DOCSLIB.ORG

Study on the Feasibility, Pertinence & Design of a Lab Projects Support

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Study on the Feasibility, Pertinence & Design of a Lab Projects Support Tracking Satyrs, MML Collectve (Michał Mądracki, Maciej Mądracki & Gilles Lepore), Eurimages Lab Project Award 2020 DGII/EUR/SGEval(2021)_33 Report Study on the feasibility, pertinence & design of a Lab Projects support programme for the Eurimages Fund Introduction 4. Contents. Defning a framework of study 6. The Eurimages Lab Project Award 2016-2020 10. An analysis Chapter 1. Non-conventional cinema in history & today 18. Historical notons about unconventonal cinema 20 Low-budget flmmaking in Europe – Retrospectve & current trends 24 Practces of non-conventonal cinema - Non-fcton, hybrid & artst flms 32 Internet and new aesthetc forms of contemporary cinema 36 Chapter 2. Diamantno, Gabriel Abrantes & Daniel Schmidt (2018) Mapping the feld of non-conventional cinema in Europe 42. Report Filmmakers & visual artsts – Juggling creatve processes 44 Study on the feasibility, & funding strategies Producers – Empowering a vivid & collaboratve community 50 pertinence & design Incubators & Exhibitors – Championing radical cinema 56 of a Lab Projects Chapter 3. support programme Innovating public policy making 67. for the Eurimages Fund Non-conventonality in public support mechanisms 68 A new scheme - The Design, Audience, and Carte Blanche Lab Awards 78 Guidelines 88 Conclusion 94. List of people interviewed 96 Photo credits 98 Opinions expressed in this publicaton are personal to the authors and do not necessarily March 2021 represent the view of Eurimages, its members or the Council of Europe. 3 Introduction. ilmmaking and flm viewing in Europe have The label of non-conventonal cinema is no F evolved dramatcally in the last twenty longer about necessarily remaining stuck in a years and will contnue to mutate even more in niche and so-called experimental flmmakers the coming years. The set of categories (fcton/ need not necessarily inhabit an ‘underground documentary; features/shorts/series; live gheto’ for their entre career. In fact, they acton/animaton; festvals/cinemas/television; don’t! In the 20th century, flm vanguards mainstream/art house; etc.) that have long been were most ofen only an infuence on the used by each and every stakeholder in the feld next generatons, and it could take decade(s) to create a mental map of European flmmaking for mainstream cinema to appropriate artstc where they would positon themselves, have breakthroughs from past cutng-edge flms. gradually lost much of their relevance in a digital Not only are borders far more porous today, era. The issue is that these maps inherited but many flmmakers are nimbly navigatng and from the past are stll very much defning the crossing between diferent territories at a very audiovisual policies in Europe today - locally, quick pace, reaching audiences, whose nature natonally, and internatonally. and scope vary greatly depending on the given project. Such examples of dissident flmmakers The Stand-In, By nature, non-conventonal flmmaking making it to the mainstream not only explode, Rä di Martno (2017) practces are more shape-shifing and agile but render categories obsolete. than conventonal ones, the later favouring the status-quo. Yet in the current context, these That’s the context of cinema & audiovisual protean characteristcs, which have largely been industries as we see it, and that’s what makes difcult to defne and previously incapacitated the study commissioned by Eurimages on the their chances of ataining visibility, are now feasibility, pertnence, and design of its Lab increasingly gaining tremendous value. This Projects Award programme partcularly excitng. makes them beter equipped to apprehend It was our belief, supported by our expertse and answer the enormous paradigm shifs and intuiton, and it is our certtude now, of viewing practces currently in moton. supported by our research, that Eurimages may Undoubtedly, non-conventonal flmmaking have not truly seized the entre potental of this now has a historical opportunity to have a programme. What started, and stll is considered, greater impact, both rapidly and massively on as a promotonal programme motvated by the the overall audiovisual ecosystem, and its set of desire to address the few flm projects that norms, than ever before. Dominant cinema in escape the cracks of its main support scheme fact must be observant enough in order to use could very much become the homing device to all these experimentatons to its own advantage; expand their experimental innovaton in policy- By Mathieu Darras to quickly redefne itself and remain atractve, making. Ultmately, it may unexpectedly and otherwise it soon risks becoming moribund and soon enough infuence the whole approach of irrelevant - a danger that is unfortunately rapidly the Fund - and its mission. Introduction growing into a reality. 