24. — 27.10.2017 CILECT CONGRESS ZURICH Making of “Schwarzfärber” BA Degree Film Fiction, 25 mins Set Design, Toni Campus Film Studio

Analog/Digital Research Project Eyetracking, Audience Experiment Toni Cinema Making of “Wolkenreiter” B A Degree Film Fiction, 18 mins Toni Campus Film Studio

Making of “Fast Alles” B A Degree Film Fiction, 24 mins San Bartolomeo al Mare, Italy MA Seminar “New World Tanz mit der Kamera” Interdisciplinary Project with B A Contemporary Dance Toni Campus

Making of “Blue My Mind” MA Degree Film Fiction, Drama, 18 mins Highway picnic area Kefikon Süd

MA Seminar “Space-Character-Lighting” Momo, Set Design Toni Campus Film Studio

Making of “Out of Paradise” MA Degree Film Drama / Road movie, 100 mins Ulanbaatar, Mongolia CILECT 9 Congress Index Information 3 — Thursday 12 Schedule 26.10.17 Rekingen quarry Rekingen 60 contents of Index of 16 Social Regional Program Association contents Meetings 17 Toni Campus 59 Speakers

Map 71 CILECT Prize Index 18 Speakers 4 — Friday 22 Moderators 27.10.17 Program

75 Speakers A Film “Senjor!”, Fiction, 9 mins Welcome B 25 Welcome Moderators Congress 79 Moderators

31 Overview Exhibition Space

87 Exhibit 1 — Tuesday Congress Research Project Project Research 24.10.17 General

33 Speakers Assembly Appendix 2 — Wednesday 95 Candidate 25.10.17 Members 95 General Organization Assembly 110 General 45 Speakers Information 55 CILECT 112 Acknowl- Teaching edgements

Analog / Digital Award CILECT 10 CILECT Index of contents 11 Congress Schedule Index Information

12 Schedule

16 Social Program

17 Toni Campus Map

Index

18 Speakers

22 Moderators Informatioon Congress CILECT 12 Congress Schedule Congress Schedule 13 32 Tuesday 44 Wednesday

Tuesday 24.10.17 Wednesday 25.10.17

MAIN CONGRESS HALL MAIN CONGRESS HALL 7.K12 7.K12 09:30 OPENING 09:30 CILECT GENERAL PERFORMANCE AND ASSEMBLY WELCOME NOTES: Including the pre- H. Wickert, sentation of CILECT M. D. Mourão, Congress 2018 S. Semerdjiev, C. Iseli 10:15 10:15 KEYNOTE Markus Gross, Pervasive Dis- ruptions in Media 11:00 COFFEE BREAK / 30 MINS 11:00 COFFEE BREAK / 30 MINS 11:30 KEYNOTE 11:30 KEYNOTE Barbara Flückiger Andrea Phillips The Trans- Principles of media Turn Transmedia Storytelling 12:15 KEYNOTE 12:15 KEYNOTE Schedule Tuesday

Shmerah Passchier Tim Marsh Schedule Wednesday Afrofuturism and Immersive Virtual Reality Environments

LUNCH / 90 MINS LUNCH / 90 MINS MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE 7.K12 3.G02 5.K10 3.C06 7.K12 3.G02 5.K10 3.C06 14:30 TALK TALK CASE STUDY CASE STUDY Z F 14:30 TALK TALK TALK WORKSHOP Z F Norman Hollyn Misha Kavka & Andres Veiel Maggie Burnette H I Simon Jon Manuel J Damásio Daniel Boulos Pablo Martinez- H I Beginning Again Tom Gerber Which Future!? Stogner D L Andreasen e.al. Animation Films Zarate D L Intimacy in Video Transmedia P K M The Multiformat Spatial Are Transmedia Web P K M Games Living Lab A Director Storytelling Documentaries A T T T T 15:20 TALK CASE STUDY CASE STUDY R 15:20 TALK CASE STUDY CASE STUDY R O O O O Ole Goethe Tobias Weber Katherine Nicholls A Gerda Cammaer Dan Weldon Inga von Staden A U U U U Machinima: Virtual Late Shift: Bran- Pitch-Viz L Integrated Interactivity IP Driven De- L R R R R Filmmaking ched Storytelling Experience in VR L Digital Option Changes Nothing velopment L 16:00 COFFEE BREAK / 30 MINS E 16:00 COFFEE BREAK / 30 MINS E L L 16:30 TALK SCREENING SPECIAL WORKSHOP F Z 16:30 TALK CASE STUDY WORKSHOP F Z Mario Márquez LATE SHIFT CILECT Events Frédéric Martel I H Lex Sng Ran Yu Jan Nåls I H Lartigue Interactive The Social L D Gamification Transmedia Empathy in L D

and Projects DESK REGISTRATION DESK REGISTRATION E E 24.10.17 Transmedia cinema T-Port Cinema M K with Students Teaching Transmedia M K 25.10.17 X X Design Patterns experience Presentation Experiment Storytelling H H Ethics Lab T T T T 17:20 SPECIAL I 17:20 SPECIAL CASE STUDY CASE STUDY I Presentation O O O O Frank Rose B Andrea Phillips Björn Stockleben Mirko Lempert B Columbia’s U U A Transmedia Collaborative Pre-Viz with U U EXHIBITON SPACE 5.K12 SPACE EXHIBITON I 5.K12 SPACE EXHIBITON I R R R R Digital Dozen T Roadmap Online Teaching Game Engines T S S 18:00 18:15 CILECT TEACHING AWARD 2017 19:00 19:00

19:45 HARBOR BURKLIPLATZ 19:45 20:00 CILECT WELCOME DINNER Dinner Cruise on LAKE ZURICH Individual arrival at Burkliplatz, Harbor, in Zurich at 19:45. Boat departs at 20:00h, returns at 22:30h.

22:30 Program Program 14 Congress Schedule Congress Schedule 15 58 Thursday 74 Friday

Thursday 26.10.17 Friday 27.10.17

MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE BREAK ROOM MAIN CONGRESS HALL

7.K12 3.G02 5.K10 3.C06 6.K04 7.K12 09:30 GEECT CNA CARA CAPA CIBA 09:30 FINAL KEYNOTE CILECT CILECT CILECT CILECT CILECT Frank Rose Regional Regional Regional Regional Regional The Art and Science Associations Associations Associations Associations Associations of Storytelling

10:15 10:30 Discussion with Frank Rose

11:00 COFFEE BREAK / 30 MINS 11:00 COFFEE BREAK / 30 MINS 11:30 KEYNOTE 11:30 PLENARY DISCUSSION Christian Iseli Where Do We Go from Here? Mixed Methods moderated by M. D. Mourão, and Partnerships S. Semerdjiev, C. Iseli

12:15 KEYNOTE 12:30 FAREWELL SPEECHES Pia Tikka CLOSING PERFORMANCE Schedule Friday Schedule Thursday Exploring the Frontiers

LUNCH / 90 MINS MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE 7.K12 3.G02 5.K10 3.C06 14:30 TALK SCREENING CASE STUDY CASE STUDY Z F Sarine Waltenspül HFR / Analog Gesa Marten et al. Helen Gaynor H I The Search for vs Digital Transmedia Non-Linear D L Emergence Concepts Documentary P K M Design A T T 15:20 CASE STUDY CASE STUDY CASE STUDY R O O Agoston Nagy Samuel Schwarz Frédéric Dubois A U U Borrowed Polder – A Trans- Measuring L R R Analogies media Experience Interactive Docs L 16:00 COFFEE BREAK / 30 MINS E 16:30 CASE STUDY SCREENING CASE STUDY L F Z

Doe Mayer POLDER (THE MOVIE) Kirsi Rinne / Synes I H Transdisciplinary Transmedia Elischka L D E DESK REGISTRATION Research project Virtual Cinema M K 26.10.17 Lab X 27.10.17 H T T 17:20 CASE STUDY CASE STUDY TALK I O O Eric Rosenzveig Anton Rey Francisco Menendez B U U NARRA: Artistic Actors and Story-Living in VR 5.K12 SPACE EXHIBITON I R R Research Avatars T S 18:15 CILECT PRIZE 2017

19:00

19:45 CONGRESS VENUE ZHDK ARRI RECEPTION

20:30 ZHdK FILM DINNER

22:00 Program Program 16 Congress Schedule Congress Map 17 Social Program Toni Campus

Social Program Toni Campus Map

Schedule Entrance MONDAY TUESDAY WEDNESDAY THURSDAY FRIDAY DAILY Pfingstweidstrasse 07.30 SIGHTSEEING SIGHTSEEING SIGHTSEEING SIGHTSEEING

— RUN RUN RUN RUN 3.C06 Campus Map Toni 08.15 (meet us at IBIS (meet us at IBIS (meet us at IBIS (meet us at IBIS Open Reception) Reception) Reception) Reception) Stage WC Information Mensa WC BREAKFAST Desk

Tower Foerrlibuckstrasse Entrance 09.30 OPENING, CILECT CILECT CLOSING CoffeBar A C E G Post Office 3.G02 WELCOME + GENERAL REGIONAL PLENARY Cinema KEYNOTE ASSEMBLY ASSOCIATIONS DISCUSSION T K Kaskade Rampe Main 3. Floor 3. Entrance Hall LUNCH Museum 13.45 OUTDOOR WALK OUTDOOR WALK OUTDOOR WALK D F H — WITH MIKE WITH SABINE WITH SABINE 14.15 SCHAERER ZHDK GISIGER ZHDK BOSS ZHDK WC WC (meet us at (meet us at (meet us at Registration Registration Registration Desk) Desk) Desk) OR OR OR

Program AMBIENT AMBIENT AMBIENT Entrance CINEMA CINEMA CINEMA Duttweilerstrasse Information (have a nap at (have a nap at (have a nap at the Kino Toni) the Kino Toni) the Kino Toni)

14:30 TALKS, CASE TALKS, CASE TALKS, CASE Z F

STUDIES, STUDIES, STUDIES, P H I WC WC WORKSHOPS, WORKSHOPS, WORKSHOPS, A D L SCREENINGS SCREENINGS SCREENINGS R K M 5.K10 Exhibition

A A C E G Space Entrance Foerrlibuckstrasse T T L O O Rampe L Library Lunch 5.K10 K U U WC Conference E Floor 5. Area Room R R L T 16:00 COFFEE BREAK / 30 MINS Lunch Buffet 16:30 TALKS, CASE TALKS, CASE TALKS, CASE F Z B D F H STUDIES, STUDIES, STUDIES, E I H Tower WC

WORKSHOPS, WORKSHOPS, WORKSHOPS, L D X DESK REGISTRATION WC SCREENINGS SCREENINGS SCREENINGS H M K I B T T Congress Social I O O T U U EXHIBITON SPACE 5.K12 SPACE EXHIBITON S R R SHORT BREAK 18:15 REGISTRATION CILECT CILECT + WELCOME TEACHING PRIZE RECEPTION BY AWARD 2017 7 WC ZURICH FILM- FUND AND FILM COMMISSION Main ZURICH WC A C E G Congress Hall Rampe 19:45 ZHDK DINNER CRUISE REGIONAL ARRI RECEPTION K Kaskade WC CURRENT LAKE ZURICH DINNERS + ZHDK FILM Floor 7. T NIGHT DINNER Tower AFFAIRS FILM (meet us at the WC SCREENING tram stop/har- (at the Entrance AT CINEMA TONI bor Burkliplatz Toni-Areal) Foerrlibuckstrasse (Tram 4 or 2) B D F 20:00 - 21:30 22.30 ZURICH BY

NIGHT TOUR WITH TOM GER- BER ZHDK CILECT CILECT

18 Index Speakers Index Speakers 19

35 Markus Gross 68 Doe Mayer Index Index Index E L P Disney Research Zurich, University of Southern Speakers 69 Synes Elischka Switzerland 40 Mario Márquez Lartigue California, USA Trans- 36 Shmerah Passchier Aalto University, Finnland Pervasive Disruptions Universidad Iberoameri- disciplinary Research AFDA, South Africa Virtual Cinema Lab in Media cana, Mexico Transmedia 16:30 Case Study Afrofuturism and VR 16:30 Case Study 10:15 Keynote Design Patterns 7.K12 Main Congress Hall 12:15 Keynote A 3.C06 Open Stage 7.K12 Main Congress Hall 16:30 Talk 26.10. Thursday 7.K12 Main Congress Hall 26.10. Thursday 24.10. Tuesday 7.K12 Main Congress Hall 24.10. Tuesday 48 Simon Jon Andreasen 24.10. Tuesday 70 Francisco Menendez National Filmschool of University of Nevada 47 Andrea Phillips Denmark F H 54 Mirko Lempert Las Vegas, USA USA Principles of The Multiformat Director Stockholm University of the Story-Living in VR Transmedia Storytelling 14:30 Talk 35 Barbara Flückiger 36 Norman Hollyn Arts, Sweden Previz with 17:20 Talk 11:30 Keynote 7.K12 Main Congress Hall University of Zurich, University of Southern Game Engines 3.C06 Open Stage 7.K12 Main Congress Hall 25.10. Wednesday Switzerland California, USA 17:20 Case Study 26.10. Thursday 25.10. Wednesday The Transmedia Turn Beginning Again 5.K10 Conference Room 11:30 Keynote 14:30 Talk 25.10. Wednesday 27 Maria Dora Mourão 53 Andrea Phillips B 7.K12 Main Congress Hall 7.K12 Main Congress Hall University of São Paulo, USA A Transmedia 24.10. Tuesday 24.10. Tuesday Brazil Welcome Address Roadmap 49 Daniel Boulos M 09:30 Introduction 17:20 Special University of Hawai’i, USA 65 Susanne Foidl 7.K12 Main Congress Hall 7.K12 Main Congress Hall Animation Films Are Film University Babelsberg I 47 Tim Marsh 24.10. Tuesday 25.10. Wednesday Transmedia Konrad Wolf, Germany Griffith Film School, 14:30 Talk Transmedia Concepts 63 Christian Iseli Australia 5.K10. Conference Room 14:30 Case Study Zurich University of the Arts, Immersive Environments N R 25.10. Wednesday 5.K10 Conference Room Switzerland 12:15 Keynote 26.10. Thursday Mixed Methods and 7.K12 Main Congress Hall 66 Agoston Nagy 65 Kerstin Retemeyer Partnerships 25.10. Wednesday Moholy-Nagy University of Film University Babelsberg C 11:30 Keynote Art and Design, Hungary Konrad Wolf, Germany G 7.K12 Main Congress Hall 41 Frédéric Martel Borrowed Analogies Transmedia Concepts 50 Gerda Cammaer 26.10. Thursday Zurich University of the Arts, 15:20 Case Study 14:30 Case Study Ryerson University, Canada 66 Helen Gaynor Switzerland The Social 7.K12 Main Congress Hall 5.K10 Conference Room Integrated Digital Option VCA School of Film and Cinema 26.10. Thursday 26.10. Thursday 15:20 Case Study Television, Australia K 16:30 Workshop 7.K12 Main Congress Hall Non-Linear 3.C06 Open Stage 52 Jan Nåls 70 Anton Rey 25.10. Wednesday Documentary Design 37 Misha Kavka 24.10. Tuesday ARCADA University of Zurich University of the Arts, 14:30 Case Study University of Auckland, Applied Sciences Switzerland 3.C06 Open Stage New Zealand Intimacy 65 Gesa Marten Empathy in Transmedia Actors and Avatars 26.10. Thursday in Video Games Film University Babelsberg Storytelling 17:20 Case Study Speakers Congress Speakers Congress D 14:30 Talk Konrad Wolf, Germany 16:30 Workshop 5.K10 Conference Room 48 Manuel José Damásio 37 Tom Gerber 3.G02 Cinema Transmedia Concepts 3.C06 Open Stage 26.10. Thursday Universidade Lusófona, Zurich University of the Arts, 24.10. Tuesday 14:30 Case Study 25.10. Wednesday Portugal Switzerland 5.K10 Conference Room 90 Peter Richardson Spatial Storytelling Intimacy in Video Games 65 Anne Luise Kiss 26.10. Thursday 40 Katharine Nicholls University of Hertfordshire, 14:30 Talk 14:30 Talk Film University Babelsberg Falmouth University, UK Zero Point VR 3.G02 Cinema 3.G02 Cinema Konrad Wolf, Germany 49 Pablo Martinez-Zarate United Kingdom 13:00 –19:00 Exhibition 25.10. Wednesday 24.10. Tuesday Transmedia Concepts Universidad Iberoamerica- Feature Film Pitch-Viz 5.K12 Exhibition Space 14:30 Case Study na, Mexico Workshop: Experience in VR daily 67 Frédéric Dubois 39 Ole Goethe 5.K10 Conference Room Web Documentaries 15:20 Case Study Film University Babelsberg Westerdals Oslo, Norway 26.10. Thursday 14:30 Workshop 3.C06 Open Stage 69 Kirsi Rinne Konrad Wolf, Germany Machinima: 3.C06 Open Stage 24.10. Tuesday Aalto Universtity, Finnland Measuring Virtual Filmmaking 25.10. Wednesday Virtual Cinema Lab Interactive Docs 15:20 Case Study 16:30 Case Study 15:20 Case Study 7.K12 Main Congress Hall 3.C06 Open Stage 3.C06 Open Stage 24.10. Tuesday 26.10. Thursday 26.10. Thursday

CILECT CILECT 20 Index Speakers 21

53 Björn Stockleben Index R W Index Film University Babelsberg 48 Sandra Rocha Konrad Wolf, Germany 64 Sarine Waltenspül Universidade Lusófona, Collaborative Online Zurich University of the Arts, Portugal Spatial Teaching Switzerland The Search Storytelling 17:20 Case Study for Emergence 14:30 Talk 3.G02 Cinema 14:30 Talk 3.G02 Cinema 25.10. Wednesday 7.K12 Main Congress Hall 25.10. Wednesday 26.10. Thursday 38 Maggie Burnette Stogner 43 Frank Rose American University, USA 39 Tobias Weber Columbia Digital Storytell- Transmedia Living Lab Kino Industries/CtrlMovie, ing Lab, USA Columbia’s 14:30 Case Study Switzerland Late Shift: Digital Dozen 3.C06 Open Stage Branched Storytelling 17:20 Special 24.10. Tuesday 15:20 Case Study 7.K12 Main Congress Hall 3.G02 Cinema 27.10. Friday 24.10. Tuesday T 77 Frank Rose 50 Dan Weldon Columbia University School 63 Pia Tikka Northern Film School /Leeds of the Arts, USA The Art Baltic Film & Media School, Beckett University, UK and Science of Storytelling Estonia Exploring the Interactivity Changes 09:30 Keynote Frontiers Nothing 7.K12 Main Congress Hall 12:15 Keynote 15:20 Case Study 24.10.. Tuesday 7.K12 Main Congress Hall 3.G02 Cinema 26.10. Thursday 25.10. Wednesday 69 Eric Rosenzveig Film and TV School of the 90 David Tree 26 Hartmut Wickert Academy of Performing University of Hertfordshire, Zurich University of the Arts, Arts, Czech Republic UK Zero Point VR Switzerland NARRA: Artistic Research 13:00–19.00 Exhibition Welcome Address 17:20 Case Study 5.K12 Exhibition Space 9:30 Intoduction 7.K12 Main Congress Hall daily 7.K12 Main Congress Hall 26.10. Thursday 24.10. Tuesday V S Y 38 Andreas Veiel 67 Samuel Schwarz Germany Which Future!? 52 Ran Yu Speakers Congress Speakers Congress Digitalbühne Zürich, 14:30 Case Study Communication University Switzerland Polder – 5.K10 Conference Room of China, China Trans- A Transmedia Experience 24.10. Tuesday media Teaching Experiment 15:20 Case Study 16:30 Case Study 3.G02 Cinema 51 Inga von Staden 3.G02 Cinema 26.10. Thursday Film Academy Baden- 25.10. Wednesday Württemberg, Germany 51 Lex Sng IP Driven Development Nanyang Polytechnic, 15:20 Case Study Singapore Gamification 5.K10 Conference Room with Students 25.10. Wednesday 16:30 Talk 3.C06 Main Congress Hall 25.10. Wednesday

CILECT CILECT 22 Index Moderators Index Moderators 23

82 Christian Iseli 84 Bruce Sheridan Index Index Index Tuesday 10:15 Pervasive Disruptions in Media Tuesday 16:30 Transmedia Design Patterns Moderators 7.K12 Main Congress Hall 7.K12 Main Congress Hall 14:30 Which Future!? 17:20 Columbia’s Digital Dozen 5.K10 Conference Room 7.K12 Main Congress Hall 80 Bert Beyens Wednesday 16:30 Gamification with Students Wednesday 11:30 Principles of Transmedia Tuesday 14:30 Intimacy in Video Games 7.K12 Main Congress Hall Storytelling 3.G02 Cinema 17:20 A Transmedia Roadmap 7.K12 Main Congress Hall 15:20 Branched Storytelling 7.K12 Maicn Congress Hall Thursday 09:30 CILECT Regional Associations 3.G02 Cinema Thursday 15:20 Polder – A Transmedia Experience Parallel Meetings Wednesday 16:30 Transmedia Teaching Experiment 3.G02 Cinema 3.G02 Cinema 3.G02 Cinema Friday 09:30 The Art and Science of 17:20 Actors and Avatars 17:20 Collaborative Online Teaching Storytelling 5.K10 Conference Room 3.G02 Cinema 7.K12 Main Congress Hall Thursday 09:30 CILECT Regional Associations 11:30 Where Do We Go from Here? 85 Herman Van Eyken Parallel Meetings 7.K12 Main Congress Hall Tuesday 14:30 Transmedia Living Lab 7.K12 Main Congress Hall 3.C06 Open Stage 11:30 Mixed Methods and Partnerships 83 Miriam Laura Loertscher 15:20 Pitch-Viz Experience in VR 7.K12 Main Congress Hall Wednesday 14:30 Animation Films Are Transmedia 3.C06 Open Stage 5.K10 Conference Room Wednesday 12:15 Immersive Environments 80 Sabine Boss 15:20 IP Driven Development 7.K12 Main Congress Hall Tuesday 14:30 Beginning Again 5.K10 Confecrence Room Thursday 09:30 CILECT Regional Associations 7.K12 Main Congress Hall Thursday 14:30 The Search for Emergence Parallel Meetings 15:20 Machinima: Virtual Filmmaking 7.K12 Main Congress Hall 3.C06 Open Stage 7.K12 Main Congress Hall 15:20 Borrowed Analogies 16:30 Transdisciplinary Research Thursday 16:30 Virtual Cinema Lab 7.K12 Main Congress Hall 7.K12 Main Congress Hall 3.C06 Open Stage 17:20 NARRA: Artistic Research 17:20 Story-Living in VR 83 Maria Dora Mourão 7.K12 Main Congress Hall 3.C06 Open Stage Tuesday 11:30 The Transmedia Turn 7.K12 Main Congress Hall 81 Silvio Fischbein Wednesday 14:30 Spatial Storytelling Thursday 09:30 CILECT Regional Associations 3.G02 Cinema Parallel Meetings 15:20 Interactivity Changes Nothing 6.K04 Break Room 3.G02 Cinema Friday 11:30 Where Do We Go from Here? 81 Sabine Gisiger 7.K12 Main Congress Hall Wednesday 14:30 The Multiformat Director 7.K12 Main Congress Hall 84 Stanislav Semerdjiev 15:20 Integrated Digital Option Tuesday 12:15 Afrofuturism and VR Moderators Congress Moderators Congress 7.K12 Main Congress Hall 7.K12 Main Congress Hall Thursday 14:30 Transmedia Concepts 16:30 CILECT Events and Projects 5.K10 Conference Room 5.K10 Conference Room Wednesday 09:30 General Assembly 82 Garth Holmes 7.K12 Main Congress Hall Wednesday 17:20 Pre-Viz with Game Engines 18:15 CILECT Teaching Award 2017 5.K10 Conference Room 7.K12 Main Congress Hall Thursday 09:30 CILECT Regional Associations Thursday 18:15 CILECT Prize 2017 Parallel Meetings 7.K12 Main Congress Hall 5.K10 Conference Room Friday 11:30 Where Do We Go from Here? 12:15 Exploring the Frontiers 7.K12 Main Congress Hall 7.K12 Main Congress Hall 14:30 Non-Linear Documentary Design 3.C06 Open Stage 15:20 Measuring Interactive Docs 3.C06 Open Stage

CILECT CILECT 24 CILECT CILECT Index of contents 25 Congress Congress Welcome Index

Welcome Welcome Welcome to Zurich 26 Hartmut University Wickert of the Arts! ZHdK

We are 27 Maria Dora pleased to Mourão ZHdK host you CILECT on our Toni 28 Christian Campus Iseli www.zhdk.ch ZHdK Welcome Congress Congress

Z hdk Zurich University of the Arts CILECT CILECT Performing Arts and Film 26 Welcome Welcome 27

Hartmut Wickert, It is my great pleasure to welcome you to the 2017 CILECT Maria Dora Dear Colleagues, Congress at the Zurich University of the Arts. It is a great Along with my fellow members of the Executive Coun- Welcome opportunity to present this young university with its very cil, I am proud to welcome all of you to another CILECT Welcome Zurich University special infrastructure and diverse activity-platforms. For Mourão Congress. Again we find ourselves at the forefront of our us it represents an important opportunity to strengthen ­ industry with our cutting edge theme of Transmedia & of the Arts, the networking activities of our film education within University of São Interdisciplinary Approaches. the CILECT organization. Switzerland Paulo, Brazil As always, the goal of this congress is to share informa­tion We find ourselves in a world in which the political situ- and knowledge. We will also have the opportunity to dis- ation requires collaboration, communication, discussion, cuss administrative matters of the association in the Gen- Head of open-mindedness and the will to find mutual under- President of eral Assembly and to celebrate our activities with awards, standing. In this context, the arts and artists need to ar- such as the Teaching Award and the CILECT Prize. Department ticulate the anxiety, fear, mourning, uproar, and the will CILECT to fight, the hope of those oppressed, tortured, expelled, The major highlight of every CILECT Congress is the con- Performing excluded, ignored, imprisoned and marginalized. Welcome to ference, which this year is organized around the exciting theme of Transmedia & Interdisciplinary Approaches. Digi- Arts and Film Even in this climate, we didn’t chose topics like The Arts the CILECT tal technology has undeniably opened up new horizons in Difficult Times or The Camera as a Weapon for our con- and options, but it could also be considered the biggest gress. There is an important role for the power of imag- (r)evolution in mankind’s history since the arrival of in- Welcome es in these difficult times when lies, disorder absurd acts Congress 2017 dustry. Thus, it requires us to approach it with new and of isolation and ruthlessness have seemingly become the ­engaging teaching strategies.

