ATOM & METRO MAGAZINE PRESENT SCREEN FUTURES MELBOURNE 2011 9-12 JULY INDUSTRY INNOVATION EDUCATION 1 SCREENFUTURES.COM SPONSORS IMPACT PRINTING SCREENFUTURES Board GRAPhIC dESIGN Brett Lamb Ben Heywood (The Age) Dr Susan Turnbull (Chair) Heidi McKinnon Emily Doyle Simon Lake (Screenrights) Paul Callaghan Alex Maunder Mike Lynch (Enhance TV) Roger Dunscombe TWITTER CO-ORdinator Bruce McLaverty Brian Dole (Geon Impact Printing) Michael Considine Cindy Thomas (Federation Square) Lisa French Lawrie Zion Richard Keddie Clare Cahill (Adobe) SPECIAl ThANkS to Annie Agnew, Jessica Garuds (Apple) (June–December 2010) TEChnical Peter Tapp Peter Tapp (Metro magazine) Special thanks to all the speakers Richard Zimmerman John Katotriatis (RMIT) Nic Dorward (ACMI) in the program Lawrie Zion Mark Bollenberg (ACMI) Vanessa Butselaar (Melbourne Town Hall) ThANkS lIST for YOUTh FEST Staff VOlUNTEERS Amelia King (Game Developers’ Augusta Zeeng John Nicoll – Director Justine Grant Association of Australia) Lee Burton Sian Higgins – Project Manager Paul Nieuwenhuizen Augusta Zeeng (ATOM Vic) ATOM Vic Julie-Anne Smith Amanda Ford (USC) Federation Square YOUTh FEST Karen Koch Lisa French, Professor Stephanie imMEDIAte issues Liza Bermingham Hemelryk Donald (RMIT) Madman Printing Augusta Zeeng Rachael Noble Jenny Buckland, Glenda Wilson Maggie Garrard and ACTF Lee Burton Augusta Zeeng (Australian Children’s Television Metro magazine Gabrielle Nicoll Foundation) Nicole Hurtubise and SYN PUBlICITY David Benson (Holmesglen) Peter Wakefield and Digital Jameson PR – PROGRAMMING Julia McNicol, Janna Wilkinson, Learning Hub at the Arts Centre Erin Jameson, Helen O’Malley Lisa French Sarah Coughlan (Department Ross Garner and Stop-motion Pro Sue Turnbull of Business and Innovation, Screen Education magazine WEBSITE Administration Roger Dunscombe State Government of Victoria) Signal Zak Hamer Melinda Roberts Kate Kennedy (Film Victoria) all the panellists Heidi McKinnon Hugh Mason Jones Lawrie Zion (La Trobe University) all the workshop presenters Victoria Giummarra Zoe Rodriguez (Copyright Agency Limited) WELCOME Welcome to the inaugural Screen Futures summit, jointly presented by Australian Teachers of Media (ATOM Vic) and Metro magazine. CONTENTS Screen Futures focuses on the dramatic changes Welcome 2–3 occurring in the media world as a result of the online revolution: notions of journalism are Program 4–12 under threat; audiences for film and television List of speakers 14–26 are no longer guaranteed; and the traditional understanding of copyright is being dramatically Program schedule 28–30 challenged. Similarly, the world of education is undergoing a significant transformation. VENUE INFO With an extraordinary eighty-plus sessions, we are sure there will be plenty of things to delight, The three main venues for the summit are educate, entertain, tease and challenge you. ACMI, Melbourne Town Hall and RMIT University. All are located along Swanston Street, the spine of Melbourne’s CBD. For those moving between ACMI We hope you have a truly great summit. and RMIT, it is about a fifteen-minute walk or a five-minute tram ride. Melbourne Town Hall is John Nicoll about a five-minute walk from ACMI. FRANKLIN STREET Summit Director Street Bowen VICTORIA STREET LA TROBE STREET MELBOURNE CENTRAL STATION DELEGATE LUNCHEON Little Lonsdale Street LONSDALE STREET On Monday 11 July all delegates are welcome to attend a complimentary light lunch at ZINC, Federation Little Bourke Street Square, between 12 and 2 pm. BOURKE STREET We look forward to seeing you there. Little Collins Street COLLINS STREET GENERAL Information ELIZABETH STREET STREET SWANSTON RUSSELL STREET EXHIBITION STREET Flinders Lane Registration desk phone number: 0414 991 627 Follow us on FLINDERS STREET FLINDERS Screen Futures summit email address: STREET [email protected] STATION Website: http://www.screenfutures.com RMIT BUILDING 9 FACEBOOK MELBOURNE ACMI AND http://www.facebook.com/pages/ TWITTER TOWN HALL FEDERATION SQUARE Screen-Futures/141378189263367 http://twitter.com/Screen_Futures 33 SCREENFUTURES.COM SCREENFUTURES.COM Follow us! PROGRAM SESSION 11 SESSION 13 SESSION 16 SESSION 17 SESSION 18 3.00–4.00 PM 3.00–4.00 PM 3.00–4.00 PM 11.00 AM–12.00 PM 3.00–4.00 PM SATURDAY 9 JULY SATURDAY 9 JULY SATURDAY 9 JULY SUNDAY 10 JULY SATURDAY 9 JULY RMIT RMIT RMIT ACMI CUBE RMIT Maggie Garrard Colin Schumacher Angela Thomas-Jones Jo Flack Damian Marley & Martin Gwyn-Fawke THE IMPORTANCE OF BEING CREATING THE SEAMLESS SCREEN REACHING BEYOND THE BARRIERS: THE CHALLENGE OF PARTICIPATORY 2001/2011: FIlM AND tHE FUtUrE A DIGITAL CREATor … Story – ADVANCED tECHNIQUES EMBRACING THE CHALLENGES THAT CUltUrE IN MEDIA EDUCAtIoN IN THE PRIMARY CLASSROOM IN SCrEEN ProDUCtIoN AND NEW MEDIA