5 The team members have worked in diferent capacites in the flm and audiovisual sector in Europe, together they combine a wide range of expertse and experiences, notably as: Heads of flm labs/ industry platorms/ trainings; festval directors/ curators; flmmaker/ visual artst; producers; journalist; TV broadcaster he commission of a study on the feasibility, editor; flm insttute ofcer. These diferent T pertnence and design of a Lab Projects levels of engagement were a guarantee for an support programme for the Eurimages approach that was not one-sided, to prevent fund is the direct result of the work of an conficts of interest and to foster enriching & Evaluaton Study Group set up by the Board of contradictory debates within the team. Defning a framework of study. framework a Defning Management of the Fund in December 2018. Generally, the Evaluaton Study Group stressed The structure of the research team was as that Eurimages will inevitably have to defne follows: recommendatons in order to adapt to an ever- • Mathieu Darras (France/Slovakia) and changing environment. Rebecca De Pas (Italy/Czech Republic/France) as co-Heads of Studies; This is the object of this study by Tatno Films, • Esra Demirkiran (Turkey), Anna Gudkova commissioned by Eurimages, that was achieved (Russia), Marina Gumzi (Slovenia/Germany), over a 100 day-period from November 2020 Elena López Riera (Spain/Switzerland), and to February 2021. This artcle intends to detail Natacha Seweryn (France) as Research what our process has been in order to create a Associates. Maesta, fexible framework that functons as a vehicle • Kristna Aschenbrennerová (Slovakia) as Andy Guérif (2015) towards delivering the main objectves of the Research Coordinator. study, which are: to assess the pertnence of a programme aimed at supportng innovatve or The co-Heads of Studies were both experienced non-conventonal cinema/audiovisual projects; in the feld of non-conventonal & innovatve to make recommendatons on the format of a cinema, principally – but not exclusively – as new support programme. Heads of Labs & curators. They have, for many years and in diferent capacites, faced some of Our process consisted in the following steps: the challenges that are at the core of this study. establishing a team, defning a methodology, For instance, they had to ideate structures and and implementng a research strategy. to design decision-making processes, in order to be relevant and to maximize the impact By Mathieu Darras The Team of their actons within specifc limitatons. Their combined contributons to a long list of leading flm initatves that are actve in the feld In order to address a feld as wide and shape- guaranteed extensive knowledge of the specifc Defning shifing as non-conventonal cinema, the idea issues involved in the study, together with an was to consttute a team of diverse people independence vis-à-vis the players in the feld. that are complementary to one another, a framework and ultmately refectng the multplicity of The role of the Research Associates, each with viewpoints on innovatve/non-conventonal their unique profle, was to enlarge the scope cinema in Europe. Their practce in their of the brainstorming, to generate new ideas, of study respectve felds, combined with a genuine to challenge certaintes, to reach out towards interest refecton on public policy and a know- a large scope of professionals in many member how in carrying research & studies, was decisive. countries, and generally to enrich the study. 7 It was crucial to have in-depth Interviews with the potental benefciaries of the Eurimages Lab Mapping the feld ofen means taking a step by Elena Lopez Riera, Anna Gudkova, and Esra The Methodology Award themselves, including leading artstc back, as we wanted to provide a context for Desmirkiran in Chapter 2. fgures in the feld directors, visual artsts, the practces of non-conventonal & innovatve Innovatng public policy, the ttle of Chapter Adoptng an efcient study methodology was and producers, whose work is emblematc in cinema in Europe. This is what Chapter 1 is about, 3, is actually the ambiton of this study, crucial, considering the strict tme constraints pushing boundaries of representaton, and able with artcles by Natacha Seweryn, Mathieu which considers the Lab Project Award as an and the necessity of delivering tangible results. to express what they perceive as their needs in Darras and Rebecca De Pas that notably look at opportunity for Eurimages to innovate and to Afer setng up a team, the next step was to terms of support. The museum and art centre the history of avant-gardes and apprehend non- reinvent its mission. In order to translate this aim defne a smooth working process for the team directors & curators, festval programmers & conventonal cinema with perspectves that are into acton, it was necessary for Marina Gumzi to to collaborate together, and in relaton with the artstc directors were decisive in order to map in turns economic, aesthetc and technological. analyse several support mechanisms in Europe Secretariat of Eurimages, with a clear division the feld thanks to their thorough knowledge, as – a prerequisite to relevant recommendatons. of tasks, simple fows of communicaton, well- were the distributors, broadcasters and SVOD Identfying stakeholders is going to meet Only then could Mathieu Darras & Rebecca De defned objectves and deadlines.
