programma generico_Tavola disegno 1
  • Tavaha  /   VIA University College – DENMARK
  • You & I  /  Dundalk Institute of Technology – IRELAND
  • Dust like Raisins  /   Kenyon College – USA
  • Familia  +  Let me create a moon  /  Oberlin College – USA
  • The French Revolution  /  The Maalhe School of Film & Television ISRAEL
  • The bed of procustes  /  Babes Bolyai – ROMANIA
  • Borders Kill  /  Film University Babelsberg Konrad Wolf – GERMANY
  • Masza  /  Warsaw Film School – POLAND
  • Hidden  /  GITR Film & television School – RUSSIA
  • Gusano de seda  /  ESCAC – SPAIN
  • Los ninos Lobos  /  Escuela Internacional de Cyne y TV – CUBA
  • Scroll Catalyst Institute of Creative Arts and Technology – GERMANY
  • The Knot  /  Universidade Lusofona – PORTUGAL
  • Seven Tolls  /  Molkoms Folkhogskola – SWEDEN
  • Moksha  /  Regent’s University – UK
  • Solo una mas Metropolis Escuela de Cyne y Teatro – SPAIN
  • Memorie  /  Accademia Cinema Toscana – ITALY
The speed meetings last five minutes each and are organized in pairs.
Each day all attendees will have the opportunity to have short, informal conversations in a private space.
  • ORGANIZATIONAL RESILIENCE   /   How are the film schools facing this Pandemic situation? The difficulty of this new challange and how are the schools reorganizing courses and teaching moments.
  • AUDIENCE & CREATION   /   Differentiation between Q and q, the first is the quality perceived by the viewer of a product and the second is the one perceived by professionals. Can we create with students a work process aimed at optimizing the quality perceived by the viewer in their creations?
  • INTERNATIONAL PROGRAM EXCHANGE   /   How do schools deal with exchange programmes? Pros and cons. Organizations models. What opportunities can cultural exchanges bring to students and to professors? Experiences and opinions.
  • #MEETOO AND EDUCATIONAL   /   How is the #metoo movement affecting film education at present? Has it been a temporary fashion or it is really changing the way film industry is evolving?
  • LIVING A PANDEMIC WORLD   /   How does the future of cinema change in this pandemic? The challenge that professionals have to face in order to make a film in this period and how to manage the coexistence between cinema and online platform.
  • ONLINE OBSTACLES AND OPPORTUNITIES   /   The online teaching method is becoming the new normal. How can we take advantage of this method, what are the obstacles we encounter and how can we overcome them?
  • DOCUMENTARY TEACHING   /   Compare different methods of documentary teaching.
  • ONLINE PRACTICAL FILMMAKING   /   How can practical courses come to life in an online teaching method? How is this type of teaching changing in this period? Examples and best practices.
  • STUDENT AND CREATIVITY   /   Making movies with students: more than ever they will enter a demanding labour market, for which we should be able to best prepare them by equipping them with skills in various facets of the industry. How can we be able to teach effectively in a world where simple competence in one aspect is often not enough?
  • FILMING THE UNFILMABLE   /   Students have a lot of difficulty trying to put across the emotional, spiritual and mental world of their characters. How to help them achieve this?
  • ADAPT EDU TO BE ATTRACTIVE   /   Teaching in this period is becoming difficult as the attention of students is not constant. How can we solve this problem? Are teamworks the solution? How can we adapt the educational program to be attractive, interactive and engaging?

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