Academic Programme Summary | 2019-2020 Course

ACADEMIC PROGRAMME SUMMARY | 2019-2020 COURSE

Index

1. INTRODUCTION ...... 4

2. STRUCTURE ...... 4 2.1. TEACHING PROGRAMME ...... 4 2.2. END-OF-COURSE ASSIGNMENT ...... 6 2.3. STUDENT ASSESSMENT ...... 6

3. SYLLABUS 2019-2020 ...... 8

3.1. SPECIFIC MASTER’S DEGREE IN FILM PRESERVATION ...... 8 3.1.1. MODULE 1. Film heritage materials I ...... 10 3.1.2. MODULE 2. Film heritage materials II ...... 13 3.1.3. MODULE 3. Digitisation and digital treatment of images ...... 15 3.1.4. MODULE 4. Traces of time on Audio-visual materials ...... 16 3.1.5. MODULE 5. Management of archive film collections and projects ...... 18 3.1.6. MODULE 6. Inside filmmaker’s studio ...... 20 3.1.7. Basic bibliography ...... 20

3.2. SPECIFIC MASTER’S DEGREE IN FILM CURATING ...... 21 3.2.1. MODULE 1. Curating and film programming theoretical approaches ..... 23 3.2.2. MODULE 2. Film apparatus, spaces and materiality of cinema ...... 26 3.2.3. MODULE 3. Project management: programming (I) ...... 27 3.2.4. MODULE 4. Project management: programming (II) ...... 29 3.2.5. MODULE 5. Project management: expanded cinema ...... 31 3.2.6. MODULE 6. Inside filmmaker’s studio ...... 32 3.2.7. Basic bibliography and filmography ...... 33

3.3. SPECIFIC MASTER’S DEGREE IN FILMMAKING ...... 36 3.3.1. MODULE 1. States of perception ...... 37 3.3.2. MODULE 2. Randomness vs Control ...... 40

3.3.3. MODULE 3. Structures ...... 42 3.3.4. MODULE 4. Paradoxes ...... 43 3.3.5. MODULE 5. Estrangement ...... 45 3.3.6. MODULE 6. Inside filmmaker’s studio ...... 46 3.3.7. Basic bibliography and filmography ...... 46

4. RESEARCH DEPARTMENT ...... 49

5. INTERNSHIP PROGRAMME ...... 53

6. EQUIPMENT ...... 56

1. INTRODUCTION

The Elías Querejeta Zine Eskola (EQZE) is an international centre for training, research, experimental practice and educational innovation in film studies. The EQZE is built around the areas of knowledge of the three institutions involved in creating the school: the Basque Film Library, the San Sebastian International Film Festival (SSIFF) and the Tabakalera cultural project. The school is housed in the Tabakalera International Centre for Contemporary Culture, which is also the location of the other partner organisations. The three partners are not educational institutions but rather film institutions, and consequently, the institution they have created is also, in essence, a film project, a film- based idea which takes the form of an educational project.

Given its vertical approach to film and audio-visual history and tradition, and its particular academic approach, the EQZE has been named the ‘school of the three tenses of cinema’. The specific circumstances under which the school was created, together with its location, concept of cinema and its educational and research work make it an exceptional international centre of knowledge.

Academically, it is divided into four departments: Film and Audiovisual Archiving, Film and Audiovisual Curating, Film and Audiovisual Creation and Research. Since 2019 the University of the Basque Country (UPV/EHU) has awarded full recognition to these graduate studies, which will have the same academic value and the same career implications as the Master's programmes runned at the UPV/EHU campus.

2. STRUCTURE

2.1. TEACHING PROGRAMME

The course is divided into six modules of varying duration (between seven and ten weeks). The first five modules (September-July) are teaching modules and are classroom-based. The sixth module (August-December) is mixed (combining teaching and work on the end-of-course assignment). It is semi-classroom-based. The five classroom-based teaching modules together give a total of 45 ECTS credits, i.e. nine credits per module. The sixth semi-classroom-based module is equivalent to 15 ECTS credits.

Each of the five teaching modules is unitary and follows its own educational logic. Thus all activities within that period centre on a central vehicular theme in each speciality. Each module also follows the same teaching structure. The core subjects, which are

common to all three specialities, are concentrated in the first week of each module. The following weeks are devoted to the specific subjects of each speciality. Each subject is developed over a period of one week (approximately 20 hours). In addition, there will be individual study and assignments (totalling approximately 15 hours), covering both theory (reading and study) and practical work. A variable length of time is set aside between modules for working on the end-of-course assignment, work experience and research projects.

Work experience is carried out in the school's three partner film institutions; the San Sebastian Festival, the Basque Film Library and the Tabakalera cultural project. Given that the school itself was born out of collaboration between these organisations, the purpose of the in-house student training is to impart true, real-life experience.

EQZE the school of the Basque Film Library, the San Sebastian Festival and the Tabakalera International Centre for Contemporary Culture. It also serves all three institutions: it is a place for reflection and innovation. And ultimately it must also serve the school itself, by constantly questioning and scrutinising the way film education is taught. This is how we view the EQZE's research work, which involves a range of different research activities. These include producing publications, organising and participating in specialist forums (such as seminars and conferences) and conducting original research projects, with the active involvement of EQZE students.

One of the distinctive features of the Master's degrees is that the course encompasses two editions of the San Sebastian Film Festival. The festival is not only a subject of academic study; students can also become actively involved in the festival with their own working agenda. The course begins with one year's festival and the classroom- based period ends with the following year's event. The two years' festivals therefore act as the bookends to the classroom-based teaching period. After the second festival, the non-classroom-based period begins, during which students complete their end-of- course assignments.

The film programme and art exhibitions, together with cultural activities organised by the Film Library, Tabakalera and the SSIFF form part of the educational programme and are linked into the calendar of the three postgraduate degrees. Specifically, the film programme is an ambitious shared project, designed by the three institutions working with the Film Unit of the Donostia-San Sebastian City Council through the Nosferatu programme. Students have free access to all sessions.

The school believes that it is essential for students to come into contact with the professional industry. The syllabus is therefore designed to ensure a constant

relationship between students and highly-specialised professionals working in the business. As well as EQZE teaching staff, over twenty people working in different areas of cinema take part in the encounters, workshops and seminars organised by the school.

2.2. END-OF-COURSE ASSIGNMENT

The EQZE is a school for project development. Students from the three specialist areas must participate in some project, which should be developed on their own initiative or arising from the different areas of research on which the school's Research Department is working. A tutor is assigned to each project and is responsible for monitoring it through to the final presentation. In addition to these tutorials, the EQZE offers ongoing mentoring at various levels to ensure a comprehensive overall vision and monitoring of the end-of-course assignments.

Additionally, any audio-visual projects completed by students during the course will be assessed by the selection committee of the San Sebastian Film Festival, with an exclusive opportunity for them to be screened as part of the festival's official programme. This possibility is open to students in the current course and graduates of the immediately preceding one.

A final event (‘The Hypotheses’) is held at the EQZE in December. Here, students publicly set out their ‘film hypotheses’ — their end-of-course assignments, throughout the year. These may include films they have thought up and completed, but also utopian creative projects, fragments of a film they have already begun to shoot, or plans for archive work, film archaeology, distribution or exhibition.

One important component of ‘The Hypotheses’ is an eponymous book/catalogue, published each year by the Curating Department, with different student contributions and projects, and other contributions from teachers involved in the course. This yearbook is intended to offer an annual look at the future of cinema, its prefigurations and challenges, created by the very people who are destined to be its protagonists.

2.3. STUDENT ASSESSMENT

Students at the EQZE University School will be assessed by the centre itself. In order to obtain the official university degree, students must have successfully completed the academic studies and activities corresponding to that degree, by way of the corresponding assessment process. Under no circumstance will the degree be awarded merely for attendance.

Possible grades are PASS, FAIL and ABSENT, and are awarded on the basis of total assigned credits. Partial pass grades will not be awarded. Students have only one opportunity to obtain the minimum credits required for each degree. No dispensations will be awarded unless explicit authorisation is given by the committee with powers in this area.

The assessment criteria for the FIRST 5 MODULES (the teaching modules) (45 ECTS) are as follows:

Academic Attitude 50% 50% Courses Research project, end-of- Attendance in class Participation, punctuality course assignment and/or and at the cinema and attitude work experience theatre 30% 20% 30% 20%

Assessment of the semi-classroom-based SIXTH MODULE (15 ECTS), which focuses on completion of the end-of-course assignment, will be based on the following criteria.

Academic/ Professional Attitude 60% 40% Hypotheses: end-of-course assignment, project Motivation, attitude, group work, linked to research projects (research or etc professional output), publication of ‘Hypotheses’

Assessment will be by module and not by subject. In order to pass the course, students must obtain a Pass grade in the first part of the course (first 5 modules) and in the second (sixth module). To obtain the master's degree, the end-of-course assignment must be presented, defended (if the academic management department deems it necessary) and approved.

The grade for each module will be published at the end of the following module. The deadlines for the exercises linked to the subjects are set accordingly.

Students have the right to request a review of their grade.

3. SYLLABUS 2019-2020

3.1. SPECIFIC MASTER’S DEGREE IN FILM PRESERVATION

Coordinator: Clara Sánchez-Dehesa

The postgraduate degree course in Film Preservation offers theoretical and practical training in the identification, classification, restoration and conservation of film and audio-visual heritage material. The course brings students face-to-face with the dilemmas (theoretical, technical and ethical) that may arise when dealing with film as a tangible and intangible heritage asset. As well as addressing all aspects related to the identification of images and sounds on photochemical, magnetic and digital supports, the course also provides the necessary tools for managing collections and creating new ones. The programme introduces students to protocols and procedures for reviewing, conserving and restoring audio-visual materials, using both mechanical and digital tools and will enable them to carry out real practical work in the laboratory. Studies at the Archiving department are coordinated with the work of the Basque Film Library, enabling students to gain real first-hand experience of an FIAF-certified film archive.

Subject matter of the key modules and concepts

Module 1 - Film heritage materials I Archives, memory and heritage. The archive universe. Material base and technological intermediation. Video image versus photochemical image. The latent image. Capturing images on a photochemical medium and developing them. Working in the dark: black and white laboratory. Video formats. Identification methods. Legal and ethical questions, first approaches.

Module 2 - Film heritage materials II Media for capturing, recording and reproducing film. Respecting original processes. The hands of the audiovisual archivist: laboratory skills, inspecting and handling different media. Colour laboratory. Digital as image. Digital as archive. Digital memory and its peculiarities in terms of heritage. Handling, intervention and quality control of multimedia archives. Tools and media for conserving and managing collections. Protocols and international standards: the archive community.

Module 3 - Digitisation and digital processing Transfigurations of the materiality of the image. From photochemical images to digital images. Artistic dilemmas and workflows. From magnetic images to digital images. The labyrinth of the video rack. First interventions on the digital image. Introduction to restoration. Digital tools and ethical-aesthetic dilemmas.

