young man recounts stories about pirates to the boy, which revive in the boy's imagination. The friendship cures the boy and the young man refrains form committing his planned suicide.

99. English Title Original Title Country Year Director Young and the Damned, The Los Olvidados MEXICO 1950 Luis Bunuel Synopsis: Pedro, a pure young boy, becomes corrupted and destroyed by Jaibo and a group of juvenile delinquents living a violent life in the slums of Mexico City.

00. English Title Original Title Country Year Director Zero for Conduct Zero de Conduite FRANCE 1933 Jean Vigo Synopsis: At a dreadful boarding school in Paris suburb, four schoolboys organize an uprising because of the petty restrictions imposed on them.

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

3.2 The Most Useful 20 Children’s International Film & TV Festivals

Out of more than 120 existing internationally children’s film festivals (most of which I presented in my last report very briefly) in this selection we have the 20 best. Recommendations were extremely precisely valued in order to not let personal emotions take over rational qualities. It took a lot of time to find out the correct information and especially to contact all of the people who are in charge and verify it. But it was worth. This list is reliable and updated to the highest possible option.

PINOCCHIO-2 Page 13

THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS Page 1 of 4 THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS

1 2 3 4 5 Month OCTOBER FEBRUARY JUNE MARCH OCTOBER Special Name Golden Bear Prix Jeunesse Cine Jeune de Laon CINEKID Country USA GERMANY GERMANY FRANCE NETHERLANDS City Chicago Berlin Munich Laon Amsterdam Tel +1.773.281.90.75 +49.30.25.920 +49.89.5900.2058 +33.3.23.79.39.37 +31.20.531.7890 Fax +1.773.929.02.66 +49.30.25.920.299 +49.89.5900.3053 +33.3.23.79.39.32 +31.20.531.7899 E-mail [email protected] [email protected] [email protected] [email protected] [email protected] Website www.cicff.org www.berlinale.de www.prixjeunesse.de www.cinejeunelaon.org www.cinekid.nl Contact Laura Kaiser Renate Zylla Ursula von Zallinger Anne-Elvire Buciuni Harry Peters Regularity ANNUAL ANNUAL BIANNUAL ANNUAL ANNUAL Int’l Media Huge Huge Huge Huge Huge Coverage Formats 35, 16, Beta SP 35, 16 Beta SP 35, 16 35,16 Genres All All All Fiction, animation Fiction Length Feature (over 60’) Feature (over 60’) 5’ to 60’ Feature Feature (over 60) Short (under 60’) Short (under 30’) Shorts – info only Subtitles English English English English English Dialog List NO English NO English English Fee Feature: 75 USD Feature: 105 EUR NO NO NO Short: 35 USD Short: NONE Cash Prizes YES NO NO NO 2 500 EUR Hospitality NO NO NO YES YES Market NO YES NO NO YES Students’ NO NO NO NO NO Section Special Rules N/A Films not shown in Films entered by N/A N/A Germany national telecasters

© 2002 – STANISLAV SEMERDJIEV THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS Page 2 of 4 THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS

6 7 8 9 10 Month MARCH MAY JULY MARCH NOVEMBER Special Name Golden Slipper Golden Gryphon BUFF Golden Elephant Country USA CZECH REPUBLIC ITALY SWEDEN INDIA City New York Zlin Giffoni Malmo Hyderabad Tel +1.212.528.0500 +42.67.75.92.224 +39.89.868.544 +46.40.30.91.64 +91.22.6204189 Fax +1.212.528.8317 +42.67.75.92.442 +39.89.866.111 +46.40.30.53.22 +91.22.6204449 E-mail [email protected] [email protected] [email protected] info@buff,nu [email protected] Website www.gkids.com www.ateliery.cz www.giffoniff.it www.buff.nu www.chidrensfilm.org Contact Eric Beckman Marcela Lhotska Claudio Gubitosi Lennart Strom Sai Paranjpye Regularity ANNUAL ANNUAL ANNUAL ANNUAL BIANNUAL Formats 35, 16, Beta SP 35, 16, Beta SP 35, Beta SP 35, 16, Beta SP 35, 16, Beta SP Int’l Media Very good Moderate Very good Very good Moderate Coverage Genres All Fiction, animation Fiction, animation All All Length Feature (over 40’) Any Feature Any Any Short (under 40’) Short Subtitles English English English English English Dialog List NO YES NO English English Fee Student: 25 USD NO NO NO NO Cash Prizes YES NO NO 5 000 EUR NO Hospitality NO YES YES YES YES Market NO YES NO NO NO Students’ YES YES NO NO YES Section Special Rules N/A N/A Non-screened N/A N/A films preferred

© 2002 – STANISLAV SEMERDJIEV THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS Page 3 of 4 THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS

11 12 13 14 15 Month SEPTEMBER MARCH NOVEMBER NOVEMBER JUNE Special Name LUCAS Castellinaria Golden Goat Country GERMANY EGYPT SPAIN SWITZERLAND POLAND City Frankfurt on Main Cairo Gijon Bellinzona Poznan Tel +49.69.21233369 +34.9.8534.3739 +41.91.825.35.11 +48.61.853.60.90 Fax +49.69.21237881 +34.9.8535.4152 +41.91.825.36.11 +48.61.852.85.80 E-mail schobert@deutsches- [email protected] [email protected] [email protected] filmmuseum.de Website www.deutsches- festivalgijon@telecab www.castellinaria.ch www.alekino.sylaba.pl filmmuseum.de/lucas el.es Contact Walter Schobert Giancarlo Zappoli Jerzy Moszkovicz Regularity BIANNUAL ANNUAL ANNUAL BIANNUAL Int’l Media Very good Moderate Moderate Moderate Coverage Formats 35 35, 16 35, 16 35 Genres Fiction Fiction Fiction Fiction, animation Length Feature Feature (over 60’) Feature (over 60’) Any Short (under 60’) Short (under 30’) Subtitles English Engl., Fr., Spanish NO English Dialog List German, English Engl., Fr., Spanish English, French, Italian YES Fee NO NO NO NO Cash Prizes YES 30 000 EUR(total) 8 000 CHF (total) NO Hospitality YES YES YES YES Market NO NO NO NO Students’ NO YES NO NO Section Special Rules N/A Films not shown Features (only) not N/A in Spain shown in Switzerland

© 2002 – STANISLAV SEMERDJIEV THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS Page 4 of 4 THE MOST USEFUL 20 INTERNATIONAL CHILDREN’S FILM & TV FESTIVALS

16 17 18 19 20 Month DECEMBER NOVEMBER JULY MAY APRIL Special Name Cinemagic Star Boy DiverCine Ulisses Sprockets Country UNITED KINGDOM FINLAND URUGUAY PORTUGAL CANADA City Belfast Oulu Montevideo Sintra Toronto Tel +44.28.90311900 +358.8.8811.293 +598.2.412.85.16 +351.21.910.71.10 +1.416.967.7371 Fax +44.28.90319709 +358.8.8811.290 +598.2.419.45.72 +351.21.910.71.15 +1.416.967.9477 E-mail [email protected] [email protected] [email protected] [email protected] sprocket@torfilmfes t.ca Website www.cinemagic.org.uk www.ouka.fi/lef www.cinematec.org.uy www.ulisses.fest.com www.bell.ca/filmfest/spr ockets2001 Contact Joan Burney Pentti Kejonen Ricardo Casas Leslie Sullivan Jane Schoettle Regularity ANNUAL ANNUAL ANNUAL ANNUAL ANNUAL Int’l Media Very good Moderate Moderate Moderate Very good Coverage Formats 35, 16 35, 16 U-matic,BetaSP,SVHS 35, 16, Beta SP All Genres Fiction Fiction All All All Length Feature Over 45’ 1’-110’ Any Any Short Subtitles English English NO English English Dialog List English German, English English English NO Fee NO NO NO 25 EUR NO Cash Prizes NO NO NO YES NO Hospitality NO YES YES YES NO Market NO NO NO NO NO Students’ NO NO NO NO NO Section Special Rules N/A N/A Not shown in Uruguay N/A N/A

© 2002 – STANISLAV SEMERDJIEV Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002

3.3 The Additional Bibliography In the Ebeltoft’2000 Report there was a quite large and well sectioned bibliography. A minor fault of it was that it didn’t have too many books in other languages than English, French and Italian. It also didn’t present much of the literature on the problems of TV Children’s production. This compilation does not repeat any of the entries in the previous list but only adds recent and omitted studies, pragmatic handbooks and sociological researches.