Hartmut Wickert to Zurich! code of conduct of political leaders. We are equipped with possibilities and the means to create images, and realities The radical changes of the forms of expression, distribu- Mourão Maria Dora through images, which are sometimes stronger than real- tion platforms, and production models, we face current- ity itself. We work hard to create images of this world that ly challenge us to expand our comprehension of the field make all the bizarre, distracting and strange things hap- we assume we know well, and to reevaluate everything pening around us transparent, visible, and alterable. The that prevailed in the area of cinema and audiovisual ped- impressive tradition of documentary filmmaking at our agogy until a few years ago. These new issues need to be university shows how this can be done successfully addressed and discussed. This is why we have invited an C V Maria Dora Mourão is Full Professor at the Universi- unprecedented number of eminent keynote speakers, as As an institution for arts education, we have to be aware ty of São Paulo, Brazil and CILECT President (since well as professors from member schools who are experts 2011). She has a Post Doctorate from École des Hautes C V Hartmut Wickert studied German philology, so­ci ­­ of the future. What will filmmaking be like in times of in the field, to address this year’s Congress. Études en Science Sociales, Paris. She teaches Edit- ol­ogy, and journalism at the Ruhr-University in individualization and isolation? What is the influence ing Theory and has edited several Brazilian docu- Bochum and at the Georg-August-University in Göt- of technology that improves the experience of watching mentaries. Her publications include: O Cinema do I want to express my sincere gratitude to our host, the De- tingen, where he trained with Giorgio Strehler. He real (The Cinema of the Real), with Amir Labaki, (first has held the positions of: Dramatic Advisor and The- movies and screen art? The future of filmmaking and dis- partment of Performing Arts and Film at the Zurich Uni- edition 2005, second edition 2014), published in atre Director at Ruhrfestspiele Recklingausen; Artis­ cussion about virtual realities are strongly linked. versity of the Arts, and its staff, for proposing this con- Argentina (Colihue, 2011); the chapter “Images from tic Director at Tübinger Zimmertheater; Freelance temporary and important theme. I am sure we will all the South: Contemporary Documentary in Argentina ­Director at Theater Basel; Leading Director at The­ater For film schools, or film programs embedded in art and Brazil,” with Ana Amado in The Documentary Film be appreciative of their dedication and professionalism Konstanz; Leading Director at Niedersächsisches schools, that originally defined their existence in close Book (ed. Brian Winston, 2013). She is also a Member in organizing this CILECT Congress 2017 in the days to Congress Staatsschauspiel, Hannover; and Freelance Theatre Congress of the Brazilian Film Archive Council. Director at theaters in Hamburg, Graz, Mainz, Karls- connection with cinema and/or TV, recent disruptive come. ruhe, Weimar and Jena. Since 2006, Hartmut Wick- changes within media are challenging. The distribu- ert has been Head of the Department of Performing tion of audiovisual media has undergone a dramatic I wish you all an enjoyable and inspiring Congress. Arts and Film and Vice President of the ­Zurich Univer- shift away from the traditional channels of TV and cin- sity of the Arts. ema towards the internet, streaming services and social media, a trend that will continue. The growing phenom- enon of combining different media experiences, making them interactive, and participative, bringing into them game dynamics, and building bigger and more complex stories around them is what this congress is about—step- ping across the border of given professional fields, enter- ing cross-, multi-, and trans-media experiences and giv- ing insights into interdisciplinary co-operations in re - search. The line-up of internationals speakers—mainly practitioners of the industry and of film education—is im- pressive.

Welcome to the Zurich University of the Arts. I am sure that your four days with us will be exciting and inspiring. CILECT CILECT 28 Welcome Welcome 29

Christian Iseli, The main question is: How do we deal with it? Cinemas Crossmedia tells the same story on multiple and television stations are losing their audiences, new platforms (such as when a novel is made into a

Welcome players arise, new forms, new formats, new combinations, movie and gets adapted as a comic book). Welcome Zurich University new co-operations and, certainly, a whole lot of new buzz Transmedia tells many stories in many forms on words. How do we deal with it? After all, as it says right multiple platforms and all that is part of larg- of the Arts, in the name of our association, we are film and television er storyworld, of which each platform presents schools. How do we integrate all these new developments a different aspect (take the case of a story uni- Switzerland into our curricula, how do we teach media convergence verse like The Matrix which consists of three in practice? And that’s the good news. It will be most in- movies, two official gaming environments and triguing to see how we actually deal with it. More than 40 various comic books, for example). Congress Host talks, case studies, workshops, screenings and exhibits of breakthrough projects from all over the globe will show —— Multidisciplinary, interdisciplinary and transdis­ and Head us how our colleagues are meeting the many challenges ciplinary: These terms will mainly come up in of the changing media landscape. I’m convinced that we connection with research and all of them will of Research will be experiencing an veritable firework of viewpoints, be referred to at our congress. Whereas, once approaches and solutions. And I’m sure it will be capti- again, varying definitions can be found, the Focus Film vating to compare and discuss all the different perspec- com­­mon denominator covers the following tives of our transnational, collective intelligence. con­cepts: In order to reach our goals, we will proceed in four steps: Multidisciplinarity is based on knowledge and Game —— First, we will look at the phenomenon itself. As methods from different disciplines, that stay a result of digitalization, we have experienced within their boundaries. The main effect is Christian Iseli Christian Changing powerful changes: Complete new distribution additive. Iseli Christian channels, audience (and/or user) participation, Interdisciplinarity analyzes, as well as synthe- Opportunities interactivity, gamification and the advent of sizes, knowledge and methods of the different more and more complex storyworlds. Thus, the disciplines in order to arrive at a synthesis of first day of our conference is dedicated to The approaches. The main effect is interactive. Transmedia Turn. Transdisciplinarity seeks to integrate and move —— Second, we will see how film schools are coping beyond discipline-specific approaches in order with the impact of media convergence and hear to form frameworks beyond confined discipli- from concrete projects, measures and concepts. nary perspectives. The main effect is integrative Therefore, the second day is dedicated to Trans­ and holistic. media in Film Education. In order to keep our wording simple, we mainly use the —— Third, we will focus on how research ap­plies terms “transmedia”or “transdisciplinary”in the descrip- new cooperation strategies in order to ap­proach tion of the congress, as they describe the most complex C V Christian Iseli heads the research focus film and doc- the convergent media situation most effectively and, in that sense, farthest developed phenomena. But umentary film profile within the Master of Arts in Film and efficiently. The third day is thus dedicated obviously, the lineup of projects and case studies includes at the Zurich University of the Arts. After studying His- to Transdisciplinary Research. cross- and multimedia, as well as multi- and interdiscipli- tory, German and English language at the University —— And, on the fourth and final day, we will aspire of Bern, he worked as director of documentary films, nary approaches. to reach an overview; to sum it all up. In order

Congress and as DP and editor of both fiction and documenta- Congress ry films. He began teaching at the Zurich University of to attain that, we will ponder again, in detail, the Arts in the mid-Nineties. As a professor, he teach- upon the aspect that matters most: Storytelling. And now let’s step across the border of disciplines and es documentary film and post production technolo- media – and let’s not forget that Step Across the Border is a gy, and his research interests include the influence of modern technology on practical filmmaking and sto- film, too! It is a feature length documentary on English rytelling. Before we launch ourselves into our Congress adventure, guitarist and composer Fred Frith, by Nicolas Humbert let’s have a quick look at some terminology. and Werner Penzel, a Swiss-German co-production from —— Multimedia, crossmedia and transmedia: At our 1990. congress, we will encounter all three phenom- ena and hear all three terms. Even though there are some blurred boundaries and definitions of these terms in the academic literature, there is an overall tendency that can be described like this: Multimedia is using more than one medium on the same platform or device (an e-book that us- es video clips to bring along one story on one platform, for example). CILECT CILECT CILECT Index of contents CILECT Index of contents 31 Congress Congress Program Congress Congress Program

Watch Congress Index Live Stream Live Live Stream of 33 Tuesday Congress at: The Trans- www.filmstudieren.ch/en media Turn

45 Wednesday Transmedia Program in Film Education

59 Thursday Transdisci- plinary Research Congress Program Congress

75 Friday Wrap Up

CILECT CILECT 32 Congress Index of contents Tuesday 33 Schedule Congress Program 24.10.17

Tuesday 24.10.17 Tuesday Index MAIN CONGRESS HALL 7.K12 09:30 OPENING The Trans- PERFORMANCE AND 1 WELCOME NOTES: H. Wickert, M. D. Mourão, media Turn S. Semerdjiev, C. Iseli 10:15 KEYNOTE How and why is the Markus Gross, Pervasive Dis- media landscape ruptions in Media 11:00 COFFEE BREAK / 30 MINS changing? 11:30 KEYNOTE Barbara Flückiger The Trans- media Turn 35 Speakers 12:15 KEYNOTE Schedule Tuesday Shmerah Passchier 35 Markus Gross Afrofuturism and 35 Barbara Flückiger Virtual Reality 36 Shmerah Passchier

LUNCH / 90 MINS 36 Norman Hollyn MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE 37 Misha Kavka, Tom Gerber 7.K12 3.G02 5.K10 3.C06 38 Andres Veiel 14:30 TALK TALK CASE STUDY CASE STUDY Z F 38 Maggie Burnette Stogner Norman Hollyn Misha Kavka & Andres Veiel Maggie Burnette H I 39 Ole Goethe Beginning Again Tom Gerber Which Future!? Stogner D L 39 Tobias Weber Intimacy in Video Transmedia P K M 40 Katharine Nicholls Games Living Lab A 40 Mario Márquez Lartigue T T 15:20 TALK CASE STUDY CASE STUDY R O O 41 Frédéric Martel Ole Goethe Tobias Weber Katherine Nicholls A U U 43 Frank Rose Machinima: Virtual Late Shift: Bran- Pitch-Viz L R R Filmmaking ched Storytelling Experience in VR L 16:00 COFFEE BREAK / 30 MINS E L 16:30 TALK SCREENING SPECIAL WORKSHOP F Z Tuesday Mario Márquez LATE SHIFT CILECT Events Frédéric Martel I H Lartigue Interactive The Social L D

and Projects DESK REGISTRATION E 24.10.17 Transmedia cinema T-Port Cinema M K 24.10.17 X Design Patterns experience Presentation H Ethics Lab T T 17:20 SPECIAL I Presentation O O Frank Rose B Columbia’s U U EXHIBITON SPACE 5.K12 SPACE EXHIBITON I R R Digital Dozen T S 18:00

19:00

19:45 HARBOR BURKLIPLATZ 20:00 CILECT WELCOME DINNER Dinner Cruise on LAKE ZURICH Individual arrival at Burkliplatz, Harbor, in Zurich at 19:45. Boat departs at 20:00h, returns at 22:30h.

22:30 Program Program 34 Program 24.10.17 Tuesday Moderators Tuesday

Moderators 24.10.17 of theday 83 82 80 80

7. 7. 7. 7. 15:20 14:30 11:30 14:30 10:15 15:20 14:30 Maria Dora Mourão Christian Iseli Sabine Boss Bert Beyens 3. 3. 5. K K K K G G K 12 12 12 12 10 02 02

The Transmedia Turn Which Future!? Pervasive DisruptionsinMedia Machinima: VirtualFilmmaking Beginning Again Branched Storytelling Intimacy inVideoGames Conference Room Cinema Cinema Main Congress Hall Main Congress Hall Main Congress Hall Main Congress Hall

Tuesday

24.10.17 84 85 84

7. 7. 7. 15:20 14:30 17:20 16:30 16:30 12:15 Herman Van Eyken Bruce Sheridan Stanislav Semerdjiev 3. 3. 5. K K K C C K 12 12 12 10 06 06

Pitch-Viz Experience inVR Transmedia LivingLab Columbia’s Digital Dozen Transmedia DesignPatterns Events andProjects CILECT Afrofuturism andVR Conference Room Open Stage Open Stage Main Congress Hall Main Congress Hall Main Congress Hall

10:15 Markus Gross .K 2 K1 7. Switzerland Disney Research Zurich, pany. This change not only affects the mechanics of phys- of mechanicspany. the affects only not change This ical film production, but also the creative process. In par process. In creative the also but production, film ical ing challenges and opportunities and present examples present and opportunities and challenges ing rapidly.filmmaking pres conventional changing His is major players in the film industry; the industry; film the in players major Com Disney Walt ­ ticipatory and engaging fashion than traditional media traditional than fashion engaging and ticipatory ticular, new and immersive media platforms will enable will platforms media immersive and ticular,new development thatembracebothartsandsciences. e nain il e rm h prpcie f n o the of one of perspective the from be will entation of technological innovations for production and story and production for innovations technological of Markus Gross will explain how the digital revolution digital the how explain will Gross Markus us to present our stories in a much more interactive, par interactive, more much a in stories our present to us formats allow. The Academy Award winning comput winning Award Academy allow.The formats C V r­ scientist will give an in-depth survey of these grow these of survey in-depth an give will scientist

in Media Pervasive Disruptions Keynote Main Congress Hall Markus Gross isVice President Global Research and of video technology. Markusalsoservesvideo ontheboards research interests includephysicallybasedmode the Institute of Computational Sciences at ties, the headof theComputer Graphics Laboratory. Institute of Technology Zurich( Before joiningDisney,MarkusGross was director of Professor of Computer Science attheSwissFederal Director of theDisneyResearch Zurichlab. He isa Development, TheWalt DisneyCompany,andthe ling, computer animation,immersive displays, and ­nu and governmental organizations. merous international research institutes, socie

ETH ), where heisalso ETH . His ------

11:30 Barbara Flückiger .K12 1 K 7. Studies, Switzerland University of Zurich, This keynote addresses fundamental strategies to involve h rs o taseil nvre, oee, gained however, universes, transmedial of rise The Classical films’ diegetic worlds were confined spaces confined were worlds diegetic films’ Classical Department of Film viewers and ignite their imagination. What are the nec - the are imagination.What their ignite and viewers TREK in extending the media experience beyond the initial cin- in if notmillennia. if into producers—so-called producers—so-called into momen­ medial networks are not a recent invention limited to the move­ transmedial representations transgress the fictional bor fictional the transgress representations transmedial ly launch atransmediacampaign. last few decades, but have been in operation for centuries, ders? And why is the playing with reality effects so crucial essary ingredients for building entire worlds? How do How worlds? entire building for ingredients essary ematic work. Therefore, viewers’ engagement is crucial is engagement viewers’ Therefore,work. ematic by building entire worlds that stretch over various medi- various over stretch that worlds entire building by f adm A a osqec, otmu, grass­ bottom-up, consequence, a As fandom. of al representations. As Henry Jenkins noted, such trans such noted, Jenkins Henry representations.As al for successful transmedia franchises? for professional producers and distributors to successful - to distributors and producers professional for sion. Transmedia storytelling surpasses these limitations exten- temporal and spatial films’ the by limited strictly C V

et fee b mda osmr wo turned who consumers media by fueled ments in the in tum withfranchises such as Gaming withReality Building Worlds and The Transmedia Turn: Main Congress Hall Keynote Barbara Flückiger has beena professor for film stud- archival film,in collaboration witharchives andthe film industry. In Council. Website: http://www.zauberklang.ch studies infilmtheoryandhistory, she worked inter research projects ontheinteraction between film nationally asafilmprofessional. Shehaswritten two technology andaesthetics. Herrecent research pro - textbooks, oneon“SoundDesign”and“Visual Effects”. Since jects investigate the digitization and restoration of ies attheUniversity of Zurichsince ious Advanced Grant by the European Research 1970

s and were connected to a specific kind specific a to connected were and s 2001 2015 produsers she has developed and led many she was awarded theprestig —were instrumental —were STAR WARS 2007. Before her or STAR root - - - - ­

35 Program 24.10.17 Tuesday Speakers 36 Program 24.10.17 Tuesday Speakers 12:15 Shmerah Passchier fouuim s elxv ad nedsilnr, cre a interdisciplinary, and reflexive is Afrofuturism techno-sci a Fiction, Science African is Afrofuturism 7.K12 AFDA This post-frame medium envelops the viewer filmmaker to ‘world new worlds’, with new realities that realities worlds’, new new to with ‘world filmmaker womanism, feminism,African theand transhumanism world building machine has the power to immerse audi- immerse to power the has machine building world globe, liberating the imagination of the Afrofuturist the of imagination the liberating globe, its ancestors traverse the traverse ancestors its resist dystopian visions of African apocalypse deliberately, apocalypse African of visions dystopian resist rein­ hybrid social theory, transcending boundaries of Afri of theory,boundaries social transcending hybrid too-distant-future. Afrofuturism is new, but not static; new,not is but Afrofuturism too-distant-future. tion. As a conceptual key to unlock African identity, it is a ence-culture genre that invokes black consciousness as consciousness black invokes that genre ence-culture ences in world changing fictions with examples of Afro of examples with fictions changing world in ences cyber world of internet communiculture.internet this Applying of world cyber cana, music, speculative fiction, academia, journalism, academia, fiction, speculative music, cana, a creative liberation theory with the power to transform to power the with theory liberation creative a and demystification of Virtual Reality technology as a as technology Reality Virtual of demystification and a as a problem solving strategy to illicit new futures of pos- of futures new illicit to strategy solving problem a as futurist Virtual Reality ses of ses the of Virtual Reality camera to create worlds that tran scend socio-political context through hybrid multiplicity. slave-ships of the of slave-ships sibility. This talk will demonstrate how democratization how sibility.demonstrate will talk This C V tive space for imagination to become a tool for libera- for tool a become to imagination for space tive

vigorating cultural lensing enables the multiple len ­

Virtual Reality Johannesburg, SouthAfrica. Afrofuturism and Main Congress Hall Keynote of theAfricanDiaspora inSanFrancisco. Shmerah Shmerah Passchier hasworked infilm & television swa she iscurrently reading for aPhDinVirtualReali since u She hasdirected Music,Magazine&Reality Nigeria, Cameroon, Tanzania, Zanzibar, Kenya, Bot- Nelson Mandela&theEndof Apartheid for the Museum Base, travelling to has an Mzansi Magic.Herwork includesadocumentary on 360 mentaries for , SouthAfrica cinemaattheUniversity of the Witwatersrand, na, Angola,Mozambique, UgandaandZambia. 2000 MFA

17 , writing, directing & producing for th century into spaceships of the not- the of spaceships into century th infilmmaking,anMAAnthropology 360 SABC 19 cinema. 10 African countries, shooting in th,

1, 2 & 3 2 1, 20 th and th , as well asdrama for 21 inside st centuries st TV a story &doc MTV ty ty & ------.

14:30 Norman Hollyn .K12 7. We will see how this has created an art form in which in form art an created has this how see will We University of Southern California, Intelligence ( Intelligence I hope to sketch a landscape of possibilities, so possibilities, of landscape a sketch to hope I In the last decade, our stories have evolved past tradi past evolved have stories our decade, last the In research project – “Snowflake” – utilizes relationships – utilizes “Snowflake”project – research are they how us tell to creations our enable will AI’ itive make our works more self-aware (Microsoft’s Cortana (Microsoft’s self-aware more works our make members can be better prepared to guide our students in - makers communicatebetter. tional linear, time-based media into a future where New where future a into media linear, time-based tional there? get them help schools our can how and stories their tell to shoot differently (light field technology), animate dif- animate technology), field (light differently shoot to to this new world. being viewed and experienced. Machine Learning/ between looks, cameras and emotion to help young film- young help to emotion and cameras looks, between change how we ideate and create. Metadata will allow us allow will Metadata create. and ideate we how change our experiences as an audience can change within an within change can audience an as experiences our and the Cognitive Toolkit for emotion analysis). My own analysis).My emotion ToolkitCognitive for the and audience is reacting to them. How do creators evolve to evolve creators do How them. to reacting is audience ature in response to our audience’s biometrics). ‘Intu biometrics).audience’s our to response in ature artwork (varying room shape, size, color and temper and color size, shape, room (varying artwork Matting), present differently (Microsoft’s HoloLens) and HoloLens) (Microsoft’s differently present Matting), Media forms, combined with metadata and Artificial and metadata with combined forms, Media ferently (Adobe’s Felix for design and Adobe’s Deep Space C V

Digital Evolution Next Steps inThe Japan, Jordan, Malaysia,andMexico. He Beginning Again – Norman Hollynisafilmeditor and Professor at Main Congress Hall Talk and theprestigious AmericanCinemaEditors organ- and companies at Sundance, aswell asinBrazil, film textbooks, andhasled workshops for China, theCzech Republic, Estonia, Finland, sented attwo previous (Student Academy Awards committee mem published articlesinmagazinesandpeer-reviewedpublished former President of the holder of the Michael Kahn Chair in Editing). He has holder of theMichael Kahnhas ChairinEditing).He USC’s Schoolof CinematicArts(Inaugural Chair ization. journals, haswritten two internationally adopted

AI ), will allow our ‘films’ to tell us how our how us tell to ‘films’ our allow will ), USA CILECT UFVA

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Tom Gerber 14:30 Misha Kavka, Switzerland University of theArts, University of Auckland,

New Zealand, Zurich 3.G02 C V

Delilah: Intimacy in VideoGames Zealand. Sheistheauthorof two booksonreal Tom GerberisaFilmLecturer atthe ZurichUniver Falling inLove with Misha Kavka isAssociate Professor of Mediaand Cinema Talk racken. of Feminist Consequences: Theoryfor theNew Cen- ­on intimacy,affect andgenderin relation to film, filmography includes commercials, shortfilms, fea Communication attheUniversity of Auckland, New sity of theArts (Palgrave Macmillan, tury (Columbia the US, Canada,Brazil andChina.Hedirected John the integration of live actionwith tures andTV-Series. Hehasworked asadirector in television andnew media technologies. Her cur­ television –Reality Television, Affect andInti Malkovich andhasworked withAerial Darker Sideof KiwiCulture (Otago Being anavidgamersince Nowell (Lord of theRings, Pirates of theCaribbean). book project isentitledAffective Screens. burgh UP, ing scene from itor whosework explores themixingof genres and

2012 A ) –theco-editor of Gothic UP ZH –AloneintheDark –to

, d 2001 K . He isaFilmDirector andEd- 2008 ). She has published wide ). Shehaspublished 1985 ) andReality , heknows thegam- CGI UP D.O.P Imagery.His , Z 2006 –ZakMcK- TV David NZ (Edin- ), and macy : The rent ity ly B . - -

– whose success is driven by vocal modulation rather than ‘uncanny valley’ of the voice. Our aim is to show how this how show to is aim voice.Our the ‘uncanny valley’of 14:30 vocal valley is bridged and turned into a field of intimacy of field a into turned and bridged is valley vocal 3.G02 with visual storytelling against the interactivity of gam- of interactivity the against storytelling visual with But the cinematic narrative usually remains separate remains usually narrative cinematic the But Last of Us – this is answered with a resounding “yes”!resounding a with answered is this – Us of Last graphic complexity – we will explore whether there is an is there whether explore will we – complexity graphic gaming andvoice-acting. rowed fromsci-fifilms, toourmainfocusonindiegames intimacy that bypasses this tension between film-story between tension this bypasses that intimacy of form developing a address presentation,we our In ing. manipulation of voice. From the gaming trope of audio of trope gaming the From voice. of manipulation never-seen love object Delilah marks a new marriage of of marriage new a marks Delilah object love never-seen logs, through the ubiquitous computerized voice bor voice computerized ubiquitous the through logs, through commentary on play-throughs of three case three of play-throughs on commentary through exploring new frontiers of emotion and intimacy; ex r? I gms evl rlat n u see – ie The like – scenes cut on reliant heavily games In cry?” allows them to intersect with film techniques, games are techniques, games film with intersect to them allows and game-play; games that evoke emotion through thethrough emotion evoke that games game-play; and Now that game engines have reached a graphic level that level graphic a reachedhave engines game that Now from stud­ sed in the teasing question, “can a video game make youquestion, make teasing game “canthe video in a sed

ies: the gameplay mechanics so that intimacy is aligned isok niie Portal Infinite; Bioshock Cinema Talk

and ; Firewatch whose , pres­ - 37 Program 24.10.17 Tuesday Speakers 38 Program 24.10.17 Tuesday Speakers 14:30 Andres Veiel There is only one requirement: in requirement: one only is There Germany n dy n September in day One we hadwanted toknow? In this case study of a project still in development, the development, in still project a of study case this In ios precipitate such a crisis? And which ones are bound are ones whichcrisis? And a such precipitate ios researchers, international lawyers, and interdisciplinary lawyers,and researchers,international researchers on the future of work, nutrition, and land and nutrition, work, of future the on researchers 5.K10 ly. What is the relation between the immersive research immersive the between relation the is ly.What trigger it? The participants of this lab are supported by supported are lab this of participants The it? trigger tigation committee, convened in to be premiered at the German Theater in Theater German the at premiered be to that site web a on webdocs and podcasts,videos through economic and financial crisis must occur. scenar must Which crisis financial and economic opened toimmersivenarrative forms? calls for participation. The results form the a basis play of of those responsible today: What could we have done, if if done, have we could What today: responsible those of ocp o priiain il e xlrd oe close more explored be will participation of concept a stage play with a determined operational structure be structure operational determined a with play stage a can How author? the by determined product end the and use. Together they write a plausible story.presented plausible is a It write they Togetheruse. (Deutsches Theater) in Berlin, scientists from all over the world – economists, climate economists, – world the over all from scientists scenarios that describe the future within the next C V

Towards aPartici- ‘shapability’ of thefuture. pative Future? What future?! attheGermanTheater inBerlin deals Which Future!? – Conference Room Case Study Andres Veiel and theGerman Theater in Berlin. His new project films, includingthe European Film Prize andtheGer Kick, Beuys) andfictionfilm(Wer wenn nichtwir),as rectors, working indocumentary (BlackBox BRD, The miered underhisdirection attheMaximGorkiTheater man Film Prize, awarded multiple times. His plays pre- received more thanforty awards for hisnumerous well astheater (TheKick,Das Himbeerreich). Hehas with immersive possibilitiesof participation andthe is one of the most renowned German di-

2017 240

t h Gra Theater German the at 2028 people meet to develop 2026 , will ask questions , a comprehensive ,a 2018 . An inves- .An 10 years. to 13 - - -