Module 4 - The footprint of time on audiovisual heritage The effects of time on materials. The archivist's clinical eye. Diagnosis and assessment of damage and degradation. Action protocols and timelines. Ethical and aesthetic attitudes towards restoration. The restorer's dilemmas. Specificities of film and sound restoration. The life expectancy of materials. The digital future of preservation. The conservation crossroads of our time.

Module 5 - Managing collections and archive projects What is a collection? Collection criteria and policies. Distinguishing between materials and storage strategies. Types of archives. Management tools. New problems stemming from the digital management of collections. Audiovisual archives outside film libraries. Audiovisual media and museum archives. New media and new collections. My collection. Identifying private collections. The living archive. Archives beyond archives: archives as objects of creative and curatorial thought and intervention. The three tenses of archiving.

Module 6 - In the filmmaker's workshop-studio

3.1.1. MODULE 1. Film heritage materials I Archives, memory and heritage. The archive universe. Material base and technological intermediation. Video image versus photochemical image. The latent image. Capturing images on a photochemical medium and developing them. Working in the dark: black and white laboratory. Video formats. Identification methods. Legal and ethical questions, first approaches.

● Film Hypothesis. Carlos Muguiro

The theme of the first of the core subjects is the school itself, viewed as an aesthetic project rather than just an educational centre. The result is poetics, that is to say, an action plan, an ethic, a unitary vision of film, a shared life experience and a notion of collective co-responsibility that affects all members of the school. It is the EQZE as poetics, as Raúl Ruiz might say, or as ars poetica (the art of poetry), to borrow Horace’s term. A Single History/ Just a Story [Una sola historia/ Solo una historia] shows the EQZE’s place in the context of other legendary film education experiences, carrying out an iconological, flexible, cross-cutting and non-diachronic analysis of film in order to engender a reflection on the unity of film which lies at the heart of the EQZE teaching project.

● Introduction to audio-visual heritage and its history. Santiago Aguilar, Luciano Berriatua, Alfonso del Amo, Nere Pagola

Due to the industrial nature of the audiovisual world, technological breakthroughs in this field have caused major disruptions throughout its history. The move from the 'cinema of attractions' to narrative, the standardisation of feature films as the cornerstone of all programmes, the sudden, large-scale spread of sound, colour and the wide screen format, the moving away from cellulose nitrate as a photochemical medium, and the use of electronic mediums and digital technology in the creation, dissemination and commercialisation of images, have all triggered their corresponding linguistic revolutions over the past 120 years, along with successive bouts of widespread distribution of materials, prompting some private individuals and administrations to create film archives. These five classes aim to present a theoretical basis regarding the reproducibility of audiovisual works and their different manifestations, as well as the various processes used by the industry (and therefore present in film archives) during three main periods: 1896-1930, 1930-1980 and 1980-2010.

● Identification and management of video materials. Mona Jiménez

Investigation into the history of video formats, their technical characteristics and use, risk factors, and principles and tasks for collection management. The course will cover both analog and digital materials stored on magnetic tape, ranging from professional and broadcast formats to those used for independent production and home videos. Collection management topics include identification and inspection, the creation of inventories, standards for collection care and handling, and conservation/preservation planning.

● The photochemical image. 16 mm Laboratory (I). Luis Macías

The subject offers a basic introduction to the procedures involved in developing black- and-white film by hand. Through theory and practice in developing different types of film and processes, the subject looks at the photochemical material during processing in the dark room. Students will learn about the chemical treatments and the alterations suffered by this type of material, in order to understand its qualities, its physical and aesthetic performance and its deterioration, as well as its creative possibilities. We will process material shot in the school.

● Identification of film material. Carolina Cappa

Researching the history of audio-visual technologies in order to identify film heritage. Technical characteristics and use of materials. Design of tools and methodologies for identification, inspection, inventory and assessment of film collections.

• Historie(s) of cinema II. Santos Zunzunegui

What would a permanent history of cinema be like that revisited its sources again and again to continually rewrite itself? This question in the form of a piece of flash fiction by Borges gives rise to this subject-cycle that we launched last year. For the second year, Santos Zunzunegui will draw up his own personal selection of films from the history of cinema, in order to establish a meeting point where we can continue to reflect on the possible and impossible histories of cinemas, based on this (more or less canonical, more or less personal, more or less vast, more or less chronological) list of films.

Santos Zunzunegui is emeritus Professor of Audio-visual Communication and Advertising (University of the Basque Country), Semiologist, film analyst and historian.

He has been a visiting professor at different universities of Europe, the USA, and South America.

His main books include: Mirar la imagen (1984); El cine el País Vasco (1985); Pensar la imagen (1989); La mirada cercana. Microanálisis fílmico (1996; new revised and expanded edition 2016), Robert Bresson (2001); Historias de España. De qué hablamos cuando hablamos de cine español (new revised and expanded edition, 2018); Metamorfosis de la mirada. Museo y semiótica (2003; Italian version Metamorfosi dello sguardo, 2011); Orson Welles (2005); Las cosas de la vida. Lecciones de semiótica estructural (2005); La mirada plural (2008), winner of the “Francisco Ayala” International Essay Prize and whose Italian translation was published in 2015 as Lo sguardo plurale. In 2013, he published Lo viejo y lo nuevo (Cátedra) which included five years of his work at Caimán. Cuadernos de Cine, a magazine where he is a member of its Editorial Board.

In November 2014, he was awarded the prize from the Groupe de Recherche et Investigation de l’Image dans le Monde Hispanique (GRIMH), comprising French Hispanists and image scholars.

In 2017, his Bajo el signo de la melancolía. Cine, desencanto y aflicción, an ambitious study on the film dimension of that "cultural illness" called melancholy, was published. His last work, Ver para creer (2019) is a wide essay about the documentary true and its filmic derivatives.

● Akelarre I

During this week-long session, the EQZE offers community time for project-sharing and debate and to encourage critical thinking. Students will also have a chance to discuss the current state of their end-of-course assignments and gain input from film professionals. Other activities will also be included, such as talks, screenings and seminars.

3.1.2. MODULE 2. Film heritage materials II Media for capturing, recording and reproducing film. Respecting original processes. The hands of the audiovisual archivist: laboratory skills, inspecting and handling different media. Colour laboratory. Digital as image. Digital as archive. Digital memory and its peculiarities in terms of heritage. Handling, intervention and quality control of multimedia archives. Tools and media for conserving and managing collections. Protocols and international standards: the archive community.

● History of the materiality of cinema. Manuel Asín

There are as many cinemas as (not only optical but also haptic) materialities of cinema. This subject proposes an approach to the filmmaker based on his/her materiality to unravel not only the most relevant technological milestones, but also the ways in which the materiality of the image has contributed to generate specific artistic discourses. The subject will focus initially on the materiality (resolution, texture, colour) of the sensitive photochemical material and then progressively look at other magnetic and digital types of audiovisual media.

• Digital observatory.

A space for examining the tools of the digital image and data management from a technical perspective, from filming all the way through to postproduction.

● Identification and inspection of digital files. Peter Bubestinger

General understanding of digital documents: from outside (file system level) to inside (formats, codecs, encoding, etc). Focus is on audio-visual use cases. Students will learn how to find, understand and even manipulate technical properties of media files and how to apply this for quality tuning and long-term preservation. It also includes an introduction to quality-control of media files and should enable them to comprehend and handle capture- and export-options of any digital media application.

● The photochemical image. 16 mm Laboratory (II). Luis Macías

Second part of the subject (see Module I), centring on the developing of colour film.

• On the Materiality of Audio-Visual Heritage. Reto Kromer

How has sound and image been recorded and reproduced? We will explore the various approaches that have been undertaken during the one a half past centuries and discuss why some succeeded and others did not. Understanding the original processes is the foundation for successful modern restorations. This class is a technical history of both the sound and the moving image record and their reproduction. The acoustic, electrical, magnetic and digital era are considered for sound; the photographic, magnetic and digital era for moving images. Not only the current archival media (radio, film, television and video) are explored, but also computers, video games and even… space exploration.

• Cataloguing and documentation. Santiago Aguilar

. Since film was first invented at the close of the 19th century, right up until the emergence of video at the beginning of the nineteen-seventies, all audio-visual works were shot on photochemical format and it was on the basis of this same format that audio-visual production, distribution and conservation developed and evolved. Digital technologies offer new ways of creating, storing and accessing works, but technological changes have destroyed some materials and rendered others inaccessible due to the obsolete nature of the devices required to reproduce and conserve them. From this perspective, the definition of new standards poses unprecedented challenges for conservation, while at the same time facilitating documentation and cataloguing processes, which are an indispensable requirement for guaranteeing access to audiovisual works.

● Screens. The other film camera. Nagore Portugal

A theoretical reflection and practical exercise in forms of projection. Learning to project, exploring the vision and experience of projectors, from the magic lantern to the DCP.

• Permanent film sound observatory. Xabier Erikizia

The Observatory is involved throughout the academic year, providing a space for training, practice and research in sound. In addition to pre-established themes, it can also adapt to the specific needs of group members at any time, linking into practical work and projects under development, in the areas of sound recording and postproduction. Throughout the year, the observatory also builds links between the area of sound and other subjects, to form an ongoing echo chamber.

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre II.

3.1.3. MODULE 3. Digitisation and digital treatment of images Transfigurations of the materiality of the image. From photochemical images to digital images. Artistic dilemmas and workflows. From magnetic images to digital images. The labyrinth of the video rack. First interventions on the digital image. Introduction to restoration. Digital tools and ethical-aesthetic dilemmas.

● The filmmaker's thinking. Adrian Martin

An approach to the theory of creation by filmmakers before or after their films: as a film project or as a reflection on the work itself. In all cases, the theory of filmmakers seeks an approach to the fundamental aesthetic dilemmas of the medium and a reading of cinematographic thinking away from traditional methodologies. Accordingly, the subject also looks at purely intuitive and non-reflective approaches, contrary to the rationalization of creation.

● Digitisation processes. Digital treatment of images. José Luis Sanz

Study of the digitisation of material on photochemical supports. This is a well- established process nowadays, although workflows vary considerably from one institution to another. Students will learn the basics of digitisation and the objectives sought in the case of archives. When the image has been digitised, they will have treatment practicals to adjust optical qualities to the requirements of each project.

• Video digitisation. Pamela Vizner

Material stored on magnetic media is at imminent risk of destruction. By the end of the next decade, we will have lost much of the content stored in this format. The only means of ensuring that valuable contents survive is to transfer them to digital media. This course centres on the assessment and digitisation of magnetically stored video material. We will examine the physical and chemical description of the material in order to understand and mitigate the effects of deterioration and the best way of treating it, with particular stress on digitisation processes. Students will learn how to assess deterioration in magnetic media, plan for digitisation and to understand the

conservation requirements. By the end of the course, they will know how to digitise magnetically stored video material using the rack in the laboratory.