PINOCCHIO-2 Page 14

APPENDIX 3: The Additional Bibliography 1. ABC Video: Dance with the Teletubbies. BBC Worldwide Ltd, 1997. 2. Agrawal, Emod C. et al., ChiIdren’s Television in India: A Situational Analysis. Concept Publishing Company: New Delhi (1999) 3. Anderson, Craig A.; Dill Karen E: Video Games and Aggrsssive Thoughts, Feelings and Behavior in the Laboratory and in Life. Journal of Personality and Social Psychology 78(2000)4, pp 772-790 4. Anderson. D.R.: Kinderfernsehen und Schulleistung. In: TelevIZIon, Vol.11, No.2, 1998, pp.21-24. 5. Anderson, D.R., Field, D.E., Collins, PA., Lorch, E.P and Nathan J.: Estimates of young children's time with television: a methodological comparison of parent reports with time-lapse video home observations. In Child Development, Vol. 56, No. 5, 1985, pp. 1345-1357. 6. American Academy of Pediatrics (Ed).: Media Education. In.. Pediatrics, Vol.104, 1999, pp.341-343. 7. Ask, Alexander: To Kill or Not to Kill: Competition, aggression and videogames in adolescents. Thesis submitted for the Ph.D. degree, University of Adelaide, Department of Psychology. 1999, 320 p 8. Austin, E. W.: Exploring the effects of active parental mediation of television content. Journal of Broadcasting and Electronic Media, 37, 1993, pp. 141-158. 9. Australian Broadcasting Authority: Infants and television. New South Wales, 1998. 10. Australian Broadcasting Authority: Children's Television Standards. New South Wales: 1995 11. Bachmair, B.: Fernsehkultur Subjektivitat in ejner Welt bewegter Bilder. Opladen: Westdeutscher Verlag, 1996, 357 pp. 12. Bachmair, B.; Hofmann, 0.: Lernen mit dem Kindefernsehen: Wunsch oder Wirklichkeit? In TelevIZion, Vol.11, No.2, 1998, pp.4-20. 13. Barat Marion (ed.): Lire et comprendre la publicite. Paris, CLEMI/CNDP, 2000, 117 p. 14. Barker, M. (Ed).: The Video Nasties, London, 1984 15. Barthelmes, J.: Fernsehen und Computern in der Familie. Fur einen kreativen Umgang mit den Medien. Munchcn: Kosel Verlag, 1999 16. Biumler, J.G & Biltereyst D. (1997) The Integrity and Erosion of Public Television for Children. A Pan- European survey A monograph of research sponsored by the Center for Media Education (Washington, D.C.), The Broadcasting Standards Commission (UK), The European Institute for the Media (Dusseldorf, Germany), and the European Broadcasting Union (EBU). 17. Bohme-Durr, K.: Bildmagnet Fernsehen. In TelevIZIon, Vol.12, No.1, 1999, pp.20-25. 18. British Film Institute: Making Movies Matter. Report of the Film Education Working Group., London, British Film Institute, 1999, 70 p. + app. 24 p. 19. Bryant, J (Ed.): Television and the American family, Hillsdale, NJ: Lawrence Eribaum Associates, 1990. 20. Buckingham, David,: After the Death of Childhood: Growing Up in the Age of Electronic Media, Cambridge: Polity, 2000. 21. Buckingham, David, Hannah Davies, Ken Jones and Peter Kelley: Children’s Television in Britain: History, Discourse and Policy. London: British Film Institute 1999. 22. Cecilia von Feilitzen & Ulla Carlsson (Eds.) Children in the New Media Landscape. Games, Pornography, Perceptions. Yearbook 2000. The UNESCO International Clearinghouse on Children and Violence on the Screen, Nordicom, Goteborg University; 2000, 379 p. 23. Chavre, Aline; Savino, Josiane; et al.: Image d’information et citoyennete a l’ecole primaire. Synthese de travaux des seminaires (1996-1999) Paris, CLEMI, 2000, 113 p. 24. Childnet International: Promoting Safe Use of the Internet. How to Communicate Messages about Safe Use of the Internet to Parents, Teachers and Children Across Europe. Final Report. London, Childnet International, 2000, 29 p., + app, I p. 25. Children’s Television Policy: International Perspectives, special theme section edited by Wendy Keys and David Buckingham, in Media International Australia, including Culture &Policy, No.93, November 1999, 208 p. 26. Cuppit, M., Jenkinson, D., Ungerer, J. and Waters, B.: Infants and Television, Sydney, Australian Broadcasting Authority, 1998 27. Davies, Hannah, David Buckingnam and Peter Kelley: In the worst possible taste? Children, television and cultural value, European Journal of Cultural Studies. Vol.3, No.1, 2000, pp. 5-26. 28. Desmond, RD., Singer J. L., Singer D. G. Calam, R., and Colimore, K.: Family mediation patterns and TV viewing: Young children use and grasp of the medium. Human Communication Research, 11(4), 1985, pp. 461-480. 29. Dickinson, Garry; Hill, Michael; Zwaga, Wiebe: Monitoring Community Attitudes in Changing Mediascapeas. Palmerston North, New Zealand, Dunmore Press Ltd, Broadcasting Standards Authority, 2000, 131 p. 30. Dietz, WH.: Television, obesity, and eating disorders. In Adolescent Medicine. State of the Art Reviews, Vol.4, 1993, pp.607-622. 31. Durkin, Kevin; Aisbett, Kate: Computer Games and Australians Today. Sydney, Office of Film and Literature Classification, 1999,132 p. + app. 23 p. 32. Dyson, A.H.: Writing Superheroes: Contemporary Childhood, Popular Culture, and Classroom Literacy, New York, N.Y.: Teachers College Press, 1997 33. Eirich, H.; Mayr, T.: Leserlinnen-Befragung: Medien in Tageseinrichtungen fur Kinder. KiTa aktuell, HRS 8(2000)1, pp. 15-18 34. Fedorov, Alexander: Cinema Art in the Structure of Russian Modern Arts Education (in Russian),Taganrog, Taganrog State Pedagogical Institute, 1999, 68 p. 35. Feierabend, Sabine; Simon, Erk: Eine Analyse der Fernsehnuntung 1999 von Drei- bis 13-Jahrigen. Media Perspektiven (2000)4, pp.159-428. 36. Fjellman, Erik; Sjogren, Jan: Interaktiv underhallnung infor framtiden. [Interactive Entertainment of the Future.] Stockholm, TELDOK, Swedish Transport and Communications Research Board (KEB), 2000, 125 p., 37. Flavell, J., Flavell, E., Green, F and Korfmatcher, J. Do young children think of television images as pictures or real objects? Journal of Broadcasting and Electric Media. Vol.34, No.4. (Fall), 1990. 38. Garton, A. and Pratt, C: Learning to he Literate: the Development of Spoken and Written Language (2nd ed) Oxford: Blackwell, 1998. 39. Gee, P.: Social Linguistics and Literacies: Ideology in Discourses (2nd ed.), London: Taylor & Francis, 1996. 40. Gotz, M.: Madchen und Fernsehen. Facetten der Medienaneignung in der weib1ichen Adoleszenz. Munchen: KoPad, 1999, 400 pp. 41. Grefe, C.: Ende der Spielzeit. Reinbek b. Hamburg: Rowohlt Taschenbuch Verlag, 1995. 42. Growing Pains: Children's Television in the New Regulatory Environment, Annals of the American Academy of Political & Social Science, Vol.557, p.83. 43. Hassler F., Gierow, G.; Tilch, P and Langemann; I: Das Fernsehverhalten einer kinder- und ju- gendpsychiatrischen Inanspruchnahmepopulation. In Pediatrie und Grenzgebiete, Vol.31, 1993, pp.363- 369. 44. Hawkins, R. The dimensional stracture of children's perceptions of television reality. Communication Research. Vol.4, No.3., 1977, p. 299-320. 45. Herman, E.S. & McChesney R.W. (1997) The Global Media. The New Missionaries of Global Capitalism. London: Cassel. 46. Home, A: Mit "Tonnchen" lernen: die Teletubbies. In TelevIZIon, Vol.11, No.2, 1998, pp.24-28. 47. Howard, S.: Bananas can't talk: Young children judging the reality of Big Bird, Bugs and the Bananas. Australian Journal of Early Childhood. Vol.21, No.4. 1996, pp.25-30. 48. Howard, S.: Unbalanced minds? Children thinking about television, in S. Howard (Ed), Wired Up: Young People and the Electronic Media, London, UCL Press, 1998 49. International Bureau for Children's Rights: International Dimensions of the Sexual Exploitation of Children. Global Report. International Bureau for Children's Rights, 1999,66 p. 50. Johansson, Barbro: Kom och at! Jag ska bara do forst. Datorn i barns vardag. [Come and Eat! I’ll Only Die First... The Computer in Children's Everyday Life.] Goteborg, Etnologiska institutionen, 2000, 272 p. 51. Kids & Media in the New Millennium. A Comprehensive National Analysis of Children's Media Use. A Kaiser Family Foundation Report November 1999, Menlo Park, CA., The Henry J. Kaiser Family Foundation (IKFF) 52. King, Cynthia M.: Effects of Humorous Heroes and Villains in Violent Action Films. Journal of Communication 50(2000)Winter, pp.5-24. 