14:30 A transmedia approach to filmmaking is key to success to key is filmmaking to approach transmedia A Maggie Burnette Stogner American University, USA 3.C06 rdcd n drce a rnmda rjc aot cap about project transmedia a directed and produced rdcin s nerl o h soyeln poes and process storytelling the to integral is production www.intheexecutionersshadow.com. ital punishment in the United States, with the help of of help the with States, United the in punishment ital iia sot, oil ei, nst isaltos con installations, on-site media, social shorts, digital ever-evolving media formats, strategizing multi-mod dozens of Film and Media Arts students.Arts Media and Film of dozens dents and professors explore together the myriad ways myriad the together explore professors anddents of reaching different audiences, from traditional film to film traditional from audiences, different reaching of otn aqiiin Oe te at or er, have I years, four past the Over acquisition. content fully engaging a diverse range of viewers. In this age of of age this In viewers. of range diverse a engaging fully er’s Shadow er’s structed C V

conversations, andevengamedesign. Living Lab Transmedia Open Stage Case Study Maggie Burnette Stogner isaprofessor of film­ documentary showcase Explorer. ducer, thenSeniorProducer of NationalGeographic’s graduate degree is from Stanford Univer sive media.From ­many duties, sheisavoting member munication inWashington media artsatAmericanUniversity’s Schoolof Com production company of docu my of for theNonfictionEmmy Awards. In founded BlueBear Films, aglobalmediadesignand well asProducing theHistorical Documentary. Her ­ Documentary Production, Directing andWriting, embodies a living lab approach in which stu- which in approach lab living a embodies TV ArtsandSciences Primetime anda­

1995 to to 2005 D . C mentaries and immer mentaries and . , Maggie wasMaggie , a pro where sheteaches In the Execution­ the In 2005 of theAcade ­­sity. , Stogner Among

judge and ­ as al - - - - - ­ -

“cinema” combined – is virtual filmmaking with game with filmmaking virtual is – “cinema”combined Westerdals Oslo, Norway 15:20 Ole Goethe 7.K12 virtual settings;avatar animations;andsounds.­virtual within the within where between video and film and the industries of ani- of industries the and film and video between where ing mation, television and film. Its uniqueness is determined ih ot f rdcin Vrul imaig s aris is filmmaking Virtual production. of cost high the mechanism of taking and developing images in virtual the avatar that supplies human-based emotion remains emotion human-based supplies that avatar the tice in advanced graphic techniques, while the conduit to ­that ­engines. It uses virtual worlds and games that are not devel ducers and filmmakers in an industry overwrought with overwrought industry an in filmmakers and ducers some lies story.Machinima a narrate to environments by its accessibility to both novice and professional pro professional and novice both to accessibility its by ous components in developing machinima: storytelling; machinima:storytelling; developing in components ous prac- physical a be to out turns characters the as actors of or filmmaker to whatever sets and characters are already are characters and sets whatever to filmmaker or pro­ the confining creation, content permit to oped ­ ­another and is derived through the virtual reality.virtual vari- the are through There derived is and and formats. It is digital media built in virtual settings virtual in built media digital is It formats. and Machinima – the combination of the words “machine” and C V

process that is blurring the lines between industries between lines the blurring is that process

Talk increasingly allows individuals to interact with one with interact to individuals allows increasingly via simulation and role-play. The casting process Filmmaking Television andGamesatWesterdals OsloSchoolof Machinima: Virtual Ole Goethe isaNorwegian researcher andAssoci Main Congresss Hall applied through theArtsandInteraction Designs. applications ranging from consoles to onlinegames, graphics. Inaddition,heisexperienced ininteractive ate Anatomy andPhysiology,KinesiologyCognition Arts, CommunicationandTechnology. Olespecial computer interaction. Asanindustry professional, research focuses onuserengagementin human– native- andweb-apps. Director andSupervisorfor films, games, andmo­ he hasworked primarilyasaLead Animator, Art izes intheLife Sciences thatcomprise thefields of 2D Professor intheDepartmentof MotionPictures, or 3D setting. Thus, virtual filmmaking is filmmaking virtual Thus,setting. ducer tion His ------

Tobias Weber 15:20 USA 41 The maker of feature-length multioptional heist “Late heist multioptional feature-length of maker The The idea of films with multi-stranded narratives is al is narratives multi-stranded with films of idea The

Kino Industries 3.G02 Shift” and creator of interactive film format “CtrlMovie” format film interactive of creator and Shift” really taken off. With the recent technological develop technological recent the Withoff. taken really most as old as Cinema itself, but somehow it has never has it itself,somehow Cinema but as old as most multioptional movies and what te thinks it takes to get to takes it thinks te what and movies multioptional devices,touch of ubiquity cinema, digital as ment—such learning with filmmakers interested in this new way of and philosophy,experience his shares He right. them talks about both the formal and creative challenges of of challenges creative and formal the both about talks another in-depth lookattheconcept. another in-depth and time widespread is broadband—the now right to take storytelling. C V

telling inthe Language of Cinema Branched Story- Case Study 3.G02 16:30 Cinema Tuesday Tobias Weber isagraduate of theLondon FilmSchool, give himthegreatest senseof freedom. Tobias is After countless commercials inadvertising’s standard &Söhne. co-founder andco-owner of theproduction company rytelling. Free skiingandmountain bikingare what when hereturned hometo Switzerland. He loves ex tending theboundariesof film,both stylistically and / Post to directing Housebefore moving on/switching he worked indigital postproduction attheLondon by marrying/combining itwiththedigital new shit. by marrying/combining 30 Switzerland -second format, henow enjoysmore detailed sto-

Cinema Screening Late Shift / CtrlMovie,

­ - -

39 Program 24.10.17 Tuesday Speakers 40 Program 24.10.17 Tuesday Speakers 15:20 Katharine Nicholls United Kingdom Falmouth University, 3.C06 process, using a Virtual Reality environment to help gen- help to environment Reality Virtual a process,using perience to help clarify and consolidate many of the emo the of many consolidate and clarify help to perience play out, the writers strengthened their connection to the direct a became approach this that was outcome pected worked through art and design considerations, such as such considerations, design and art through worked In this practical case study from the Cross Channel Film Channel Cross the from study case practical this In a ( Lab riential pitch-viz that conveyed mood of the world, put world, the of mood conveyed that pitch-viz riential influence on the film’s story development. Having felt for mood, scale, color, lighting and texture, creating a ting the writers and director in control of the cinematic the of control in director and writers the ting tional storyimperatives. would action the which in place of sense the themselves erate a defined vision for the film. Alongside script devel- script film. Alongside the for vision defined a erate development was taken through a design visualization experience, allowing them to take multiple perspectives multiple take to them allowing experience, opment workshops at the characters, with the result that the story team used the ex and to feel the emotional impact of the space. An unex An space. the of impact emotional the feel to and a Sci-fi movie set in an enclosed post-apocalyptic world, post-apocalyptic enclosed an in set movie Sci-fi a ualization tobedisplayedin sive story environment, the designers offered an expe an offered designers the environment, story sive C V

CCFL Experience in VR in VR Experience Pitch-Viz Feature Film Case Study Open Stage Katharine NichollsisaSeniorLecturer on directors andproducers, students and and production design. ants to helpbringtogether screenwriting, technology of production designs, herstrong interest instorytell- develop feature-films thatinnovate intheiruse of Ste- and hasledherthrough TVseries, films, commer Animation and cials andtitlesequences. Working across avariety reo is involved inTheCross ChannelFilmLab, an ing always underpinstheart.At Falmouth, Katharine ject that connects Cornwall withBrittany, France to ine’s animationindustry artbackground isdiverse ), a feature film at the speculative stage of of stage speculative the at film feature a ), 3D and

VFX VFX . At the CCFL atFalmouth University, Kathar VR CCFL , the design team of . Ingeneratinganimmer sheworks withwriters, VFX

BA R&D consult- CG (Hons) Dome pro vis------,

16:30 Mario MárquezLartigue 7.K12 3 Universidad Ibero- 2 These labels and their affordances provide transmedia provide affordances their and labels These The word transmedia points to patterns of data and tech- and data of patterns to points transmedia word The 1 press abuttonorthrowtheremotecontrolatscreen). when understood as the generation of change, can be or be can change, of generation the as understood when gation, point of view, time line and actions, taking place taking actions, and view,line time of point gation, ganized intothreedifferentlabels: americana, Mexico inter­ rize transmedia design patterns into one scheme.Time, one into patterns design transmedia rize in therepresentation). nical processes that exist between, across and beyond dif- beyond and across between, exist that processes nical en.Afrs el ie gny coc t tr a page, a turn to (choice agency time real Affords terns. to convey time. Affords semantic agency (choice of navi- of (choice agency semantic Affords time. convey to etc.) and generate a new level of experience, either fixed either experience, of level new a generate and etc.) design patterns (for change and choice) that can be used be can that choice) and change (for patterns design organizing, producing, playing, practicing, improving,practicing, playing, organizing,producing, (knowing, goal a by oriented are change.patterns These and mediaprojects. and sematicagency). for analyzing, designing and developing diverse content diverse developing and designing analyzing, for ferent media. Using time as a framework, we can catego can we framework, a as time Using media. ferent (recorded) or ephemeral (live). Affords constructive agency (choice of goal, performance and evaluation in real time time real in evaluation and performance goal, of (choice C V -Flowing change: Physical and conceptual change pat change conceptual and Physical change: -Flowing - -Represented change: Patterns of signs and media used media and signs of Patterns change: -Represented atcptr cag: atrs f hie f action/ of choice of Patterns change: Participatory

rtto afre b rpeetd n flowing and represented by afforded pretation Design Patterns Defining Transmedia Talk Mario MárquezLartigue isagraduate incommuni Main Congress Hall gence. Hiswork hasbeenshown ininternational film different ways inwhichmediaaffords participation and participation.Oneof hislines of research focus- es onhow timecanberepresented inmedia,and the cation, hasaMaster’s degree indesignstudies and specializes infilm,interactive artandentertainment. postproduction labinUniversidad Iberoamericana. pixels andalgorithms, lightandsound, narrative works asafull-timeteacher andisHeadof themedia festivals, concerts, andacademiccongresses. Mario with narrative construction, interpretation andemer He isconstantly shiftingbetween silver andcelluloid,

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16:30

39 3.G02 In order to participate, please download the “CtrlMovie”the download please participate, to order In Late Shift is an interactive movie of cinematic quality,cinematic of movie interactive an is Shift Late How will the audience decide to act when everything is everything when act to decide audience the will How running seamlessly. the interactive thriller’s hero while the movie keeps on keeps movie the while hero thriller’s interactive the for decisions takes audience The him? against turning ent endings, which are defined by the audience’s choic based on one story, countless storylines and seven differ seven story,and one storylines on countless based app from either the AppStore or GooglePlay prior to the to prior GooglePlay or AppStore the either from app Matt, a student, has to prove his innocence after being after innocence his prove to has student, a Matt, forced into a robbery at a famous London auction house. auction London famous a at robbery a into forced screening.

An Interactive Movie Experience Late ShiftProductions, UK Late Shift– Screening Produced by&Söhne, Switzerland; Directed byTobias Weber 3.G02 15:20 Cinema Thuesday

Cinema Case Study Tobias Weber ­ es.

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Zurich University of 16:30 the Arts, Switzerland Frédéric Martel Thanks to the Internet, cultural industries—from the mu- the industries—from Internet,cultural the to Thanks 3.C06 perspective.fragmentation,Perhapssocial economic this pants will share their experiences and ideas,and experiences bringtheir and share will pants workshop willbeorganizedasa “research lab”: partici- ­Peoplecinema,for Argentina’s Taringa,China’s Youku, imentation, social network mutations or new ways of of ways new or mutations network social imentation, its directors, actors and screenwriters. We will look at look will Wescreenwriters. and actors directors, its is ad otbr. e il ou o sm innova some on focus will We Youtubers. and ries; media reputation, or branding and artist uberisation will music, Netflix, podcasts etc.)—have been deeply trans deeply been etc.)—have podcasts Netflix, music, ­ micro- curation”;“smart streaming; pay-subscription ­movies: new ways to distribute, promote, criticize or media or criticize promote, distribute, to ways new line of new economic models for the movie industry,movie the for models economic new of line tive platforms such as the Shahid arab model,France’sarab Shahid the as such platforms tive their own examples of start-ups innovation, start-ups of examples own their emerge asanewmodel. globala in studies etc.case present The thus “lab”will funding movies. Together we will try to create an out an create to try will we Togethermovies. funding formed. Cinema is also affected in multiple ways.This multiple in affected also is Cinema formed. sic business model to television or radio economics (live (live economics radio or television to model business sic C V F

Workshop payment tools; crowdfunding; Instagram’ssto crowdfunding; tools; payment - On theGlobalWar on Culture andMedias” Cinema –New Economic Models Twitter: @ The Social Open Stage gram “Soft Power” onFrench Radio NationalPublic nalist, Martel istheanchorof the weekly radio pro See: http://fredericmartel.com/home/ translated for, andsoldin, ter’s degrees in Law, Political science and Philosophy. CERI He iscurrently aResearch Fellow atthe He istheauthorof journalist. HehasaPhDinSocialScience andMas- in America”( internets” ( rédéric Martel isaFrench writer, researcher and -Sciences Po, Paris. Hislast book,“Smart.On the martelf 2014

2006 ) isintranslation inadozen countries. ) andthebest-seller “Mainstream 9 books, including“OnCulture 20

countries). Asajour ZH VR d K exper andat ( 2010 tize

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41 Program 24.10.17 Tuesday Speakers 42 FILMZURICH.CH WHATEVER IT TAKES WHATEVER YOUR VISION MAY BE. WWW.FILMSTIFTUNG.CH NEW BOUNDARIES. CROSSING YOUR PARTNER FOR

ZÜRICHTOKIO 17:20 Frank Rose .K12 7. School of theArts, The Columbia Digital Storytelling Lab’s annual Break Lab’sannual Storytelling Digital Columbia The

Columbia University world-building both on both world-building Launched in 2016 to spur creativity and further the Lab’sthe further and creativity spur to 2016 in Launched it blurs them, so the Lab has dispensed with the usual the with dispensed has Lab the so them, blurs it most innovative examples of digitally enabled narrative.enabled digitally of examples innovative most media that rely on digital technologies, including art, including technologies, digital on rely that media live theater. Lab member Frank Rose presents a cross-sec- a presents Rose theater.Frank live member Lab throughs in Storytelling Awards pay tribute to the year’sthe to tribute pay AwardsStorytelling in throughs tal Dozen. Digital technology doesn’ttechnologyDozen. Digital tal boundaries,respect television show Westworld, cited for its extraordinary its for cited Westworld,show television the from years, two past the from projects of tion turbance educational mission, the program honors 11 finalists and finalists 11 honors program the mission, educational 88 cat one Breakthrough Award-winner – collectively,Digi- – the Award-winner Breakthrough one and creative innovation across the broad spectrum of of spectrum broad the across innovation creative and and biofeedback to show how you might fare in a civil dis- intelligence artificial on relies that video responsive ally advertis C V

egories. Instead, we recognize technological advances technological recognize we egories.Instead,

ing, film, fiction, games, fiction, film, ing, video, and journalism Breakthroughs Journal. in Storytelling The Digital Dozen: Frank Rose istheauthorof TheArtof Immersion a , 5.K12 Main Congress Hall Special Daily a seniorfellow atColumbiaUniversity Schoolof the Arts, where heleadsanexecutive educationseminar contributing editor atWired andEsquire andacon school atWashington &Lee University, hehasbeena member of theColumbiaDigital Storytelling Lab and tributing writer atFortune andPremiere. Hecurrent- in Strategic Storytelling. A graduate of thejournalism ly writes for TheNew York Times andTheWall Street

TV Digital Dozen Exhibition Space

and off, to Riot, an emotion- an Riot, to off, and USA

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43 Program 24.10.17 Tuesday Speakers 44 Congress Index of contents Wednesday 45 Schedule Congress Program 25.10.17

Wednesday 25.10.17 Wednesday Index MAIN CONGRESS HALL 7.K12 09:30 CILECT GENERAL Transmedia ASSEMBLY 2 Including the pre- sentation of CILECT Congress 2018 in Film 10:15 Education How do film schools 11:00 COFFEE BREAK / 30 MINS 11:30 KEYNOTE cope with the disrup- Andrea Phillips Principles of tive development? Transmedia Storytelling 12:15 KEYNOTE 95 Schedule Wednesday Tim Marsh General Immersive Environments LUNCH / 90 MINS Assembly MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE 7.K12 3.G02 5.K10 3.C06 96 Moholy-Nagy University of Art 14:30 TALK TALK TALK WORKSHOP Z F and Design Budapest, Hungary Simon Jon Manuel J Damásio Daniel Boulos Pablo Martinez- H I 100 Notre Dame University, Lebanon Andreasen e.al. Animation Films Zarate D L 104 University for the Creative Arts, UK The Multiformat Spatial Are Transmedia Web P K M Director Storytelling Documentaries A T T 15:20 TALK CASE STUDY CASE STUDY R O O Gerda Cammaer Dan Weldon Inga von Staden A U U 47 Integrated Interactivity IP Driven De- L Speakers R R Digital Option Changes Nothing velopment L 47 / 53 Andrea Phillips E 16:00 COFFEE BREAK / 30 MINS 47 Tim Marsh L 16:30 TALK CASE STUDY WORKSHOP F Z 48 Simon Jon Andreasen Wednesday Ran Yu Lex Sng Jan Nåls I H 48 Manuel José Damásio, Gamification Transmedia Empathy in L D E DESK REGISTRATION Sandra Rocha 25.10.17 with Students Teaching Transmedia M K 25.10.17 Experiment Storytelling X 49 Daniel Boulos H T T 49 Pablo Martinez-Zarate 17:20 SPECIAL CASE STUDY CASE STUDY I O O 50 Gerda Cammaer Andrea Phillips Björn Stockleben Mirko Lempert B A Transmedia Collaborative Pre-Viz with U U 50 Dan Weldon EXHIBITON SPACE 5.K12 SPACE EXHIBITON I R R Roadmap Online Teaching Game Engines T 51 Inga von Staden S 51 Lex Sng 18:15 CILECT 52 Ran Yu TEACHING AWARD 52 Jan Nåls 2017 53 Björn Stockleben 19:00 54 Mirko Lempert

19:45 55 CILECT Teaching Program Award Program 46 Wednesday Wednesday 11:30 Keynote 12:15 Keynote 47 25.10.17 25.10.17 7.K12 Main Congress Hall 7.K12 Main Congress Hall

Moderators 83 Miriam Laura Andrea Phillips, USA Tim Marsh of the day Loertscher On Magic and Loose Griffith Film School, Ends: Principles of Australia 14:30 Animation Films Are Transmedia 5.K10 Conference Room Transmedia Story- Immersive Environ- 80 Bert Beyens 15:20 IP Driven Development 5.K10 Conference Room telling ments and Serious 16:30 Transmedia Teaching Experiment 3.G02 Cinema Games for Purpose 17:20 Collaborative Online Teaching 83 Maria Dora Mourão 3.G02 Cinema 14:30 Spatial Storytelling 3.G02 Cinema 81 Sabine Gisiger 15:20 Interactivity Changes Nothing 3.G02 Cinema 14:30 The Multiformat Director 7.K12 Main Congress Hall 15:20 Integrated Digital Option 84 Stanislav Semerdjiev C V Andrea Phillips is an award-winning transmedia writ- 7.K12 Main Congress Hall er,­ game designer and author. She has worked on pro- C V Tim Marsh lecturers in experimental game design jects such as iOS fitness games Zombies, Run! and 09:30 General Assembly and screen research at Griffith Film School. His Moderators Wednesday The Walk, The Master’s Path for HBO’s Game of Speakers Wednesday 7.K12 Main Congress Hall ­research-practice extends film theory/making to Thrones, human rights game America 2049, and the VR and interactive digital media, building on his PhD. 82 Garth Holmes 18:15 CILECT Teaching Award 2017 independent commercial ARG Perplex City. Her pro- He previously held positions at University of South- 7.K12 Main Congress Hall jects have variously won the Prix Jeunesse Interac- ern California and National University of Singapore, 17:20 Pre-Viz with Game Engines tivity Prize, a Broadband Digital award, a Canadian collaborated with Massachusetts Institute of Tech- 5.K10 Conference Room Screen Award, a BIMA, the Origins Vanguard Innova- nology’s Comparative Media Studies and Education tion Award, and others. Her book A Creator’s Guide Arcade, and consulted with Singapore’s Ministry of 84 Bruce Sheridan to Transmedia Storytelling is used to teach digital Education on the introduction of interactive story- storytelling at universities around the world. Her inde- worlds and storybooks in schools. He is Chair of the 82 Christian Iseli 11:30 Principles of Transmedia Storytelling pendent work includes the Kickstarted serial The Dar- Serious Games Working Group (WG 14.8) with IFIP’s 7.K12 Main Congress Hall ing Adventures of Captain Lucy Smokeheart and The TC14, on several journal Editorial Boards, and general McKinnon Account. 16:30 Gamification with Students chair of the serious games international conference (JCSG2016). 7.K12 Main Congress Hall 17:20 A Transmedia Roadmap 85 Herman Van Eyken Transmedia storytelling offers incredible new opportuni- 5.K10 Conference Room ties for filmmakers in terms of money, engagement, and Interactive digital media like virtual and augmented 12:15 Immersive Environments artistic potential. But in order to adapt to use immersive ­reality and serious games for purpose are an emerging 7.K12 Main Congress Hall or fragmented storytelling techniques most effectively, practice in screen media. Purposes include conscious-

we need to change how we think about stories, because ness raising, societal impact, reconstruction of historical some of our old tools simply don’t translate. The truism and non-fictional events, and education. While similar to of Chekhov’s Gun, for example, is the reverse in a trans- documentary film, their interactive nature necessitates 25.10.17 25.10.17 media narrative; you need to leave yourself as many loose a careful negotiation between observing an experience ends as you can, because you can never be sure what you’ll and interaction, influencing narrative and experience need later on. Pacing and structure, too, need to work in in the delivery of purpose. This presents many interre - support, not just of the core narrative, but of your audi­ lated challenges, goals and opportunities and, as we still ence’s endurance and availability. Andrea Phillips will lack the design strategies, conventions and best-practices, walk you through some of these changing principles, of- they are largely experimental. fering guidance on how to rethink the role of the audi- In this talk I look at these challenges and our experiences ence, how and where to deploy exposition, and where the in the development and integration of our current emerg- lines between real and fictional should be drawn. Because ing and experimental interactive digital media subjects in transmedia storytelling, you can’t just have an eye for and preparations towards the introduction of Interactive story; you need to be a behavioral psychologist, an ethi- Digital Media for Purpose into the film and screen­media cist, and a magician. curricula. This is informed by works from the recent ­international conference on serious games—JCSG 2016 hosted­ by Griffith Film School in Brisbane—and our re - cent and on-going multidisciplinary projects and work- shops including, representing the culture and stories of the Yugambeh indigenous people through VR Experi- ence, and a case study exploring gaming, VR and AR to raise awareness on issues effecting Australia’s Great Bar- Program rier Reef. Program 48 14:30 Talk 14:30 Talk 14:30 Talk 14:30 Workshop 49 7.K12 Main Congress Hall 3.G02 Cinema 5.K10 Conference Room 3.C06 Open Stage

Simon Jon Andreasen Manuel José Damásio, Daniel Boulos Pablo Martinez-Zarate National Film School of Sandra Rocha University of Hawai'i, USA Universidad Ibero- Denmark, Denmark Universidade Lusófona, Animation Films americana, Mexico Building the Multi- Portugal Are Transmedia How to Write and format Director Spatial Storytelling Direct Interactive of the Future in the Framework of Documentaries Essemble

C V Daniel Boulos is an associate professor and chair of the Academy for Creative Media at University of ­Hawai’i Mānoa. He has been a professional anima- tor for over 25 years, and an educator for over 20 C V Simon Jon Andreasen is head of Animation and Inter- years. His film credits include Beauty and the Beast, C V Pablo Martinez-Zarate is an artist, filmmaker and active Media Education at the National Film School of Space Jam and The Prince of Egypt. He has designed writer born in Mexico City in 1982. He is Head Pro- Speakers Wednesday Denmark and also the head of DADIU (Danish Acad- fessor of Documentary Film and Photography at Uni- Speakers Wednesday C V Manuel José Damásio, PhD., is head of the Film and animation curricula and taught for the California In- emy of Interactive Entertainment). Andreasen has versidad Iberoamericana, where he founded the Media Arts Department, Universidade Lusófona de stitute of the Arts, University of Hawai’i and helped worked for 30 years in executive positions as creative Iberoamerican Documentary Lab. He is the partner Humanidades e Tecnologias. Member of the board of found the European Animation Masterclass (EAM) director and head of digital development directing of longtime filmmaker Gregorio Rocha in the experi- GEECT. Halle/Saale, Germany 2000–2006. An active film- radio, television, film and games. His work has been maker, he has presented at national and interna- mental moving image archive and museum Anarchiv- published by Warner Brothers, EA, Ubi-Soft, THQ, Sandra Rocha, Project Manager, Film and Media tional conferences, and is currently finishing a digi- ia, located in the emblematic Churubusco Film Studi- Take2, Eidos, Warner and media such as DR, TV2, Arts Department, Universidade Lusófona de Humani- tal textbook on animation techniques. os. Considered a pioneer in Mexico for his transmedia NRK, SVT, YLE, ZDF and Arte. How does Andreasen dades e Tecnologias. Technical manager for Erasmus and webdocumentary projects, his films have been see his future? “My passion is to create visual experi- Mundus Master Kino Eyes and Essemble. shown internationally and his artwork exhibited in the ences and I believe in the craft of storytelling regard- Animation has been a bridge between art and technol- main museums in Mexico, such as the National Muse- less of formats and technology.” ogy since its inception. Since the earliest pre-film devic- um of Art. Essemble is a strategic partnership project funded by es, animation has achieved its illusion of life from its sup- In their graduation project, my director students are now the European Union in the area of Film and Media Arts porting technologies. In the US in the 1990’s, the video While discovering how to implement technological and able to choose from 7 formats ranging from feature films ­education that focuses on the development of creative game industry overtook the film industry and continues narrative strategies for creating transmedia documen- to games. They each receive a bonus of 2000 euros if they and technical skills in digital film and animation produc- to grow. In response, the film industry has evolved a syner- taries and interactive art pieces, I’ve designed an array of pick cross media and take the challenge to become multi-­ tion. The project addresses the need for European Film gistic relationship with video games. A modern animated methodologies that I take into classrooms, global sem- format directors. Content is King. And content like mov- and Media Schools to train and mobilize activities focus- film is a transmedia event. International theatrical release inars and film festivals, in Mexico and abroad, as guides

ies, TV, books, music is moving into the digital cloud as 1’s ing on media and film related technologies that push the is paralleled by a game and associated merchandise. Suc- for writing, directing and producing transmedia pro - and 0’s. Traditional formats are disintegrating and blend- traditional barriers of the medium and call for new peda- cessful animated films continue on to the stage, in to jects. Each project has its own requirements and needs, ing into new artistic forms. At the same time new me - gogical and didactic approaches. books and television series often coming full circle to re- according to topic, research challenges, aesthetic inten- 25.10.17 25.10.17 dia­ are integrating traditional crafts. The National Film In the framework of Essemble, we use the concept of spa- appear as live-action film remakes. Modern animators tions, and the human and technological resources avail- School of Denmark gave birth to great directors such as tial storytelling as a conceptual and creative driver, both are trained to thrive in this transmedia landscape, learn- able. The different documentary and art pieces that I’ve Lars Von Trier, Thomas Vinterberg and Susanne Bier. In from educational and production perspectives. Follow- ing to apply their animation knowledge across the media taken to web implementations, museum spaces and film turn, these directors delivered innovations such as Dog- ing spatial semantics and its application in interactive spectrum from film and television to video games, digital outlets, have followed diverse critical routes that reveal ma, Natural storytelling and New Nordic Noir. storytelling, the author no longer creates the protago - books and web formats. This case study looks at the re- in- the need for flexible and modular approaches that poten- —— What is the next step? nist and their wants or needs, nor controls the story arc. troduction of ACM 315, Narrative Game Design into the tiate each experience. This workshop provides the aca- —— How are we going to educate directors for a future ­Instead, spatial story design allows the author(s) to make ACM Animation curriculum. It is a partnership with the demic filmmaking community with learning tools that beyond Film, TV, Games, VR and AR? the formative creative decisions by designing narrative Information and Computer Science (ICS) department, fo- I’ve designed, based on my own creative processes. Addi­ and space and spatial dynamics that then translate into user cusing on the design and implementation of an inter-dis- tionally, I pose questions regarding the pertinence of —— How can we help the traditions of cinematic sto- generated storylines. Spatial story design is based on in- ciplinary curriculum to bring together animation and transmedia thinking as a critical device for approaching rytelling make the future even more exciting? terdisciplinary collaboration and can be used to create in- computer science students. Students actively bridge the urgent topics in the context of global uncertainty. These teractive digital narratives, screenplays, improvisational media divide with animation principles, which remain projects include: theatre, 360 degree films, and walk-in story world expe- unchanged amidst the shifting tides. —— Transmedia-doc Ciudad Merced (2013) riences. This paper describes how the concept was used —— Web-doc Santos Diableros (2015) as a strategy for the introduction of transmedia in the —— Interactive-art Poema Panorama (2015) schools’ curriculum. —— Interactive-doc for transmedia encounter of public TV channel (2016) —— Transmedia documentary MOMENTOMX (2017) Program Program 50 15:20 Talk 15:20 Case Study 15:20 Case Study 16:30 Talk 51 7.K12 Main Congress Hall 3.G02 Cinema 5.K10 Conference Room 5.K10 Main Congress Hall