TECHNOLOGIES BRING In the context of the new technologies, Young people’s enduring and ever expanding What is the future? What might it look like? teachers should find new ways to work SCREEN LITERACY to oNlINE UNIVErSIty lEArNINg love affair with social media, which is How can we blend imagination with reality to productively with children and help them This workshop/paper introduces the conference Do educators have to be brave to be too often assumed to adversely impact invent the future? Sustained film studies are, become critical users and creators of digital to recent doctoral research in the pedagogy transparent? Challenges exist for educators on education, regularly alarms teachers, by and large, an unexplored domain in media. They need a flexible curriculum that of advanced techniques in screen literacy, with the increased transparency enabled by parents and the community. To focus on Primary education. Kubrick’s 2001: A Space incorporates and values screen and digital screen subtext and screen production that social media, but this is also an opportunity technology rather than learning under a Odyssey (1968) gives young kids a rich literacies, aligned with authentic learning screen directors employ to direct the audience’s for brave educators to create a genuine paradigm that sees work as worthy and introduction to media studies, taking them on tasks where children are able to reflect and gaze on screen. It is an illuminating study online learning community. Students studying play as wasteful denies the place of media a journey through the fundamentals of create on issues of importance to them, of professional screen directing skills and online at university frequently face additional in our students’ lives and culture. Could it narrative, narration, adaptation and the particularly identity, popular culture, and the techniques that are sure to elevate the quality challenges when adjusting to the online be that a new digital divide, one between process of the moving image. role of digital texts in their lives. Kahootz students’ educational lives and their real of screen (film and television) viewing and learning environment. This session identifies For Primary students, 2001 can be 3 is a powerful set of 3D multimedia tools lives, is a greater concern? Is our focus on making in primary, secondary and tertiary the digital divide, ICT literacy, dissonant fascinating, baffling, frustrating, ‘boring’, and that empowers students with the skills and matters of digital safety, ethics, authority screen projects. The author considers that the discourses and institutional technologies sometimes it can be all of these at once. A tools to create their own media, allows them and access missing the point? What if new twenty-first century school curriculum should as key barriers to online learning. These story of the future which is now set in the to be designers, inventors and storytellers, media technologies were simply ubiquitous incorporate advanced studies in professional may be overcome by the creative use of ‘past’, it gives scope for children to reflect connects them to a diverse, engaged tools with which students engage in screen literacy and screen subtext especially new media technologies, specifically social upon their imagined futures. As a visual audience, is also an active, online community. learning? Social media promises genuine ‘given that by the end of high school a student media. By bravely reaching beyond the rather than verbal experience, it challenges Though it was designed for the use in primary integration of education into students’ lives will have consumed over 15,000 hour of film barriers, educators can engage with digital kids to reflect upon their own reactions and schools, it is very adaptable for students through participatory practices that develop and TV compared to 10,000 hours of schooling’. natives, digital immigrants and even the feelings as filmgoers. And as an ‘analogue’ who want to develop animation films and knowledge and skills to unify education, Plus the emergent technologies – iPhone, digital forgotten, through the construction of film, created with optical effects and models, virtual games. work, play and life. Smartphone and predicted portable NLE’s transitional communities. it provides an opportunity to see our present that will refine these immediate screen digital film world in a different light. Seeing communications. Reference will be made to his 2001 in 2011 is a way to see the past in recent research in sophisticated professional the future. screen directing of the audience inside the screen narrative and its transdisciplinarity pedagogy. These advanced screen techniques deserve to be shared with the consumers – teachers and students: screen-literate citizens who