53. Kline, S. Out of the Garden. Toys, TV and Children's Culture in the Age of Marketing. London: Verso, 1993. 54. Knoll, Joachim B.; Monssen-Engberding, Elke: BRAVO, Sex und Zartliichkeit. Monchengladbach, Forum Verlag Godesberg, 2000, 183 p. 55. Kunkel, D.: Advertising regulation and child development: perspectives on social policy making, in S.Frith and B.Biggins (Eds), Children and Advertising: A Fair Game?, Sydney, New College Institute for Values Research, New College, University of NSW, 1994 56. La Television y los Ninos en ChiLe: Percepciones desde la Audiencia Infantil [Television and Children in Chile. Perceptions of the Child. Research Department of the National Television Council and the Department of Psychology of the Catholic University; Chile, 1999 57. Lealand, G.: Where do snails watch television? Preschool television and New Zealand Children, in S.Howard (Ed): Wired Up: Young People and the Electronic Media, London, UCL Press, 1998 58. Lisosky; J.M.: Controlling Childrens' Channels: Comparing Childrens' Television Policies in Australia, Canada and the United States. University of Washington, USA, 1997, 252 p. 59. Lohr, Paul; Meyer, Manfred: Children, Television and the New Media. A Reader of Research and Documentation in Germany. Munich, University of Luton Press, 1999, 447 p. 60. Marsh, J.: Batman and Batwoman go to school: popular culture in the literacy curriculum, International Journal of Early Years Education, Vol. 7, no2, 1999, pp.117-131. 61. Marsh, J. Teletubby tales: popular culture in the early years' language and literacy curriculum, Contemporary Issues in Education, Vol.1, no.2, 2000, pp. 62. Merlo Flores, Tatiana: El impacto social de la imagen. Buenos Aires, Universidad Catolica Argentina, EDUCA, Universitas SRL. 2000, 428 p. 63. Messaris, P.: Mothers' comments to their children about the relationship between television arid reality. In T.R. Lindlof (Ed.), Natural audiences: Qualitative research of media uses and effects (pp. 95-108). Norwood, NJ: Ablex Publishing Company, 1987. 64. Millner M.: Das Beta-Kind. Fernsehen und kindliche Entwicklung aus kinderpsychiatrischer Sicht. Bern: Hans Huber Verlag, 1996. 65. Muhlen Achs, G.; Schorb, B., (Eds.): Geschlecht und Medien. Munchen: KaPad, 1995. 66. Muhlen Achs, G.: Geschlecht bewust gemacht. Korpersprachliche Inszenierungen. Minchen: Fraue- noffensive, 1998, 142 pp. 67. Neumann, K. and Charlton, M.: Sprachenverb und Mediengebrauch. Tubingen: Nair Verlag, 1990. 68. Nielsen Media Research: Report on television. New York, N.Y, 1998 69. Nikken, Peter (1999) Quality in Children’s Television. Doctoral dissertation at Leiden Univ., Netherlands, 151p. 70. O'Regan, Tom (ed.); Cunningham, Stuart (ed.): International Issues in Media Regulation. Media Intertational Australia Incorporating Culture and Policy (2000)95 71. Organisations and Networks - Children and Media. Compiled by Pia Hepsever. The UNESCO International Clearinghouse on Children and Violence on the Screen, Nordicom, Goteborg University; 2000, 54 p. 72. Padgaonkar Latika (Ed.) The Killing Screen, Violence on Television and its impact on Children. A Public Hearing, New Delhi, UNESCO, 1999, 72 p. 73. Pasqiuer, Dominique: La culture des sentiments. L’experience televisuelle des adolescents. Paris, Editions de Ia Maison des sciences de 1'homme. 1999, 232 p. 74. Paus-Haase, L.: Heldenbilder im Ferrtsehen. Eine Untersuchung zur Symbolik von Fernsehfavoriten, Opladen/Wiesbaden: Westdeutscher Verlag, 1998, 322 pp. 75. Pecora, N.O.: The Business of Chidren’s Entertainment. New York, The Guildford Press, 1998, 188 p. 76. Pecora, Norma: Children and Television. Communication Research Trends. A Quarterly Review of Communication Research, 19(1999)1-2, spec. issue, 80 p. 77. Percepciones desde la Audiencia Infantil, CNTV and the Department of Psychology, Catholic University of Chile, 1999. 78. Pinto, Manuel: A Televisao No Quotidians das Criancas. [Television in Children's Everyday Life.] Porto, Rainho & Neves Lda./Santa Maria da Feira, 2000, 396 p. (In Portuguese) 79. Potter, James W; Smith, Stacy: Consistency of Contextual Cues about Violence Across Narrative Levels. Journal ofCommunication 49(1999)4, pp. 121-133 80. Reiser R.A., Tessnier M.A., and Phelps, P.C.: Adult-child interaction in children’s learning from "Sesame Street", Educational Children and Television Journal 32(4), 1984, pp. 217-223. 81. Research on Pornography and Sex in the Media. A selection (1970-). Compiled by Johan Cronstrom. The UNESCO International Clearinghouse on Children and Violence on the Screen, Nordicom, Goteborg University; 2000, 30 p. 82. Research on Video and Computer Games. A selection. Compiled by Johan Cronstrom. The UNESCO International Clearinghouse on Children and Violence on the Screen, Nordicom, Goteborg University; 2000, 21 p. 83. Robinson M.: Children Reading Print and Television, London, Falmer Press, 1997 84. Rydin, I. (1999) Bamprogrammen pa den globala marknaden [Children's programs on the global market]. Paper presented at the 14th Nordic conference on Media and Communication, 1999, Sweden (33 p.). 85. Sawano, Yukiko: Comprehensive Stndies on Media Literacy in the Lifelong Learning Society: First Report Comparative Education Edition, (in Japanese). Tokyo, National Institute of Educational Research, 1999.118 p. 86. Sawano, Yukiko: Comprehensive Studies on Media Literacy in the LifelongLearning Society: First Report Social Education Edition (in Japanese). Tokyo, National Institute of Educational Research, 1999,143 p. 87. Seiter, Ellen: Sold Separately: Parents and Children in Consumer Culture. New Brunswick: Rutgers Uni- versity Press, 1993. 88. Singer, Dorothy G. (ed.); Singer Jerome L. (ed.): Handbook of Children and the Media. Thousand Oaks, Sage. 2000,783 p. 89. Steinberg, S.R. & Kinchebe, J.L. (Eds.): Kinderculture. The Corporate Construction of Childhood, Boulder, Westview Press, 1997, 270 p. 90. Steren, D.: The interpersonal world of the infant. New York, N.Y: Basic books., 1985 91. Stigbrand, Karin (ed.); Stolpe, Solie (ed.): Tusen flickor om film och vald. [One Thousand Girls about Film and Violence.] Stockholm, Ministry of Culture, Council on Media Violence, 2000, ISSN 1 102-447X. (In Swedish) 92. Strasburger, V. C.: "Sex, drugs, rock'n roll and the media: are the media responsible for adolescent behavior? In Adolescent Medicine: State of the Art Reviews, Vol.8, 1997, pp. 403-14. 93. The 3rd National Television Survey of Consejo Nacional de Television (CNTV) (Chilean National Television Council), April 2000. 94. Tidhar C.E.: Evaluation of educational television programmes at Israel Educational TV during the mid- eighties. TelAviv: IETV, 1987 95. United Nations: Children’s Rights and the Media. In Light of the Convention on the Rights of the Child. United Nations, 1999, 9 p. (The High Commissioner's Plan of Action to Strengthen the Implementation of the Convention on the Rights of the Child, 20 Nov 1999). Note: Discussion paper. 96. Unnikrishnan, N. and S. Bajpai, The Impact of Television Advertising on Children. Sage Publications:New Delhi (1996) 97. Valenti, EM.: More than a Movie: Ethical Decision Making in the Entertainment Industry. Boulder, Westview Press, 2000, 256 p. 98. Valkenburg, Patti M.; Cantor, Joanne; Peetens, Allerd L.: Fright Reactions to Television. A Child Survey. Communication Research 27(2000)1, pp.82-100 99. van der Voort, Tom; Beentjes, Johannes: Children and Media. Trends in Communication (1999)2, spec. issue, 127 p. 100. Wartella, E.: Individual differences in children's responses to television advertising. In E.Palmer and A.Dorr (Edt) Children and the Faces of Television: Teaching, Violence, Selling. New York, Academic Press, 1980 101. Wartella, E.: Cognitive and affective factors of TV advertising’s influence on children, Western Journal of Speech Communication, 1984, pp.171-183. 102. Werner, Anita (1994) Barn flernsynsalderen Hva vet vi om medienes innflytelse? (Children in the TV Age. What Do We Know about Media Influence?). Ad Notarn, Gyldendal. 103. Winn, M. The Plug-in Drug. Children Television and the Family, Hamondsworth, Middlesex: Penguin Books, 1985. 104. Young, B.: Television Advertising and Children, Oxford, Clarendon, 1986