Gerda Cammaer Dan Weldon Inga von Staden Lex Sng Ryerson University, Northern Film School / Filmakademie Baden- Nanyang Polytechnic, Canada Leeds Beckett University, Württemberg, Germany Singapore Film, Moving Images United Kingdom IP Driven Develop- Improving Student and the Integrated The Good News: ment with Student Engagement Through Digital Option Interactivity Projects Gamification Changes Nothing

C V Gerda Cammaer is Associate Professor at the School C V Lex Sng is a Singaporean educator in the School of of Image Arts where she teaches in the Film Program 89 Daily Dream Lab Interactive & Digital Media at Nanyang Polytechnic Speakers Wednesday (BFA) and the Documentary Media Program (MFA). where his key focus is on digital game and design. Af- Speakers Wednesday C V Dan Weldon co-owned and headed script develop- 5.K12 Exhibition Space She is the coordinator of the new Integrated Digi- ter years of extensive experience in both the game in- ment for Tall Stories, a UK based production com- tal Option and the program director of the Film Pro- 90 Daily Pulse of Life dustry and academia, he is trained in game develop- pany producing award winning critically acclaimed gram. Both as a scholar with a PhD and as a filmmak- 5.K12 Exhibition Space ment on multiple consoles, PC and online platform films for 25 years. As a writer Dan has written scripts er, she specializes in experimental and documentary where he has numerous internationally published for Stephen Frears, Chris Menges, Amblin Pictures, film, microcinema and mobile filmmaking. She is the games under his belt. He holds a Master of Arts Degree Channel Four Films and Working Title. In 2008, he C V Inga von Staden is Professor for Interactive Media co-director of the Documentary Media Research Cen- in Creative & Media Education and his main area of produced and wrote Nicolas Roeg’s last film Puff- ­­and Transmedia at Filmakademie Baden-Württem- tre (DMRC) and co-founder and organizer of the Mov- interest lies in exploring innovative ways to make learn­ ball. Currently, Dan is writing a screenplay for Amer- berg. She worked for film and television until migrat- ing Image Arts international short film festival, both ing about games as fun as playing them. ique Film and is making an interactive documenta- ing into digital media in 1995 as a creative producer of which are in the School of Image Arts. ry poem. He has been teaching at the Northern Film ­for Games, Expo-Media and Internet Applications. School since 2010 and has just started a PhD looking In 1999 she started to write market reviews and In education, it is not uncommon to find cases of students at transposing his screenplay into a new story-telling trend forecasts on the implications of new media, who are not eager to learn in the classroom. To tackle this The School of Image Arts has a new Integrated Digital format. coach companies and give seminars on digital work- issue and improve student engagement, the approach of Option, which was developed over the past five years and flows, production processes and media products. gamification is employed to devise teaching strategies. In 2001 she initiated an education program intro- taking in its first cohort of 13 students in 2016–17. This There is a revolution in how we watch stuff; and interac- ducing film professionals to new media and built up By applying relevant game design theories into a non- new option is open to both film and photo students, with tivity, where the audience can or perceive that it can, con- the New Media Program for the Medienboard Ber- game related activity, people can be motivated to perform the first student group evenly spread over the two pro- trol what happens next is a growing phenomenon in lin-Brandenburg. In 2013 she initiated TINKERTANK tasks that they ordinarily consider boring. While there

grams. The curriculum that was developed for the option the documentary form. My students are excited about it, (www.tinkertank.de) to help children, young people are many significant cases of gamification being profita- is multifaceted, multimedia and multi-platform. The and so am I. But why change how we teach storytelling and adults become creative with new technologies. ble for business, there are less indicative examples in the core production courses offer an exploration of “active” ­because things have turned interactive - we don’t have to. field of gamification in education. Therefore the purpose 25.10.17 25.10.17 screen-based media (motion graphics, multi-channel This rebellion is good news for ‘old school’ writers and The case study reviews student projects that started with of this research is to investigate the effectiveness of gami- video, interactive video, VR, 360 video, video games, etc.), ‘film’ editors, and wrinkly old film teachers: we’re good at the design of a story world and the educational frame - fication in enhancing student engagement while tackling looking at the relationship and conversation between teaching story, we know how to do it. To click a button work to guide the teams through that process. The goal existing problems in the modern classroom. By design- presentation in a screen-based context, an online context, on a screen is the same as wanting to know what happens was to create an animated short film, as well as a game ing educational activities with the idea of providing psy- gallery exhibition, theatre screenings, etc. The students next in a conventional story (whatever that is!). The prob- or VR-experience from one idea within one semester and chological rewards such as achievement, recognition and explore working with moving images in a wide variety of lem we face is hysteria: we fall in love with technology, to design the exhibition of those projects at festivals and satisfaction, lesson plans may have the potential to be as digital forms that can be artistic, applied, purely techni- and we get over-excited by rumours of big audiences us- conferences in the following term. Students learned how immersive as games. cal or any of the above. The ID Option the emphasis is on ing new platforms, and we applaud the death of the mid- to build Intellectual Properties that can diversify into a user design and applied theory, which differs from our dle-man (the distributors and broadcasters), and we for- range of media formats and address different media mar- Film program which tends towards storytelling and char- get to ask, does it tell a good story? And what is the story kets. This is an essential skill for film and animation stu- acter development. The main challenge of the Integrat- about? I will use a student interactive ‘documentary’ that dents who want to set up their own studios and work on ed Digital Option is how to teach students to establish a I supervised, to illustrate the issues. In the end, the stu- their own ideas. The talk will be accompanied by a Power- pattern of self-directed, life-long learning. This paper ad- dents made something a little bit new by using ‘old-fash- Point presentation featuring graphics, photos and videos. dresses the challenges of developing the new ID Option, ioned’ storytelling techniques; the project just happened as well as some of the unresolved issues and questions. to be interactive. Program Program 52 16:30 Case Study 16:30 Workshop 17:20 Special 17:20 Talk 53 3.G02 Cinema 3.C06 Open Stage 7.K12 Main Congress Hall 3.G02 Cinema

Ran Yu Jan Nåls Andrea Phillips, USA Björn Stockleben Communication Uni- ARCADA University of A Roadmap to Film University versity of China, China Applied Sciences, Finland Audience Attention Babelsberg Konrad Teaching Experiment Empathy in Trans- Wolf, Germany in Transmedia media Storytelling Collaborative Production Class Online Teaching

C V Andrea Phillips is an award-winning transmedia writ- er, game designer and author. She has worked on pro- jects such as iOS fitness games Zombies, Run! and The Walk, The Maester’s Path for HBO’s Game of Thrones, C V Jan Nåls is a screenwriter, film educator, author and human rights game America 2049, and the independ- academic. He is currently finishing a PhD – “The Con­- ent commercial ARG Perplex City. Her projects have struc­tion of Empathy in Intercultural Documentary C V Ran Yu is Associate Professor at the TV School of the variously won the Prix Jeunesse Interactivity Prize, a C V Björn Stockleben has been researching emerging me- Film” – at the University of Helsinki. He works as a lec- Communication University of China (CUC) in Beijing Broadband Digital award, a Canadian Screen Award, dia technologies and their potential for design and

Speakers Wednesday turer at Arcada Film and television school, and has Speakers Wednesday and a regular representative of CUC at CILECT con- a BIMA, the Origins Vanguard Innovation Award, and sto­rytelling for more than ten years in international been active in teaching and researching intercultur- ferences. He received a PhD in Film Production at others. Her book A Creator’s Guide to Transmedia research projects at Rundfunk Berlin- Brandenburg al communication for the past decade. Nåls works the University of Southern California (USC), a MA in Storytelling is used to teach digital storytelling at uni- with partners like Fraunhofer, BBC Research, Danish as a scriptwriter for film and TV, his latest effort be- Media Art Theory and achieved his B A in Photography­ versities around the world. Her independent work in- Radio and Deutsche Welle. Since September 2016, ing the award-winning novella film “Dance on Thin at CUC. Yu Ran was also a Visiting scholar at USC cludes the Kickstarted serial The Daring Adventures of he has been Professor of New Media Production at Ice” (2017). Other recent work includes a fictional bi- during his doctoral study. Work experiences: Video- Captain Lucy Smokeheart and The McKinnon Account. Film University Babelsberg KONRAD WOLF. He has ography of Finnish bootlegger Algoth Niska (Border- grapher/editor at the Mayor’s office of Los Angeles a background in media sciences, interaction design line, 2015) and a book on modern set-design, (Skeno- (new media office); researcher at the Chinese State and software development. From 2010–2016 he was graphia, 2016). Administration of Press, Publication, Radio, Film and Want to make a transmedia project, but need a roadmap coordinator of the ongoing education Master pro- Television SARFT; Producer at Phoenix TV, Germany; for how to make some of the big design decisions facing gram “Cross Media” at the University of Applied Cameraman in CCTV, China The aim of the workshop is to understand and explore you? In this session, transmedia veteran Andrea Phillips Scienc­es Magdeburg-Stendal, which is renowned for the uses of empathy in transmedia storytelling – how to will walk you through some of the practical concerns and its advanced blended learning concepts. How to teach media class in a university with over 20,000 construct fellow-feeling across different media, genres techniques you need to consider in a transmedia project students? The difficulty of teaching a practical class with and platforms. The session kicks off with a short intro- so you can make the best choices to support your vision, Teaching New Media means we must reach out into disci- average 60 students is interaction. From 2k to 4K, from duction to the concept of empathy: its multiple defini- from how to choose what platforms to deploy on to the plines not traditionally present in film schools, especial- drone to VR, the development of transmedia content is tions and manifestations. These include empathic know- basics of community management. Along the way you’ll ly interaction design and software development. In turn, expending our vision while combining different screen ing of the self, low-level empathy (emotional contagion), learn how to direct audience attention and entice them design education often lacks a dedicated storytelling

together. Since transmedia production pull the screens high-level empathy (situational empathy), authors empa- to engage in the behaviors you’d prefer through prim- competence and cannot cope with the challenges of larg- together, why can’t we do the same thing in class? The eas- thy and relational empathy. I will argue that the construc- ing and modeling; what platforms to use for what pur- er production setups. The Erasmus+ Strategic Partner- iest way to let the student understand transmedia ecolo- tion of empathy is central to all storytellers – as well as to poses, and which to absolutely avoid; and why being too ship “OnCreate” on creative processes in online collab- 25.10.17 25.10.17 gy system, is making the classroom into one. Transmedia all who teach storytelling. Thus, we need to understand coy about the nature of your project is counterproductive. oration has developed and implemented online course production is not only about understanding the concep- what empathy is, how it works and how it can work for Phillips will also point out a few common pitfalls found concepts that enable the students to work creatively in tion itself, but also about thinking in multiple way. As a us. The workshop proceeds with creative exercises. De- in immersive narrative design and in alternate reality transnational and interdisciplinary teams. Film Univer- “Transmedia Production” class teacher, I will introduce signed to be playful and interactive, these exercises have gaming that can undermine the success of a project, in- sity Babelsberg KONRAD WOLF has joined as an associat- how to combine 4 screens in the classroom showing dif- two main objectives. Firstly, to show the benefits of em- cluding the kinds of loopholes and mechanics trolls will ed member to run an introductory course in game design. ferent content from different media resources: the pres- pathy as a tool to develop complex story ideas. Secondly, use — and the kinds of false expectations creators often Five universities from Germany and Finland brought to- entation PPT, Web page, the on-line discussion page, and the exercises show how different kinds of empathy open place on themselves, which can cause unnecessary con- gether students from diverse backgrounds in film pro- a live camera. The students in the classroom will be able new ways to craft story through multiple platforms and straints on a project and close off some of the most fruit- duction, animation, cross media journalism, digital me- to listen to the class while searching online, sharing on genres. Such an approach marks a movement away from ful avenues for storytelling. dia design and media informatics. The course setup com- the discussion page, and seeing the live view. This teach- technology toward human experience. With empathy as prised two online meetings, a Facebook group and a re­ ing experiment was started three years ago. Now there a guiding principle, storytellers can take advantage of the pos­itory web page of tutorials. The teams were built for are more than 200 classrooms in Communication Univer- characteristics of each medium, both traditional and new. maximum diversity in skills and they got an introduc- sity of China, most of them equipped with three or more tion into the basics of remote collaboration. For many screens. students, this course was their first ever international col- laboration experience and first project in interactive me- dia. Each week, the teams had to reach a certain milestone. In the final session, the produced games were play-tested live by the creative director of a Berlin-based game devel- opment studio. Program Program 54 17:20 Case Study 18:15 Teaching Award 2017 18:15 Teaching Award 2017 55 5.K10 Conference Room 7.K12 Main Congress Hall 7.K12 Main Congress Hall

Mirko Lempert The CILECT Teaching Stockholm University CILECT Award was founded in

of the Arts, Sweden Teaching 2014 as a means to recog- Award Teaching The Use of Game nize and reward excel- Engines in Award lence in film, TV and/or Film Education media pedagogy with- in the organization. Up to Introduced by three awards are grant- Stanislav Semerdjiev ed each year. Candidates may be nominated only by Full Members in good Inaugurated by 91 Daily PreViz with Game Engines standing. They prepare a Speakers Wednesday Wednesday 5.K12 Exhibition Space Maria Dora Mourão portfolio containing writ- C V Mirko Lempert holds an MA in film production and is assistant professor in visual media at the Stockholm ten and audio-visual evi- Academy of Dramatic Arts. Mirko’s work focuses pri- marily on visualization methods in virtual environ- dence of their achieve- ments. ments at national and in- The presentation introduces a tool for real-time simula- tion that is used for visual concept development in cine- ternational level. The for- matic works at the Stockholm Academy of Dramatic Arts. Since its first public presentation at the CILECT congress mal ceremony of present- in Los Angeles in 2014, it has been successfully adopted for set design tests and VFX planning in feature films, but ing the awards is held it also became an integral part of the students’ curricu- lum at the academy. at the annual conferences The talk will concentrate on four topics: of CILECT where all the —— Production: Case study TV pilot —— Training: Preparation and execution—what we

25.10.17 winners have the privilege 25.10.17 have learned so far. The introduction of the VR/360 perspective in previsualization. to address the delegates —— Pedagogy: The effect of visualization in the ear- ly process of idea & script development. Real- in an academic speech on time simulation and collaborative workspace as fundamental premises for holistic approach- the conference theme. es in cinematic works. Re-thinking the idea of authorship. —— Research: a) Expanding the field: New research project, Making Sense: A collaborative work between visual artists and architects, which investigates the relationship between design and narrative (3D scanning and visualization); b) How research can be linked to, and imple- mented in, the curriculum. Program Program 56 Teaching Award 2017 18:15 Teaching Award 2017 18:15 Teaching Award 2017 18:15 Teaching Award 2017 57 Winners 2014 – 2016 7.K12 Main Congress Hall 7.K12 Main Congress Hall 7.K12 Main Congress hall

Winners Dan Geva Samuel Larson Guerra 2014 CILECT Roger Crittenden Beit Berl College, Israel Centro de Capacitacion National Film and Television School Teaching Award Teaching (NFTS), United Kingdom CILECT Teaching Cinematografica, Mexico Award Teaching Teaching Award 2017 CILECT Teaching Zuzana Gindl-Tatárová Vysoká Škola Muzických Umení (VŠMU), Award 2017 Slovakia Award

Marco Julio Linãres, Centro de Capacitación Winners Cinematográfica(CCC) , Mexico

Winners 2017 2015 Miguel Pérez, C V Dan Geva is senior lecturer in documentary studies in Universidad de Buenos Aires (UBA), many schools in Israel, made 25 full-length documen- taries, specializes in filmmaking ethics, documenta- Argentina / Universidad del Cine C V Samuel Larson Guerra graduated EICTV, Cuba (1990). ry philosophy and history. His 2006 “Description of He works professionally in Mexico as a Sound Design- (UCINE), Argentina / Escuela Nacional a Memory,” homage to Chris Marker’s “Description er, Film Editor and Film Music Composer since 1991. de Experimentación y Realización of a Struggle” (1960), was recently launched world- Wednesday He has collaborated in over 35 feature films and has Wednesday wide in a double DVD set with Marker’s restored clas- Cinematográfica(ENERC) , Argentina received several awards for Optic Fiber (1998), Ve- sic. Served as a Visiting Artist at Johns Hopkins Uni- ra (2001), Mezcal (2005) and In the Pit (2006). He versity, laureate of “Dan David Prize for Promising Re- Roberto Perpignani, teaches film sound and film editing, mainly at CCC, searcher in Cinema and Society” (2011). His book “To- Mexico (since 2004), EICTV, Cuba (since 2008) and Centro Sperimentale di Cinematografia ward a Philosophy of the Documentarian” (Palgrave) CUEC, Mexico (since 2011). His book PENSAR EL (CSC), Italy and essay-film “I, Ecclesiastes” will be released early SONIDO (To Think Sound), published by CUEC (2010) 2018. He is the founder of “The Ethics Lab”. is a major source of information and practice knowl- Xie Fei, edge for students and colleagues. Beijing Film Academy (BFA), China

Winners 2016 Andrzej Mellin, Hochschule für Fernsehen und Film München (HFF), Germany Państwowa Wyższa Szkola Filmowa, Telewizyjna i Teatralna (PWSFTViT), Poland 25.10.17 25.10.17 Jyoti Mistry, Wits School of Arts (WSOA), South Africa

Tadao Sato, Japan Institute of the Moving Image (JIMI), Japan Program Program 58 Congress Index of contents Thursday 59 Schedule Congress Program 26.10.2017

Thursday 26.10.17 Thursday Index MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE BREAK ROOM 7.K12 3.G02 5.K10 3.C06 6.K04 09:30 GEECT CNA CARA CAPA CIBA 3 Transdis- CILECT CILECT CILECT CILECT CILECT Regional Regional Regional Regional Regional Associations Associations Associations Associations Associations ciplinary 10:15 Research

11:00 COFFEE BREAK / 30 MINS What cooperation 11:30 KEYNOTE Christian Iseli strategies are most Mixed Methods and Partnerships promising and how

12:15 KEYNOTE can the convergent Pia Tikka

Schedule Thursday Exploring the media situation be Frontiers approached? LUNCH / 90 MINS MAIN CONGRESS HALL CINEMA CONFERENCE ROOM OPEN STAGE 7.K12 3.G02 5.K10 3.C06 60 14:30 TALK SCREENING CASE STUDY CASE STUDY Z F Regional Sarine Waltenspül HFR / Analog Gesa Marten et al. Helen Gaynor H I The Search for vs Digital Transmedia Non-Linear D L Emergence Concepts Documentary P K M Association Design A T T 15:20 CASE STUDY CASE STUDY CASE STUDY R O O Agoston Nagy Samuel Schwarz Frédéric Dubois A Borrowed Polder – A Trans- Measuring U U Meetings L R R Analogies media Experience Interactive Docs L 16:00 COFFEE BREAK / 30 MINS E 16:30 CASE STUDY SCREENING CASE STUDY L F Z 63

Speakers Thursday Doe Mayer POLDER (THE MOVIE) Kirsi Rinne / Synes I H Transdisciplinary Transmedia Elischka L D REGISTRATION DESK DESK REGISTRATION 63 Christian Iseli E Research project Virtual Cinema M K 63 Pia Tikka 26.10.17 Lab X 26.10.17 H 64 Sarine Waltenspül T T 17:20 CASE STUDY CASE STUDY TALK I 65 O O Gesa Marten, Kerstin Retemeyer, Eric Rosenzveig Anton Rey Francisco Menendez B U U Anna Luise Kiss, Susanne Foidl NARRA: Artistic Actors and Story-Living in VR 5.K12 SPACE EXHIBITON I R R 66 Helen Gaynor Research Avatars T 66 Agoston Nagy S 18:15 CILECT 67 Samuel Schwarz PRIZE 67 Frédéric Dubois 2017 68 Doe Mayer 19:00 69 Kirsi Rinne, Synes Elischka 69 Eric Rosenzveig 70 Anton Rey 70 Francisco Menendez 19:45 CONGRESS VENUE ZHDK ARRI RECEPTION

20:30 ZHdK 71 FILM CILECT DINNER

22:00 Program Program Prize 60 Regional Associations Regional Associations Schedule Schedule 61 Parallel Meetings Parallel Meetings Parallel Meetings Parallel Meetings

The activities of the re- Thursday CAPA – CILECT CILECT gions are becoming more 26 October Asia-Pacific Regional and more important in 09.30–11.00 Association 85 Regional Chair: Prof. Herman Van Eyken, Griffith recent years as they give Film School (GFS), Brisbane, Associations the members a chance The CILECT AUSTRALIA 3.C06 Open Stage to meet in a less formal 5 regions are as follow: Regional Associations Parallel Meetings Associations Parallel Regional Parallel working atmosphere, to CARA – CILECT Meetings Associations Parallel Regional Meetings introduce each other’s African Regional programs in details and Association to discuss extremely fo- 82 Regional Chair: Garth Holmes, AFDA, South Africa To better achieve its 5.K10 Conference Room objectives CILECT has cused themes in small Thursday created five regions: groups. These are also the Thursday best ambiances to form CIBA – CILECT CAPA – CILECT bilateral or multi-lateral Ibero-American Association Asia-Pacific agreements. 81 Regional Chair: Prof. Silvio Fischbein, Universidad Association de Buenos Aires (UBA), Buenos Aires, Argentina 6.K04 Break Room CARA – CILECT African Regional CNA– CILECT Association North American

Association CIBA – CILECT 84 Regional Chair: Prof. Bruce Sheridan, Columbia College Chicago, Chicago, USA 26.10.17 26.10.17 Ibero-American 3.G02 Cinema Association GEECT – CNA– CILECT Groupement North American Europeen des Ecoles Association de Cinema et de Television 80 Regional Chair: Bert Beyens, Royal Institute for GEECT – Theatre, Cinema and Sound (RITCS), Belgium Groupement 7.K12 Main Congress Hall Europeen des Ecoles de Cinema Program et de Television Program 62 Thursday Thursday 11:30 Keynote 12:15 Keynote 63 26.10.17 26.10.17 7.K12 Main Congress Hall 7.K12 Main Congress Hall

Moderators 82 Christian Iseli Christian Iseli Pia Tikka

of the day 15:20 Polder – A Transmedia Experience Zurich University of the Baltic Film and Media Speakers 3.G02 Cinema Arts, Switzerland School, Estonia/Finland

Mixed Methods Exploring the 80 Bert Beyens 83 Miriam Laura and Partnerships Frontiers of 09:30 CILECT Regional Associations Loertscher Parallel Meetings Cinematic Arts 7.K12 Main Congress Hall 14:30 The Search for Emergence and Sciences 11:30 Mixed Methods and Partnerships 7.K12 Main Congress Hall 7.K12 Main Congress Hall 15:20 Borrowed Analogies 7.K12 Main Congress Hall

80 Sabine Boss 84 Stanislav Semerdjiev 16:30 Virtual Cinema Lab 3.C06 Open Stage 18:15 CILECT Prize 2017 64 Thursday A Closer Look 17:20 Story-Living in VR 7.K12 Main Congress Hall 14:30 Screening 3.G02 Cinema

Moderators Thursday 3.C06 Open Stage Thursday C V Pia Tikka (Estonia/Finland), head of the Enactive Cin- 84 C V Christian Iseli heads the research focus film and doc- ema Lab, principal investigator of the NeuroCine re- Bruce Sheridan search project and professional filmmaker. 81 umentary film profile within the Master of Arts in Film Silvio Fischbein at the Zurich University of the Arts. After studying His- Pia Tikka is a filmmaker and EU Mobilitas Research 09:30 CILECT Regional Associations tory, German and English language at the University Professor at the Baltic Film, Media, Arts and Com- Parallel Meetings 09:30 CILECT Regional Associations of Bern, he worked as director of documentary films, munication School (BFM) and MEDIT Centre of Ex- 3.G02 Cinema Parallel Meetings and as DP and editor of both fiction and documenta- cellence, Tallinn University. She has directed the fic- 6.K04 Break Room 17:20 Actors and Avatars ry films. He began teaching at the Zurich University of tion films Daughters of Yemanjá (1995), Sand Bride 5.K10 Conference Room the Arts in the mid-Nineties. As a professor, he teach- (1998), and the Möbius Prix Nordic winning cinematic es documentary film and post production technology, installation Obsession (2005). As the leader of the re-

and his research interests include the influence of search groups NeuroCine and Enactive Cinema, she 81 Sabine Gisiger modern technology on practical filmmaking and sto- has published on the topics of neurocinematics and 85 Herman Van Eyken rytelling. enactive media, and written the book Enactive Cine- 14:30 Transmedia Concepts ma: Simulatorium Eisensteinense. Dr. Tikka holds the titles of Adjunct Professor of New Narrative Media, 5.K10 Conference Room 09:30 CILECT Regional Associations In practical film schools in Europe, the term “research,”as University of Lapland, and Fellow of Life in the Socie- Parallel Meetings well as organizational forms such as research units or labs, ty for Cognitive Studies of the Moving Image. 3.C06 Open Stage are relatively new phenomena. These are mainly the re- 82 Garth Holmes 16:30 Transdisciplinary Research sult of a shift towards academization – also known as the 7.K12 Main Congress Hall Bologna Reform – which ensures comparability, stand- This presentation will discuss both the challenges and 09:30 CILECT Regional Associations 17:20 NARRA: Artistic Research ards and quality in higher-education. However, the ques- findings of a filmmaker, who dived head first into the un- 26.10.17 26.10.17 Parallel Meetings 7.K12 Main Congress Hall tioning, innovating and reinventing of filmic language known waters of multidisciplinary research. It will con- 5.K10 Conference Room has been a fundamental position within film art since sist of three parts. The first will discuss the foundations of 12:15 Exploring the Frontiers their inception and remains at the core of most film my research, referencing a body of experimental and the- 7.K12 Main Congress Hall school research. oretical work across philosophy, psychology and art. The 14:30 Non-Linear Documentary Design second part will be about my practical work within the 3.C06 Open Stage Based on the example of the relatively new research fo- field of neurocinematics; the study of human brain func- 15:20 Measuring Interactive Docs cus film at the Zurich University of the Arts, this talk out- tion when viewing movies, in particular the studies car- 3.C06 Open Stage lines basic methodological approaches and presents ex- ried out by my research team NeuroCine. The third part amples of interdisciplinary cooperation and partnerships will discuss my favorite concept; enactive cinema and with the industry. The main focus is on aesthetic choic- the related challenges of virtual reality. l will exemplify es; combining qualitative and quantitative approaches in the concept with a project of developing a parametrical- the tradition of “mixed methods” (Clark & Creswell 2011). ly controllable humanlike screen character in the context As filmmakers always take into consideration potential of the cinematic arts. audience reactions, an empirical feedback tool with strin- gent quantitative methods can form an important part of practice-based methodology. To strengthen the position of film schools, strategic partnerships with the indus- try are vital. In this way, schools not only produce young filmmakers, but can also become an essential part of the Program Program continuous R&D within the filmmaking business. 64 14:30 Talk 14:30 Screening (14:30 - 15:10) 14:30 Case Study 14:30 Case Study 65 7.K12 Main Congress Hall 3.G02 Cinema 5.K10 Conference Room 5.K10 Conference Room

Sarine Waltenspül A Closer Look: Gesa Marten, At the Film University Babelsberg Konrad Wolf, teaching aims to create open spaces for artistic research in and Speakers Zurich University of the HFR and Analog Kerstin Retemeyer, through film and new media. I offer three examples: Speakers

Arts, Switzerland vs. Digital Anna Luise Kiss, Bundestag Election: An Interdisciplinary Experimental The Search for Susanne Foidl Lab with the theater group Rimini Protokoll, including a public performance. In a film studio, students shoot their Emergence Film University Babels- particular films simultaneously. They encounter them- selves and mutually interweave their reproduction of real­ berg Konrad Wolf, ity into respective narrative threads. Finally, the audience Germany follows their original encounters while walking through identical studio surroundings while watching the stu- Transmedia dents’ films on an iPad. It is a live arrangement between film, interactive video installation and a form of theater Concepts Made in which the audience slips into the perspective of pro- in Babelsberg tagonists. Speaker: Gesa Marten.