● Digital processing of images. Bárbara Mateos

The aim of this course is to help students understand and become familiar with film restoration tools using the DaVinci Resolve 15 software package. It also aims to teach them, using real examples, how to apply techniques for facilitating the restoration of cinematographic materials, as well as how to resolve any technical doubts that may arise.

● Basque film: a cinematography with tradition, an emerging cinematography. Joxean Fernández

This course suggests an approach to Basque film. Beginning with an historical contextualization in order to provide the background of the birth and development of Basque film up to the present time, it will carry out a chronological and thematic review of the history of Basque film and will present the most notable Basque filmmakers from its origins to the present day, with particularly close attention to the three (or more) generations of Basque filmmakers who are currently active.

• Permanent film sound observatory. Xabier Erikizia

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre III

3.1.4. MODULE 4. Traces of time on Audio-visual materials The effects of time on materials. The archivist's clinical eye. Diagnosis and assessment of damage and degradation. Action protocols and timelines. Ethical and aesthetic attitudes towards restoration. The restorer's dilemmas. Specificities of film and sound restoration. The life expectancy of materials. The digital future of preservation. The conservation crossroads of our time.

● The soundtrack of reality. Xabier Erkizia

inherited not just a custom-designed sound world, but also an entire culture of listening that spreads beyond the screen. Cinema, insofar as it is based on representing reality, has been and still is the most effective machine in the history of humanity when it comes to conditioning our sound culture in its broadest range. Through its chameleon-like capacity to assimilate all kinds of sounds and provide them with properly codified meanings in order to achieve an inevitable dramatic effect, cinema constantly constructs powerful forms of listening and paying attention. This subject aims to analyse the history of cinema through its sound, both loud and quiet, to compare it with reality (and vice- versa), with the ever-present aim of listening in a critical, enriching way that is able to dialogue with the huge potential of vision.

• Deterioration and preservation of film material Carolina Cappa

Research on specificity of photochemical material and its relation to the work. Basic physical properties, colour systems, material deterioration and common types of damage. Planning for preservation and restoration.

• Sound restoration.

This course deals with the dilemmas and solutions which crop up when working with soundtracks for audio-visual projects, and focuses on the procedures required for identification, restoration and long-term conservation.

• Film restoration. Luciano Berriatúa

This will address the complex world of film restoration, entailing a combination of knowledge and work over a wide range of disciplines in connection with audiovisual conservation. Students will learn how items to be restored are chosen, and the long process of a restoration project from the point of view of investigation. They will also study the range of market options nowadays to create the components of access and conservation.

• Digital preservation. Peter Bubestinger

Analysis of digital documents and the infrastructure needed to lay down a digital preservation strategy. Students will learn the theories and modern practices, and the access and conservation policies operated by various institutions.

• Permanent film sound observatory. Xabier Erikizia

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre IV

MODULE 5. Management of archive film collections and projects What is a collection? Collection criteria and policies. Distinguishing between materials and storage strategies. Types of archives. Management tools. New problems stemming from the digital management of collections. Audiovisual archives outside film libraries. Audiovisual media and museum archives. New media and new collections. My collection. Identifying private collections. The living archive. Archives beyond archives: archives as objects of creative and curatorial thought and intervention. The three tenses of archiving.

• The spectator-filmmaker.

By watching films, the course will address the concept of the spectator-filmmaker as a means of being a filmmaker. Every director, to a greater or lesser extent, watches other people’s films. Filmmakers have constantly been influenced by others, since the Lumière and Méliès brothers, and this creates a highly complex, inextricable scenario, which represents the history of cinema, as form and content. It is in the “Nouvelle Vague” where the question of influences is posed most clearly, as a characteristic key feature of this movement. For the first time in the history of cinema, filmmakers have an explicit relationship with the past of cinema.

• The photochemical image. 16 mm laboratory (III). Luis Macías

Delving deeper into laboratory processes, this subject offers practical experience with professional equipment. Students will develop, copy and print film in a continuous processor and contact printer, with an analogue colour correction system. Following an introduction to the theory, we will carry out a number of different tests and trials of copying and final development on films created by the students. Development and copying are a technical part of the picture-building process. We will establish a creative line to show the extended possibilities available when these processes are carried out directly by the filmmakers themselves.

• Management of audio-visual collections. Silvia Casagrande

The environmental conditions that surround any type of material are crucial for their long-term preservation. Audio-visual documents use a wide variety of materials as formats. Knowledge of the needs of each material and the management of storage conditions are essential for extending the life of collections. This course discusses standards and debates on the handling of audio-visual material in all its complexity, and analyses various case studies that consider the heterogeneity of such material in terms of context and budget, comparing work with collections held privately, domestically and at historical associations. It seeks to provide key points to help students adapt to different circumstances in the work of archiving and learn how to set up and use a strategic plan for the conservation of audio-visual collections.

• Management and treatment of Complex Media. Gema Grueso

Audio-visual documents are not exclusive to film libraries or film archives. Audio-visual work is a format or medium of expression that is extensively used in other fields such as art. Contemporary art museums contain audio-visual collections that combine a wide variety of formats and technologies, which require specific handling and management.

● Open source digital tools for Audio-visual archives. Reto Kromer

The class begins with an introduction on file formats. Building on this the students will practically explore free and open-source software, such as FFmpeg (for in-depth file transformation), QCTools (for quality control), AEO-Light (sound extraction from optical tracks) and DCP-o-matic (DCP encoding), as well as various media players. Resources on infrastructure and workflows for film and video digitisation will be presented and discussed, taking account especially of solutions which can be implemented in difficult environments at little expense. An overview on data preservation and migration, as well as disaster planning and recovery, will round off this class.

● Map of the (three) archives. Sonia García López

This subject offers EQZE students the opportunity of taking on an exploratory role (creative, researcher, curator) within archive-related film and audio-visual practice, bearing the three tenses of cinema in mind: the past, linked to memory; the present, linked to action; and the future, linked to planning and foresight. This philosophical proposal aims to prompt students to think about historical and contemporary cultural and political problems from the perspective of the conceptual framework offered by the concepts of profanation (Giorgio Agamben) and the creative act (Gilles Deleuze). 19

• Permanent film sound observatory. Xabier Erikizia

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre V

3.1.5. MODULE 6. Inside filmmaker’s studio

The sixth module begins in mid-August and is only partly classroom-based. This is a time for students to apply the knowledge they have gained, both through their work experience and in their individual or group end-of-course assignments.

Between mid-August and the start of the San Sebastian Film Festival, we stage a series of different workshops and finalise preparations for the festival, in which students will take part for the second time, on this occasion coinciding with students from the next course. After the festival, a non-classroom-based period begins which lasts through until the end of December, when the ‘Hypotheses’ session or public presentation of the end- of-course assignments is held.

3.1.6. Basic bibliography

Books

- del Amo, A. Clasificar para preservar.Filmoteca Española. Conaculta. México 2006 (Download: https://www.mecd.gob.es/cultura/areas/cine/mc/fe/documentos/clasificar- para-preservar.html) - Edmonson, R. Audiovisual Archiving. Philosphy and principles. Tercera edición. 2016. UNESCO. (Download: http://unesdoc.unesco.org/images/0024/002439/243973E.pdf) - Fossati, G. From grain to pixel. The archival life of film in transition. Second edition 2011. Amsterdam University Press 2009. (Download) - How Video Works (Weynan, Weise, 2016) - National Film Preservation Foundation, The Film Preservation Guide: The Basics for Archives, Libraries and Museums, San Francisco, NFPF, 2004. - Cherchi Usai, Paolo, La muerte del cine, Barcelona, Laertes, 2005. - Read, Paul, y Mark Paul Meyer, Restoration of Motion Picture Film, Oxford, Butterworth-Heinemann, 2000.

- Wilhelm, Henry y Carol Bower, The permanence and Care of Color Photographs: Traditional and Digital Color Prints, Color Negatives, Slides and Motion Pictures, Grinnell, Preservation Publishing Co., 1993. - LOC, Sustainability of Digital Formats (online) - IASA TC 05: Manejo y Almacenamiento de soportes de audio y video - FADGI, Digitization Activities: Project Planning and Management Outline

Reviews and websites

- FIAF bulletin online: https://www.fiafnet.org/pages/Publications/Read-or- download-the-latest-Issue.html - http://archivosdelafilmoteca.com/index.php/archivos - https://www.fiafnet.org/ - https://amianet.org/ - https://www.iasa-web.org/ - http://fiatifta.org/

3.2. SPECIFIC MASTER’S DEGREE IN FILM CURATING

Coordinator: María Palacios Cruz

The aim of the postgraduate degree course in Film Curating is to train specialists in the conceptualisation, development, management and dissemination of any type of programme centring on film and the audiovisual arts. The course seeks to define the specific features of audiovisual curating, an area which will be very important in the future, but which still requires a knowledge of the specific epistemology of the subject. This specialist area introduces students to the vast corpus of film curating theory (some of which has been inherited from the visual arts) and the different traditions and schools of thought regarding programming, distribution and exhibition. As well as cultivating each participant's particular criteria and perspectives, the course offers the tools needed to create film projects from their conception through to their execution. It also aims to stimulate the curator's work in the areas of research, review, essay-writing and academic contributions. We believe that curatorial work cannot exist without research, which is just as rigorous and far-reaching as any in academia, the difference being that in the case of curating, the result is a public project (an exhibition, a catalogue, a programme, a festival, an exhibition hall, a distribution strategy, etc.).

Subject matter of the key modules and concepts

Module 1 - Artistic and cinematographic curatorial thought The key concepts of curating. The figure of the curator. Critical thinking. Writing (about) film. Cinephilia. The history of cinematographic programming. Spectatorial reception (the programmer as spectator). The canon. The history and avant-garde of cinema. 'Passeurs'. Moving images in contemporary culture. Space and types of cinematographic exhibition. Film in contemporary art. The ethics of programming. Curatorial activism. Module 2 - Cinematographic devices and the spaces and materiality of film The materiality of film and the dematerialisation of the artistic object. Film as photochemical material. Audiovisual media. Film and other arts. Expanded film. Plastic, choreographic, performative and conceptual experimentation in the cinematographic field. Film screenings: theoretical reflection and practical experience. Screening formats. Film technology. The hybridisation of art and film. Documentary practices in contemporary art. Reality and representation.

Module 3 - Leading projects: programming (I) Programming processes and methodologies, using specific examples. The practical and ethical challenges of programming. The relationship between programming, knowledge and writing in the history of film. Programming and research. Writing with images: the audiovisual essay. Curating as an intermediary between the work itself and society. Mediation and the public. Communication. Introduction to Basque film. Documentary film.

Module 4 - Leading projects: programming (II) Political cinema. Archives. The political power of the cinematographic image. The fringes of history. Film festivals as contexts for presenting film. Viewing copies, copyright management. Distribution. Project estimates and funding. Catalogues, programming notes and other communication and promotion materials. Curating as writing. The authorship of programming.