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

3.4 The Nordic Children Films Supplement

It is necessary to underline here that this library was compiled both by Goran Guner and me. I hope you will find it useful, informative and most of all – if any of you needs a tape we can provide it!

NB: Unfortunately time was short to furnish you with the catalog of the students films we obatained after Ebeltoft’2000. It will come to you later by mail.

PINOCCHIO-2 Page 15

NORDIC CHILDREN FILMS (1975-1995)

1 A World of Difference Denmark Leif Magnusson 1989 96’ 35 mm colour 2 Adventures of Paper Peter, The Iceland Ari Kristinsson 1990 81’ 35 mm colour 3 Agnes Cecilia – a Strange Story Sweden Anders Gronros 1991 133’ 35 mm colour 4 Ake and his World Sweden Allan Edwall 1984 98’ 35 mm colour 5 Akin finds her Home Sweden Berith Oxelbeck 1985 70’ 35 mm colour 6 Albatros, The Sweden Berndt Klyvare 1982 75’ 35 mm colour 7 Amandla! Maatla! Sweden Magnus Bergmar 1984 47’ 35 mm colour 8 Ante Norway Arvid Skauge, Nils Utsi 1997 85’ 35 mm colour 9 As in Heaven Iceland Kristin Johannesdottir 1992 122’ 35 mm colour 10 Balellerup Boulevard Denmark Linda Wendel 1986 83’ 35 mm colour 11 Beginning of a Story, The Norway Margrethe Robsahm 1987 93’ 35 mm colour 12 Beyond the Seven Seas Norway Espen Thorstenson 1991 88’ 35 mm colour 13 Beyond the Sky Norway Berit Nesheim 1993 90’ 35 mm colour 15 Big Dipper Denmark Birger Larsen 1992 90’ 35 mm colour 16 Blue Wolves, The Norway Morten Kolstad 1993 95’ 35 mm colour 17 Border Pilot, The Sweden Lars-Goran Pettersson 1990 105’ 35 mm colour 18 Boy Who Disappeared Denmark Ebbe Nyvold 1984 85’ 35 mm colour 19 Boys from St. Petri, The Denmark Soren Kragh-Jacobsen 1991 110’ 35 mm colour 20 Burning Flowers Norway Eva Dahr, Eva Isaksen 1985 84’ 35 mm colour 21 Carl Gustav and his Gang Norway Ola Solum 1982 82’ 35 mm colour 22 Charly and Steffen Denmark Henning Kristiansen 1979 83’ 35 mm colour 23 Cold Sweat Norway Sigve Endresen 1991 85’ 35 mm colour 24 Crazy Neighbours Norway Tor M. Torstad 1989 100’ 35 mm colour 25 Crumb at a Gallop Denmark Sven Methlend 1992 95’ 35 mm colour 26 Crumbs Denmark Sven Methlend 1991 87 35 mm colour 27 Cupid’s Cars Sweden Yiva Floreman 1988 65’ 35 mm colour 28 Dance of the Polar Bears Denmark Birger Larsen 1990 90’ 35 mm colour 29 Dante, Beware of the Shack! Sweden Gunnar Hoglund 1978 100’ 35 mm colour 30 Death at Oslo Central Norway Eva Isaksen 1990 99’ 35 mm colour 31 Diary of a foreign Girl Denmark Katia Forbert Petersen 1989 59’ 35 mm colour 32 Doll-Boy, The Sweden Hilda Hellwig 1993 81’ 35 mm colour 33 Eghth Day, The Sweden Anders Gronros 1979 95’ 35 mm colour 34 Elephant Walk, The Sweden Marie-Louise De Geer 1979 82 35 mm colour Bergenstrable 35 Elvis! Elvis! Sweden Kay Pollak 1977 101’ 35 mm colour 36 Emma’s Shadow Denmark Soren Kragh-Jacobsen 1988 98’ 35 mm colour 37 Freedom Gang, The Sweden Leyla Assaf-Tengroth 1994 75’ 35 mm colour 38 Frida-Straight from the Heart Norway Berit Nesheim 1991 114’ 35 mm colour 39 Friends Norway Knut Andersen 1981 85’ 35 mm colour 40 Friends Forever Denmark Stefan Henszelman 1987 95’ 35 mm colour 41 From Here to Kim Sweden Lard Egler 1993 104’ 35 mm colour 42 Glass Heart, The Denmark Elisabeth Rygard 1988 60’ 35 mm colour 43 Good People Sweden Stefan Jarl 1991 108’ 35 mm colour 44 Grandma and the eight Children Norway Espen Thorstenson 1977 96’ 35 mm colour 45 Grandma and the eight Children in the Forest Norway Espen Thorstenson 1979 96 35 mm colour 46 Granny’s House Denmark Frode Petersen 1984 86’ 35 mm colour 47 Great Day on the Beach, The Denmark Stellan Olsson 1991 100’ 35 mm colour 48 Green Men from Outer Space Sweden Hans Hatwig 1986 85’ 35 mm colour 49 Happiness is a Curious Catch Denmark Linda Wendel 1989 92’ 35 mm colour 50 Hatful of Paradise Sweden Muammer Ozer 1985 100’ 35 mm colour 51 Have a Wonderful Life! Sweden Ulf Malmros 1992 89’ 35 mm colour 52 Have You Seen Alice Denmark Brita wilopolska 1981 94’ 35 mm colour 53 Herman Norway Erik Gustavson 1990 106’ 35 mm colour 54 Hero, The Sweden Agneta Fagerstrom-Olsson 1990 111’ 35 mm colour 55 Hideaway, The Denmark Niels Grabol 1991 70’ 35 mm colour 56 Hodja from Pjort – The Magic Carpet Denmark Brita Wielopolska 1985 76’ 35 mm colour 57 I am Maria Sweden Karlsten Wedel 1979 94’ 35 mm colour 58 I’m Like That Too Denmark Lise Roos 1980 102’ 35 mm colour 59 Ingalo Iceland Asdis Thoroddsen 1992 98’ 35 mm colour 60 Jasper’s Ghost Denmark Brita Wielopolska 1992 75’ 35 mm colour 61 Jim and the Pirates Sweden Hans Alfredson 1987 92’ 35 mm colour 62 Johnny Larsen Denmark Morten Alfred 1979 105’ 35 mm colour 63 Jungle Jack Denmark Stefan Fjeldmark 1993 74’ 35 mm colour 64 Kalle and the Angels Norway Ole Bjorn Salvesen 1993 89’ 35 mm colour 65 Kamilla and the Thief Norway Grete Salomonsen 1988 100’ 35 mm colour 66 Kamilla and the Thief II Norway Grete Salomonsen 1989 98’ 35 mm colour 67 Kidnapping Denmark Sven Methlend 1982 73’ 35 mm colour 68 King who had no Heart, The Finland Paivi Hartzell 1982 90’ 35 mm colour 69 Lakki-the Boy who could fly Norway Svend Wam 1992 105’ 35 mm colour 70 Lars at the Gate Norway Leif Erlsboe 1984 95 35 mm colour 71 last Day of Summer, The Finland Arto Koskinen 1992 67’ 35 mm colour 72 Laundry, The Sweden Hakan Alexandersson 1985 74’ 35 mm colour 73 Lethal Lies Norway Martin Asphaug 1992 85’ 35 mm colour 74 Little Virgil and Orla Frogsnapper Denmark Gert fredholm 1980 83’ 35 mm colour 75 Lotta Leaves Home Sweden Johanna Hald 1993 83’ 35 mm colour 76 Love me! Sweden Kay Pollak 1986 126’ 35 mm colour 78 Madicken at Junibacken Sweden Goran Graffman 1980 82’ 35 mm colour 79 Maggie Sweden Birgitta Svensson 1977 100’ 35 mm colour 80 Magic Game, The Finland Hannu Peltomaa 1984 80’ 35 mm colour 81 Master