Games of Power: An experimental, hybrid theatrical Zurich University of the Arts, Switzerland C V Sarine Waltenspül is a Research Associate in Re- space of experience with a public performance. The trans- search Focus in Transdisciplinarity at the Zurich Uni- 63 Thursday Christian Iseli media- and game-based expedition searched for innova- versity of the Arts and a PhD candidate at the Institute Thursday 11:30 Keynote tive theatrical forms and created a show-jumping course Thursday for Media Studies at the University of Basel. She stud- 7.K12 Main Congress Hall ied Philosophy, History of Art and Cultural Analysis at from ten student projects, reflecting their own experienc- the Universities of Basel and Zurich and at the Hum- es of communication in an epoch determined by the turn boldt University of Berlin. She has published several In its first part, through direct comparison between foot- of digitalization and globalization. This artistic laborato- papers on the interfaces between aesthetically moti­ age at high frame rate (96fps) and standard frame rate ry questions historical means of communication in a con- vated and technically related use of various methods (24fps), this screening enables the viewer to judge the aes- temporary context. Speaker: Kerstin Retemeyer in film. Sarine is co-leading the project“Pictures from Light and Air – Moving images and the camera as a thetic consequences of the different rates. The excerpts scaling and analyzing instrument,” funded by the are taken from the research project The Trouble with Mo­ Pathenheimer in the Editing Laboratory: An interdiscipli­ Swiss Science Foundation. tion. The findings of this practice-based project, which nary seminar in which science meets artistic research, re- applied a mixed-method scheme, will then be briefly dis- sulting in an exhibition. The seminar explored the work Research Focus Transdisciplinarity’s new research project cussed. of German still photographer Waltraut Pathenheimer in Luftbilder/Lichtbilder (Aerial Images/Photographs) at the Zu- In the second part of the screening, we will make a direct a classical scientific way and, in addition, the students rich University of the Arts looks more closely at the mov- comparison between analog and digital recording pro- worked with her photographic material and related films ing picture as an epistemic medium, examining it with cesses. Footage from the interdisciplinary research pro- in the Editing Lab, which was used as a space for review- reference to the history of media and science, while also ject Analog vs. Digital will form the basis of a detailed aes- ing and reinterpretation. The students realized short considering artistic and technical aspects. thetic analysis. C V Gesa Marten graduated from Cologne University in films and interactive objects that encounter the aesthet-

Within the talk I show commonalities and differences be- Dramatics, German Literature and Philosophy. As a ics and narrative potential of Pathenheimer’s still pho- tween group and individual work, as well as the explicit freelance film editor, she has edited more than 60 tography. Speakers: Anna Luise Kiss and Susanne Foidl. films. Gesa teaches at the Film University Babelsberg, and implicit goals of these kinds of projects. Because in 26.10.17 and is a board member of the Institute of Artistic Re- 26.10.17 the end—and this is one of the hypotheses—transdiscipli- search. She is a member of the European and the nary work is always closely connected to an implicit quest, German Film Academy. the search for emergence, for example. Kerstin Retemeyer is a Lecturer at Humboldt Universi- ty in Berlin, Academy of Performing Arts Baden-Würt- temberg and Film University Babelsberg. She lectures on history of theatre and drama and is committed to workshops and artistic research on intermedia thea- tre. She has worked as dramaturg in chief in Bamberg, Cottbus and Schloßparktheater Berlin. Anna Luise Kiss received a Bachelor’s degree in cul- tural studies at the University of Hagen. She contin- ued her graduate studies at the Film University Babels- berg in Media Science. Since 2012, she has held a posi- tion as a research and teaching assistant in the field of media history at the Film University Babelsberg and has started work on her PhD about “Non-actors in feature films”. Susanne Foidl studied Film Editing at the Film Univer- sity Babelsberg, receiving her Diploma in 2002. Since 2006 she has worked as an academic assistant at the Film University in the BFA/MFA montage program Program Program 66 14:30 Case Study 15:20 Case Study 15:20 Case Study 15:20 Case Study 67 3.C06 Open Stage 7.K12 Main Congress Hall 3.G02 Cinema 3.C06 Open Stage

Helen Gaynor Agoston Nagy Samuel Schwarz Frédéric Dubois

Speakers VCA School of Film and Moholy-Nagy University Digitalbühne Zürich, Film University Babels- Speakers Television, Australia of Art and Design, Switzerland berg Konrad Wolf, From Linear to Hungary Polder – A Trans- Germany Non-Linear Borrowed Analogies media Experience Measuring the Documentary & the Act of Play Impact of Interactive Design in Media Culture Documentaries

68 Thursday Polder Become a Game 16:30 Screening 3.G02 Cinema Thursday Thursday C V Helen Gaynor is a documentary and narrative fiction C V Agoston Nagy is an interaction designer, doing exper- 89 Daily Polder – The Walterli Experinece C V Frédéric Dubois is an author and producer of interac- filmmaker, lecturer, teacher and researcher. Her prac- imental media and generative arts using free & open 5.K12 Exhibition Space tive documentary, the managing editor of the Inter- tice led PhD (RMIT University, Australia), is due to be source tools. He develops dynamic systems, interfac- net Policy Review, and a PhD candidate at the Film completed in March 2018. She is also a Film Lectur- es for networked installations and creative mobile ap- University Babelsberg. He has conceived, directed, er in the School of Film & TV, Faculty of VCA & MCM, plications. Addicted to hacking, altering functions of C V Samuel Schwarz studied direction at the Theater Acad- produced and distributed award-winning interactive University of Melbourne, Australia. She has taught at existing contexts and ordinary objects, Agoston reg- emy in Zurich, which later became part of the Zurich features with the National Film Board of Canada, Arte universities in Australia, Cuba and Nicaragua, and ularly gives workshops and courses. He is a guest University of the Arts. During his work at the Schaus- France and Süddeutsche Zeitung. He is the co-organ- has delivered training in Indonesia and Guatemala. A lecturer at Bergen University of Fine Arts (Norway), pielhaus Zurich, Samuel was influenced profoundly iser of storytelling hackathons, and web-documen- filmmaker for over thirty years, she has worked with Moholy-Nagy University of Art and Design (MOME, by the work of Brecht specialist Benno Besson and tary meet-ups, as well as the VR Conference for Jour- most of Australia’s leading production companies and Hungary) and a HCI researcher at Prezi.com. Cur- Peter Palitzsch. In 1999, Samuel founded the theater nalism and Documentary in Berlin. His doctoral re- her work has been screened on Australian, New Zea- rently Agoston is a post-doctoral researcher at MOME. group 400asa, which quickly became successful. He search focuses on impact measurement for interac- land, British and European television, as well as the- He is the co-founder of the experimental new media staged several plays in Basel, Berlin, Maribor, Ham- tive media. Frédéric achieved an MA in Communica- atrically. design group Binaura. His works have been exhibit- burg, Bochum and Vienna. In 2015 he co-founded “Di- tions at Université du Québec à Montréal (UQÀM) ed worldwide. gitalbühne Zürich,” a creative studio that investigates and a BA of Commerce at McGill University in Mon- the potentials of digital technologies within perform- treal. Contemporary media production, distribution, exhibi- ing arts. It is a convergent platform, uniting the work tion and consumption is dominated by a computerized Contemporary media culture is shifting from classical of different fields such as theater, film, game and Interactive storytelling is undergoing a revival. The net- environment that is internet connected, data-rich and cinematic context to the context of playgrounds, where science. work of networks seems to carry the highest promise of

software driven. (Marcott 2010). Given the non-linear and users create, play, share and reflect on their thoughts and interaction and communication – an interactive sandbox interactive affordances of this “new media”(Manovich experiences. In my talk, I highlight three applications POLDER is an interactive transmedia adventure distrib- in which creative storytelling can unfold. At a time when 2013), where can filmmakers look for design ideas when that are focusing on the creative aspects of user generat- uted over a variety of online platforms. POLDER took incumbent forms of journalism are progressively making 26.10.17 26.10.17 working in this space? This presentation draws on my ed content and personal exploration. SoundBow is a mo- more than seven years to create, starting as an “Alternate way for internet platforms and traditional film is making practice led PhD, which applies transmedia theory and bile app I developed to unveil the creative potentials of Reality Game (ARG)” including real-space events, a feature room for streaming services, interactive web documen- practice to the design of a non-linear, interactive, web- music creation for people who are not aware of musical movie, and a VR experience. From 2013 to 2017, POLDER taries have been successfully operating in niche worlds based documentary. I look to Website Design and Muse- concepts. Atlås is a hybrid game-music instrument I am accessed the urban space, natural environment and the among the many new genres. Yet, one of the main prob- ology. The historic, informing legacy of website design developing as part for my ongoing post-doctoral research virtual room with a new format that uses modern tech- lems currently encountered by makers and funders of in- is the non-linear, non-interactive printed page, (Alsop at Moholy-Nagy University of Art & Design, that inves- nology and transmedial storytelling to blur the borders teractive documentaries is how to measure the social and 2000). Web design has transcended its linear origins, in tigates the relationships between play, machine learning, between theater and game, fiction and reality, simulta- political impact of such productions, especially as most part through the development of user centered (UX) and music and improvisation. The third example is Nutshell, neously conveying an authentic experience and different media impact measurements are still oriented towards responsive design (Alsop 2000, Marcott 2015). Museology an app we developed with Prezi’s Delight Research Lab levels of immersion to the user. TV audiences or contain a commercial bias. shares documentary’s claim to media making and the rep- for sharing short, graphically augmented user generat- The whole Storyworld of the ARG was based on the full- As interactive storytelling is under-researched in gener- resentation of the real (Pearce 1999, Kidd 2014). Contem- ed video stories, that are balancing between photogra- length movie of the same name released after the ARG in al, with its social and political impact is particularly un- porary museology theory and practice has embraced digi- phy and online video content. I will introduce what we 2016/2017. Set up in the same universe, but telling a dif- der-documented, my talk will: (1) define what interactive tal, new and trans-media as it moves to redefine the muse- have learned from these projects: failures, highlights, de- ferent aspect of the story, every POLDER-production is web documentaries are; (2) discuss three case studies with um space (Kidd 2014). My presentation probes how these cision makings that we faced during the design process. an oeuvre of its own. This is a part of a holistic transme- a focus on impact measurement; and (3) explain why a disciplines may inform theory and practice in the move- The talk will summarize the potential of hybrid envi- dia-experience. practice-based methodology (production and evaluation ment from linear to non-linear documentary design. By ronments that are borrowing and combining analogies POLDER will be presented by its Swiss director and pro- of an interactive documentary), together with semi-struc- extension, my research may also be applied to the migra- from different interaction modalities, such as music in- ducer Samuel Schwarz. He will talk about chances, pos- tured interviews and surveys, as well as research from the tion of any linear filmic form to the interactive world of struments, visual animations and games in the first two sibilities and risks of a transmedia production like POL- disciplines of marketing, open science and film studies Manovich’s “new media.” examples, or video and photography with storytelling in DER. Samuel Schwarz founded the Digital Stage Zurich are one way forward to inform the practice of digital doc- Program Program the third project. (Digitalbühne Zurich) in 2016 for productions like POLDER. umentary making.

68 16:30 Case Study 16:30 Screening 16:30 Case Study 17:20 Case Study 69 7.K12 Main Congress Hall 3.G02 Cinema 3.C06 Open Stage 7.K12 Main Congress Hall

Doe Mayer Polder — Become Kirsi Rinne, Eric Rosenzveig

Speakers University of Southern A Game Synes Elischka Film and TV School of the Speakers California, USA Aalto University, Finland Academy of Performing Data vs Story in Virtual Cinema Lab Arts, Czech Republic Transdisciplinary NARRA: A Tool for Research Film School Educa- tors and Students

Directed by Samuel Schwarz, Julian M. Grünthal 88 Daily Ergo Cure Produced by Dschoint Ventschr Filmproduktion AG, 5.K12 Exhibition Space Niama Film, Kammacher GmbH, Switzerland

C V Doe Mayer is Professor in the School of Cinematic C V Kirsi Rinne works as a research coordinator at Aalto

Thursday Arts at USC and holds a joint appointment with the 67 Thursday Samuel Schwarz University, Department of Film, Television and Sceno­ Thursday Annenberg School for Communication and Journal- graphy. Kirsi’s tasks include planning of doctoral 15:20 Case Study C V Eric Rosenzveig is a Canadian artist, educator, arts ism. Mayer has been working in film and television for studies for film and performance design, develop- 3.G02 Cinema administrator, curator of music and with NARRA, a re- the past 30 years and has produced, directed and ment and coordination of research projects and in- searcher. Department Chair for the Center for Audio- provided technical support for hundreds of produc- 89 Daily Polder – The Walterli Experience ternational research collaborations. She has been a visual Studies at FAMU since 2009, he also teaches tions in the United States and more than twenty de- 15:20 Case Study member of the executive committee of the interna- Electro-acoustic music composition at NYU Global veloping countries in Africa, Asia, the Pacific Islands 5.K12 Exhibition Space tional Screenwriting Research Network and coordi- in Prague. His teaching focuses on the relationship and the Americas. Her research interests include the nator of Nordicil, the Nordic network of film schools. between sound, image and non-linear narratives. He power of story in changing people’s attitudes and be- Kirsi gained her PhD in 2016 from Aalto University. developed playListNetWork, a pioneering interactive havior around health issues and why empathy, iden- This feature length film forms one part of the transmedia video authoring and display software environment tification and stickiness have become such important experience Polder. Synes Elischka is a filmmaker and video-artist with a for the web in 2001-03. His research monograph on concerns in the field globally. deep interest in cognitive neuroscience, media philos- Synopsis: NEUROO-X, an entertainment company group, Open Narrative Structures, which accompanies the ophy and weird reality, focusing on trans-media devel- stands for games that dissolve the boundary between re- NARRA software, will be published by NAMU, Prague opment, cinematic VR and brain-computer interfaces. This presentation analyzes a transdisciplinary project de- ality and gaming. Marcus, Chief Development Manager in early 2018 as an interactive book. Synes is the director of the cinematic VR experience signed to encourage Latinos in the northern part of Los of NEUROO-X dies shortly before completion of a new EgoCure, his PhD graduation project at the Film De- Angeles to identify symptoms of serious mental illness gadget. His lover, Ryuko, finds out that something- ter partment at Aalto University. He has organised events NARRA is a software research project from the Center for and get help for their loved ones quickly. Of all ethnic rible happened during the testing of the game in China, and workshops all over the world. Currently he is fo- Audiovisual Studies at FAMU in Prague and a tool to cre- groups, Latinos are the least likely to seek help for a se- and the deeper she submerges into the secret of NEU- cusing on long-term projects and initiatives, creating ate non-linear, open, online meta-narratives at low cost. inclusive spaces for people to come together and ex- ROO-X, the more she loses touch with reality. Ryuko finds NARRA is an open source, extensible environment for rious mental illness, due to financial issues, stigma and plore new media technology for storytelling. He often denial. The five-year pilot project was funded by the US herself in a world full of demons, witches, knights and speaks at public events and teaches courses about VR. collaborators to jointly create multi-threaded, annotat- National Institute of Mental Health and includes a short terrorists. ed, media works using video, sound, images and text. It 26.10.17 26.10.17 fiction film to start conversations in the community, sub- One focus of research at the ELO Film School Finland is is a tool for interactive doc makers, collaborating artists, stantive traditional media outreach, social media, and to investigate how new technologies change cinematic and video editors with large amounts of data or scholars community outreach coordinators. The presenter has language and creative practices. The methodology is using media. NARRA combines aspects of authoring and partnered with the principal investigator, Dr. Steven practice-based, in which working habits and conven- presenting navigable non-linear media works on the web Lopez, one of the top scholars in the US in Latino mental tions are critically examined by testing and experiment- or locally. Our goal with NARRA is to build a tool for using health issues, to develop an effective and innovative me- ing. Research produces new knowledge and pedagogical media from a rhizomatic perspective; “multiple, non-hi- dia and outreach campaign to encourage people to iden- insights that are applied in artistic activities and in curri- erarchical entry and exit points in data representation tify psychosis and other serious mental illnesses and get culum development. In our presentation, we will briefly and interpretation”. Modular in nature, it’s designed to help quickly. The presenter will discuss the different lan- present areas of research and then zoom in on the Virtual flexibly allow end users to reskin its look for public pres- guages and frameworks spoken by academics and film- Cinema Lab (VCL). We examine working methods and the entation or add new features for authoring: sorting and makers, such as conflicts over the use of data vs. the im- Lab’s relation to other ongoing and complementary re- organizing; searching; annotating with metadata and portance of story in behavior change. This is an issue that search endeavours, such as Cinema360, which investigates visualizing media; and the links between media. The pa- has confounded creative people (and certainly filmmak- dramaturgical approaches in new technologies. Within per or workshop on this artistic research project will call ers) the world over for many years. She will also show part VCL, we have completed a pilot project: the first VR short for participating universities to share in its development of the award-winning film,La Clave. film EgoCure. Synes Elischka, the director, speaks about by explaning its goals, uses, and features and explain its his research interests, immersion, and explains the chal- development history, led by artist/educator Eric Rosen- lenges of VR films. There is not only a need to seriously re- zveig in collaboration with programmers, film students, think visual aesthetics and cinematic conventions, but al- artists, scholars, scientists and educators. so to reconsider production processes. Program Program 70 17:20 Case Study 17:20 Talk 18:15 CILECT Prize 2017 CILECT 71 5.K10 Conference Room 3.C06 Open Stage 7.K12 Main Congress Hall Prize Winners 2017

Anton Rey Francisco Menendez THE CILECT PRIZE was 2017 Speakers Zurich University of the University of Nevada CILECT founded in 2005 at the Arts, Switzerland Las Vegas, USA proposal of CILECT

Prize Winners Prize Dr. Drag & Mrs. Drop: Story-Living within Vice President Prof. Dr. A Research on Actors a Narrative Context Winners Stanislav Semerdjiev. & Avatars The competition strives 2017 to facilitate the CILECT Full Member schools with a representative annual Introduced by showcase of the best stu- 91 Daily Bitter Grounds VR Stanislav Semerdjiev dent short films which C V Anton Rey studied German Literature, Theatre and 5.K12 Exhibition Space

Thursday Philosophy in Zurich and Berlin, and worked with di- then become quality teach- Thursday rectors Herbert Achternbusch, Michel Deville, Wim C V Francisco Menendez is an American filmmaker, pro- Wenders, Robert Wilson, Peter Zadek and others be- fessor and artistic director at the University of Ne- fore directing plays and films himself. He teaches ing examples in the vada Las Vegas. He began making movies early in his Inaugurated by theater history and dramaturgy at the ZHdK, head- native country of El Salvador. Menendez received his ing the Institute for the Performing Arts and Film since schools’ curricula. It is M.F.A. in Film and Video at California Institute of the Maria Dora Mourão 2007. In 2015 he also became a member of PEEK Arts. He holds two Charles Vanda awards for excel- Board of the Austrian Science Fund. Currently his re- also the first ever interna- lence in the arts and in 2017 won the Regents Crea- search projects include: Actor & Avatar (see above); tivity Award for the State of Nevada. He has won first True Lies & Authentic Emotions; and DisAbility on place for two juried screening awards from the Uni- tional award bestowed Stage, an exploration of the physical in performing versity Film and Video Association. Aside from film- arts practices. making, his areas of research are: virtual and aug- to student films not by mented reality; stereoscopy; and emerging technolo- Imagine meeting your Avatar! Or a Robot with character- gies. jury members but by the istics of a virtual Creature that looks similar to you! Or your Selfie comes alive, how would you perceive this “Be- This presentation focuses on tackling the obstacles in cre- whole community of ing”? Would you welcome It as a friend? Or would the en- ating 360 video narrative immersion in Virtual Reality CILECT as schools often counter be rather uncanny? Are you looking at another (VR). At this moment, this new medium involves not only Subject, a mere Thing, or an Object? staging in-depth, head-mounted displays, and binaural include in the voting pan- audio, but it also demands different approaches to com- Actor & Avatar is an interdisciplinary research project, pressing narrative within real time experiences. To illus-

26.10.17 els students, professors 26.10.17 dealing with the difference in perception of live and vir- trate this, I will include examples and demonstrations tual characters. It is funded by the Swiss National Sci- of adapting sections of the award winning novel Bitter and staff accounting to ence Foundation (2016-2018) and includes the participa- Grounds to the screen. tion of the Institute for the Performing Arts & Film (IPF), thousands. The formal the Swiss Epilepsy Centre (EPI) and the Institute for Crit- Virtual reality co-opts from visual storytelling, prome- ical Theory (ith). These three methodological approaches, nade theatre, and interactive gaming. Current presenta- ceremony of presenting and complementing perspectives, provide: tion tools allow, but have not met, the vision of the “holo- the awards in each cate- —— the basis for an empirical study, produced with deck,” and finished creations require using convention means of artistic research; and disruption in order to create memorable experienc- gory (fiction, documen- —— a comparison through neuroscientific research es in the virtual space. in epilepsy treatment; tary and animation) is —— a philosophical reflection on experiences of al- In this talk, I will demonstrate strategies to create new terity, with focus on phenomenology. narrative meaning in 360-video and VR experiences. held at the annual confer- Visual storytelling will be reconsidered under the con- This talk will present our interdisciplinary approach, text of “story-living.” I will discuss how planning, stag- ences of CILECT where all conduct some tests with actors and their avatars, and dis- ing and shooting approaches must be combined with im- the winners are screened. cuss how an art school can stay up to date with inevitable mersive soundscape design, expanded time, and unique future (technical) possibilities. My question is: How do exhibition requirements. we face the realities of fake film and false faces? Program Program 72 18:15 CILECT Prize 2017 18:15 CILECT Prize 2017 18:15 CILECT Prize 2017 18:15 CILECT Prize 2017 73 7.K12 Main Congress Hall 7.K12 Main Congress Hall 7.K12 Main Congress Hall 7.K12 Main Congress Hall

Alicja Jasina Anushka Naanayakkara Tessa Louise Pope Marit Weerheijm 2017 2017 University of Southern National Film and Nederlandse Filmacade- Nederlandse Filmacade- California (USC), USA Television School (NFTS), mie (NFA), Netherlands mie (NFA), Netherlands Prize Winners Prize Winner 2017 United Kingdom Winner 2017 Winner 2017 Winners Prize Animation: Winner 2017 Documentary: Fiction: When Grey Once upon a Line Animation: The Origin of Trouble Is a Colour A Love Story

C V Alicja Jasina is a Polish filmmaker who graduated C V Tessa is an Amsterdam based director who studied C V Born in Utrecht in 1992, Marit Weerheijm is a young

Thursday with an MFA from the University of Southern Califor- Documentary-Directing at the Netherlands Film Acad- Dutch director based in Amsterdam. In 2016 she grad- Thursday nia (USC) in Los Angeles. Her short films have been emy. Her award-winning graduation project “The Or- uated as a director from the Netherlands Film Acade- C V Graduating at the National Film and Television School awarded at festivals worldwide. Recently her film igin of Trouble” is now travelling worldwide to vari- my with her short film When Grey Is a Colour. The film (NFTS) with an MA degree in Directing Animation, Once Upon a Line has won a Student Academy Award ous film festivals. She is currently working on differ- was selected at multiple international festivals and in pushed to nurture her very visual and emotive style. 2017 in the Animation category and has been short- ent projects; shooting a new documentary short film, 2017 won the two main jury prizes at the Toronto Inter- Anushka Naanayakkara has an eye for detail and is listed for the Academy Awards 2017. Alicja tells in- developing a documentary film with support of the national Film Festival Kids. It was also selected as the very playful but critical with her approach to animation. triguing stories about daily dilemmas and captures Dutch Film Fund and working on commercials and a winner in the Foreign Narrative category of the Stu-

the everyday life in unusual ways. Currently Alicja documentary-series. dent Academy Awards 2017. Marit’s work is based on works as a freelancer in Los Angeles. Her analytical, psychological way of thinking helps subtle storytelling, with a strong fascination for inter- her to portray her often-colorful characters. Adding a personal relationships, particularly within family ties. touch of humor and being able to ask the right ques- tions Tessa’s work is best described as sharing small stories in a big way.