Load more

Recommended publications
  • The European Development Programme for Limited Budget
    20 17 with the support of in partnership with in partnership The European development programme for limited created by created budget feature films created by Le Groupe Ouest, European Film Lab was founded on the coast of western Brittany (France) in 2006. Over 500 filmmakers have received residential coaching since work started, making Le Groupe Ouest the acknowledged leader in this field. In 2016, after founding the Cross Channel Film Lab and on the back of its experience as TorinoFilmLab’s longstanding French associate, Le Groupe Ouest launched LIM, following an initial pilot year with Romanian partner Control N. Le Groupe Ouest is LIM’s managing partner and coordinator. with the support of in partnership with Founded in 2009 by The Flanders Audiovisual two screenwriters and Fund (VAF) is the a director, Control N cultural public funding is a cultural association, body of Belgium’s whose projects center Flemish Community. around training workshops, VAF aims to stimulate and film courses and seminars, support the independent most of them dedicated audiovisual creation to amateurs. Although in Flanders through its projects touch different an integrated approach. areas of culture (theatre, VAF also offers the dance, photography), Flemish professional Control N’s main focus sector the necessary is screenwriting, script framework, along with development and film a wide range of related events. Its declared accompanying activities purpose is to discover and support measures and promote young in the area of Talent talented film enthusiasts Development, Research, and to push for cinema Film Activities and with the support of education in Romania. Sustainability - the latter known as ‘e-Mission’.
    [Show full text]
  • Paris, Sustainable Sets Eu, Trip Gets the Green Light
    News from European Film Commission Network ers have decided to extend the shoot in Croatia, adding locations in FRANCE and around Split to Season 4. According to Embassy Films, filming in Croatia will take place between the months of August and September. PARIS, SUSTAINABLE SETS On June 27th, Bruno Julliard, Deputy Mayor in charge of culture, and Christian Vivès, Director of Paris ERDF, signed the charter for filming CZECH REPUBLIC in Paris according to which the use of temporary electric connections is encouraged and made easier. This permits film crews to restrict the PRAGUE/INTERNATIONAL SETS use of generators, thus reducing sound and environmental disturbance. The Ridley Scott-produced Child 44, directed by Daniel Espinosa and TheCity of Paris and ERDF thus aim to facilitate the reception of film produced by Scott Free Productions, Prague’s Stillking Films, Sum- crews and preserve the quality of life of Parisians, while reducing the mit Entertainment and Worldview Entertainment, started its 75-day city’s environmental footprint. shoot in June. Featuring a stellar cast including Tom Hardy, Gary Old- ERDF, a public service company in charge of supplying electricity to man, and Noomi Rapace, the story is set in the Soviet Union during the 95% of the French metropolitan territory, has teamed up with the City Stalin era, where a disgraced Soviet military police officer investigates for the success of the Climate Plan. a series of child murders. Paris, capital of cinema, hosts more 950 film shoots in 6,000 different Another important international production starting in June in Prague locations every year.