Thief, The Sweden Ingegerd Hellner 1979 91’ 35 mm colour 82 Master Thief’s Apprentice, The Sweden Hnery Meyer 1992 75’ 35 mm colour 83 Me and Charly Denmark Morten Arnfred 1978 102’ 35 mm colour 84 Me and Mama Mia Denmark 1989 85’ 35 mm colour 85 Midsummer Sweden Judith Hollander 1991 72’ 35 mm colour 86 Mio in the Land of Faraway Sweden Vladimir Grammatikov 1987 99’ 35 mm colour 87 Miracle in Valby Denmark Ake Sandgren 1989 85’ 35 mm colour 88 More about the Children of Bullerby Village Sweden Lasse Hallstrom 1987 89’ 35 mm colour 89 Mother wanted Finland Anssi Manttari 1989 68’ 35 mm colour 90 My Dad is Tarzan Sweden Judith Hollander 1986 84’ 35 mm colour 91 My Life as a Dog Sweden Lasse Hallstrom 1985 101’ 35 mm colour 92 Mysterious Story Finland Hannu Peltomaa 1989 76’ 35 mm colour 93 New Adventures of that Kiljunen Family, The Finland Matti Kuortti 1990 89’ 35 mm colour 94 New Life Iceland Prainn Bertellson 1983 87’ 35 mm colour 95 Night Voyage Norway Tor M. Torstad 1986 110’ 35 mm colour 96 On Top Iceland Agust Gudmundsson 1982 100’ 35 mm colour 97 Operation Cobra Norway Ola Solum 1978 91’ 35 mm colour 98 Otto is a Rhino Denmark Rumle Hammerich 1983 90’ 35 mm colour 99 Pastoral Life Iceland Prainn Bertellson 1984 90’ 35 mm colour 100 People and Robbers of Cardamom Town Norway Bente Erichsen 1988 100’ 35 mm colour 101 Pessi and Ilusia Finland Heikiki Partanen 1984 77’ 35 mm colour 102 Peter and Petra Sweden Agneta Elers-Jarleman 1989 75’ 35 mm colour 103 Pirates of Lake Malaren Sweden Allan Edwall 1987 103’ 35 mm colour 104 Pirates, The Norway Morten Kolstad 1983 92’ 35 mm colour 105 Policeman’s Life Iceland Prainn Bertellson 1985 90’ 35 mm colour 106 Pony in a Trunk Sweden Ulf Andree 1983 90’ 35 mm colour 107 Premonition, The Sweden Rumle Hammerich 1992 114’ 35 mm colour 108 Prince of Fogo, The Norway Inge Tenvik 1988 77’ 35 mm colour 109 PS – The Last Summer Sweden Thomas Sauelsson 1987 95’ 35 mm colour 110 Rami and Juliet Denmark Erik Clausen 1988 90’ 35 mm colour 111 Rasmus and the Vagabond Sweden Olle Hellbom 1981 104’ 35 mm colour 112 Rebels with a Cause Norway Thomas Robsahm 1992 90’ 35 mm colour 113 Redtops, The Denmark Svend Johansen 1988 75’ 35 mm colour 114 Remote Control Iceland Oskar Jonasson 1992 90’ 35 mm colour 115 Right on, Man! Finland Tapio Suominen 1980 117’ 35 mm colour 116 Rolli, Amazing Tales Finland Olli Soinio 1991 82’ 35 mm colour 117 Ronja the Robber’s Daughter Sweden Tage Danielsson 1984 126’ 35 mm colour 118 Rose, The Sweden Staffan Hildebrand 1984 73’ 35 mm colour 119 Rubber Tarzan Denmark Soren Kragh-Jacobsen 1981 89’ 35 mm colour 120 Sacred Mound, The Iceland Hrafn Gunnlaugson 1993 88’ 35 mm colour 121 Sally’s Bizniz Denmark Brita Wielopolska 1989 76’ 35 mm colour 122 Samson and Sally Denmark Jannik Hastrup 1985 62’ 35 mm colour 123 Searchers, The Sweden Peter Cartriers 1993 108’ 35 mm colour 124 Secret, The Sweden Ralf Karlsson 1989 105’ 35 mm colour 125 Sekret of John, The Denmark Ake Sandgren 1985 60’ 35 mm colour 126 Seppan Sweden Agneta Fagestrom-Olsson 1986 120’ 35 mm colour 127 Shall We Dance First? Denmark Annette Olsen 1979 93’ 35 mm colour 128 Shipwrecked Norway Nils Gaup 1990 91’ 35 mm colour 129 Show Queen, The Finland Paivi Hartzell 1986 88’ 35 mm colour 130 Shower of Gold Denmark Soren Kragh-Jacobsen 1988 97’ 35 mm colour 131 Sigurd the Dragon Slayer Norway Knut W. Jorfald, Lars Rasmussen 1989 93’ 35 mm colour 132 Silver Mouth Norway Per Blom 1981 87’ 35 mm colour 133 Simon Small Moves in Sweden Staffan Gotestam 1990 72’ 35 mm colour 134 Singing Leaves, The Sweden Peter Hald, Ninne Olsson 1980 90’ 35 mm colour 135 Slingshot, The Sweden Ake Sandgren 1993 102’ 35 mm colour 136 Speak up! It’s so Dark Sweden Suzanne Osten 1993 90’ 35 mm colour 137 Split, The Sweden Muammer Ozer 1984 94’ 35 mm colour 138 Spring Tide Denmark Eddie Thomas Petersen 1999 104’ 35 mm colour 139 Subterranean Secrets Sweden Clas Lindberg 1991 81’ 35 mm colour 140 Summer of the Trolls Sweden Hans Dahberg 1979 85’ 35 mm colour 141 Sune’s Summer Sweden Stephan Aperlgren 1993 89’ 35 mm colour 142 Svampe Norway Martin Asphaug 1990 79’ 35 mm colour 143 T. Svenson and Isabella Sweden Torbjorn Ehrnvall 1991 75’ 35 mm colour 144 T” for Togetherness Sweden Staffan Hildebrand 1983 109’ 35 mm colour 145 Taking my Turn Sweden Bengt Dannerborn 1989 63’ 35 mm colour 146 Techno Love Denmark Kim Toftum 1989 75’ 35 mm colour 147 Teddy Uppo Finland Raili Rusto 1991 65’ 35 mm colour 148 Tomorrow Mario Sweden Solveig Nordlund 1993 76’ 35 mm colour 149 Tootsiepods and Candyfloss Denmark 1987 65’ 35 mm colour 150 Tree Angels and five Lions Denmark Sven Methling 1982 69’ 35 mm colour 151 Tree of Knowledge, The Denmark Li Vilstrup 1987 65’ 35 mm colour 152 Troll Movie, Viktor and Viktoria, The Denmark Linda Wendel, Kenneth Madsen 1993 75 35 mm colour 153 Turnaround Norway Ola Solum 1987 91’ 35 mm colour 154 Twins, The Iceland Prainn Bertellson 1981 95’ 35 mm colour 155 Twist and Shout Denmark Bille August 1984 104’ 35 mm colour 156 Valhalla Denmark Peter Madsen, Jeffrey Varab 1986 80’ 35 mm colour 157 Wallpaper Iceland Julius Kemp 1992 90’ 35 mm colour 158 Wanna see my Beautiful Navel? Denmark Soren Kragh-Jacobsen 1978 103’ 35 mm colour 159 Warrior Children Denmark Ernst Johansen 1979 89’ 35 mm colour 160 What Will Happen? Sweden Berith Oxelbeck 1981 60’ 35 mm colour 161 WhiteViking, The Iceland Hrafn Gunnlaugson 1991 119’ 35 mm colour 162 World of Buster, The Denmark Bille August 1984 91’ 35 mm colour 163 You’re Crazy, Madicken Sweden Goran Graffman 1979 106’ 35 mm colour 164 You’re not alone Denmark Ernst Johansen, Lasse Nielsen, 1978 94’ 35 mm colour 165 Zappa Denmark Bille August 1983 103’ 35 mm colour 166 Zeppelin Norway Lasse Glomm 1981 87’ 35 mm colour