26.10.17 26.10.17 A LOVE STORY National Film and Television School (NFTS), United Kingdom, ONCE UPON A LINE 2016, 7 min. University of Southern California (USC), USA, 2016, 7 min. WHEN GREY IS A COLOUR Director: Anushka Kishani Naanayakkara Nederlandse Filmacademie (NFA), Netherlands, 2016, 27 min. Director: Alicja Jasina Screenwriter: Elan Ruscombe King & THE ORIGIN OF TROUBLE Screenwriter: Alicja Jasina Anushka Kishani Naanayakkara Nederlandse Filmacademie (NFA), Netherlands, 2016, 30 min. Director: Marit Weerheijm Producer: University of Southern California Producer: Khaled Gad Screenwriter: Saar Ponsioen Editor: Alicja Jasina Editor: Joseph Comar Director: Tessa Louise Pope Producer: Loes Komen, Eva Verweij Sound: Katie Gately Sound: Marcin Szumilas , Music: Victor Hugo Fumagalli Screenwriter: Tessa Louise Pope Editor: Faith Tura Music: Aaron Gilmartin Producer: Emeline Bakker & Julia Notenboom Sound design: Hanza van der Veer A powerful tale of love faced with depression. Editor: Fatih Tura Cast: Cécilia Vos, Ko Zandvliet, Sam Louwyck A man leads a monotone, humdrum existence until he sudden- Sound: Laszlo Brinkhoff ly falls in love. What follows is a short portrait of a difficult rela- Is life worth living if all your days are grey? Cato is confront- tionship marked by a struggle for control and identity. The end- What causes a father to be absent and what are the conse- ed with her elder brother who comes back to live at home af- ing gives hope for a new beginning and a change of perspective. quences of his absence? Director Tessa Pope confronts her past ter a suicide attempt. Cato tries to get closer to her brother, but and deals with the complex relationship with her father. Archive he doesn’t allow her to. When she doesn’t know what to do an- material and interviews with the whole family bring all the piec- ymore, she unexpectedly meets a strange man with large, white es of the puzzle together. A story about love, hope, betrayal and fake wings. losses. Program Program 74 Congress Index of contents Friday 75 Schedule Congress Program 27.10.2017

Friday 27.10.17 Friday Index MAIN CONGRESS HALL

7.K12 09:30 FINAL KEYNOTE 4 Wrap Up Frank Rose The Art and Science of Storytelling Summary, reflections

10:30 Discussion with and the core busi- Frank Rose ness of storytelling.

11:00 COFFEE BREAK / 30 MINS 11:30 PLENARY DISCUSSION 77 Speakers Where Do We Go from Here? moderated by M. D. Mourão, 77 Frank Rose S. Semerdjiev, C. Iseli 77 Christian Iseli 77 Maria Dora Mourão 12:30 FAREWELL SPEECHES 77 Stanislav Semerdjiev

Schedule Friday CLOSING PERFORMANCE Friday 27.10.17 27.10.17 Program Program 76 Friday 09:30 Keynote 11:30 Plenary Discussion 77 27.10.17 7.K12 Main Congress Hall 7.K12 Main Congress Hall

Moderators Frank Rose Maria Dora Mourão,

of the day Columbia University Stanislav Semerdjiev, Speakers School of the Arts, USA Christian Iseli The Art and Science Where Do We Go 82 Christian Iseli of Storytelling from Here? 09:30 The Art and Science of Storytelling 7.K12 Main Congress Hall 11:30 Where Do We Go from Here? 7.K12 Main Congress Hall

83 Maria Dora Mourão

11:30 Where Do We Go from Here? 7.K12 Main Congress Hall C V Frank Rose is the author of The Art of Immersion, a member of the Columbia Digital Storytelling Lab and

Moderators Friday a senior fellow at Columbia University School of the Friday 84 Stanislav Semerdjiev Arts, where he leads an executive education seminar in Strategic Storytelling. A graduate of the journalism 11:30 Where Do We Go from Here? school at Washington & Lee University, he has been a 7.K12 Main Congress Hall contributing editor at Wired and Esquire and a con- tributing writer at Fortune and Premiere. He currently writes for The New York Times and The Wall Street Journal.

Every filmmaker knows the basics of storytelling – that At the end of the congress, this plenary discussion of- a story has to have a beginning, a middle and an end, fers the opportunity to debate the insights and findings though not necessarily in that order, as Jean-Luc God- of the numerous keynotes, talks, case studies and work- ard famously remarked); that character and plot are key; shops, as well as the impact of the exhibited projects. The and that a story can be subversive, even dangerous. But unique opportunity of having so many experts in prac- in recent years, researchers in neuroscience and cogni- tice from all over the globe in one place offers a unique tive psychology have begun to show how stories work in opportunity for us to move one step ahead in the debate the brain. In some ways, their work verifies what we’ve al- on how film schools can and should react to the challeng- ways suspected – that we understand stories by project- es of media convergence.

ing ourselves into them, that we project ourselves more fully (i.e., become more immersed) if the main charac- ters resemble ourselves, and that the more immersed we 27.10.17 27.10.17 become the more likely the story is to sway our opinions. Other findings run counter to 20th century assumptions, in particular the expectation that stories are passively “consumed” by audiences. Instead, we see storytellers and audiences in a constant give and take, with audiences ac- tively and imaginatively constructing the story in their heads. This realization helps explain why Hollywood has moved away from highly restrictive marketing strategies to embrace fan involvement and immersive participation. It has also led to a growing emphasis in “story worlds,” narrative environments that serve as fantasy vehicles for fans. Program Program CILECT Index of contents 79 Congress Moderators

Moderators Index

80 Moderators 80 Bert Beyens 80 Sabine Boss 81 Silvio Fischbein 81 Sabine Gisiger 82 Garth Holmes 82 Christian Iseli 83 Miriam Laura Loertscher 83 Maria Dora Mourão 84 Stanislav Semerdjiev 84 Bruce Sheridan 85 Herman Van Eyken Schedule & Moderators

Congress

From set to post, from studio to TV screen, ARRI has helped filmmakers, broadcasters, and other creatives in the industry bring their ideas to life for the past century. Here’s to the next 100 years.

Let’s make history together.

www.arri.com CILECT 80 Moderator Moderator Moderator Moderator 81 & Schedule & Schedule & Schedule & Schedule

Bert Beyens Sabine Boss Silvio Fischbein Sabine Gisiger Royal Institute for Zurich University of Universidad de Buenos Zurich University of Moderators Theatre, Cinema and the Arts, Switzerland Aires (UBA), Argentina the Arts, Switzerland Moderators Sound (RITCS), Belgium Head of Film Chair of CIBA, Lecturer in Chair of GEECT, Program Ibero-American Documentary Film European Regional Regional Association Association of of CILECT CILECT

C V Sabine Boss is a highly recognized independent film C V Sabine Gisiger is one of the best known Swiss docu- and theater director and screenwriter. She achieved mentary filmmakers. Her award-winning films include major box-office successes in Swiss cinemas with her Do It (2000), Gambit (2005), GURU – Bhagwan, His Schedule Schedule films Crisis in Havanna (2002), Undercover (2005) Secretary & His Bodyguard (2010), Yalom’s Cure (2014), and I’ll be the Goalie (2014). Sabine won the Swiss C V Silvio Fischbein is visual artist and filmmaker. Consult- Dürrenmatt – A Love Story (2015) and Welcome to Film Award in the categories Best Fiction Film and ant Professor and Undersecretary of Culture, FADU, Switzerland (2017). Sabine studied History at the Uni- UBA. Chair of CIBA (CILECT Ibero-América). Presi­ C V Bert Beyens studied film-directing in RITCS, made the Best Screenplay for “I’ll be the Goalie (2014).” Current­ ­ versity of Zurich and the University of Pisa. Before be- dent of the Argentinian Visual Artists Association. awarded film Jan Cox, A Painter’s Odyssey, (co-writ- ly she is staging the play Verdingbub at the Konzert- coming an independent documentary filmmaker, she Since 1965 he has created 32 solo exhibitions in Ar- er Pierre De Clercq, 1988), started teaching writing- theater in Bern. worked as a journalist at Swiss Television (SRF). Sabi­ gentina and abroad and participated in 46 group directing in RITCS (Royal Institute for Theatre, Cine- ne is a lecturer for documentaries at the Zurich Univer- shows. He won numerous prizes. As a filmmaker he ma and Sound), 1993, and served as Director of the Sabine originally worked as radio presenter and sound sity of the Arts and a member of the European Film has made 30 shorts, 2 video arts and 5 fiction fea- School between 2001 and 2013. He was Vice President engineer for film and theater. Between 1992 and 96 Academy. ture films. Awarded the George Meliès Prize (France, CILECT (2008-2010); Board Member of VAF (Flemish she studied directing at the Zurich University of the 1984) and repeatedly awarded grants by the govern- Film Fund 2005-2009); Member of VAF committees Arts. In 2017 she was appointed Head of Film Program ments of France and Canada. Awarded the Pollock Wed 14:30 The Multiformat Director on Documentary TV-Series (2011-2013) and Fiction Fea­ at the Zurich University of the Arts. Krasner Foundation Grant. In 2015 was published the 7.K12 Main Congress Hall tures (2014-2018). Since 2014 he is Chair of GEECT book Silvio Fischbein - Visual artist. (The European Regional Association of CILECT). Bert 15:20 Integrated Digital Option Beyens is member of Belgian Directors Guild and Tue 14:30 Beginning Again 7.K12 Main Congress Hall European Film Academy (EFA). 7.K12 Main Congress Hall Thu 09:30 CILECT Regional Associations Thu 14:30 Transmedia Concepts 15:20 Machinima: Virtual Filmmaking Parallel Meetings 5.K10 Conference Room Tue 14:30 Intimacy in Video Games 7.K12 Main Congress Hall 6.K04 Break Room

3.G02 Cinema Thu 16:30 Virtual Cinema Lab 15:20 Branched Storytelling 3.C06 Open Stage 3.G02 Cinema 17:20 Story-Living in VR Congress Congress Wed 16:30 Transmedia Teaching Experiment 3.C06 Open Stage 3.G02 Cinema

17:20 Collaborative Online Teaching 3.G02 Cinema Thu 09:30 CILECT Regional Associations Parallel Meetings 7.K12 Main Congress Hall 11:30 Mixed Methods and Partnerships 7.K12 Main Congress Hall CILECT CILECT 82 Moderator Moderator Moderator Moderator 83 & Schedule & Schedule & Schedule & Schedule

Garth Holmes Christian Iseli Miriam Laura Loertscher Maria Dora Mourão AFDA, South Africa Zurich University of Zurich University of University of Moderators Chair of CARA, the Arts, Switzerland the Arts, Switzerland São Paulo (USP), Brazil Moderators African Regional Congress Host / Researcher President of CILECT Association of Head of Film CILECT Research

C V Miriam Laura Loertscher studied Media, Social and C V Maria Dora Mourão is Full Professor at the Universi- Neuropsychology at the University of Bern and Cin- ty of São Paulo, Brazil and CILECT President (since ema Studies at the University of Zurich (lic.phil.hum). 2011). She has a Post Doctorate from École des Hautes She is currently a Phd student at the Institute of Psy- Études en Science Sociales, Paris. She teaches Edit- C V Garth Holmes is the Co-founder and Chairman and C V Christian Iseli heads the research focus film and doc- chology at the University of Bern and a Research Asso- ing Theory and was editor of several Brazilian docu­

Schedule Head of the AFDA Institutional Senate. He has a Mas- umentary film profile within the Master of Arts in Film ciate at the Institute for the Performing Arts and Film men­taries. Publications include: O Cinema do real Schedule ter’s degree in Drama (Production Design) from the at the Zurich University of the Arts. After studying His- at the Zurich University of the Arts. Besides interdis­ (The Cinema of the Real), with Amir Labaki, (first edi- University of Cape Town and is a Doctoral candida­ tory, German and English language at the University ciplinary research projects about film perception and tion 2005, second edition 2014), published in Argenti- te at the University of Liverpool. He has co-written a of Bern, he worked as director of documentary films, virtual reality, she works for the Swiss International na (Colihue, 2011); the chapter Images from the South: number of successfully produced theatre productions and as DP and editor of both fiction and documenta- Animation Film Festival Fantoche. Contemporary Documentary in Argentina and Brazil, and has worked as a writer and production designer ry films. He began teaching at the Zurich University of with Ana Amado in The Documentary Film Book (ed. on a number of music videos, corporate and short the Arts in the mid-Nineties. As a professor, he teach- Brian Winston, 2013). Member of the Brazilian Film films. He specializes in Tertiary Aesthetics, Production es documentary film and post production technology, Wed 14:30 Animation Films Are Transmedia Archive Council. Design and Producing. Since 2010 Garth is Chair of and his research interests include the influence of mod­­ 5.K10 Conference Room CARA (CILECT African Regional Association). ern technology on practical filmmaking and story- telling. 15:20 IP Driven Development Tue 11:30 The Transmedia Turn 5.K10 Confecrence Room 7.K12 Main Congress Hall Wed 17:20 Pre-Viz with Game Engines Tue 10:15 Pervasive Disruptions in Media Thu 14:30 The Search for Emergence Wed 14:30 Spatial Storytelling 5.K10 Conference Room 7.K12 Main Congress Hall 7.K12 Main Congress Hall 3.G02 Cinema Thu 09:30 CILECT Regional Associations 14:30 Which Future!? 15:20 Borrowed Analogies 15:20 Interactivity Changes Nothing Parallel Meetings 5.K10 Conference Room 7.K12 Main Congress Hall 3.G02 Cinema 5.K10 Conference Room Wed 16:30 Gamification with Students Fri 11:30 Where Do We Go from Here? 12:15 Exploring the Frontiers 7.K12 Main Congress Hall 7.K12 Main Congress Hall

7.K12 Main Congress Hall 17:20 A Transmedia Roadmap 14:30 Non-Linear Documentary Design 7.K12 Main Congress Hall 3.C06 Open Stage Thu 15:20 Polder – A Transmedia Experience Congress Congress 15:20 Measuring Interactive Docs 3.G02 Cinema 3.C06 Open Stage Fri 09:30 The Art and Science of Storytelling 7.K12 Main Congress Hall 11:30 Where Do We Go from Here? 7.K12 Main Congress Hall CILECT CILECT 84 Moderator Moderator Moderator 85 & Schedule & Schedule & Schedule

Stanislav Semerdjiev Bruce Sheridan Herman Van Eyken National Academy Columbia College Griffith Film School, Moderators for Theatre and Film Chicago (CCC), USA Australia Moderators Arts (NATFA), Bulgaria Chair of CNA, Chair of CAPA, CILECT Executive North American Asia-Pacific Director Regional Association Regional Association of CILECT of CILECT

C V Stanislav Semerdjiev is CILECT Executive Director

Schedule since 2011. He founded the first undergraduate, grad- Schedule uate and doctoral Screenwriting Programs at NATFA, C V Bruce Sheridan was Chair of Columbia College Chica- C V Herman van Eyken has a background in script writing, Sofia, Bulgaria (1991). He created the first Bulgarian go (CCC) Cinema Art + Science from 2001-2017. He producing and directing. Herman originally crafted daily TV serial Hotel Bulgaria (2004) and his documen­ is an award-winning drama and documentary film- his film and education career at RITCS, Brussels. In tary filmThe Hamlet Adventure (2008) has been ac- maker who teaches producing, directing and writing 2005, he founded Singapore’s first film degree at claimed in Bulgaria, Belgium, Israel, Norway, Uzbeki- for both forms; a Senior Research Fellow in the Uni- LASALLE’s College of the Arts, before joining Griffith stan, UK, Australia and USA. He is the script-editor or versity of Auckland Creative Research Initiative (New Film School (2009). A multi-awarded filmmaker, his re­ screenwriter of more than 50 European film/TV pro- Zealand); and a PhD candidate in philosophy investi- search interests lay in the area of film policies, cross jects and has written over 150 texts and a book on the gating relationships between creativity and learning. cultural collaboration, curriculum design, internation- audiovisual media. President of the Bulgarian Associ­ In August 2017 he completed the feature documenta- alization, and film training for professionals. Commis- ation of Film, TV and Radio Scriptwriters (BAFTRS, 2006- ry Our Blood Is Wine as producer, and was appointed sioned by the Beijing Film Academy, Professor Herman 2016), Treasurer of the Federation of Screenwriters in Key Advisor and Producer for the U.K. based immer­ van Eyken’s current practice based research investi- Europe (FSE, 2007-2015), Rector of the National Acad­­ sive art and entertainment company Virtual Reality gates cross fertilization between analogue and digital emy for Theatre and Film Arts (NATFA), Sofia, Bulgaria Associates. Since 2014 Professor Bruce Sheridan is stereoscopic art combining film, animation and dance. (2003-2011, 2015-2019) Chair of CNA (CILECT North America). Since 2014 he is Chair of CAPA (CILECT Asia-Pacific Association).

Tue 12:15 Afrofuturism and VR Tue 16:30 Transmedia Design Patterns 7.K12 Main Congress Hall 7.K12 Main Congress Hall Tue 14:30 Transmedia Living Lab

16:30 CILECT Events and Projects 17:20 Columbia’s Digital Dozen 3.C06 Open Stage 5.K10 Conference Room 7.K12 Main Congress Hall 15:20 Pitch-Viz Experience in VR Wed 09:30 General Assembly Wed 11:30 Principles of Transmedia Storytelling 3.C06 Open Stage Congress Congress 7.K12 Main Congress Hall 7.K12 Main Congress Hall Wed 12:15 Immersive Environments 18:15 CILECT Teaching Award 2017 Thu 09:30 CILECT Regional Associations 7.K12 Main Congress Hall 7.K12 Main Congress Hall Parallel Meetings Thu 09:30 CILECT Regional Associations Thu 18:15 CILECT Prize 2017 3.G02 Cinema Parallel Meetings 7.K12 Main Congress Hall 17:20 Actors and Avatars 3.C06 Open Stage Fri 11:30 Where Do We Go from Here? 5.K10 Conference Room 16:30 Transdisciplinary Research 7.K12 Main Congress Hall 7.K12 Main Congress Hall 17:20 NARRA: Artistic Research 7.K12 Main Congress Hall CILECT CILECT 86 CILECT Index of contents 87 Congress Exhibitions Index Design & Kunst Exhibition Space solothurn Discover new trans- media approaches, VR experiences and groundbreaking sto- rytelling concepts. Bachelor Video Bachelor 88 Exhibit Information Events on 24 and 25 November 2017 Animation 88 EgoCure – hslu.ch/infotage-design-kunst

Immersive VR Cinema Exhibition Space Master 88 Digital Dozen: Film Breakthroughs in Storytelling 89 Polder: The Walterli Experience 89 Dream Lab & Dream Makers 90 Pulse of Life (Animation Film and VR-Game) hslu.ch/video hslu.ch/animation hslu.ch/master-film 90 Zero Point VR 170914_dk_cilect.indd 1 14.09.17 14:19 91 Bitter Grounds VR experience 91 Previz with Game Engines 93 Birdly EMOTION STRUCTURE, RHYTHM, March 22/23, 2018 Save the Date: Editing Documentaries ZDOK Zurich Documentary Conference 93 Compare 360˚

Congress Save the Date: Save EMOTION 22./23. März 2018 Montage im Dokumentarfilm Montage STRUKTUR, RHYTHMUS, ZDOK Zürcher Dokumentarfilmtagung

Zürcher Hochschule der Künste Institute for the Performing Arts and Film www.zdok.ch CILECT 88 13:00 — 19:00 Exhibition 13:00 — 19:00 Exhibition 13:00 — 19:00 Exhibition 13:00 — 19:00 Exhibition 89 Daily 5.K12 Exhibition Space Daily 5.K12 Exhibition Space Daily 5.K12 Exhibition Space Daily 5.K12 Exhibition Space

EgoCure — Digital Dozen: Polder: The Dream Lab & Exhibits

Exhibition Immersive Breakthroughs Walterli Experience Dream Makers VR Cinema in Storytelling

Directed by Synes Elischka Digital Storytelling Lab at Columbia University Directed by Samuel Schwarz Filmakademie Baden-Württemberg, Germany Aalto University / ELO, Finland School of the Art, USA Produced by Digital Bühne Zurich, Switzerland 51 Wednesday Inga von Staden 69 Thursday Kirsi Rinne, Synes Elischka 43 Tuesday Frank Rose 67 Thursday Samuel Schwarz 15:20 Case Study 16:30 Case Study 17:20 Special 15:20 Case Study 5.K10 Conference Room 3.C06 Open Stage 7.K12 Main Congress Hall 3.G02 Cinema Exhibition Space Exhibition Space Exhibition Space 77 Friday Frank Rose 68 Thursday Polder Become a Game Ego Cure, directed by Synes Elischka, is a narrative virtu- 09:30 Final Keynote 16:30 Screening In the trailer Dream Lab a punched, hard bitten lab assis- al reality short film that stretches the limits of filmmak- 7.K12 Main Congress Hall 3.G02 Cinema tant who looks more like an old hippie back from the 60’s ing by unconventionally bringing together the new tech- than a Greek dream god is standing in his “dream lab”. nical approach of stereoscopic 360 video, CGI animation The Columbia Digital Storytelling Lab’s Digital Dozen: Digitalbühne Zurich presents a special screening package It’s a place where our dreams come from. It’s a place full and interaction between the viewer and the art piece (en- Breakthroughs in Storytelling program honors the most including its feature film “Polder - Become A Game” and of creativity and insanity. active cinema). innovative approaches to narrative from the past year. Set the VR experience “Walterli Experience.” The different up to encourage innovation, creativity, and an awareness experiences share the same narrative: the “Walterli Expe­ The game Dream Makers is a creative, co-operation game In this VR experience you, the viewer, are part of a con- of the myriad ways digital technology is changing the rience” refers to the story in the film when Walterli is for two players combining a dreamy immersive VR Labo- temporary dance choreographer’s struggle to create a con- way we tell stories, the program is open to works from any threatened by a witch in a beloved (but virtual) cabin. The ratory and a Tablet Interface which is supplying this Lab- temporary masterpiece – at odds with a handful of disin- field or discipline, including advertising, art, fiction, film, user, from Walterli’s perspective, can walk through the oratory with all the necessary ingredients to create what terested dancers, her unpleasant producer and the other- games, journalism, television, and theater. In citing these cabin, interact with some of the objects and solve small else? Dreams! worldly curator – while at the same time facing her own accomplishments, the Lab hopes to further digital me- riddles. One of the experience’s most impressive moments inner demons. The movie is set in a world where the com- dia’s potential to break free of rigid, industrial-age classi- is the user’s walk over a small bridge, crossing lava! This Crew: modification of art has come to its technological conclu- fications and evolve in ways that analog media could not. moment also holds the possibility of entering a dungeon. Pascal Schelbli (Directing), Aleksandra Todorovic (Anima- sion: if an artist is unable or unwilling to provide a com- A selection of the Digital Dozen 2015 und 2016 will be ex- The world in “Polder: The Walterli Experience” is beau- tion/Effects Producing), Dimosthenis Gkantzos (Game missioned art piece, the investor has the right to extract hibited at the CILECT Congress in Zurich. tifully built in high resolution and the resulting immer- Directing & Animation/Effects Producing). Artists: Fynn Congress Congress it from their unconscious mind using the EGO CURE —— Giant — VR experience sive experience is remarkable. Grosse-Bley, Merlin Deppeler, Fabian Fiess, Lukas Got- device. —— The Displaced — VR journalism (360-video) kowsi, Eddy Hohf, Tim Markgraf. —— The Deeper They Bury Me — Interactive narrative. The film is part of a research project to study the mechan- Network Effect: Human Life on the Internet ics of virtual reality in filmmaking, creating tools for Interactive online experience. high quality Cinematic VR. It utilizes the Enactive Avatar, —— Karen Faux life coach app. a technology creating a living, reactive photorealistic CGI —— This Is the Story of One Block in Bed-Stuy Brooklyn character based on a real-life person. Nonlinear online journalism.