Module 5 - Leading projects: exhibition films Exhibiting films and videos in contemporary art centres. The integration of different audiovisual cultures by institutions and contemporary art discourses. The challenges and specificities of presenting moving images in galleries. Editing. Catalogues and publications. Curators and producers. Creating and managing a film project. Production mechanisms in artists' audiovisual creation and filmmaking.

Module 6 - In the filmmaker's workshop-studio

3.2.1. MODULE 1. Curating and film programming theoretical approaches The key concepts of curating. The figure of the curator. Critical thinking. Writing (about) film. Cinephilia. The history of cinematographic programming. Spectatorial reception (the programmer as spectator). The canon. The history and avant-garde of cinema. 'Passeurs'. Moving images in contemporary culture. Space and types of cinematographic exhibition. Film in contemporary art. The ethics of programming. Curatorial activism.

● Film Hypothesis. Carlos Muguiro

● Peculiarities of film curatorship. María Palacios Cruz

Reflection on the showing of films has been present since the birth of the cinema but has only recently been formally conceptualised and is still being systematised. This subject seeks to identify the unique features of film curating, which stands between visual arts and the cinema. It is a unique activity but also a compendium of many other activities: the curator is a programmer, a producer, a critic, a teacher, a writer, etc.; on short, what Serge Danay describes as a passeur. Based on examples from the recent and more distant past, the subject discusses film curating in all its diversity and specificity, its role as an agent for creation and its responsibility in expanding new spaces for the showing of films.

● Festival under construction. Maialen Beloki A cross-curricular subject directed by the San Sebastián Film Festival in which the preparations for the forthcoming edition of the festival are explained and a reflection is proposed on the nature of film festivals in the 21st century. The San Sebastián Film Festival will be the starting point and will serve as a case study based on which it re- thinks itself.

• Screens. Víctor Iriarte

The film and audiovisual department at Tabakalera is structured around the cinema screen. This is its epicentre, and it is at this primordial spotlight and darkness- that we recognise ourselves. At the same time, its programme provides a vast range of activities that revolve around, complete and expand what occurs on the screen: conferences, workshops, meetings and the presence of directors, programmers and festivals who share experiences and working processes with our audiences.

● Exhibition under construction. Peio Aguirre

This subject is based around an exhibition of the photographic work of the artist Nestor Besterretxea, curated by Peio Aguirre for the Kutxa Kultur Artegunea Room in Tabakalera and aims to work with students on a specific curating project. Specifically, students will help curate the film-related part of the initiative, thereby participating in an exhibition which combines fixed images, moving images and traces of film and expository film. In other words, students will be working with contemporary curating practices focused on the contemporary and fluid status of technical images.

● Writing and critical thought I. Manuel Asín

The need to activate critical thought in relation to the film industry and to seek ways of developing it in a practical manner by means of exercises and readings forms the basis of this two-part subject which appears throughout the entire course. The first part addresses writing about images and sounds, while the second focuses on writing with images and sounds.

● Otras Luces. María Palacios Cruz

For the second consecutive year, Curating students from EQZE will be programming the moving image show OTRAS LUCES in Pamplona in December 2019. OTRAS LUCES is an outdoor moving image show that takes place in the historic centre of Pamplona during the shortest days of the year. These sessions will accompany the different stages of the programming and production of OTRAS LUCES: from site visit, research and previewing to contacting artists, negotiating rights and writing promotional texts.

• Historie(s) of cinema II. Santos Zunzunegui

What would a permanent history of cinema be like that revisited its sources again and again to continually rewrite itself? This question in the form of a piece of flash fiction by

Borges gives rise to this subject-cycle that we launched last year. For the second year, Santos Zunzunegui will draw up his own personal selection of films from the history of cinema, in order to establish a meeting point where we can continue to reflect on the possible and impossible histories of cinemas, based on this (more or less canonical, more or less personal, more or less vast, more or less chronological) list of films.

Santos Zunzunegui is emeritus Professor of Audio-visual Communication and Advertising (University of the Basque Country), Semiologist, film analyst and historian. He has been a visiting professor at different universities of Europe, the USA, and South America.

In November 2014, he was awarded the prize from the Groupe de Recherche et Investigation de l’Image dans le Monde Hispanique (GRIMH), comprising French Hispanists and image scholars.

● Akelarre I

3.2.2. MODULE 2. Film apparatus, spaces and materiality of cinema The materiality of film and the dematerialisation of the artistic object. Film as photochemical material. Audiovisual media. Film and other arts. Expanded film. Plastic, choreographic, performative and conceptual experimentation in the cinematographic field. Film screenings: theoretical reflection and practical experience. Screening formats. Film technology. The hybridisation of art and film. Documentary practices in contemporary art. Reality and representation.

● History of the materiality of cinema. Manuel Asín

● Festival under construction. Maialen Beloki

• Screens. Víctor Iriarte

● Exhibition under construction. Peio Aguirre

● Film as an off-screen experience: contraction and expansion of film apparatus. Esperanza Collado

With the advent of the new millennium there has been an international convergence of a number of artistic practices associated with the cinema that make it necessary to revisit and reinvent its history. For a number of reasons - the digital revolution, the dematerialisation of artistic objects and the recovery of theatricality and body action - the "apparatus" of film has been reconfigured in a way that has both contracted and expanded it. That "apparatus" (in the sense of a system of interrelated factors that include not just the screen, the projector and the film itself but also the projection venue, the position of the audience and the images projected to them) has become a new area for visual, choreographic, performance-related and conceptual experimentation. This subject seeks to locate and analyse the core concerns of contemporary work on the contraction and expansion of the "apparatus" of film.

● Screens. The other film camera. Nagore Portugal

A theoretical reflection and practical exercise in forms of projection. Learning to project, exploring the vision and experience of projectors, from the magic lantern to the DCP.

● Experimental Documentary Today. Erika Balsom

This course will examine how and why a strong documentary impulse has emerged in contemporary artists’ moving image. We will consider the hybridization of art and film and discuss how artists have interrogated the complex relationships between reality and representation in ways that extend, expand, and contest cinema’s long documentary tradition.

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre II

3.2.3. MODULE 3. Project management: programming (I) Programming processes and methodologies, using specific examples. The practical and ethical challenges of programming. The relationship between programming, knowledge and writing in the history of film. Programming and research. Writing with images: the audiovisual essay. Curating as an intermediary between the work itself and society. Mediation and the public. Communication. Introduction to Basque film. Documentary film. ● The filmmaker's thinking. Adrian Martin

● Publication of ‘Hypotheses’. Garbiñe Ortega

This is a practical, process-based subject, and involves working on EQZE's annual publication, which is produced by students on the Curating course. In a series of different sessions throughout the year, we will examine in detail all the issues related to publishing, editorial design and production that need to be considered when creating a

publication. The finished book will contain all the different projects from students, as well as contributions from teachers and guest faculty who have been involved in the course.

● Festival under construction. Maialen Beloki

• Screens. Víctor Iriarte

● Exhibition under construction. Peio Aguirre

● Writing and critical thought II. Cristina Álvarez López

Continuation of the section on writing and development of critical thought. Here it addresses the generation of thought on the basis of writing with images. Particular emphasis will be laid on audiovisual essays, in a bid to produce critical thought generated using the film industry’s own media.

● Subtitling workshop. Santiago Torregrosa

● Programming models, criteria, schools and paradigms (I) & (II). Ricardo Matos Cabo

This subject conducts a detailed examination of the various film programming paradigms, both those emerging on a regular basis over time (in archives and stable centres) and those concentrated in certain periods (one-off events and festivals). The subject features a historic/conceptual journey which pauses to dwell on specific creators, spaces and projects which have turned programming into an art of “putting on films”. It will also provide the students with the necessary tools to engage critically with different programming situations and to be able respond to practical and ethical challenges that sometimes exist when working with archival images and sound material. We will look the relation between programming, knowledge and writing of film history.

● Basque film: a cinematography with tradition, an emerging cinematography. Joxean Fernández

its origins to the present day, with particularly close attention to the three (or more) generations of Basque filmmakers who are currently active.

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre III

3.2.4. MODULE 4. Project management: programming (II) Political cinema. Archives. The political power of the cinematographic image. The fringes of history. Film festivals as contexts for presenting film. Viewing copies, copyright management. Distribution. Project estimates and funding. Catalogues, programming notes and other communication and promotion materials. Curating as writing. The authorship of programming.

● The soundtrack of reality. Xabier Erkizia

Cinema, as it still follows a traditional dividing line, continues to consider the use of sound divided into purely technical categories: voice, background sounds, effects and music. This unnatural classification of sounds has been the basis on which we have inherited not just a custom-designed sound world, but also an entire culture of listening that spreads beyond the screen. Cinema, insofar as it is based on representing reality, has been and still is the most effective machine in the history of humanity when it comes to conditioning our sound culture in its broadest range. Through its chameleon-like capacity to assimilate all kinds of sounds and provide them with properly codified meanings in order to achieve an inevitable dramatic effect, cinema constantly constructs powerful forms of listening and paying attention. This subject aims to analyse the history of cinema through its sound, both loud and quiet, to compare it with reality (and vice- versa), with the ever-present aim of listening in a critical, enriching way that is able to dialogue with the huge potential of vision.

● Festival under construction. Maialen Beloki

• Screens. Víctor Iriarte

● Exhibition under construction. Peio Aguirre

● Publication of ‘Hypotheses’. Garbiñe Ortega

● Curatorships, mediation and public audiences. Garbiñe Ortega

To a large extent curators act as intermediaries between the project and society. Although all the work they do ultimately comes under public scrutiny, an essential component of this process is a specific examination of communication and final mediation, to usher in a certain amount of circularity, exchange, dialogue and mutual enrichment, including the artist or the director. The subject avails itself of a heterogeneous plural vision of public audiences to address these issues in a practical way.

● Research, curating and creation related to the militant film archive. Pablo La Parra

This subject explores recent research, curating, archiving and creative practices related to the militant film cultures of the 1960s and 1970s. The aim is to analyse the devices and tools now being used to critically revisit some of the experiences that have been marginalised in mainstream film history. Starting with an analysis of the critical dialogues that curators, filmmakers and researchers establish with militant film archives, we shall go on to examine an issue that transcends this particular case study: how should we continue to debate and realise the full political capacity of the film image?

● Programming models, criteria, schools and paradigms (III). María Palacios Cruz

Continuing the work done in module 3, this subject looks at film programming via specific cases covering both regular arrangements (at film libraries and permanent establishments) and more concentrated arrangements (festivals and one-off events). It deals with conceptual issues concerned with programming and practical organisational matters (such as budgeting, funding, the negotiating of rights, showing, etc.).