    [Show full text]
  • Development for Feature Film Projects, Next to You
    NEXT Development for feature film projects, next to you First session: 11-15 May 2020 Second session: 28-29 May 2020 The world is rapidly and profoundly TFL NEXT changing. New challenges have emerged on a global scale, which film and TV industries have the ability and the duty to answer. This conviction is deeply rooted in TorinoFilmLab’s DNA. It resonates in our mission: to bring together people, cultures and ideas to develop original and unique stories that can impact the future. This new branch of TorinoFilmLab has an innovative teaching approach, a fully online based experience. It aims at empowering a new generation of agile- thinking and innovative filmmakers, who are ready to immerse themselves in a truly global experience, sharing with international experts and peers, travelling across live barriers. Everyone has something unique to express. Together, we form a global community, ready to make an impact in the world. We invite you to join us in this new adventure. SUPPORTED BY PROMOTED BY 2 TFL NEXT – FILM DEVELOPMENT • 11-29 MAY 2020 TUTORS Isabelle created Initiative Film in 1993, a company dedicated to film development. She works as a script consultant and gives lectures at forefront international events and many film schools. She also Isabelle Fauvel facilitates book adaptations through book scouting Story Editor • France and initiatives such as Shoot the Book!, and scouts writers and directors for several producers and labs. Răzvan Rădulescu is a scriptwriter, novelist and film director. He studied Philology at the University of Bucharest and Opera Directing at the National Music Academy of Bucharest.
    [Show full text]
  • Research for CULT Committee
    Creative Europe: Towards the Next Programme Generation ____________________________________________________________________________________________ CONTENTS LIST OF ABBREVIATIONS 5 EXECUTIVE SUMMARY 7 1. CURRENT POLICY CONTEXT 11 2. CREATIVE EUROPE ORGANISATION AND MANAGEMENT 17 3. IMPACT OF CREATIVE EUROPE ON CULTURAL DIVERSITY 21 3.1. Improving the circulation of European cultural and audiovisual works 22 3.2. Supporting audience development 34 4. IMPACT ON CAPACITY BUILDING 41 4.1. Impact on skills and knowledge development 41 4.2. Impact on internationalisation and international networking 46 4.3. Impact on access to finance 48 4.4. Improving statistics on the CCS 51 5. CONTRIBUTION OF CREATIVE EUROPE TO EXTERNAL RELATIONS 55 6. ACCESSIBILITY OF THE PROGRAMME 59 6.1. Co-funding 61 6.2. The application process 62 6.3. Sector representation 62 7. DECISION MAKING PROCESS WITHIN CREATIVE EUROPE 67 7.1. The delegation of supplementing the list of indicators 68 7.2. Implementation of the programme: evolution of the annual work programmes and new priorities 68 8. INCREASING SYNERGIES WITH OTHER EU PROGRAMMES 73 8.1. Cohesion Policy and structural funds: culture and regional development 74 8.2. COSME programme and Horizon 2020 75 8.3. Skills development for the CCS through ERASMUS+ 75 9. COMMENTS ON THE MID-TERM REVIEW OF THE CREATIVE EUROPE PROGRAMME 77 10. POLICY RECOMMENDATIONS AND FINAL REMARKS 81 10.1. Recommendations 81 10.2. Concluding remarks 85 3 Policy Department for Structural and Cohesion Policies ____________________________________________________________________________________________ ANNEXES 87 Annex 1. Creative Europe objectives and structure 87 Annex 2. Brief overview of the EU decision-making system 91 Annex 3.
    [Show full text]
  • Development Programme Book of Projects 2009
    Dvbook of projects 2009 Development Programme MINISTERO PER I BENI E LE ATTIVITÀ CULTURALI DIREZIONE GENERALE PER IL CINEMA In 2008, the specific aspects of the so-called TorinoFilmLab invites filmmakers to enter a “cinema system” rooted within Torino and Piedmont collaborative process throughout the whole path - characterised by numbers of successful initiatives that brings a story from the intimacy of the artist’s such as Film Commission Torino Piemonte, the mind to the possibility of sharing it with the public. National Cinema Museum, the Torino Film Festival, Script&Pitch Workshops - represented a strong At every step, there are chances to explore, to doubt, basis for the creation of a permanent international to change, to improve, and at every step, there is laboratory, TorinoFilmLab, destined to accompany someone that can listen, help, bring advice. There talents for a reasonable amount of time through is a whole bunch of people out there that can different steps: starting from when the film’s make a filmmakers’ life, if not easier, at least richer story and structure are first thought of, following in opportunities, and this mostly before the film is through the development stage, up to the process made. People who share a passion for stories, and of financing and possibly rewarding some of the are willing to help creating the right context so that selected projects with a production grant. stories can travel far: scriptwriters, story editors, directors, directors of photography, sound designers, TorinoFilmLab Thanks to the support of the Italian Ministero per producers, sales agents, distributors, financiers. i Beni e le Attività Culturali, the Regione Piemonte TorinoFilmLab works to facilitate these encounters, and Città di Torino we have found the necessary each one at the right time.