For details refer to the poster descriptions at the Exhibition Space in room 5.K12, or to http://digitaldozenawards.com CILECT CILECT 90 13:00 — 19:00 Exhibit 13:00 — 19:00 Exhibit 13:00 — 19:00 Exhibit 13:00 — 19:00 Exhibit 91 Daily 5.K12 Exhibition Space Daily 5.K12 Exhibition Space Daily 5.K12 Exhibition Space Daily 5.K12 Exhibition Space

Pulse of Life Zero Point VR Bitter Grounds Previz with Exhibition (Animation Film VR experience Game Engines Exposition and VR-Game)

Filmakademie Baden-Württemberg, Germany Created by David Tree and Peter Richardson Director: Francisco Menendez Created by Mirko Lempert and Simon Alexanderson University of Hertfordshire, Institution: University of Nevada Las Vegas, USA Institution: Stockholm University of the Arts, KTH 51 Wednesday Inga von Staden School of Creative Arts, UK Royal Institute of Technology Sweden Exhibition only 15:20 Case Study 70 Thursday Francisco Menendez 5.K10 Conference Room 17:20 Case Study 54 Wednesday Mirko Lempert 3.C06 Open Stage 17.20 Case Study Exhibition Space Exhibition Space C V David Tree is a research fellow and technical direc- Exhibition Space Pulse of Life is set in 2245. Earth is nothing but a post-apoc- tor for the Games and Visual Effects Research Lab, 5.K10 Conference Room alyptic wasteland. The sky is darkened; no sunlight pass- school of Creative Arts, University of Hertfordshire. In the middle of twentieth century, coffee provided the Prior to this he served as principal technical special- es through. Almost all resources ran dry and the only en- way of life for us in El Salvador. A staple for both plan- ist for the University of Hertfordshire’s animation pro- ergy source is a gigantic jellyfish that floats through the gram, where he supported student development work tation owners and poverty-stricken pickers, coffee united This demonstration introduces a system for real-time gloomy sky, appearing only occasionally. Humans have and designed tools that refined existing content cre- and divided the social classes. simulation that is used for visual concept development at built constructions that attract the jellyfish to obtain en- ation pipelines. His research interests include proce- the Stockholm Academy of Dramatic Arts. Since its first ergy. dural techniques for immersive content creation, real- Bitter Grounds follows three generations of the Prieto public presentation at the CILECT congress in Los Ange- time shader techniques and pipeline design. clan through the complicated web of Salvadorian power as les in 2014, it was successfully adopted for set design tests The VR-Installation Pulse of Life - Game immerses the Peter Richardson has a 20-year career in the film in- well as the family for whom they work, the Contreras. and vfx planning in feature films. Principally, however,­ player in the post-apocalyptic world to experience the jel- dustry during which he has directed feature docu- It also tracks politics from the shameful “matanza” of it became an integral part of the students’ curriculum at lyfish. The player takes the role of an outpost guard re- mentaries, music videos, commercials, feature and 30,000 peasants after a revolt in 1932 to the beginning of the academy. This live demo will showcase two different short dramas. His films have been screened in cinemas sponsible for attracting the jellyfish. Directed through a the revolutionary movement in the city in 1970s. approaches to (pre)visualization: one that can be used to and film festivals, as well as on television, worldwide. walkie-talkie, the player is able to operate the generator Peter is Professor of Film at the University of Hertford- facilitate a collaborative environment for cinematic works; to attract the jellyfish. shire in the UK where he is Head of Screen. As Director The novel foregrounds two strong women. Mercedes and one VR version, which can refine the outcomes of of The Games and Visual Effects Research Lab and Prieto, a native latina and the wife of a coffee picker, sur- those collaborations. Crew: Principle Investigator of the €1.5M EU funded Create vives the decimation of her village and the kidnapping of Converge research project, Peter leads a team of re- Caroline Kiessling (Directing), Tina Vest& Arvin Shokri her son by the “Guardia Nacional.” The other, Elena de Congress searchers based in six EU countries who investigate Congress (Animation/Effects Producing), Mitja Öhm (Directing immersive film and television technologies. Contreras is the matriarch of the coffee “finca,” weighed Pulse of Life Game). Artists: Justin Braun, Alex Berweck, down by family secrets and her social standing. Alexej Skrypnik, Juraj Tomori Zero point VR is a Virtual Reality Meditation on the key Inspirations and concepts behind the Zero Point Stage These women and their offspring are inextricably linked Show. In this seminary work, the Games and Visual Ef- with the violent struggles and cruel betrayals that play fects Research lab has worked alongside noted Choreog- out in a country burdened with an inequitable social rapher Darren Johnston of Array UK to produce a piece system. that guides you through the concepts behind Zero Point. Although the piece was initially intended to be a comple- The specific relationships and inbuilt conflict creates a mentary work to the stage show, the dancers involved unique set of VR experiences, each urging the viewer to commented that they found the process of motion cap- look forward to the next mystery in the visceral and im- ture and development of the experience informative to mersive timeline. the stage piece. The experience is presented in HTC Vive with room scale tracking to reduce distraction with a conscious choice made to exclude the motion controllers. Instead you in- teract by focusing your gaze on certain ‘totems.’ Maintain­ ing your gaze for more than 10 seconds allows the totem to transport you to the next level. CILECT CILECT 13:00 — 19:00 Exhibit 13:00 — 19:00 Exhibit 93 Daily 5.K12 Exhibition Space Daily 5.K12 Exhibition Space

Birdly Compare 360˚ Exhibition

Created by Max Rheiner Directed by Delia Schiltknecht Zurich University of the Arts, Switzerland Zurich University of the Arts, Switzerland Exhibition only Exhibition only

C V Max Rheiner is head of the Master of Arts in Interac- This installation allows a real-time comparison between tion Design program. He lecturers on topics such as

a conventional documentary film and a 360 degree video Exhibition Space Embodied Interaction and Physical Computing and of an identical action in an identical space. Whereas the developed the Physical Computing Laboratory at the montage in the conventional film builds a structural de- ZHdK. In addition to his academic work, Max is an in- dependent artist. In his artistic practice, he focuses velopment from abstract to concrete, the 360 degree video on interactive installations and experiments that delve shows its strength in providing a spatial experience and into digital perception. These projects are developed a feeling of presence. The experiment of graduate film both independently and in collaboration with other student Delia Schiltknecht is part of a current research designers / artists. Max’s artworks are presented regu- larly in internationally diverse museums and festivals. project that focuses on viewing patterns in conventional films and 360 degree videos. The whole Birdly experience is about one of the oldest dreams of mankind: flying like a bird. It is a simple and strong story. People in every culture and of every age or social background have dreams of flying. It does not take many words to get involved: it’s the experience that mat- ters!

Birdly is an immersive, full body installation born out of a research project. Developed by the Zurich University of Congress the Arts (ZhdK), it explores the experience of a bird in flight. Unlike a common flight simulator, you do not con- trol a machine—you intuitively embody a bird. To evoke this sensation, Birdly relies on sensory-motor coupling and truly 3D visuals, provided by a state of the art head mounted display. Birdly combines extended forms of sto- rytelling with strong visuals and technical perfection to create a unique and intuitive experience. CILECT 94 CILECT Index of contents 95 Congress General Assembly Appendix General Assembly Appendix Documents by Candidate Members. Index 96 Candidate Members 96 Moholy-Nagy University of Art and Design Budapest, Hungary Members Candidate 100 Notre Dame University, Lebanon 104 University for the Creative Arts, UK General Assembly General Congress 96 General Assembly 09:30 Wednesday General Assembly 09:30 Wednesday 97 Candidate Member 7.K12 Main Congress Hall Candidate Member 7.K12 Main Congress Hall

József Fülöp YEAR OF FOUNDATION: 1980 ADMISSION ADMISSION Moholy- YEAR OF RECEIVING STATE ACCREDITATION: 1980 CRITERIA EXAMS Candidate Member (IN THE BOLOGNA BASED SYSTEM: BA - 2007, MA – 2009) Animation BA High School Round 1 — Electronic Media Design BA diploma portfolio Presentation Round 2 — written Nagy- test about art, culture, MISSION design interview AND STRATEGY Round 3 — Practcal University Tasks & Interview MOME Media Institute integrates studies, crea­ tion and theory in the fields of visual arts, with a strong Animation MA BA/BSc and/or Round 1 — Portfolio, emphasis on moving images. It’s Animation and Media Media Design MA MA/MSc C V, motivation letter. of Art and Design departments have become leading creative and Round 2: Interview Moholy-Nagy-University of Art and Design of Moholy-Nagy-University knowledge centers both locally and globally. Their scope Art and Design of Moholy-Nagy-University Multimedia DLA MA degree in the Portfolio — C V, of activities covers the operation of the university de- fields offered at research topic, moti- Design C V József Fülöp has been a lecturer at the Moholy-Nagy partments running the animation BA and MA programs, MOME & at least 1 vation letter Creative University of Art and Design Budapest (MOME) since while their work is defined by activities that reach beyond intermediate lan- portfolio Interview 2001, became the leader of the Animation program education. The main objective is to prepare students to guage certificate in 2005, and developed the Hungarian animation BA Budapest embrace technology through resourceful analysis and un- and MA education programs, as well as the accredita­ tion materials. He founded the animation department derstanding, which will help them learn the ever-chang- and has been its leader since 2010, and has been elect­ ing new generations of methods and devices easily. (MOME), ed as rector of MOME in 2014. He is a member of EA- DIM (European Academy of Digital Media). In his cre- MOME Anim, the Animation department was

Budapest, Hungary Budapest, ative designer work he focuses on 360° media content Hungary Budapest, development. His field of research is relationship be- founded over 35 years ago, and has since become one of the Hungary tween animation and new media. defining creative workshops and intellectual centers of European animation. MOME Media Design (MD) evolved COURSE PRACTICAL EXERCISES’ ASSESSMENT from the former Department of Audio Visual Communi- CRITERIA & STUDENT GRADUATION OBLIGATIONS cation, and was re-established in 2004. Animation BA Knowing traditional and contemporary animation techniques form drawing an- DEGREE LEVELS AND imation to stop motion and different GENERAL INFORMATION types of digital techniques. Project development and execution, final In the field of filmmaking, the school offers: BA presentations in every semester. in Animation and in Media Design, MA in Animation and

Media Design MA BStudents are trained in basic au- in Media Design, and DLA (Doctorate of Liberal Arts) in dio-visual skills (pre-production, produc- Multimedia. tion, post-production) to be used in a wide range of fields and genres of ap- The BA programs are available in Hungarian, the MA and plied cinematography. the DLA programs in Hungarian and in English, as well. Animation MA Individual content developer and maker (art director, film director, audiovisual Candidate Member Candidate Member Candidate Tuitions fees (per semester): content author). Students have the free- dom to develop their own content: ani- —— BA programs: cca. 2,900 Euro, mated shorts, series, feature films, inter- for non-EU residents: 10,000 Euro active installation, videogames, etc. A —— MA programs: cca. 3,560 Euro, completed animation project is the basic for non-EU residents: 10,000 Euro requirement, developed and directed by DLA: cca. 2,000 Euro, the graduating student. for non-EU residents: 2,260 Euro Multimedia DLA Students specialise either in media design or media set design – both involving the NO. OF ENROLLED transfer of cinematographic knowledge APPLICANTS 17/18 STUDENTS 16/17 and skills. Course Female/Male Total Female/Male Total Animation BA 169/89 258 6/6 12 Media Design BA 97/84 181 10/5 15 Animation MA 26/12 38 5/3 8 Media Design MA 32/24 56 7/5 12 Multimedia DLA 28/30 58 2/2 4 Total 352/239 591 30/21 51 General Assembly General Assembly General 98 General Assembly 09:30 Wednesday General Assembly 09:30 Wednesday 99 Candidate Member 7.K12 Main Congress Hall Candidate Member 7.K12 Main Congress Hall

RESEARCH & Euranium Bella Szederkényi Tamas Iván Topolánszky COLLABORATIONS 2015-2018 supported by Creative Europe. Part- Graduated from MOME Anim in 2009; winner Along with running his creative production ner(s): Les Rencontres Audiovisuelles, France; Howest, of multiple international awards; founded Cub Anima- agency, with award-winning shorts under his belt Tamas Animation Sans Frontieres (ASF) Belgium; Plymouth College of Art, UK; The Animation tion Studio with Bálint Gelley in 2015. Currently she is directing his first TV movie in 2017. 2008-2015 supported by EU Media Programme Workshop, Denmark; Turku University of Applied Scienc- studies in the Multimedia DLA program of MOME. As a http://halluci-nation.com/info/ 2015-2017 supported by Creative Europe es, Finland. Euranim is a 3-year educational program ex- writer and director she made Orsolya (2009), The Wild Partner(s): The Animation Workshop, Denmark; Film­ ploring a novel, innovative use of animation (video map- Boar (2016), The King Who Collected Books (TV series for LINKS TO SLECTED akademie Baden-Württemberg, Germany; Gobelins ping). It brings together over 60 partners from the crea­ kids, 2016), and as producer The Hissy Troll (animated TV STUDENTS FILMS l’école de l’image, France. ASF is an 8-week lecture and tive industries, across six countries, helps the general series for kids by Katinka Éva Bognár, 2017), The Gardener workshop-based supplementary training programme de- public to get familiar with this emerging creative medi- (animated short for Kids by Borbála Tompa, 2017), Door MOME ANIM signed to give European graduate-level animation film um and generate a demand for such creations. to Othertown - Chapter 1: Messenger (animated TV series and production students an understanding of the fine art http://euranim.eu for kids by Bálint Farkas Gelley, 2016), I had three Grand­ Péter Vácz: Rabbit and Deer Moholy-Nagy-University of Art and Design of Moholy-Nagy-University and the business of getting an idea onto a screen. mothers (animated short by Katalin Glaser, 2013). https://vimeo.com/97911456/fd7776d05c Art and Design of Moholy-Nagy-University http://animationsansfrontieres.eu www.cubanimation.com SUCCESSFUL Dávid Ringeisen, László Ruska: Paperworld GRADUATES https://vimeo.com/97911458/3853db7cca Essemble Tibor Bánóczki 2012-2015 supported by EU Media Programme. Réka Bucsi Independent animation filmmaker, leader of Réka Bucsi: Symphony No 42. Partner(s): Universidade Lusófona de Humidades e Tech- Independent animation filmmaker; studied at the MOME Anim MA program, winner of multiple inter­ https://vimeo.com/158908559/044a9c3f8a noologias, Portugal; Internationale filmschool, Germany; MOME Anim between 2008-2013. Her MA graduation national awards. She has Animation MA from MOME Milán Kopasz: Beyond LUCA School of Art, Belgium. ESSEMBLE intended to pro­ film Symphony no. 42. got shortlisted for the 87th Acade- and NFTS London. He created several award-winning https://vimeo.com/161483545/e4c8ebd609 vide film and animation students with basic and advance my Awards, and was screened in the official shorts com- anima­ted shorts: Leftover (2014, artist residency at CICLIC, competences concerning new production and distribu- petition of Berlinale, SXSW, Sundance, and has won over Chateau-Renault, France), Meatless Days (2012), Les Con­ Nadja Andrasev: The noise of licking Budapest, Hungary Budapest, tion techniques and strategies without neglecting the im- 50 international awards. Her most recent French-Hun- quérants (2011), Milk Teeth (NFTS graduation film, 3-D com­ https://vimeo.com/163217030/0a6454f9d0 Hungary Budapest, portance of script development, while focusing on the de- garian co-production short, LOVE premiered in the Short puter animation, 2007), Dead Water (2001), Les Conquérants, velopment of new concepts mixing stereoscopic 3D imag- Film Competition Program of the 2016 Berlinale. Réka is (Folimage Studio, Valence, France, 2010), as well as Carpel Judit Wunder: Bond https://vimeo.com/194035962/2dc96c33a8 es with live footage. represented as a director by Passion Pictures. (project, writing Residency – Abbaye Royale de Fonte- http://essemble.ulusofona.pt/previous-editions.html http://rekabucsi.tumblr.com/ vraud, France, 2012), Sleep (animated music video, 2009, Le chef – ID spot for the French Institute in Budapest https://vimeo.com/rekabucsi music: Ethav), The Can (commissioned short for Red Bull https://vimeo.com/183301864 Essemble 2 https://www.facebook.com/loverekabucsi/ for an episodic TV art show series titled X13, 2008), The https://www.facebook.com/SymphonyNo42/ 2016-2017 supported by EU Media Programme. Clap Dudes (pilot for an animated TV series, 2008). In 2012 Olivér Hegyi: Take me please Partner(s): Universidade Lusófona de Humidades e Tech- he also had an exhibition titled This Exquisite Forest in https://vimeo.com/220615935/1e71842329 noologias, Portugal; Internationale filmschool, Germany; Péter Vácz Tate Modern, London, UK. LUCA School of Art, Belgium. Essemble 2 addresses the Independent animation filmmaker, winner of www.domesticinfelicity.com MOME MEDIA DESIGN need of European Film and Media Schools for training multiple international awards. and mobility activities that aim at the development and James - Dear John (music video, 2016) Kostil Danila Zsuzsanna Koszti: IMperfect implementation of new interdisciplinary programs; the James - All I’m Saying (music video, 2014) Very highly acclaimed international director of https://www.youtube.com/watch?v=QdUUFnGqRRc enhancement of the quality and relevance of European Rabbit and Deer (Nyuszi és Őz – MOME Anim diploma film, commercials and music videos. Now running his Barcelo- Nagy: Őszi Utcán Falevéllel Táncolgat a Szél Higher Education in this field; the development of new 2013). Screened in 63 countries at more than 300 festivals na-based production company and directorial collective. https://www.youtube.com/watch?v=lXksxOO4bHY Lili interdisciplinary training programs; the implementation and won over 120 awards. http://kinopravda.tv/ Candidate Member Candidate Member Candidate of new teaching strategies for film education; the develop­ Satellite Dish (Parabola - animation short, 2013) Viktor Horváth: Accommodator ment of new learning methods and didactic materials; Streamschool (Patakiskola - animation short, 2010) Dávid Ráday https://www.youtube.com/watch?v=guEAW1z5cKU and the reinforcement of digital skills amongst arts stu- www.petervacz.com Highly successful director for commercials and Csilla Zsély: Playback dents and teachers. www.facebook.com/peter.vacz.director creative content, running his own advertising agency and https://www.youtube.com/watch?v=7uzYg-MZ-6s http://essemble.ulusofona.pt/ www.vimeo.com/petervacz an architecture studio. http://proud.hu/contact/ Sofiya Urban: Hypnosis (teaser) Adapting for Cinema (A4C) Tomek Ducki https://www.youtube.com/watch?v=SSmKJyBkRjo 2013-2015 supported by EU Media Programme. In addition to his studies at MOME Anim, he László Csáki Partner(s): Scuola Holden, Italy; London Film School, UK. studied poster design and animation at ASP Krakow, Acclaimed a multiple award winning anima- Adapting for Cinema is a workshop focused on the con- graph­ic design at ESAG Paris and got an MA in Anima- tions director and visual artist. cept of adaptation, from literature to cinema. 12 Europe- tion from NFTS London. Currently he studies in the Mul- http://www.csakilaszlo.com/ an participants (4 producers, 4 writers, 4 visual artists) timedia DLA program of MOME. Winner of multiple in- with the support of professional trainers work together ternational awards, presently runs his own production Péter Fazakas in different groups with the mission of adapting 4 books company in Poland. Graduated from Media Design’s predecessor for the screen. Daydreamer (animation music video, 2015) Visual Communication Studies, Peter is an acclaimed di- http://scuolaholden.it/en/adapting-for-cinema/ Paradise Awaits (animation music video, 2014) rector of feature, TV, commercials and music videos. Baths (animation short, 2013) www.peterfazakas.com Life Line (MOME Anim diploma film, 2007) http://www.imdb.com/name/nm2791904/?ref_=nv_sr_1 www.tomekducki.com General Assembly General Assembly General 100 General Assembly 09:30 Wednesday General Assembly 09:30 Wednesday 101 Candidate Member 7.K12 Main Congress Hall Candidate Member 7.K12 Main Congress Hall

The Division of Audio Visual Arts (DAVA) - Me- that incorporates the skills acquired during the years Notre Dame Nicolas Khabbaz dia Studies (MS) at Notre Dame University (Louaize, Leb- spent at NDU. A jury composed of academicians and pro- anon) was founded in 1982. It forms a hub of cinematic ac- fessional guests evaluate the presented work of the stu- Candidate Member tivities where students, staff and faculty-members, work dent. The program’s courses vary between theoretical and University Presentation together to create an artistic inspirational atmosphere via practical, and mostly encourage the exploration of art an academic calendar of lectures, lab hours, projects and concepts as well as techniques. Students are required at Notre Dame University Dame Notre extra-curricular activities. It comprises 5 full-time profes- most times to present filmed projects. University Dame Notre sors among which 2 PhD holders; 5 industry profession- (NDU), als, as well as 11 professional teaching assistants. RESEARCH & COLLABORATIONS MISSION AND Lebanon STRATEGY When it comes to participating in international projects and collaborations, DAVA is very active in that re- The mission of the Radio/Television & Film gard. The division has participated in numerous interna- pro­gram is to prepare students for opportunities in the tional film festivals and hosts its own international film C V Nicolas Khabbaz is Director of the Division of Audio filmmaking, electronic media production, programming festival. Visual Arts at Notre Dame University - Lebanon (NDU) and “on-air” broadcasting. In addition to a variety of since 2012. He holds a PhD in cinema, has produced cours­es in social sciences, English, and other LAC (Liberal NDU INTERNATIONAL thirteen theater plays and is the program/artistic Arts curriculum) courses, the program stresses the skills director and co-founder of NDU International Film FILM FESTIVAL: Festival and Batroun Mediterranean Film Festival. He that will help prepare R/TV & Film students in their ca-

Lebanon Lebanon has been a jury member at international festivals and reers. Introductory and advanced instruction in Film and The NDU International Film Festival was found­ Lebanon a guest lecturer on third world cinema, gender rep- Television techniques are supported by hands-on experi- ed in 2007 and is celebrated every year in November. With resentation and cultural identity. His last film “On the ences in our equipped studio. more than 80 films in the national and international com- Ropes” (2016) directed by Manon Nammour was pre- miered in the official competition of the Locarno Film petition, NDUIFF invites 40 to 50 guests from around the Festival. The program’s educational objectives firstly prepare stu- world to screen their films, give workshops and seminars dents to lead a productive career in the various areas of and judge the films. Guests and Lecturers from FAMU the field by applying the theoretical, practical and techni- (Czech Republic), Chapman University (USA), IADT (Dub- cal skills in radio, television and film in the industries. It lin), American University of Dubai, AUD (UAE), Zayed also encourages the employment of creative talents and University (UAE), Academy of Performing Arts (Slovakia) innovative skills in their chosen field, as well as inspires have participated in the festival. students to pursue studies and research in specific cine- http://www.nduiff.com/FilmFestival/Home ma and Television fields. The Manufacture of the DEGREE LEVELS AND Festival International Du GENERAL INFORMATION Film Francophone of Namur: The International Festival of Francophone DAVA - MS offers a BA in Communication Arts- Films (FIFF) annually hosts INSAS (Belgium), IAD (Bel- Radio/Television and Film with concentrations in: gium), HELB (Belgium), ESRA (Belgium), KASK (Belgium), 1) scriptwriting and directing, 2) film and video techni­ ISMA (Benin), ISIS (Burkina Faso), Fresnoy (France), NDU Candidate Member Candidate Member Candidate ques, 3) audio and sound production, and 4) electronic (Lebanon), ESAVM (Morocco), INIS (Québec), UNATC news. All courses are offered in English only. (Romania), HEAD (Switzerland), ECAL (Switzerland) and ISAMM (Tunisia). This workshop brings together 15 stu- The tuition fees for both residents and non-residents dents from 15 film schools. It creates an opportunity to amounts to a total of 35,540 over 4 years. The academic show and share their know-how. year of 2016/2017 had a total number of 55 applicants (34 http://www.fiff.be/fr/Archives/30-ans-30-FIFF/2015/La-Manu- females and 21 males) out of which 40 actually enrolled facture-de-Namur-2015 (26 females and 14 males). The total number of enrolled students in the program amounts to 207 students. Critics Without Borders: July 2015 to October 2015 - Swedish Film Insti- In order to enroll, every candidate who passes tute, Malmo Arab Film Festival the NDU entrance exam is accepted in the DAVA after an It consists of a cultural exchange where a total of 25 film evaluation interview with his/her academic advisor. The critics and film scholars from the Nordic and Arab world types of entrance exams are EET (English Entrance Ex- met in Malmö. Two months before the round tables pres- am) and TOEFL (Test of English as Foreign Language). entations, each participant was asked to write a paper fo- cusing on democracy, freedom of expression in socially, Students pursuing this major must complete politically, ideologically and culturally related movies of a total of 103 credit hours with a minimum cumulative the country. GPA of 2.3 / 4.0 in their major requirements. The program https://eng.si.se/project/critics-without-borders/

General Assembly General culminates in a senior project film and a production book Assembly General 102 General Assembly 09:30 Wednesday General Assembly 09:30 Wednesday 103 Candidate Member 7.K12 Main Congress Hall Candidate Member 7.K12 Main Congress Hall

SUCCESSFUL Waleed Nassif:. LINKS TO SELECTED GRADUATES He is a well-known director in the Middle East. STUDENT FILMS He directed and produced a huge number of TVC and di- NDU / DAVA has a number of successful stu- rected more than 350 music videos in the Arab Market for Serge Majdalani: dents who have been actively working in the field. Below Arab stars. Moreover, he was the 1st Lebanese director and Link: https://vimeo.com/231701816 is a very short selection of some names: executive producer of the 1st 3D Stereoscopy Production Pass: Takemyhand_!_== Notre Dame University Dame Notre in the Middle East and the Arab World. Waleed Nassif di- University Dame Notre Tracy Karam: rected many famous TV shows, live shows and short mov- Tarek Korkomaz: Link: https://vimeo.com/136285818 Tarek holds a Masters in Fine Arts – Directing ies. Nassif owns a production house, W&P - W Production Pass: Grandecart2015 for cinema in which he earned a Fulbright scholarship founded in 2009. In 2013, he founded itivi.tv, a free online and Boston University merit scholarship. He is a writer, exclusive channel offering a selection of exclusive gener- Fadi Yabroudi: director, architectural director, cinematographer, and a al grid hit shows, clips, movies, drama, documentary, kids Link: https://vimeo.com/204871706 photographer. He wrote and directed the BA Film “Plas- and family shows and branded content. Pass: arriflex16sr ticine” 2012 participated in the Paralympics of the 2012 http://www.wproduction.tv/profile.php Khaled El Rayes: London’s Olympics, and was selected to be screened in Link: https://vimeo.com/203065435 Broadway cinema. He directed a chapter from the Leba- Youssef Nassar: Pass: khaled2017 nese movie “Void”. Tarek is the Writer and Director of the Youssef Nassar is a Lebanese-Canadian artist masters film “Joseph” 2017. He worked as well as a cine- who is known for his unconventional work in photogra- Hisham Sharafeddine: matographer for one of the leading advertising agency in phy and filmmaking. Rose in a family that encouraged Link: https://vimeo.com/205035873 Pass: ummagumma1080 San Francisco – Intel agency inside. Now Tarek occupies his interest in the art of film, his passion for photography

Lebanon Lebanon a very respectful position in the advertising industry in and film making blossomed. Youssef Nassar has been not- Gilbert Mhanna: Lebanon Lebanon and the Gulf. ed for his radical approach in art, escaping from the main- Link: https://vimeo.com/141377235 www.tarekkorkomaz.com/ stream “cliché” and repetitions to highlight sexuality, vi- Pass: gilbert123 olence and macabre. Being a guitarist himself, Youssef in- Georges Tarabay: tertwined his love for film and photography with music. Sinan Mattar: He is the director of feature documentary Youssef’s film “The Exhibition”featured Steven Wilson’s Link: https://vimeo.com/182125191 “CHANGING MAP OF LEBANON” that was funded by the “The Raven That Refused to Sing”. When Wilson saw the Karel Malkoun: Sundance Film Institute. He was selected at the Sun- film after granting Youssef the necessary copyrights, he Link: https://vimeo.com/212763093 dance Documentary Fellow program 2016. He’s the direc- later asked Youssef to direct a video for the song “Perfect Pass: Mots88* tor of the short film “Civil… But Not Civilized” that was Life” taken from his album “Hand. Cannot. Erase.” re- selected by the Clermont-Ferrand International film fes- leased in 2015. tival. He was an Artist Resident for one month at the Ja- http://youssefnassar.com/ cob Burns Film Center in New York. He was selected for the Industrial Meetings of the Tribeca International Film Chady Mattar: Festival 2016. His film is presented by Academy Award He studied Production Techniques in the Ameri­ winning director Jonathan Demme. can Film Institute – AFI. https://lb.linkedin.com/in/george-tarabay-51480631 He is a Producer, Writer, and a Production Manager for several Hollywood movies out of which: Danger One Georges Kolja: (producer) (post-production); Wheelman (producer) (post-­ Candidate Member Candidate Member Candidate He is the owner of one of the biggest post- pro- production) duction house in Lebanon “KOLJA Digital Works” which The Pyramid (producer) ; The Man Who Knew How to Fly is an example of how dedication and artistic talent can (Short) (producer); Removal (producer); Prototype (execu- take a Post production boutique to become one of most tive producer); Sofia (Short) (producer - as Chady Mattar) reputable Post production houses in Lebanon and the re- http://www.imdb.com/name/nm3582838/ gion. Following a 15-year experience in the broadcast and film industry, Georges Kolja knew how to build a distinc- tive reputation by handling every project with an impec- cable eye for detail and a unique sense of creativity. http://kolja-digitalworks.com/

Jad Beyrouthy: Jad Beyrouthy is a Lebanese cinematographer and colorist based in Beirut, Lebanon, he shot and grad- ed a multitude of commercials, music videos, short films, feature films and documentaries. During his career, Jad ventured into directing in a cooperative project (Void/ Waynoun - 2013). Jad is currently the co-founder of Pan- dora Films, a film production house based in Lebanon.