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre IV

3.2.5. MODULE 5. Project management: expanded cinema Exhibiting films and videos in contemporary art centres. The integration of different audiovisual cultures by institutions and contemporary art discourses. The challenges and specificities of presenting moving images in galleries. Editing. Catalogues and publications. Curators and producers. Creating and managing a film project. Production mechanisms in artists' audiovisual creation and filmmaking.

• The spectator-filmmaker.

By watching films, the course will address the concept of the spectator-filmmaker as a means of being a filmmaker. Every director, to a greater or lesser extent, watches other people’s films. Filmmakers have constantly been influenced by others, since the Lumière and Méliès brothers, and this creates a highly complex, inextricable scenario, which actually represents the history of cinema, as form and content. It is in the Nouvelle Vague where the question of influences is posed most clearly, as a characteristic key feature of this movement. For the first time in the history of cinema, filmmakers have an explicit relationship with the past of cinema.

● Festival under construction. Maialen Beloki

• Screens. Víctor Iriarte

● Publication of ‘Hypotheses’. Garbiñe Ortega

• Curator's editorial work: catalogues and publications This class considers editorial aspects of curatorial practice, both conceptually and practically: from programme notes and festival catalogues to magazines, books and other kinds of publications. Through specific projects and historical examples, it proposes a look at print production, interviews, editing, proofreading, book design & layout, printing and distribution.

• Curators as producers. Anna Manubens

Curators often play the role of agents in the conception and management of film-related projects. At the same time, the production or accompaniment of an audiovisual project outside the exhibition framework can involve features that are usually associating with curating. This module looks at this hybridising of roles, with special emphasis on how hard it is to see this as a fixed category or a repeatable pattern. Operating as a curator/producer has a performative aspect, starting from the fact that a forward slash

is placed between the two words. The outline of the task is established in the action, as a reaction to the specific needs of each project.

• Film and video in the space of contemporary art. Dan Kidner

An in-depth look at the exhibition of film and video in the spaces of contemporary art. This module will explore the shifting possibilities for the exhibition of experimental film, video art, political cinema and artists’ film and video since the early 1990s; the accommodation of distinct film and video cultures by the institutions and discourses of contemporary art; as well as the practical issues around screening film and video in the gallery.

● Map of the (three) archives. Sonia García López

• Historie(s) of cinema II. Santos Zunzunegui

3.2.6. MODULE 6. Inside filmmaker’s studio

3.2.7. Basic bibliography and filmography

Bibliography

- Andersen, Thom. Slow Writing. Thom Andersen on Cinema, The Visible Press, 2017 - Asín, Manuel (ed). Jean-Marie Straub y Danièle Huillet. Hacer la revolución es volver a colocar en su sitio cosas muy antiguas pero olvidadas, MNCARS, 2016. - Balsom, Erika, After Uniqueness: A History of Film and Video Art in Circulation, University of Columbia Press, 2017 - Balsom, Erika, An Oceanic Feeling: Cinema and the Sea, Govett-Brewster, 2018 Balsom, Erika, Exhibiting Cinema in Contemporary Art, Amsterdam University Press, 2013 - Bazin, André. ¿Qué es el cine?, RIALP, 2008 (translation) - Cherchi Usai, Paolo , Francis, David, Horwath, Alexander and Loebenstein, Michael (ed). Film Curatorship. Archives, Museums, and the Digital Marketplace. Austrian Film Museum, 2008. - Collado, Esperanza. Paracinema. La desmaterialización del cine en las prácticas artísticas, Trama Editorial, 2012. - Connolly, Maeve, The Place of Artists’ Cinema: Space, Site and Screen, Intellect, 2009. - Daney, Serge. CINE, ARTE DEL PRESENTE, Santiago Arcos, 2004. (translation) - Daney, Serge. El salario del zapeador, ASOCIACION SHANGRILA TEXTOS APARTE, 2016. (translation) - De Lucas, Gonzalo (ed.), Xcèntric Cinema. Conversaciones sobre el proceso creativo y la visión fílmica, CCCB, 2018. - Deren, Maya & McPherson, Bruce (ed), Essential Deren: Collected Writings on Film, Documentext, 2005 - Eisenstein, Sergei. El sentido del cine. Siglo XXI, 1997 (translation) - Farber, Manny. Farber on Film: The Complete Writings of Manny Farber. Library of America, 2009. - Guy-Blaché, Alice. Autobiographie d'une pionnière du cinéma (1873-1968). (it exists an English version and in other languages) - Kidner, Dan & Petra Bauer (eds), Working Together: Notes on British Film Collectives in the 1970s, Focal Point Gallery, 2013 - Harbord, Janet. Film Cultures, SAGE, 2002. - James, David E. The Most Typical Avant-Garde: History and Geography of Minor Cinemas in Los Angeles. Berkeley: University of California Press, 2003. - Jonas Mekas, I had nowhere to go, 1991. Translation: Ningún lugar a donde ir, Caja Negra, 2009.

- Langlois, Henri. Memorias de un cinéfilo – Escritos sobre cine (1931-1977). El cuenco del plata, 2016 (translation) - Leighton, Tanya and Esche, Charles (eds.) Art and the Moving Image: A Critical Reader, Afterall & Tate Publishing, 2007 - Martin, Adrian. ¿Qué es el cine moderno?, Uqbar Editores, 2008. - Michelson, Annette. On the Eve of the Future. Selected Writings on Film, MIT Press, 2017 - Michaud, Philippe-Alain, Le Mouvement des Images, Editions Centre Pompidou, 2006 - Mulvey, Laura. Death 24X a Second, Reaktion, 2006. - Mulvey, Laura. Visual and Other Pleasures, Palgrave, 1989. - Ortega, Garbiñe & Algarín, Francisco. Correspondencias: cartas como películas, Punto de Vista, 2018. - Rhodes, Lis, Telling Invents Told, The Visible Press, 2019. Rich, Ruby. Chick Flicks. Theories and Memories of the Feminist Film Movement, 1998. - Rosenbaum, Jonathan. Goodbye Cinema, Hello Cinephilia: Film Culture in Transition. 2010 - Rosenbaum, Jonathan, Martin, Adrian (eds). Movie Mutations. 2003 - Traducción(con prólogo de Pere Portabella): Mutaciones del cine contemporáneo, Errata Naturae, 2011. - Sitney, P. Adams. Visionary Film: the American Avant-Garde, 1943-2000, Oxford University Press, 1974; 3rd ed., 2002 - Sperlinger M., White I., Kinomuseum. Towards an artists' cinema, Walther Koenig Verlag, 2008 - Vogel, Amos. Film as a Subversive Art, 1974. Traducción: El cine como arte subversivo. Conaculta, 2013. - Wasson, Haidee. Museum Movies. The Museum of Modern Art and the Borth of Art Cinema, University of California Press, 2005. - Webber, Mark, Shoot Shoot Shoot: The First Decade of the London Film- Makers’ Co-operative 1966-76, LUX, 2016 - Zunzunegui, Santos. La Mirada plural. Cátedra, 2008.

Filmography (available on DVD / online)

- A House Divided (Alice Guy, 1913) - La coquille et le clergyman (Germaine Dulac, 1927) - Chelovek s kinoapparatom (El hombre de la cámara) (Dziga Vertov, 1929) - Las Hurdes: Tierra Sin Pan (Luis Buñuel, 1933) - Zero de Conduite (Jean Vigo, 1933) 34

- Meshes of the Afternoon (Maya Deren & Alexander Hammid, 1943) - Roma città aperta (Roberto Rosselini, 1945) - Traité de Bave et d’Eternité (Isidore Isou, 1951) - Portrait of Ga (Margaret Tait, 1952) - Tokyo Story (Ozu Yasujirô, 1953) - Nuit et bruillard (Alain Resnais, 1956) - A Movie (Bruce Conner, 1958) - Free Radicals (Len Lye, 1958) - Shadows (John Cassavetes, 1959) - Chronique d’un été (Edgar Morin & Jean Rouch, 1961) - Cleo de 5 à 7 (Agnes Varda, 1962) - Mothlight (Stan Brakhage, 1963) - Deserto Rosso (Michelangelo Antonioni, 1964) - La Bataille d’Alger (Gillo Pontecorvo, 1965) - Walden (Jonas Mekas, 1968) - Wanda (Barbara Loden, 1970) - Cuadecuc, vampir (Pere Portabella, 1971) - Touki Bouki (Djibril Diop Mambéty, 1973) - El espíritu de la colmena (Victor Erice, 1973) - Milestones (Robert Kramer, 1975) - Jeanne Dielman, 23, quai du Commerce, 1080 Bruxelles (Chantal Akerman, 1975) - The Girl Chewing Gum (John Smith, 1976) - Voskhozhdeniye (La ascension) (Larisa Shepitko, 1976) - Harlan County, USA (Barbara Kopple, 1976) - Light Reading (Lis Rhodes, 1978) - Killer of Sheep (Charles Burnett, 1978) - Soft Fiction (Chick Strand, 1979) - Nas Vek (Nuestro Siglo) (Artavazd Pelechian, 1983) - Born in Flames (Lizzie Borden, 1983) - Sans Soleil (Chris Marker, 1983) - Red Shift (Gunvor Nelson, 1984) - Wandsworth Songs (Black Audio Film Collective, 1986) - Bouquets 1-10 (Rose Lowder, 1994-1995) - Dial H-I-S-T-O-R-Y (Johan Grimonprez, 1997) - Où gît votre sourire enfoui ? (Pedro Costa, 2001) - Los Angeles Plays Itself (Thom Andersen, 2003) - Le fantôme d'Henri Langlois (Jacques Richard, 2004) - Two Years at Sea (Ben Rivers, 2012) Fragments of Kubelka (Martina Kudlacek, 2012)

3.3. SPECIFIC MASTER’S DEGREE IN FILMMAKING

Coordinator: Laida Lertxundi

The degree course in Filmmaking focuses on theoretical and methodological training, as well as on practical exploration, for anyone wishing to make artistic films and audiovisual works. This course addresses all aspects related to the creative processes of conception, experimentation, gestation and materialisation of a film work, as well as helping filmmakers find their own voice. It provides theoretical and non-standardised training in film, participation in a rich environment of deliberation and creative thinking and the creation of a personal project through a personalised system of tutorials, tailored to each student's interests and the needs of their project. It introduces students to the processes involved in conception (subjectivity), working methodologies (systemisation), experimentation (specific formal search) and project conceptualisation and materialisation.

Subject matter of the key modules and concepts

Module 1 - States of perception Observation, gaze, inwardness, outwardness, dream images, the origin of film ideas, working methods in the development process.

Module 2 - Chance vs Control

Image and sound formalisation processes, image and sound genealogy, pictorial and visual models, space: representation and staging. How to make an image visible.

Module 3 - Construction and composition

Articulation, structure, rhythm, editing, narrativity, construction, harmony, musicality, poetics, gesturality, working methodologies.