    [Show full text]
  • Programme and Selection Torinofilmlab, Linked to the Torino
    TorinoFilmLab 2009: Programme and Selection TorinoFilmLab, linked to the Torino Film Festival, is the first Italian laboratory to support worldwide emerging talents through Training, Development and Funding activities. Dedicated to first and second fiction films, TorinoFilmLab is the setting for creating stories and making them grow, and offers the chance to obtain a production grant at the end of the course. TorinoFilmLab is promoted by the key cinema bodies in Torino and Piedmont – the National Cinema Museum and Film Commission Torino Piemonte – in partnership with the advanced Script&Pitch Workshops training course supported by EU MEDIA Programme. Script&Pitch Workshops/Training Programme 2009 Selections are open until 15 December 2008 (www.torinofilmlab.it). The course, which is open to professional scriptwriters and directors worldwide, follows the entire script development process, from the initial idea to a first draft, up to a pitching before producers and sales agents from the international panorama. It envisages three workshops lasting a week each and online sessions between March to November 2009. This programme allows access to the Development Awards, which give automatic admission to the Development Programme over the following year. Development Programme 2009 Projects are selected by the TorinoFilmLab team by scouting. A tailor-made programme on each project is then carried out, working alongside the directors and producers, to focus on script development as well as pre-production aspects. Two workshops, each lasting two days, will be held indicatively in March and September 2009. Projects need to be presented by a producer and must already be at an advanced stage of development.
    [Show full text]
  • Produire Au Sud Workshop
    PRODUIRE AU SUD WORKSHOP Professional programme of the Festival of 3 Continents INTERNATIONAL SOURCES OF FUNDINGS (last update jun. 2013) INDEPENDENT SOURCES OF FINANCING INTERNATIONAL WORKHOPS, RESIDENCES & NETWORK PROGRAMMES Produire au Sud workshop – G. Mainguet, C. Lajoumard, P. Avril - 26/06/13 – p. 1 Development Fund for Art,Technique and Film Industry – Algeria (Algérie) Fictions & Documentaries The Algerian Government has long taken an interest in the film industry, with the creation in 1968 of the "Fonds de Développement de l’Art, de la Technique et de l’Industrie Cinématographique" (FDATIC). This Fund is designed to support the production and distribution of Algerian films, to develop video archives and to organise film events. Since its establishment in 1992, the National Reading Committee has reviewed 165 themes or scripts and selected 49 beneficiaries of partial funding from the FDATIC. Who can apply? Only corporate bodies working in television or film production and of ALGERIAN NATIONALITY can receive financial support from the FDATIC. Foreign citizens residing officially in Algeria and who have been working in the film or television field for more than 5 years can be assimilated to Algerian citizens and thus benefit from this support. CO-PRODUCTIONS ARE ALSO ACCEPTED. Conditions and obligations Every applicant to FDATIC financial support must register at the "Conseil national de la cinématographie et de l’aide aux projets audiovisuels" (part of the Ministry of Communication and Culture), at least three months prior to the planned shooting date. Type and amount of support Currently, the basic amount of FDATIC grants allocated is ten million DA (slightly under 100,000 euros) for features films and three million DA (slightly less than 30,000 euros) for short films.