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002

4. WORKSHOP 1: BULGARIA (2-9 MARCH 2002)

PINOCCHIO-2 Page 16

Workshop 1: BULGARIA (2-9 March 2002)

Goal of Workshop 1: Workshop 1 aimed at providing a chance for aspiring screenwriting students from CILECT schools around the world, interested in a career as authors of audiovisual scripts for children, to meet with like fellows, exchange creative ideas and get valuable script-doctoring of their projects by renowned tutors and experts in the field.

Participation in Workshop 1: Workshop 1 allowed the participation of 10 projects presented by CILECT schools students. Projects had to stand to the Projects’ Eligibility Requirements (A) and to the Fundamental Aesthetic Criteria (B). Students had to stand to the Students’ Eligibility Requirements (C).

A. Projects’ Eligibility Requirements:  ONLY projects for TV novels/series/serials and full-length fiction films were eligible for participation (i.e. projects for animation, documentaries, educational/informational TV programs, entertainment TV shows, TV commercials, interactive products, etc. were NOT eligible). Projects had to be submitted in the form of a synopsis (max.10 pages) in English.  ONLY original texts were eligible for participation (i.e. texts based on fairytales, books, plays, articles or cinematic works were NOT eligible). There were NO genre limitations.  ONLY projects oriented towards the 7-12 age target audience were eligible for participation.  ONLY projects, which were officially submitted by a CILECT school, were eligible for participation.

B. Fundamental Aesthetic Criteria:  Comprehensibility (i.e. the premise is clear and understandable for children)  Involvement (i.e. the plot allows possibilities for the personal growth of children)  Spirituality (i.e. the plot encourages children to perceive human existence from a positive POV)  Uniqueness (i.e. the plot strives to preserve its national identity in the global world).

C. Students’ Eligibility Requirements:  ONLY CILECT schools’ students in Screenwriting were eligible for participation. (NB: In specific cases students of Directing or Producing could be admitted.)  ONLY fluently speaking AND writing in English students were eligible for participation.  ONLY students who have filled in the Statement of Purpose (100 words max.) defining how they understand the meaning of the workshop’s title “Audiovisual Products for Children: The Spiritual Alternative for the Third Millenium” were eligible for participation.

Hospitality at Workshop 1: PINOCCHIO fully covered the accommodation (hotels and meals) of the selected participants but did NOT cover travel expenses.

Fees for Participation in Workshop 1: Selected participants were allowed against a participation fee of 200 EUR.

2 WORKSHOP 1: P R O G R A M

(2 March 2002, Saturday) 20.00 Welcome Dinner

(3 March 2002, Sunday) 09.30-13.00 Presentation: PINOCCHIO. Participants. Projects. (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(4 March 2002, Monday) 09.30-13.00 Group workshops (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(5 March 2002, Tuesday) 09.30-13.00 Seminar: Audiovisual Reality/Semiotics & Children’s Perception (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(6 March 2002, Wednesday) 09.30-13.00 Guests of Honor Discussion(incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(7 March 2002, Thursday) 09.30-13.00 Individual Consultations (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Individual Consultations (incl. coffee-break) 20.00 Dinner

(8 March 2002, Friday) 09.30-13.00 Project Presentations (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Final Discussion. Summary. Perspectives. (incl. coffee-break) 20.00 Farewell Dinner