Module 4 - Paradoxes

The images of sound and the sound of images. Literary images, iconic images, sound images. Construction of audio and visual universes, paradox versus redundancy between sound and image, synaesthesias. Overflow, attitudes of listening and expanded film.

Module 5 - Alienation

Strategies of desire, motion-emotion, desire, distance and alienation in film, psychological machinery of cinema, screening, identification, phenomenological experience of a film. The other: living otherness.

Module 6 - In the filmmaker's workshop-studio

3.3.1. MODULE 1. States of perception Observation, gaze, inwardness, outwardness, dream images, the origin of film ideas, working methods in the development process.

● Film Hypothesis. Carlos Muguiro

• Avant-Garden. The Film and Art of the Garden. Carlos Muguiro and Jorge Fin

Avant Garden- the Film and Art of the Garden combines the skills, abilities and methods of the good gardener—careful observation of the environment, walking, selecting a territory, cultivating hybrids and exotic species, grafting and editing, waiting, imagining the passer-by/spectator, projecting a film for the future, taking it out of the hothouse and, when spring is on the way, placing it back in its natural surroundings. The subject includes sessions of theory and analysis, fieldwork and individual tasks, because ultimately, the work requires the filmmaker to commune with the place. From October to January, students on the Creation course will have to propose, produce, make, edit and exhibit a film garden— a garden of images and sounds that will be placed back in nature at the end of the winter.

● Sounding out the dream: sound and dreams. Xabier Erikizia

This workshop reflects on the subject of drowsy listening (careless, unfocused, subjective, remote, faded, etc.) through listening exercises, debates, recordings and narratives.

● La imagen fotoquímica. Laboratorio 16 mm (I) & (II). Uxue Jiménez & Luis Macías

Divided into two parts, the subject begins by introducing students to the essential tools and techniques required for filming in 16 mm: camera, light meter, loading the film, lenses, etc. Secondly, it offers a basic introduction to the procedures involved in developing black-and-white and colour film by hand. Through theory and practice in developing different types of film and processes, the second part of the subject looks at the photochemical material during processing in the dark room. Students will learn about the chemical treatments and the alterations suffered by this type of material, in order to understand its qualities, its physical and aesthetic performance and its deterioration, as well as its creative possibilities. We will process material shot in the school.

● The camera and objects. Project 0. Helena Girón & Samuel Delgado

During this course we will reflect on how our perception of the world changes when we look at it through the lens of a 16 mm camera, how we explore the world and how we can create sensitive universes. To do so, we will move between theory and practice, striving to go beyond the limits and assumptions that limit and standardise the way we understand film and its processes.

● Starting point. Michel Gaztambide

Prior to the project presentation week, the idea of the writing sessions is for students to examine the nature of their project and the best approach methods.

• Permanent film sound observatory. Xabier Erikizia

The Observatory is involved throughout the academic year, providing a space for training, practice and research in sound. In addition to pre-established themes, it can also adapt to the specific needs of group members at any time, linking in to practical work and projects under development, in the areas of sound recording and postproduction. Throughout the year, the observatory also builds links between the

area of sound and other subjects, to form an ongoing echo chamber.

• Historie(s) of cinema II. Santos Zunzunegui

In November 2014, he was awarded the prize from the Groupe de Recherche et Investigation de l’Image dans le Monde Hispanique (GRIMH), comprising French Hispanists and image scholars.

● Akelarre I

3.3.2. MODULE 2. Randomness vs Control Image and sound formalisation processes, image and sound genealogy, pictorial and visual models, space: representation and staging. How to make an image visible.

● History of the materiality of cinema. Manuel Asín

• Digital observatory.

A space for examining the tools of the digital image and data management from a technical perspective, from filming all the way through to postproduction.

● The visual and audio construction of scenes. Laida Lertxundi

This subject specifically addresses construction of film scenes, on the basis that all scenes arise from a confrontation with what cannot be represented (excessive, unencompassable nature). Thus, on the basis of this specific case, it delves deep into an articulation of the viewpoint.

• Avant-Garden. El film and Art of the Garden. Carlos Muguiro & Helena Wittmann

● The photochemical image. 16 mm Laboratory (II). Luis Macías

Second part of the subject (see Module I), centring on the developing of colour film.

● Imagined films. Koldo Almandoz

Are the films we don't make actually films? Does cinema only encompass the films that manage to get made? Or does it also include all the others we only imagine and plan for? Failure and error are often the springboard for getting things right and discovering new paths. In many different domains—science, business and art, for example—there are plenty of examples of a failed or erroneous project leading to a new discovery. In this course we will take a look at some failed projects and mistakes, analysing them from an educational and constructive perspective. We will be discussing all those unmade films and projects which—despite never seeing the light of day—form part of the dreamt filmography of the filmmaker.

● Study of a place. Mariano Llinás

This subject involves observation and fantasy, capturing and writing; while these activities might seem contradictory, even paradoxical, they operate together in the process of building a film location.

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre II

3.3.3. MODULE 3. Structures Articulation, structure, rhythm, editing, narrativity, construction, harmony, musicality, poetics, gesturality, working methodologies.

● The filmmaker's thinking. Adrian Martin

• Looking at the face- The logic of the portrait. Ana Pfaff and Mikel Gurrea

Film is the construction of time within time. Encapsulating an impression of a person in cinematic form therefore requires the filmmaker to live in and with the real world. However complex and unattainable it may seem; it is a road worth taking. That coexistence gradually models the future portrait, amplifying the importance of the work in reaction, freeing the creative process from self-absorption, redefining the ideas of impetus, intention, control, direction and honesty, all key concepts in ensuring that the film realises its humanist potential. After all, the filmmaker's gaze must meet the eyes of those looking back at him or her. There is a meeting of eyes that defines the film and, as in any relationship, it is from there that life emerges. From January to October, Creation students will have to propose, produce, make, edit and exhibit a film portrait.

• Musical structure and composition. Ramón Andrés

What can music theory teach filmmakers? This subject introduces students to the concepts of musical composition and structure and, by extension, to other art disciplines, in order to help them interrogate and explore these two aesthetic tools in the context of cinema.

• Avant-Garden. El film and Art of the Garden. Carlos Muguiro

• Seeing films. Ute Aurand

The course focuses on our thoughts and feelings WHILE watching a film. We will look at short films by the students and films in relation to the subject "Portraits" (i.e. by Marie Menken, Margaret Tait, Robert Beavers, Bruce Baillie, Ernie Gehr, Maya Deren, Helen

Levitt, Dore O.). Immediately after seeing one film we will write down notes emphasizing our personal experiences evoked by the film. It is not easy to be aware of the thoughts and feelings we have while seeing a film. Often, we remember pleasant and unpleasant moments of a film and develop an opinion, which is not asked for in this workshop. We will just listen to each other’s notes, and by the different ways of responding to a film - observations, associations, memories, feelings and thoughts - we may experience the film more complexly.

● Basque film: a cinematography with tradition, an emerging cinematography. Joxean Fernández

● Imagined films. Koldo Almandoz

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre III

3.3.4. MODULE 4. Paradoxes The images of sound and the sound of images. Literary images, iconic images, sound images. Construction of audio and visual universes, paradox versus redundancy between sound and image, synaesthesias. Overflow, attitudes of listening and expanded film.

● The soundtrack of reality. Xabier Erkizia

powerful forms of listening and paying attention. This subject aims to analyse the history of cinema through its sound, both loud and quiet, to compare it with reality (and vice- versa), with the ever-present aim of listening in a critical, enriching way that can dialogue with the huge potential of vision.

• Looking at the face- The logic of the portrait. Ana Pfaff and Mikel Gurrea

● Randomness vs. control. Oliver Laxe

Dichotomy between control and randomness, as two extremes that can be used to arrange, structure, choreograph and regulate film staging. In the course of the week issues will be addressed in connection with the conception of the image as the implementation of an idea or a search for an image. Certain aspects are discussed in relation to planning, composition and construction of a sequence, and means of improvisation.

● Construction of audio universes. Takashi Makino

This subject specifically addresses all phases of the design and construction of audio universes: ideation, work criteria, relations with images, gestation of projects based on sound, mixing etc. The multisensory power of images and sound. The synaesthetic sensory stimulation of images and sounds and the articulation of their paradoxical power in film.

● Articulations of the word. Mariano Llinás

The traditional dichotomy between word and image, as opposing, distant entities, conceals the enormous power of words for conjuring up those very (poetic, mental and conceptual) images. In this subject, we aim to study the relationship which exists between verbal and iconic images and how they can and do relate to one another.

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre IV

3.3.5. MODULE 5. Estrangement Strategies of desire, motion-emotion, desire, distance and alienation in film, psychological machinery of cinema, screening, identification, phenomenological experience of a film. The other: living otherness.

• The spectator-filmmaker.

By watching films, the course will address the concept of the spectator-filmmaker as a means of being a filmmaker. Every director, to a greater or lesser extent, watches other people’s films. Filmmakers have constantly been influenced by others, since the Lumière and Méliès brothers, and this creates a highly complex, inextricable scenario, which represents the history of cinema, as form and content. It is in the Nouvelle Vague where the question of influences is posed most clearly, as a characteristic key feature of this movement. For the first time in the history of cinema, filmmakers have an explicit relationship with the past of cinema.

• Looking at the face- The logic of the portrait. Ana Pfaff and Mikel Gurrea

● The body and cinema. Laida Lertxundi

This class outlines an approach to working with bodies on film beyond the adherence to a script and acting and towards forms of being through art making. We will study performances for that transcend acting and drama and focus on gesture and presence. We will root our practice in varied traditions such as Carolee Schneemann, Andy Warhol, Robert Bresson and Peggy Ahwesh. We will practice situations with bodies in space, everyday gestures, and other forms of being that disrupt suspension of disbelief. We will read and discuss a number of short fiction works, philosophical and poetic texts and create new ways to play with the presence of the body on film.

● Construction of desire and emotion. Matías Piñeiro

Identification, lost in one’s thoughts, the projection of emotion, distance and desire are components which have always played an active role in the psychological machinery of a film. Whether this is due to activation of these projection mechanisms or to the fact that they are questioned, films have been systematically compelled to resolve the dilemmas of this second projection: not by the projector, but by the vision and emotion machinery. This subject examines the issues of dual projection from both the perspective of viewers and from the perspective of creation. This course approaches from a practical point of view the work with emotions of both the actor and the spectator.

● Map of the (three) archives. Sonia García López

This subject offers EQZE students the opportunity of taking on an exploratory role (creative, researcher, curator) within archive-related film and audiovisual practice, bearing the three tenses of cinema in mind: the past, linked to memory; the present, linked to action; and the future, linked to planning and foresight. This philosophical proposal aims to prompt students to think about historical and contemporary cultural and political problems from the perspective of the conceptual framework offered by the concepts of profanation (Giorgio Agamben) and the creative act (Gilles Deleuze).