    [Show full text]
  • Catalogue Film-Making Process
    21 23 WHEN 01 EAST 18 MEETS WEST organized by with the support of 21 23 0118 under the patronage of in partnership with 2018 partners QENDRA KOMBETARE E KINEMATOGRAFISE ALBANIAN NATIONAL CENTER OF CINEMATOGRAPHY FCL partner LST partners in collaboration with database with the technical support of Savoia Excelsior Palace WHEN EAST MEETS WEST Film Centre of Montenegro FCL partner JANUARY 21/23, 2018 Film Center Serbia Polish Film Institute Finnish Film Foundation organized by Greek Film Centre In collaboration with Icelandic Film Centre Fondo Audiovisivo Friuli Venezia Giulia Confartigianato Udine Kosovo Cinematography Center Trieste Film Festival/Alpe Adria Cinema Estonian Film Institute Macedonian Film Agency EWA European Women’s Audiovisual Nordic Film & TV Fund with the support of Network Norwegian Film Institute Creative Europe - MEDIA Programme Festival Scope Slovenian Film Centre MiBACT - Direzione Generale per il Flow Postproduction Swedish Film Institute Cinema Heretic Asterisk Creative Europe Desk Bulgaria CEI (Central European Initiative) Hot Docs Creative Europe Desk Croatia Regione Autonoma del Friuli Venezia Laser Film Creative Europe Desk Denmark Giulia Lithuanian Film Centre Creative Europe Desk Finland MIA Creative Europe Desk Italia under the patronage of National Film Centre of Latvia Creative Europe Desk Norway OLFFI Eurimages Creative Europe Desk Serbia Producers Network - Marché du Film Creative Europe Desk Slovenia in partnership with Creative Europe Desk Sweden database EAVE Maia workshops LST partners Eventival Midpoint
    [Show full text]
  • Newsletter November/December 2011
    newsletter November/December 2011 INTERNATIONAL RELATIONS DEPARTMENT ARTE France Festivals and Special Events ► Spain …….p.2 ► The Netherlands …….p.2 ► Egypt …….p.4 ► Italy …….p.4 ► The Czech Republic …….p.4 ► Argentina …….p.5 ► The United Arab Emirates …….p.5 ► Mali …….p.5 Contact us …….p.6 Come and visit our blog : http://blogs.arte.tv/ARTE-regarde-le-monde Festivals and special events ► Spain ARTE is partner of the Seville European Film Festival (4 th to 11 th November) ARTE is partner of the Seville European Film Festival. This year, the guest of honour was Russia. ARTE was also turning the spotlight on this country with the screening of four programmes about Russia : Le dissident du KGB by Nicolas Jallot La toundra des enfants perdus by Jérôme de Missolz and Marie Brunet-Debaines Slava’s Snowshow –Show created and staged by Slava Polunin. And filmed by Dominique Thiel Horizons lointains - Moscou by Xavier Lefebvre There were six other ARTE co-productions on the Sevillian programme : Le Havre by Aki Kaurismaki Michel Petrucciani by Michael Radford Shun Li et le poète by Andrea Segre An Amos Gitai retrospective featuring : Kippour Alila News from Home On 7 th November ARTE hosted a gala premiere of Aki Kaurismaki’s Le Havre. André de Margerie, Director of ARTE France’s International Relations Department attended the premiere. The screening was followed by a cocktail party which brought many European and Spanish TV industry professionals together. www.festivaldesevilla.com ► The Netherlands ARTE is partner of IDFA (16 th to 27 th November)
    [Show full text]
  • TFL 2009 Selection
    TorinoFilmLab proudly presents the selection for its Training, Development and Funding Programmes 2009. For its second edition in 2009, the new Italian initiative TorinoFilmLab has selected 20 projects for its Training ProgrammeProgramme, in partnership with Script&Pitch Workshops (the European advanced scriptwriting course funded by the MEDIA Programme of the European Union), and 121212 projects for its Development ProgrammeProgramme. Linked to the Torino Film Festival, TorinoFilmLab is the first Italian laboratory dedicated to training, development and funding activities. Its selection offers a balanced mix of projects from all over the world – both first features by emerging talent and second features by filmmakers who have already enjoyed international acclaim with their previous works. Promoted by the main film institutions established within Torino and