ADVISOR COUNTRY SCHOOL STANISLAV SEMERDJIEV BULGARIA HFF/M MARTIN THAU GERMANY NATFA

PARTICIPANT COUNTRY SCHOOL PROJECT TITLE

1. CATH MOORE AUSTRALIA AFTRS TV SERIES KNOME’S DIGIT 2. RUM MALMROS DENMARK DDF FICTION FILM THE LUNCH-BOX GENIE 3. JACOB WEINREICH DENMARK DDF FICTION FILM THE HERO 4. UMESH KULKARNI INDIA FTII FICTION FILM TREE STORY 5. CARSTEN MAAZ GERMANY HFF/M TV SERIES FRIENDSHIP 6. MISCHA KAMP NETHERLANDS NFTVA TV SERIAL I’VE GOT SOMETHING… 7. BENGISU GENCAY TURKEY IU c/o NATFA TV SERIES FIVE OF THE LAKE 8. TONGUC SEZEN TURKEY IU c/o NATFA TV SERIES FIVE OF THE LAKE 9. IVA MITROVIC YUGOSLAVIA FDU FICTION FILM MRS.MATIC’S HISTORY CLUB 10. RALITZA MANCHEVA BULGARIA NATFA FICTION FILM DUMBHEADS

LECTURERS: Audiovisual Reality & Children’s Perception Associate Prof.Dr. Christo Kaftandjiev (Helsinki University)

Audiovisual Semiotics & Children’s Perception Assistant Prof.Dr. Kamelia Hancheva (Sofia University)

GUESTS OF HONOR: Mr. Marko Stoychev Screenwriter (author of over 15 children’s films and winner of over 30 festival awards)

Mrs. Rada Moskova Screenwriter (author of over 10 children’s films and winner of over 15 festival awards)

Mr. Rumen Nikolov Screenwriter/Producer Bulgarian National TV (Head, Children’s Dept.)

Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

5. WORKSHOP 2: SWEDEN (29 JUNE – 7 JULY 2002)

PINOCCHIO-2 Page 17

Workshop 2: SWEDEN (29 June – 7 July 2002)

Goal of Workshop 2: Workshop 2 aims at providing the grounds for projects in advanced development to achieve the highest possible level in order to succeed in finding financial resources for their eventual practical realization as well as to attract broad professional attention by arranging for their authors meetings with top industry experts.

Participation in Workshop 2: Workshop 2 allows the participation of the best projects selected out of the ones developed in Phase 1 but it is also open to new projects as long as they stand to the Projects’ Eligibility Requirements (A). Students have to stand to the Students’ Eligibility Requirements (B).

A. Projects’ Eligibility Requirements:  ONLY projects presented as a complete package are eligible for participation. The package has to be written in English and MUST include: a) the finished screenplay; b) the director’s audiovisual explication (4-12 pages); c) the detailed budget and production schedule; d) the financing and marketing strategies.  ONLY projects presented by SPD teams (Screenwriter & Producer & Director) are eligible for participation. (NB: In rare and specific cases one student may fulfil two roles in a team.)

B. Students’ Eligibility Requirements:  ONLY CILECT schools’ students in Screenwriting, Producing and Directing are eligible for participation. (NB: In rare and specific cases professional producers or directors may also be admitted.)  ONLY fluently speaking AND writing in English students are eligible for participation.  ONLY students who have filled in the Statement of Purpose (100 words max.) defining how they understand the meaning of the workshop’s title “Audiovisual Products for Children: The Spiritual Alternative for the Third Millenium” are eligible for participation.

The Applications Deadline for All Projects in Workshop 2 Is: 24 MAY 2002

Hospitality at Workshop 2: PINOCCHIO fully covers the accommodation (hotels and meals) of the selected participants but NOT cover travel expenses.

Fees for Participation in Workshop 2: • Selected student participants may be allowed against a participation fee of 200 EUR. • Professional producers/directors as well as teachers and/or students willing to participate as observers may be allowed on a limited basis and against a participation fee of 450 EUR (including full accommodation). 2

WORKSHOP 2: P R O G R A M

(29 June 2002, Saturday) 20.00 Welcome Dinner

(30 June 2002, Sunday) 09.30-13.00 Presentation: PINOCCHIO. Participants. Projects. (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(1 July 2002, Monday) 09.30-13.00 Discussion: Children’s Film/TV Financing (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(2 July 2002, Tuesday) 09.30-13.00 Discussion: Directing the Child Actor (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(3 July 2002, Wednesday) 09.30-13.00 Discussion: Children’s Film/TV Marketing (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Group workshops (incl. coffee-break) 20.00 Dinner

(4 July 2002, Thursday) 09.30-13.00 Individual Consultations (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Individual Consultations (incl. coffee-break) 20.00 Dinner

(5 July 2002, Friday) 09.30-13.00 Project Presentations (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Project Presentations (incl. coffee-break) 20.00 Dinner

(6 July 2002, Friday) 09.30-13.00 Project Presentations (incl. coffee-break) 13.00-14.30 Lunch 14.30-18.00 Final Discussion. Summary. Perspectives. (incl. coffee-break) 20.00 Farewell Dinner

Report of the PINOCCHIO Project Chair Melbourne, 6-13 April 2002

6. MFA DEGREE IN CHILDREN’S FILM/TV PRODUCTION

This proposal takes care of almost all available programs I could find in our member schools and it includes in itself suggestions by participants in SOURCES workshops, the PINOCCHIO Workshop 1 and other meetings. It obviously is quite ambitious at a first glance but actually the only thing it needs in order to become a reality is some space, devoted tutors and aspiring student. And as long as I know – CILECT has those all:)

PINOCCHIO-2 Page 18

CILECT MFA DEGREE IN CHILDREN’S FILM/TV PRODUCTION

MFA DEGREE IN CHILDREN’S FILM/TV PRODUCTION

Course Requirements

SUBJECTS / OBLIGATORY CREDITS * FALL** SPRING **

Compulsory Fundmentals: 10 Audiovisual Reality & Children’s Perception 2 Audiovisual Semiotics & Children’s Perception 2 Psychodrama & Children’s Audiovisual Production 4 MA Thesis Individual Consultations 2

Electives Group A – Producers’ Perspectives: 4 (10 ***) Children’s Fiction Film Financing & Producing 4 Children’s TV Financing & Producing 4 Children’s Fiction Film Marketing 4 Children’s TV Marketing 4 Children’s Fiction Film Distribution 2 Children’s TV Distribution 2

Electives Group B – Writers’ Perspectives: 4 (10 ***) Children’s Fiction Film Development 4 Children’s TV Series/Serials Development 4 Children’s Fiction Film Screenwriting 4 Children’s TV Series/Serials Screenwriting 4 Children’s TV Educational Programs Screenwriting 2 Children’s TV Entertainment Programs Screenwriting 2

Electives Group C – Directors’ Perspectives: 4 (10 ***) Children’s Casting 2 Children’s Fiction Film Directing 4 4 Children’s Documentary Directing 4 Children’s TV Educational Programs Directing 2 Children’s Live TV Entertainment Programs Directing 4

Electives Group D – Historical Perspectives: 4 The Oral Tradition: Tales & Myths 2 2 The Written Tradition: Literature & Drama 2 2 The Audiovisual Tradition: Film & TV 2 2

Electives Group E – Parallel Perspectives: 4 Animation Film for Children 2 2 Puppet Theatre for Children 2 2 Interactive Media for Children 2 2

TOTAL OBLIGATORY CREDITS: 30

* 1 Credit = 15 academic hours ** Fall Semester = 10 school weeks (1 Oct – 26 Jan) Spring Semester = 10 school weeks (3 Mar – 22 Jun) *** Figures in () are obligatory for students pursuing the degree in the respective profile

© 2002 – STANISLAV SEMERDJIEV Report of the PINOCCHIO Project Chair Melbourne, 6 -13 April 2002

7. FINANCIAL REPORT

PINOCCHIO-2 Page 19

P I N O C C H I O - 2 : FINANCIAL REPORT (EUR)