● Imagined films. Koldo Almandoz

• Historie(s) of cinema II. Santos Zunzunegui

● Akelarre V

3.3.6. MODULE 6. Inside filmmaker’s studio

3.3.7. Basic bibliography and filmography

Bibliography

- Film Art, An Introduction, 8th Edition, Kristin Thompson and David Bordwell, McGraw Hill, 2008 - Devotional Cinema, Nathaniel Dorsky, Tuumba Press, 2003 - In the Blink of an Eye, A perspective on film editing, Walter Murch, Second Edition, Sylman-James Press, Los Angeles, 2001

- Point Omega, Don Delillo - Audio Vision, Sound On Screen, Michel Chion - Nothing Happens, Ivone Margulies - A Woman Who, Ivonne Rainer - The Movement Image, Gilles Deleuze - The Time Image, Gilles Deleuze - Matter and Memory, Henri Bergson - West of Everything, Jane Tompkins - Sontag, Susan. Regarding the Pain of Others. Penguin, 2003 - The Most Radical Gesture: The Situationist International in a Postmodern Age, Sadie Plant, 1992, P. 61-74 - Buenos Días Cine, Jean Epstein - The Walk, Robert Walser; - Rebecca Solnit, A Field guide to Getting Lost - Visual and Other Pleasures, Laura Mulvey - A Lover’s Discourse, Roland Barthes - “Art and the Moving Image: A Critical Reader”, Tanya Leighton, 2008 - Poetics of Cinema, Raul Ruiz - Poetics of Cinema 2, Raul Ruiz - The Beauty is Relentless, edited by Mike Hoolboom, 2012 - “Into the Light”, Chrissie Iles, 2006 - “Installation Art”, Claire Bishop 2005 - Video: The Aesthetics of Narcissism, Rosalind Krauss - The Oppositional Gaze, Black Female Spectators, Bell Hooks - Notes on the Cinematographer, Robert Bresson - Essential Deren, Maya Deren - “Film and Video Art”, Stuart Comer, Tate - Robert Bresson: A Passion for Film, Tony Pipolo, Oxford University Press, 2010

Films

- Tokyo Story, Yasujiro Ozu - Meshes of the Afternoon, At Land, Meditation on Violence, A study on Choreography for the Camera, Ritual in Transfigured time, Maya Deren - Meek’s Cut Off, Kelly Reichardt - El Espíritu de la Colmena, Victor Erice - Memorias del Subdesarrollo, Tomás Gutierrez Alea - Tropical Malady, Apichatpong Weerasethakul - Sobibór, 14 octobre 1943, 16 heures, Claude Lanzman - Killer of Sheep, Charles Burnett - Vagabond, Agnes Varda 47

- Unknown Pleasures, Jia Zhangke - Tabú, Miguel Gomes - Zama, Lucrecia Martel - Black Woman, Ousmane Sembene - Pickpocket, Robert Bresson - Pistolary!, films by Peggy Ahwesh - Me Broni Ba, Akosua Adoma Owusu - High Life, Claire Denis - En Bild (An Image), Harun Farocki - A Film About a Woman Who, Ivonne Rainner - Reassemblage, Trinh T. Minh-hà - Je, Tu, Il, elle, Chantal Akerman - Agatha, Beatrice Gibson

4. RESEARCH DEPARTMENT

The EQZE film school views research as a way of operating within cinema. It should be a natural habit and a working methodology that is incumbent on all students, teachers and professionals.

The EQZE belongs to the Basque Film Library, the San Sebastian Festival and the Tabakalera International Centre for Contemporary Culture. However, it also serves all three institutions: it is a place for reflection and innovation. And ultimately it must also serve the school itself, by constantly questioning and scrutinising the way film education is taught.

The EQZE's research work is structured into four main theme areas:

1. Pedagogy and transferral of film. 2. New theoretical and technical approaches to archiving, curating and filmmaking. 3. Interconnection between film and other scientific, humanistic and aesthetic disciplines. 4. New visions of the film and audiovisual culture of the Basque Country.

The work of each of these theme areas covers a range of different research activities. These include producing publications, organising and participating in specialist forums (such as seminars and conferences) and conducting original research projects, with the active involvement of EQZE students.

During 2018-2019, students at the EQZE have had a chance to work with a wide variety of materials in different research projects. These include: the collection of the feminist film distributor Cinenova (Women’s Past is Always Present); film and documentary material from amateur Basque movies made in the 1960s and 1970s (Amateur Movie Database); two unique copies of films on nitrate dating from 1924 (This Film is Dangerous); and the documentary collections of the San Sebastian film festival's historical archive from the years of Spain's transition to democracy, 1976 to 1979 (Zinemaldia 70).

Here are the answers to some frequently asked questions on the way research projects are organised and how students can participate in them.

1. What is a research project?

Research projects are one of the main ways in which the EQZE's investigative work is manifested. Each project is directed by a principal investigator (PI) 3 and is open to a maximum of 6 students in the Archiving and Curating degree specialities.

Each project has certain initial hypotheses and medium- to-long-term goals 2 and is based on theoretical and applied research methods. The main purpose of our research projects is to make original contributions of relevance to the study and conservation of film culture and heritage.

Although all research projects are led by the EQZE, they are often based on co- organisation or collaboration agreements with other film and academic institutions from around the world, such as the San Sebastian International Film Festival, the Basque Film Library, the University of Calgary, Cinenova, Lux London, the Tarkovsky Institute and VGIK, etc. In this way, students have a chance to participate in specialist international networks.

2. How long does each research project last?

The total duration of a research project can be anything between 2 and 4 years—in other words, longer than the span of the Master's course. However, each project has specific objectives to be achieved within the academic year. This means that EQZE students from several different years may be involved in different phases of the same project.

All four projects begun in 2018-2019 will continue on into 2019-2020. A special project presentation session will be held in October 2019 4, at which we will explain the objectives and materials for the coming year. We will also be presenting a new project to begin in 2019-2020.

3. What is the role of the principal investigator (PI)?

The PI is in charge of preparing, conducting and directing the research project. This involves supervising methodological aspects, the work plan and the publication of the results 10. He or she also gives a series of research seminars 6 and may also act as a tutor for end-of -course assignments (ECAs) 9 related to the research projects.

4. What is the schedule and procedure for enrolling in research projects?

On 3 October 2019, PIs will present the ‘project map’ for 2019-2020 at a session which all members of the EQZE community are welcome to attend. This will mark the kick-off of the enrolment process, when students can apply to join the project of their choice. Working in consultation with students, a coordinating group from the research department and the EQZE's academic management department will create the different teams, based on students' preferences and motivations.

The first work meeting between the respective PIs and their teams is due to take place on 21 October.

5. Is it compulsory to take part in the research projects?

No. Participation in the research projects is voluntary. However, if you do join a project, you will be required to adhere to the terms of participation 6.

6. What are the conditions for participating in a research project?

Students who join a research team must agree to participate in the working areas coordinated by the PI and contribute to their development. Broadly speaking, students' responsibilities include:

⎯ Attending and participating in research seminars. These seminars are given by the PI of each project. Their purpose is to discuss the specialist literature, address any theoretical/practical problems related to the project and resolve any organisational and methodological issues involved in the fieldwork. ⎯ Fieldwork: theoretical or practical research performed by students on their own, with mentoring and advice from the PI. ⎯ Participating in producing the research results 10.

7. Can I be involved in more than one research project?

In order to ensure a balanced use of your time, we recommend that you only join one project team.

However, in exceptional cases, students may apply to be part-associated with a specific task related to another project, if they can give good grounds for their request (particular interest in a subject, specific knowledge, etc.).

8. I am studying Film Creation. Can I participate in a research project?

Students studying Archiving and Curating take priority when places in research projects are being allocated (6 students per project). However, in exceptional cases, and subject to availability, we may consider allowing Film Creation students to join as well.

9. What is the difference between a research project and the end-of course assignment (ECA)?

The group results of the research projects are defined by the PI and are independent of the ECAs all EQZE students have to submit at the end of the course (December 2020).

Nonetheless, if you wish, your proposed ECA may be partly or entirely related to some aspect of an EQZE research project. In such cases, you will receive mentoring and support from the respective PI, as well as all the logistical and methodological support of the research project.

Please note, however, that there is no obligation to link your ECA to the theme of a research project.

10. What outcomes do research projects generate?

One of the main goals of the EQZE's research projects is to disseminate the results achieved in each academic year to a wider public. The team of students will work with the PI on a variety of initiatives to give greater visibility to the project. These may be produced in a range of different media, formats and languages, and include creations, specialist and popular publications, public programmes, online content and exhibition projects, etc. These initiatives will be produced and published during Module 6 (August- December).

All publications and public programmes in any format arising out of EQZE research projects will include a specific acknowledgement of the contributions made by students in the work teams.

5. INTERNSHIP PROGRAMME

Use of Tabakalera's facilities helps expand the teaching potential of the EQZE. The school's partner institutions take an active role in the educational programme by passing on their experience and knowledge to students. As part of the centre's educational philosophy and by virtue of the physical conditions of the building itself, work experience positions are organically interwoven into the teaching plan, running in parallel with classes and affecting students gradually at different times. This means that from January to October, students will be spending differing lengths of time in work experience programmes. Work experience is mentored by highly qualified professionals.

Here are the answers to some frequently asked questions on the way our work experience programme is organised and how students can participate in it.

1. What does EQZE work experience consist of?

During the course, students at the EQZE can obtain around 100 hours work experience at the San Sebastian International Film Festival (SSIFF), the Basque Film Library and the Tabakalera Centre for Contemporary Culture.

The San Sebastian International Film Festival (SSIFF) is a non-specialist competitive festival which includes an official international competition and a series of different categories: New Directors, Latin Horizons, Zabaltegi – Tabakalera, Pearls, Culinary Cinema, Nest Film Students, Zinemira and Made in Spain. It also includes a classic and/or contemporary retrospective.

In order to create a platform of reference for European and Latin American cinema, the Industry Club organises a range of activities such as the Europe/Latin America Coproduction Forum and Cinema Under Construction.

Tabakalera provides a venue where different agents from the art world can formulate cultural projects and programmes from a wide range of different spheres. The Tabakalera cultural project is built around creation, formation through deliberation and exhibition in the area of contemporary creation and thought. Tabakalera works with both the general public and more specialist audiences, ensuring a constant process of self-reflection on its own programming work. The centre's main focuses are:

• Audiovisual and film programmes • Exhibitions of new contemporary art • Public programmes

• Mediation programme • An artist-in-residence programme and specific training for artists and curators, held in the Creators' Space • Hirikilabs, the citizen laboratory of digital culture and technology • Ubik, the creation library specialising in contemporary culture

The Basque Film Library was founded in 1978, when it became the first of the so-called ‘Regional Film Libraries’ in Spain. From the outset, its goal was to conduct research, recovery, archiving, conservation and dissemination of films and audiovisual material that were relevant to the study of film in general and Basque cinema in particular. It also collects and preserves documents and technical material of cultural or historical interest.