Piedmont – Museo Nazionale del Cinema and Film Commission Torino Piemonte – TorinoFilmLab started in 2008 supported by the Ministero per i Beni e le Attività Culturali, Regione Piemonte and Città di Torino. In the Final Event from the 15 ththth to the 17 ththth November 20092009, during the Torino Film FestivalFestival, the projects will be presented to an audience of producers and sales agents invited from all over the world 1.1.1. Training ProgrammProgrammeeee The Programme starts in March with a workshop that will take place during the Alba International Film Festival (Italy), continues with a second workshop in Brignogan (France) next June, and will be completed with the last
    [Show full text]
  • Media Mundus 2013 Europe Joins Forces
    Media Mundus 2013 europe joins forces Media Mundus 2013 MEDIA 1 Mundus Media Mundus 2013 europe joins forces Media Mundus 2013 europe joins forces contents 2 Contents 22 03 crossover 5 Foreword 23 asian side of the doc 7 How Media and Media Mundus support the 24 Berlinale Residency audiovisual industry 25 B’esT - Baltic Bridge east by West 40 Media desks and antennae 26 Boost! 27 Cine sin Fronteras 28 distribution 2.0 29 dOX:LaB 9 01 training 30 Primexchange europe – india 10 aCe Co-production Labs 31 Trans atlantic Partners 11 Cartoon Connection 12 interchange: development & 32 04 circulation & distribution Co-production for the arab World 33 europa Cinemas Mundus 13 into the Future 2013 34 europa distribution international 2013 14 s.e.a. 2013-2014 35 eye on Films 15 Puentes – europe/Latin america 36 Festival scope: Telescope Producers Workshop 37 ipeda Mundus 16 Ties That Bind - asia europe 38 Operation Kino Producers Workshop 39 Ventana sur: echanges europe-amérique Latine 17 02 Market access 18 Centeast Warsaw - Moscou 19 Frontières international Co-production Market for Genre Films Projects connecting north america and europe 20 Producers Lab Toronto 2013 21 World documentary exchange (Wde) note: Fees not only vary from one to another, but do not always cover the same elements. exact terms and con ditions vary, But an indication of when travel, lodging and meals are provided is shown by the following symbols has to be presented in abbreviated form in order to provide a publication that can act as a one-stop shop. 2 Media Mundus
    [Show full text]
  • July-August 2010 Newsletter
    July-August 2010 newsletter INTERNATIONAL RELATIONS DEPARTMENT ARTE France Festivals and special events ► Israel …….p.2 ► Palestine …….p.2 ► Bosnia and Herzegovina …….p.3 ► Switzerland …….p.4 Contact us …….p.5 Festivals and special events ► Israel ARTE is partner of the Jerusalem Film Festival (8th – 17th July) ARTE France will award the “International Relations ARTE Prize” worth € 6,000 at the Jerusalem Pitch Point on 11th and 12th July. The Pitch Point gives 18 Israeli filmmakers the opportunity to present their feature- length film projects to a group of international professionals including Cedomir Kolar, producer (A.S.A.P. Films), Savina Neirotti from TorinoFilmLab, Michael Weber, distributor (The Match Factory), Meinolf Zurhorst, Head of Film Department at ARTE/ZDF, Rémi Burah, Managing Director for ARTE/COFINOVA and General Secretary for ARTE France Cinéma and Annamaria Lodato, Head of Communications at the International Relations Department, ARTE France. At the Pitch point a prize will also be given by the CNC. Several ARTE co-productions will be screened at the Jerusalem Film Festival: 2 Lung Boonmee Raluek chat (Uncle Boonmee who can recall his past lives) by Apichatpong Weerasethakul Carlos by Olivier Assayas Un poison violent by Katell Quillévéré My joy by Sergei Loznitsa Tender son – The Frankenstein project by Kornél Mundruczó Barbe bleue by Catherine Breillat Eyes wide open : a journey through today’s South-America by Gonzalo Arijon Contact by Dean Bentley and Martin Butler Cabaret Berlin, the wild scene by Fabienne Rousso-Lenoir http://www.jff.org.il ► Palestine Special ARTE programming in Ramallah (13th au 23rd July) From 13th to 23rd July ARTE in partnership with the Franco-German Cultural Centre will offer a special programming in Ramallah.
    [Show full text]