General Assembly General http://www.jadbeyrouthy.com/ Assembly General 104 General Assembly 09:30 Wednesday General Assembly 09:30 Wednesday 105 Candidate Member 7.K12 Main Congress Hall Candidate Member 7.K12 Main Congress Hall

The University for the Creative Arts (UCA) trac- BA (Hons) Film Production University Sarah Jeans es its history back over 150 years. In this period our found- www.uca.ac.uk/study/courses/ba-film-production/ ing independent, public art and design colleges opened BA (Hons) Television Production Candidate Member their doors across the south of England in Canterbury, www.uca.ac.uk/study/courses/ba-television-produc- for the Presentation Epsom, Guildford, Farnham, Maidstone and Rochester tion/ and we were awarded full University Title in 2008. The MA Animation School of Film, Media and Performing Arts was formed in www.uca.ac.uk/study/courses/ma-animation/ 2013 to bring our provision across the university in these MA Documentary Practices Creative Arts www.uca.ac.uk/study/courses/ma-documentary-

University for the Creative Arts the Creative for University areas into a common disciplinary structure and expand Arts the Creative for University our offer. practices/ MA Filmmaking (UCA), UK MISSION AND www.uca.ac.uk/study/courses/ma-filmmaking/ STRATEGY —— Undergraduate tuitions fees (per annum): Established over fifty years ago, the Film Pro- 11,000 (£9250) Home/EU, 14,820 (£12,350) C V Sarah Jeans A graduate of the National Film and Tel- duction and Animation courses at UCA Farnham were overseas. evision School, Sarah worked professionally produc- pioneers in their respective fields; Computer Animation —— Postgraduate fees (per annum): 7404 (£6170) ing and directing documentaries for BBC and Chan- Arts at UCA Rochester and Television Production at Maid- Home/EU, 15,168 (£12,640) overseas nel 4, including a series of award-winning documen- stone Studios are more recent additions to the portfolio. —— PhD fees (per annum): 3783 (£4,540) full-time, taries with fellow NFTS graduate Molly Dineen. Sarah has led the development of educational and research Whilst fostering creativity, the courses seek to provide a 1892 (£2,270) part-time partnerships in India (The National Institute of De- challenging educational experience and emphasise crit- sign) and in the UK with the Open College of the Arts. United Kingdom United ical understanding, creative practice and collaborative NO. OF ENROLLED Kingdom United As head of the School for Film, Media and Performing working, social awareness and responsibility. APPLICANTS 17/18 STUDENTS 16/17 Arts at the University of the Creative Arts, Sarah has led the development of the school’s portfolio. Course Female/Male Total Female/Male Total Students are encouraged to challenge their pre- Prefer not Prefer not conceptions, work imaginatively and be curious about to say to say the world that they aim to represent. Alongside group BA Film activities, students undertake independent study and re­ Production 329/438/2 769 119/244 363 search which together with the broader transferable BA Animation 141/115 256 102/71/1 174 skills equips them for their chosen area of employment, BA Computer lifelong learning and creative practice or postgraduate Animation Arts 38/44 82 39/39 78 study. Many of the alumni from these courses are world BA Television leaders in their disciplines, their work recognised with Production 42/26 68 28/32 60 BAFTAs and Oscar’s awards. All staff in the school are en- MA Animation 17/12 29 4/0 4 gaged in research and/or continue with their own profes- MA Documentary sional or industry practice, which in turn informs the cur- Practices 4/8 12 4/0 4 rency of the curriculum. MA Filmmaking 27/28/1 56 6/4/1 11 Total 598/671/3 1272 302/390/2 694 DEGREE LEVELS AND Candidate Member Candidate Member Candidate GENERAL INFORMATION There are currently no PhD students.

Currently, the school offers; BA (Hons) Anima- Entry criteria for tion, Acting & Performance, Computer Animation Arts, UG courses are: Film Production, Journalism & Media Production, Music —— 112 UCAS tariff points (equivalent to 280 old Composition & Technology, Music Journalism, Music Mar- UCAS tariff points) from accepted qualifica- keting & Promotion, Television Production, Television tions, or equivalent qualifications & Media Production. BSc (Hons); Music Composition & —— And four GCSE passes at grade A*-C and/or Technology. MA; Animation, Documentary Practices and grade 4-9 including English (or Functional Filmmaking. PhDs are by project. The school has approx- Skills English/Key Skills Communication Level 2). imately 1000 students. —— In addition students are asked to provide a portfolio of work The courses listed below are the most pertinent to the ap- plication and the examples given are drawn from these PG: courses. —— A good Honours degree (normally 2:1 or above) or equivalent qualification in the students’ cho- —— BA (Hons) Animation sen subject or a related discipline, and/or; www.uca.ac.uk/study/courses/ba-animation/ —— Relevant work experience, demonstrating the —— BA (Hons) Computer Animation Arts students’ ability to study at postgraduate level

General Assembly General www.uca.ac.uk/study/courses/ba-computer-anima- —— A portfolio of work where relevant Assembly General tion-arts/ 106 General Assembly 09:30 Wednesday General Assembly 09:30 Wednesday 107 Candidate Member 7.K12 Main Congress Hall Candidate Member 7.K12 Main Congress Hall

On all UG/PG courses students undertake a series of prac- ACT (A Common Territory) worked with an artwork and from it produced a short an- Amar Chundavadra tical assignments, where they begin to understand and (2012 – 15) imation. This collaborative project was a unique creative Computer Animation Arts - RP CG Character develop the technical and intellectual skills that they will Partners: Orchestre de Picardie – (FR) (Project exchange between young Kenyan artists and graduate Rigger TD at LAIKA, LLC, Portland, Oregon. need to support their future careers. Students are chal- lead) ; The Purcell Singers – UK; Brighton Festival Chorus animators in the UK. https://www.amarchundavadra.com lenged to produce more technically complex, intellec- – UK ; Opéra de Rouen Haute-Normandie – FR ; Comédie http://www.mobileartschoolinkenya.org/ tually challenging and engaging work as they progress de Picardie – FR ; Orchestre Symphonique de Bretagne – http://www.computeranimationarts.com/mask/ Darren Walsh through their course of studies. FR ; Melbourn Village College – UK; Royal Opera House Animation - Animation Director Passion Pic- From their second year students may choose to special- L&P – UK; Southend YMCA – UK; Gateway Learning SUCCESSFUL tures. Creator of “The Meerkats”. UK University for the Creative Arts the Creative for University ise in a particular technical area or specialisation. Practi- Community – ; The University for the Creative Arts – GRADUATES Awards include Best Advertising Award at Annecy (2008 Arts the Creative for University cal assignments are supported by theoretical/contextual UK; Thurrock Music Services – UK. The ACT programme & 2009), British Animation Awards, Special Jury Prize Hi- lectures that explore historical and theoretical concerns jointly developed cross-border creative activities, putting Gareth Edwards roshima (1998) and nominated for a Palme D’Or (2000). related to the subject areas encouraging students to be in- its action into the service of local change and access to Film Production – Direction/VFX. Award win- Ads include Compare the Market “Meerkats” campaign, tellectually rigorous and to relate their theoretical con- culture for all, sharing resources and skills, creating ex- ning director of “Monsters”, “Godzilla” and “Rogue One”. Domino’s Pizza, Sony, BBC & Vodaphone. Series include cerns to their own practice. The ratio of practice to theory change opportunities and high quality activities: multi- http://www.imdb.com/name/nm2284484/?ref_=fn_al_nm_1 “Angry Kid” (1999-2004). Films include “Bone” (2001) and on all courses is approximately 70/30%. disciplinary and/or collaborative performances, commu- “Oozat” (1993). nity outreach, and WWI centenary commemorations. Suzie Templeton http://www.passion-pictures.com/uk/animation-studios/ On Film Production, Television Production and related http://www.orchestredepicardie.fr/fr/ Animation – Animator/Director. Academy Award directors/darren-walsh/ MAs students work in groups learning to contribute cre- http://computeranimationarts.com/act winner for “Peter & The Wolf” (2006). BAFTA winner for atively to a project whilst gaining experience of a range “Dog” (2001) and nominee (1999). Daniel Greaves of technical roles. Both Animation and Computer Ani- The Last Landscape http://www.suzietempleton.com/ Animation – Animator/ Director. Academy Award mation Arts emphasise the importance of observational (2014 – ongoing) for “Manipulation” (1991). BAFTA nominee (1998 & 2005).

United Kingdom United drawing and life drawing in particular. Partners: Simon Aeppli (Director); Sheffield Michael Dudok de Wit Director of Tandem Films (1996-2014) Multi Award win- Kingdom United Docu­mentary Film Festival (development partner); Lucy Animation – Animator/Director. Academy Award ning commercials director. Graduates are obliged to complete 360 credits Baxter (Producer). Northern Irish documentary film- for “Manipulation” (1991). Academy Award nominee for https://www.daniel-greaves.com/bio/ (UG) or 180 credits (PG) over the course of their studies. In maker Simon Aeppli’s project - “The Last Landscape” is “The Red Turtle” (2017), “The Monk and the Fish” (1994). their final year they must complete a dissertation or re- mentored by the Sheffield International Documentary BAFTA winner (2001) and nominee (1994). LINKS TO SELECTED search-informed project; work in a major role on a grad- Film Festival and selected for development by Screen4all http://www.imdb.com/name/nm0240196/ STUDENT FILMS uation film or make a short animation film as an individ- Transmedia Campus 2014. His feature length documen- ual or in a group. Additionally, all students undertake tary is in development with Lucy Baxter, supported by Hong Khaou (A password will be required to access these links. The preparation for employment. Centre for Documentary Research at QUB Belfast. Film Production – Direction. “Lilting” (2014) password is: UCAFarnham) http://www.simonaeppli.co.uk/ Writer/Director nominated for BAFTA for outstanding https://sheffdocfest.com/ newcomer. Nymphs - Tudor Massaci RESEARCH & http://lucybaxter.net/ http://www.imdb.com/name/nm0393234/?ref_=nv_sr_1 https://vimeo.com/193366370 COLLABORATIONS http://www.unitedagents.co.uk/hong-khaou Harvest in New Life - Antonis Kitsikis Fast Forward: https://vimeo.com/192950052 Academic research is managed by our research office: Women in Photography Suzie Lavelle http://www.uca.ac.uk/research-development/research/ (2013 – ongoing) Film Production – Cinematography. Award Valentine’s Park - Joseph Mills - Leah Revivo and a sample of International research/creative collabora­ Partners: University for the Creative Arts; Slade, winning director of photography notably “One Hundred https://vimeo.com/189771233 tions the School is involved with can be found below: University College London; Dillon + Lee Gallery, New Mornings”, “The Other Side of Sleep” and “Sherlock”. Candidate Member Candidate Member Candidate York; Universidade Federal de Minas Gerais, Belo Hori- http://www.imdb.com/name/nm1673931/?ref_=fn_al_nm_1 Sunday Dinner with the Morgans https://vimeo.com/152411385 ONE is More zonte; Lagos International Photography Festival; AKJ http://www.suzielavelle.com/ (2015-19) Partners: Orchestre de Picardie – (FR) Mass Communications Research at Jamia Millia Islamia BA Television Production Showreel 2017 (Project lead); Jenaer Philharminie (DE); Slovak Sinfo- University, New Delhi; The Finnish Museum of Photo­ Mark Baker https://vimeo.com/226132888 nietta Žilina – Slovakia; Filharmonia Śląska im. Hen- graphy, Helsinki. The project supports the development Animation. Creative Director/Executive Pro- Backbone - Alex Barker ryka Mikołaja Góreckiego (PL); RTV Slo Symphony Or- of an international network of women working in pho- ducer and founder of Animation Astley, Baker & Davies. chestra – Slovenia; Bohuslav Martinů Philharmonic Or- tography and the media, with an emphasis on developing Creator of Peppa Pig. Academy Award nominee (1990, https://vimeo.com/226132816 chestra (CZ); New Symphony Orchestra (BG); University new knowledge through, exhibition, conferences and ar- 1994 & 1999). BAFTA winner (1989, 2005 & 2009) & nom- BA Animation Showreel 2017 for the Creative Arts (UK). An Orchestra Network for Eu- chival research. In 2016, the project was awarded a Lever- inee (1994 & 2000). TV series include “Peppa Pig” & “Ben https://vimeo.com/226132780 rope – ONE - is a distinctive network of classical sympho- hulme grant to expand and develop the network further. & Holly’s Little Kingdom”. Films include “The Hill Farm”, ny orchestras initiated by Orchestre de Picardie in 2003. (This project is included as Photography was in the “The Village” BA Computer Animation Arts Showreel 17 In 2015, under the title ONE is more, the consortium is School until recently.) http://worldofastleybakerdavies.org.uk/history/ https://vimeo.com/226132747 working with the University for the Creative Arts to ex- http://fastforward.photography/ plore how performance can be enhanced by digital/visual Claire Dodgson Bedtime Story - Charlie Serafini https://vimeo.com/226132765 content. MASK (2015 – 16) Film Production – Editor. The Lorax, Minions, http://www.orchestredepicardie.fr/fr/ Partners: MASK School for Creativity and Ino- Despicable Me 3. http://www.computeranimationarts.com/one/ vation in Kenya; UCA http://www.imdb.com/name/nm1622910/ Recent Computer Animation Arts graduates responded This project developed from: to the winning artworks of the MASK Prize, a creative

General Assembly General competition for young people in Kenya. Each animator Assembly General IMFILM FESTIVAL S�LOTHURN CILECT Index of contents 109 Congress Organization

25.1. Organization Index 110 General —1.2. Information 112 Acknowl- 2018 edgements Organization Congress

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S� CILECT 110 CILECT General CILECT General 111 Congress Information Congress Information

General SPECIAL DIETARY EMERGENCY EVACUATION University of the Arts (ZHdK), Toni-Areal, Pfingstweid- REQUIREMENTS In the event of an emergency evacuation, public address strasse 96, 8005 Zurich, on level 7 (room 7.K12) from 18:15 Information Pre-booked Special dietary requirements are available system announcements will be made, audible alarms will to 20:15. Appetizers and beverages will be provided. At- for registered participants. The menu variations will cov- sound and staff will assist. The official gathering place is tendance registration is provided via the general registra- VENUES er vegetarian and gluten free meals. For further informa- at Förrlibuckstrasse 70. tion. The CILECT Congress will be held at the Zurich Univer- tion please ask any of the venue staff. sity of the Arts (ZHdK), Toni Areal, Pfingstweidstrasse 96, LUGGAGE STORAGE INFORMATION ON 8005 Zurich. Please refer to the congress program for fur- FURTHER CULINARY Luggage storage is available in your hotel. There is no CILECT DINNER CRUISE, ther information. RECOMMENDATIONS luggage storage at the congress venue. TUESDAY 24 OCTOBER Les Halles The official Welcome Dinner for the congress will take CONGRESS SECRETARIAT Pfingstweidstrasse 6, 8005 Zurich/Switzerland INTERNATIONAL DELEGATES you on a cruise on the idyllic Lake Zurich. Please make Zurich University of the Arts, Department of Performing A warm welcome to Switzerland to our international del- your own way to the harbor Burkliplatz. We will board Arts and Film are managing the Congress. Please contact Ristorante Italia egates. The official language of CILECT is English. All the boat at 19:45, when there will be a Welcome Drink. us at info.cilectcongress@zhdk. For urgent matters please Zeughausstrasse 61, 8004 Zurich/ Siwtzerland Congress staff can help you in English and German. For During the cruise, you will enjoy a traditional cheese fon- phone +41 446 53 84. more information on the location of your embassy, please due or a light vegan dinner. There will be space to mingle Bar Basso visit: www.eda.admin.ch and also enjoy beautiful views of Zurich by night. Regis- REGISTRATION DESK Sihlstrasse 59, 8001 Zurich/ Switzerland tration for attendance via official registration. The registrations desk is located on level 7 (7.K12 Main LEISURE TIME Information Information Congress Hall).Please follow the signs when entering the NAME BADGES Tourist Information Zurich main station DIRECTION FROM building. Please wear name badges to all sessions, receptions and tel: +41442154000 HOTEL IBIS AND NOVOTEL: dinners. Your name badge is your ticket. mail: [email protected] Take tram Nr. 4 from station Technopark (direction The registration desk Mon to Sat: 8.00am – 8.30pm Tiefenbrunnen station). Get off at the tram station Bell- opening times are as follows: INTERNET Sunday: 8.30am – 6.30pm vue, Cross the Quai Bridge by foot (on the right-hand side Monday, 18:15 – 20:15 WiFi connection is free in all Congress hotels. Please ask of Bellevue station) to Burkliplatz, which takes around 3 Tuesday, 9:00 – 18:00 for the login at reception. ORGANIZATION minutes. At Burkliplatz, the harbor is opposite the tram Wednesday, 9:00 – 18:00 WiFi will be provided at the congress venue Toni-Areal. Zurich University of the Arts (ZHdK) station. We will welcome you at the dock and embark at Thursday, 9:00 – 18:00 Details are as follows: Pfingstweidstrasse 96 19:45. Friday, 9:00 – 13:00 Please ensure that your device is Wifi-enabled and select 8005 Zürich/ Switzerland “Toni-Areal-Event” www.zhdk.ch DIRECTION FROM PRESENTERS The password is: WnzPs29-3X HOTEL CROWNE PLAZA: On the day of your presentation please make your way to For any queries about Registration, Hotels & Tours please Take tram Nr. 2 from station Letzigrund (direction the Congress registration desk at least 1 hour prior to your TAXI INFORMATION contact: Tiefenbrunnen station) to Burkliplatz. At Burkliplatz, scheduled presentation. From here you will be directed to 7x7 Taxi: Tel +41 44 777 77 77 Elements Switzerland the harbor is opposite the tram station. We will welcome the speakers’ preparation area to check in. Taxi 444: Tel +41 44 444 44 44 [email protected] you at the dock and embark at 19:45. +41 44 5423327 We also offer a tour of all the workshop rooms on Mon- CONFERENCE TRAM TICKET day, 23rd October at 7 pm, so that you can familiarize SESSION RECORDING For any queries about the Congress or Program please Ticket Machines are located at each tram station: yourself with the infrastructure and the technical specifi- Conference presentations remain the property of the contact: Choose a Single Ticket for 1 hour cations. The meeting point is the registration desk at the presenter. The recording of conference presentations is Kristina Jungic (Ms.) Price: 3.40 CHF GeneralCongress GeneralCongress foyer on level 7 (7.K12 Main Congress Hall). strictly prohibited. We do not prohibit mobile phones, [email protected] laptops and tablets from the meeting rooms and poster +41 434465384 You should have filled in a Consent and Release Form to sessions, but they must not be used for recording. Con- INFORMATION ON enable CILECT to record your presentation and upload gress sessions will be recorded officially and available on CILECT ZHDK FILM DINNER, it to the website. Please see registration desk staff if you the CILECT website after the Congress, along with pre- The International Association of Film and Television THURSDAY 24TH OF OCTOBER have not yet signed this form. senters’ powerpoints. Schools. The ZHdK Film Dinner will begin with a reception at www.cilect.org Toni-Areal in front of the Concert Hall and lower floors. CATERING MOBILE PHONES Prof. Dr. Stanislav Semerdjiev The reception will be hosted by ARRI. Students of differ- Included in the full delegate registration: Mobile phones and tablets should be switched off or op- CILECT executive Director ent design and art departments at ZHdK will serve drinks — Breakfast at the hotel(s) erated in “silent” mode at all times out of consideration [email protected] and appetizers. Dinner will be served at 20.15 in the Cas- — Lunches at Congress venue from 24th-27th for speakers and other conference attendees. cade Foyer. The food will be prepared and served by “Zum October. INFORMATION ON guten Heinrich,” a social entrepreneur and local caterer — CILECT Welcome Dinner (24th Oct.) and ZHdK EMERGENCY FIRST AID WELCOME RECEPTION, who cook solely with fruits and vegetables that would Film Dinner (27th Oct.) & MEDICAL MONDAY 23 OCTOBER otherwise be food waste. — Two coffee breaks per day at the congress venue. Ambulance 144 The CILECT Congress welcome reception hosted by the — Welcome Reception hosted by Zurich Film- Police 117 Zurich Filmfund and Zurich Film Comission is a great op- fund and Zurich Film Commission Fire 118 portunity to get to know the Zurich Film Industry and con- — ARRI Reception The nearest Public Hospital is UniversitätsSpital Zurich, nect with colleagues and new friends in a relaxed atmos- Rämistrasse 100, 8091 Zurich, +41 44 255 11 11. phere. The welcome reception will be held at the Zurich CILECT CILECT 112 CILECT Acknowledgements Congress

Acknowledgements MANY THANKS TO ALL THE ARTISTS INVOLVED LOCAL STEERING IN THE CULTURAL AND Dübendorf COMMITTEE ZHDK SOCIAL PROGRAM: Stage A, Zurich Stage EMPA

Acknowledgements Hartmut Wickert: Head of Department Performing Arts WELCOME RECEPTION and Film, President of the Local ZHdK student musicians Steering Committee Christian Iseli: Head of Film Research, Congress Host Chantal Haunreiter: Deputy Head of Film Program, OPENING CEREMONY Congress Co-Host Performance: Singer: Jan Willem de With, Choreographer: Andreas Birkle: Lecturer in Cinematography, Congress Campus Film Studio Design, Toni Set Technical Supervisor Nunzio Impellizzeri, Video: Valentin Huber, Bettina Ganz: Head of ZHdK International Office, Operative Director BA Contemporary Dance Congress Coordinator ZHdK: Malfer Gianni, Musicians: Students of ZHdK

CONGRESS ORGANIZERS ZHDK Dancers: Bouquet Ilan, Bournillat Lola, Charfeddine Sami, Cuomo Alfonso, Durozey Berenice, El Christian Iseli: Head of Film Research, Congress Host Mouktafi Tristan, Feige Sophie, Jewitt Phoe- be, Lapadula Francesca, Louwerse Roze- Chantal Haunreiter: Deputy Head of Film Program, mins mins 97 Congress Co-Host marijn, Manetti Anna, Müller Lara, Olden- 29

Stuff Stuff Andreas Birkle: Lecturer in Cinematography, Congress boom Sofie, Pesetti Anna, Peyer Mara, Roth Technical Supervisor Naomi, Rother Cara, Spada Giulia, Tonello Fiction, Bettina Ganz: Head of ZHdK International Office, Gloria, Vis Suzanne VR Exhibition Drama, Congress Coordinator Kristina Jungic: Assistant Film Research, Congress Of- LUNCH VIDEO INSTALLATION fice Coordinator Rio Wolta / Piet Baumgartner „Maschinen“ CONGRESS STAFF ZHDK AMBIENT CINEMA SCREENINGS Baki Cavdar: Production Assistant, Signage Coordinator 3 WINDOWS, a film installation by Georg Stefan Dux: Teaching Assistant in Cinematography, Bringolf, Lecturer Production Design ZHdK Exhibition Coordinator Claudia Hürlimann: Administrator MA Film, Congress Assistant OUTDOOR WALK Yasmin Joerg: Technical Staff, Postproduction Norbert Kottmann: Technical Staff, Postproduction Sabine Boss: Head of Film Program ZHdK, Carmen Pfammmatter: Administrator BA Film, Sabine Gisiger: Lecturer in Documentary Film, ZHdK Congress Assistant Michael Schaerer: Lecturer in Film Editing, ZHdK Peter Purtschert: Lecturer, Exhibition Co-Supervisor Marco Quandt: Studio Manager

Congress Photographer ZURICH BY Film A Degree Congress B MA Degree Film, “Les-Heures-Encre” Film, “Les-Heures-Encre” MA Degree “Do it Again: Reenactment in Documentary" in Documentary" Reenactment “Do it Again: Manuela Ruegg: Cinema Toni Coordinator, NIGHT TOUR Congress Assistant Barbara Weber: Lecturer, Exhibition Co-Supervisor Tom Gerber: Lecturer, Film ZHdK Laura Zimmermann: Festival Administration, Congress Assistant CLOSING …… and thanks to our Congress Student Staff CEREMONY

VISUAL IDENTITY AND Musicians: The Alpine Sisters, CONGRESS DESIGN Video: Alpine Museum Bern / Exhibition: „Die Erweiterung der Pupillen beim Eintritt ins Hochgebirge“ Adapted for Cilect Congress Design: Rahel Arnold, Zurich, by: Gianni Keller, Film student ZHdK www.rahelarnold.com Print: MulticolorPrint

Photography: @ZHdK/Film Program THANKS TO OUR The sequence of photographs in this brochure shows film pro- CONGRESS PARTNERS Documentary Conference Conference Documentary ductions in the BA and MA film program as well as projects of the research focus film Zurich Filmfund

Film Commission Zurich ZDOK16 ARRI ARRI Arnold & Richter Cine Technik, München Cover: Cover: “Blue My Mind” Making of CILECT Preparations Stunt Cover: Back Set-up Cinematography Seminar Black-Box Greenscreen-Wall Toni Campus Film Studio

Making of “Wolkenreiter” B A Degree Film Fiction, 18 mins Toni Campus Film Studio Digitized Reality: 4K Research Project B A Film "The Red Shoes", Fiction Fiction, 10 mins Outdoor Location

Digitized Reality: 4K Research Project BA Film “The Red Shoes”, Fiction, 10 mins Studio Shoot Z hdk Zurich University of the Arts Performing Arts and Film