When the Film Library began operating, it had a total of 600 metres of film. Today, it has five million metres in film format and further seventeen million metres in video format. It also stores the collections of the San Sebastian International Film Festival, among others.

Since 1994, it has been a member of the International Federation of Film Archives (FIAF). As the only film archive in the Basque Country, it has become a major reference point for researchers, producers, distributors, broadcasters and students, etc.

2. What is the programme and procedure for assigning work experience positions?

In January 2020, at the start of the third module, each institution will present its work experience programme at a session to which all members of the EQZE community are invited. They will provide detailed information on the departments involved, the number of places, the length of each work experience and the work to be carried out by students.

This will kick off a registration process, where students can apply to participate in the programme. Students will be selected under the terms agreed between the EQZE and the institutions involved, following a suitable selection procedure, based on the number of places offered by each department. In allocating places, a variety of factors will be considered, including academic aspects, such as class attendance and grades in subjects that are specifically related to the work in question.

3. Is it compulsory to perform work experience in one of the three institutions?

No. It is not compulsory to perform work experience in any of the organisations. However, if you do take part in the scheme, you will be required to adhere to the terms of participation 6.

4. Can I do work experience in more than one institution?

A student can take up more than one work experience position, provided vacancies are available. Second positions will be allocated only after first work experience positions have been assigned 2among candidates.

5. Who is in charge of my work experience programme?

The person responsible for the work experience programme at the EQZE is the school's academic coordinator. The organisation where you carry out your work experience will assign an instructor who will have the following functions: • Supervising activities, guiding and monitoring progress of the work experience programme, in a relationship based on mutual respect and a commitment to learning. • Providing information on how the organisation is run and how it operates. • Providing any indispensable material required for the work experience. • Facilitating and encouraging students to come up with proposals on possible innovation, improvement and entrepreneurship.

6. What are the conditions for taking part in the work experience programme? Participants in the work experience programme must: • Carry out the educational project and diligently perform all activities agreed on with the collaborating organisation. • Start working at the organisation on the agreed date, complying with the working hours and respecting all internal operating, safety and occupational risk prevention rules. They must give as much notice as possible to instructors and the Academic Coordination Department if they are going to be absent for academic or other reasons. All absences must be authorised by the Academic Coordination Department.

• Inform the Academic Coordination Department of any incident occurring during the work experience and submit any reports that may be required. • Maintain confidentiality with regard to any of the organisation's internal information and professional secrecy regarding its activities, during and after the work experience.

7. Will I be paid for my work experience?

Students on work experience are not paid for their work, but they are covered by insurance against accidents and civil liability.

8. Are there any collaboration agreements in place for conducting work experience in other organisations?

In its first year, the EQZE has managed to set up collaboration agreements for work experience positions at the Portuguese Film Library and the Val del Omar Archive. The school is working to establish professional ties with other institutions and hopes to extend the possibilities for work experience in the future.

6. EQUIPMENT

GRABAKETARAKO MATERIALA SHOOTING MATERIAL MATERIAL RODAJE U.

Fotometroak / Fotómetros / Light meters FOTOMETRO SEKONIC L-858D SPEEDMASTER 1 FOTOMETRO SEKONIC L-478D LITEMASTER 4 Kamarak / Cámara / Cameras Aaton xtr 1 Arri 16 sr2 1 Bolex 16mm zoom 17-85/T2 1 Bolex 16mm optica fija 10 t1.4 25t1.9 75 t2.5 1 Bolex 16mm optica fija 10 t1.9 25 t1.4 75 t3.5 1 Super 8 canon 1014 xl-s Zoom 6.5-65mm 1 Super 8 Beaulieu 4008 zm 2 1 SONY PXW-FS5M2K 1 Sony XDCAM 1

SONY ALPHA 7S 2 BLACKMAGIC Pocket Cinema Camera 4K 2 SONY PXW-Z90 1 GoPro HERO 6 1 Optikak / Ópticas / Lens Illumina Prime s16 9,5/ 12/ 16/ 25/ 50mm set Carl Zeiss Compact Prime CP-2 15/21/35/50/85mm set SONY FE 24-240/3.5-6.3 OSS 2 SONY FE PZ 28-135MM F4 1 PANASONIC G VARIO 12-60/3.5-5.6 ASPH 2 Moldagailuak / Adaptadores / Adaptors Adaptadores METABONES PL-mount to SONY E-mount T 3 Adaptador METABONES PL-mount PRO to MFT 2 Kamara osagarriak / Accesorios Cámara / Camera accesories TILTA Dual-sided Cine Follow Focus 1 TILTA Single-sided DSLR Follow Focus 2 TILTA Camera Cage for Sony FS5 + V mount 1 TILTA Camera Cage for Sony a7S + Wooden Handle with r/s 2 TILTA Camera Cage for Blackmagic Pocket 2 TILTA 4x5.5.65 Carbon Fiber Matte Box Swing- away 1 TILTA 4x5.65 Carbon Fiber Matte Box Clamp-on 2 Filtroak / Filtros / Filters 4 x 5.6 Tiffen NEUTROS TOTALES 0.3/0.6/0.9 2 Tiffen POLARIZADOR 2 Tiffen 85 2 Tiffen 81 EF 2 Filtroak / Filtros / Filters 4 x 4 Tiffen NEUTROS IR 0.3/0.6/0.9/1.2 1 Tiffen clear 1 Tiffen 85 1 Monitoreak / Monitores / Monitors smallHD focus monit. Sony NPF battery eliminator 2 SmallHD Focus Monitor Blackmagic battery Bundle 2 Full HD 13-inch LCD Monitor 1 Atomos shogun inferno 1 Kamera euskarriak / Soportes de cámara / Camera supports

Tripode Sachtler video 25 plus CF (cabeza y cangrejo plano) 2 Cartoni cabeza fluida+ 2 trípode+ Duch head 1 BENRO KH-25 Trípode para cámaras ligeras 4 Barras de 15m 8 flyweight DSLR shoulder rig 2 Dovetail & bridge plate 19mm 2 Barras 19mm 4 Argiztapena / Iluminación / Lighting LASTOLITE 5 en 1 1 LASTOLITE KIT SKYLITE 2x2 1 Fresnel 650w +Dimmer 3 NANGUANG LED 30x30 2 NANGUANG LED 30x40 2 Memoria txartelak / Tarjetas de memoria / Memory cards Tarjetas 128 G 11 tarjetas 64 G 7 tarjetas 16 G 5 c-fast 512 G 2 Lector de tarjeta 5 Lector de tarjeta cfast 2 Soinu eramangarria / Sonido portátil / Portable Sound Sound devices 744T Grabadora portátil 1 Sound devices MIX-pre 3 Grabadora portátil 3 Zoom F4 Bag Bundle Grabadora portátil 2 Zoom H4n Pro Grabadora portátil 2 Zoom H2n Grabadora portátil 1 Mikrofonoak / Microfonía / Microphones Schoeps CMC-64 Stereo Set 1 Sennheiser MKH 8040 stereo pair 1 Rode NTG3 -B (precision shotgun) 1 Rode NT2-A (studio) 2 Rode NTG3 (shotgun) 3 Rode NT 5 (omnidirectional-matched pair) 1 Shure sm58 (vocal) 2 Aquarian Audio (hydrophone) 2 Sennheiser EW 112-P G3 (ng set) 2

Rode ntr Ribon (studio) 1 AKG contact mic 2 Audio-Technica BP 4025 (stereo) 1 DPA SC4060 (Omni) 1 Soinurako osagarriak / Accesorios sonido / Sound accesories Zoom H4 windshield 2 Rode Blimp MkII 3 Rycote Baby Ball Gag 25mm wind Screen 4 Rycote Baby Ball Gag 21 MM wind screen 4 Rode DeadWombat 4 Sennheiser HD-25 headphone 10 Rode Boompole Pro 4 Table mic stand 3 Studio mic stand 3 XLR 10

GELETAKO MATERIALA / MATERIAL AULAS / CLASSROOM MATERIAL U. lab 01- Laborategi hezea/ Laboratorio húmedo / Wet lab Baño calentador liquidos 1 Quimicos para procesado d-19,d-47, ECN, ECP polvo kit tetenal C41/ 2,5L 4 Tanques procesado 35mm (Fotografia) 3 Tanques procesado 16mm (LOMO) 3 Guantes nitrilo Guantes latex Secadora pelicula manual/ 15/30 m 2 Vaso precipitado 10/50/100/600/1L/2L 1 Temporizador mecanico 6 Bandejas 4 Bandeja transporte quimicos 2 Cubeta antiácido 2 Jarra de mezclas 4 Pinzas secado 4 Bascula precision 1 Mezcladora 1

Mascaras 8 termometro precision 1 lab 02 - Laborategi lehorra / Laboratorio seco / Dry lab Escáner de película gate 8 /16/9,5mm +soundhead 1 Brazos de rebobinado vertical. 1 Brazos de rebobinado vertical pequeño formato 1 Empalmadora 35mm cemento caliente. 1 Empalmadora 35mm cemento frías 2 Empalmadora 35mm celo 3 Empalmadora 16mm cemento caliente. 1 Empalmadora 16mm cemento frías 1 Medidor de contracción de película 1 Mesas de rebobinado horizontal. 8 Bobinas desmontables diferentes formatos 7 Sincronizadores 35mm 2 Sincronizadores 16mm 3 Brazos verticales para varias bobinas 1 Empalmadora 16mm celo 3 Material magnetikoaren erreproduzitzaileak / Reproductores de material magnético / Magnetic media players Monitor 1 Reproductor de VHS-s 1 Reproductor de Betacam SP 1 Reproductor U-Matic 1 Reproductor DVDCAM 1 Reproductor H8 1 Cramer selector 1 lab 03- Proiekzio gela / Sala Proyección / Screening room Moviola 35mm horizontal 1 Moviola 16mm horizontal 1 Proyector eiki 16mm 2 Proyector euming s8 2 Proyector de cine 35mm Kinoton FP30D 1 Proyector 16mm HL 3000 fumeo 1 Procesador sonido DOLBY CP-500 1 Proyector Láser 1 Chip DLP. / PT-RZ570BEJ 1 Proyector Digital NEC NC900C 1 60

Loop de 16mm película de 25' 1 Loop de 16mm Capacidad 15´, para proyectores EIKI 1 aula 03 - Edizio gela / Sala edición / Editing room Estaciones edicion 7 Reproductor CD-Tape Tascam AF80 1 Repoductor vinilo Reloop pr8000s 1 Mixer 12 canales VLZ4 1 Software Film fabrick Phoenix finish Davinci resolve Black magic design Tablet wacom Adobe creative cloud Office 365 full Quictime Winrar Vlc Media Info Antivirus kaspertsky Dcp omatic Fixity Subtitle edit Izotope Avid protools Filemaker Skype