EXP / EST DONOR

1. PINOCCHIO R I P Database Preparation 1400

1.1. Amendments & Additions to the Existing Referative Bibliography 200 NATFIZ 1.2. Amendments & Additions to the Existing Festivals' Catalog 290 NATFIZ 1.3. Creation of the Students' Films Library 520 NATFIZ 1.4. Creation of the Professional Films Library 390 NATFIZ

2. Project Promotion 13375

2.1. Partner Search Initial Meeting - UNESCO+Pygmalion - 2000 1060 2.1.1. Air Ticket Stockholm-Paris-Stockholm (Goran) 470 ATHENAFILM 2.1.2. Accomodation (4 nights x 70) 310 DI 2.1.3. Per diem (5 days x 50) 280 DI 2.2. Partner Search Initial Meeting - NFI+NORDICIL - 2001 1340 2.2.1. Air Ticket Stockholm-Copenhagen-Oslo-Stockholm (Goran) 420 NORDICIL 2.2.2. Accomodation (6 nights x 80) 530 DI 2.2.3. Per diem (7 days x 50) 390 DI 2.3. Partner Search Initial Meeting - SOURCES - 2001 1225 2.3.1. Air Ticket Sofia-Berlin-Sofia (Stan) 590 CILECT 2.3.2. Accomodation (4 nights x 80) 355 SOURCES 2.3.3. Per diem (5 days x 50) 280 CILECT 2.4. Project Promotion at Turkish Universities - 2001 1260 2.4.1. Bus Ticket Sofia-Istanbul-Sofia (Stan) - 3 x 45 150 CILECT 2.4.2. Accommodation (10 nights x 40) 445 CILECT 2.4.3. Per diem (12 days x 50) 665 CILECT 2.5. Partner Search Initial Meeting -Film I Skane, Sweden - 2001 1225 2.5.1. Air Ticket Sofia-Copenhagen-Sofia (Stan) 680 CILECT 2.5.2. Accommodation (4 nights x 60) 265 FILM I SKANE 2.5.3. Per diem (5 days x 50) 280 CILECT 2.6. Project Promotion at SOURCES Workshops - 2001/2 4665 2.6.1. Sweden (air tickets, accommodation, per diem) 2110 SOURCES 2.6.2. Finland (air tickets, accommodation, per diem) 2555 SOURCES 2.7. Project Promotion at Education India Forum - 2002 2600 2.7.1. Air Ticket Sofia-Delhi-Sofia (Stan) 1820 NATFIZ 2.7.2. Accommodation (5 nights x 80) 445 CILECT 2.7.3. Per diem (6 days x 50) 335 CILECT

3. PINOCCHIO C A P T A I N Establishing 16930

3.1. New Nordic Children's Films'2000 - Haugesund (Norway) 3010 3.1.1. Air Ticket Sofia-Stavanger-Sofia (Stan) 955 SVENSKA INSTITUTET 3.1.2. Air Ticket Stockholm-Stavanger-Stockholm (Goran) 280 NORDICIL

29.01.2002 - NATFIZ: Prof.Dr.Stanislav Semerdjiev 3.1.3. Accomodation (5 nights x 100 x 2 pers.) 1110 HAUGESUND FEST. 3.1.4. Per diem (6 days x 50 x 2 pers.) 665 DI + NATFIZ (60/40) 3.2. CINEKID'2000 - Amsterdam (Netherlands) 2755 3.2.1. Air Ticket Sofia-Munich-Sofia (Stan) 430 NATFIZ 3.2.2. Train ticket Munich-Amsterdam-Munich (Stan) 255 NATFIZ+CILECT (50/50) 3.2.3. Air Ticket Stockholm-Amsterdam-Stockholm (Goran) 510 NORDICIL 3.2.4. Accomodation (5 nights x 80 x 2 pers.) 890 NORDICIL 3.2.5. Per diem (6 days x 50 x 2 pers.) 670 DI + NATFIZ (50/50) 3.3. Buster Film Festival'2001 - Copenhagen (Denmark) 770 3.3.1. Air Ticket Stockholm-Copenhagen-Stockholm (Goran) 180 ATHENAFILM 3.3.2. Accommodation (4 nights x 70) 310 DI 3.3.3. Per diem (5 days x 50) 280 DI 3.4. Oulu Film Festival'2001 - Oulu (Finland) 1900 3.4.1. Air Ticket Sofia-Oulu-Sofia (Stan) 1035 CILECT 3.4.2. Accommodation (6 nights x 80) 535 POEM 3.4.3. Per diem (6 days x 50) 330 POEM 3.5. BUFF'2001 - Malmo (Sweden) 790 3.5.1. Air Ticket Sтоckholm-Copenhagen-Stockholm (Goran) 245 NORDICIL 3.5.2. Accommodation (4 nights x 60) 265 BUFF 3.5.3. Per diem (57 days x 50) 280 NORDICIL 3.6. Golden Elephant'2001 - Hyderabad (India) 5290 3.6.1. Air Ticket Sofia-Hyderabad-Sofia (Stan) 3680 HYDERABAD FEST. 3.6.2. Accomodation (7 nights x 150) 1165 HYDERABAD FEST. 3.6.3. Per diem (8 days x 50) 445 HYDERABAD FEST. 3.7. Nordic Children's TV Festival'2001 - Ebeltoft (Denmark) 945 3.7.1. Air Ticket Stockholm-Aarhus-Stockholm (Goran) 310 DI 3.7.2. Accommodation (4 nights x 80) 355 NORDICIL 3.7.3. Per diem (5 days x 50) 280 NORDICIL 3.8. BUFF'2002 - Malmo (Sweden) 1470 3.8.1. Air Ticket Sofia-Copenhagen-Sofia (Stan) 680 BUFF 3.8.2. Accommodation (6 nights x 60) 400 BUFF 3.8.3. Per diem (7 days x 50) 390 BUFF

4. Workshop 1: BULGARIA (2-9 March 2002) 18950 4.1. Full Accomodation - Participants, Tutors, Guests, Organizers 7890 NATFIZ+CILECT (67/33) 4.2.1. Tutors (Travel) 540 CILECT 4.2.2. Tutors (Salaries) 2000 PARTICIPANTS 4.3. Transport 780 NATFIZ 4.4. Catering 560 NATFIZ 4.5. Communications 1280 NATFIZ 4.6. Excursion 880 NATFIZ 4.7. Facilities (Rental) 1920 NATFIZ 4.8. Office Supplies 680 NATFIZ 4.9. Organization & Accounting 2420 NATFIZ+CILECT (75/25)

5. Workshop 2: SWEDEN (June 2002) 42100 5.1. Full Accomodation (Participants, Tutors, Guests, Organizers ) 12000 FILM I SKANE 5.2.1. Tutors (Travel) 4000 FILM I SKANE 5.2.2. Tutors (Salaries) 12000 FILM I SKANE 5.3. Transport 1350 FILM I SKANE

29.01.2002 - NATFIZ: Prof.Dr.Stanislav Semerdjiev 5.4. Catering 1000 FILM I SKANE 5.5. Communications 1500 FILM I SKANE 5.6. Excursion 800 FILM I SKANE 5.7. Facilities (Rental) 2800 FILM I SKANE 5.8. Office Supplies 1250 FILM I SKANE 5.9. Organization & Accounting 5400 FILM I SKANE

6. Curriculum Development (incl. Research & Testing) 1780 NATFIZ

7. Final Report (incl. Preparation & Publishing 200 cps.) 2680 NATFIZ+CILECT (50/50)

EXPENDITURE & ESTIMATION TOTAL: 97215

PINOCCHIO PROJECT CHAIR: (Prof.Dr.Stanislav Semerdjiev, Vice Rector, NATFIZ, Bulgaria)

29.01.2002 - NATFIZ: Prof.Dr.Stanislav Semerdjiev