September 6th
- Panel / Learning by doing
- Panel / Teaching Acting for Camera collaboratively
- Conference / Teaching contemporary filmmaking: new perception of reality and the context of virtuality.
- Conference / Constructive pedagogy methods in the teaching of film editors
- Panel / The transition from film school to professional filmmakin
2.30 pm / LECTURERS:
Mal Rempen dBs / Tamas Kollanyi SZFE / Miguel Urria TAI / Yago Alcover ESCAC / Martin Hagemann FUBKW / Domenico Zazzara ACT
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Film isn’t studied, it’s learned: a discussion to share information between schools on how to spark learning in the students.
3.30 pm / LECTURERS:
Anna Sullivan and Ted Wilkers from RUL / Adam Donald dBs / Łukasz Barczyk LFS
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Delivering a diverse curriculum from a multi-disciplinary methodology, tthis panel gives the opportunity to share different approach of teaching Acting for Camera.
5.00 pm / LECTURER:
Olessya Stroeva GITR, RU
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Whereas technologies of the past just extended the human capacities of sight and representation, contemporary technologies involve the emergence of the “new anthropology” which changes the perception of one’s own body. The response of visual artists is to invent new visual means, such as immersive art – VR and AR installations.
5.45 pm / LECTURER:
Tamas Kollanyi – SZFE HU
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While nowadays most of the art teachers and professors use constructivist learning principles in their work, methodical application of the theory to every practical aspect of everyday teaching is still rare to the best of my knowledge. Educators tend to stick to traditional methods here and there, even when they are proven to be less effective. One of the key principles of the constructivist approach is putting your students cognitive processes first. Doing this can not only bring small changes to the classroom work, but also rise bigger questions about the structure of the curriculum, the type and order of tasks, and can even lead to the questioning of a school’s rating system.
6.30 pm / LECTURERS:
Kenneth Sloane DIT / Jeno Hodi BFA / Iosif Katona FTF UBB / Martin Hagemann FUBKW / Miguel Urria TAI
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The academic and industrial arenas can often maintain their own detached and distinct cultures of practice. This has traditionally been conspicuously true in the case of the film studies discipline, where students, often educated with a highly theoretical or artistic focus, find the transition to a practical and team-based production environment a traumatic experience.
September 7th
2.30 pm / LECTURER:
Łukasz Barczyk – LFS, PL
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Making a film is a very personal process. Especially for a student of the film school. This is an initiation step, and a role of a tutor is extremely difficult. Teaching a film is about vibrating with a student then real teaching. The personal contact is crucial. We need to understand the student, then hear his/her first ideas,and step by step help him/her to evoke the full story and then the full cinematic form.
3.15 pm / LECTURERS:
Emiliano Galigani ACT / Miguel Urria TAI / Olessya Stroeva GITR / Lorcan Dunne DIT/ Ted Wilkers RUL
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A painter learns by copying what other painters realized before. A musician or a writer do the same. Why the teaching methods of cinema are so different from those of other arts? How is it possible to teach objective matters in a subjective and multidisciplinary art like Cinema?
4.45 pm / LECTURER:
Rian Brown Orso – OBERLIN, USA
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Animation and experimental film forms have unlimited artistic possibilities. Teaching non-fiction animation allows for students to create documentary films that dive into sensitive personal and political topics, such as interviewing a migrant worker, or someone who is seeking asylum, a minor, or a person who can not for some reason speak openly and freely without risk, allowing for them express their concerns but not be visually identifiable. How can teaching animation encourage film students to take artistic risks and to address urgent global issues? Animation and experimental forms broaden the range of storytelling possibilities.
5.30 pm / LECTURER:
Tedd Wilkers – RUL, UK
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Ted Wilkes explores beyond the first ten pages, past the inciting incident, through the traditional Act 2 and into the Mid-Point. In this session you will understand how you can leverage the Keystone Scene in your narrative to reveal what your story is REALLY all about.
6.15 pm / LECTURERS:
Elie Yazbek IESAV/ Nadine Trigo UFP / Anna Moriagrega ESCAC / Iosif Katona FTF UBB/ Mats Dahlman MOLKOMS
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A round table about the integration of international students in cinema teaching. The production of co-directed projects involving schools from different countries.
September 8th