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   Time                 MONDAY 3                          TUESDAY 4                       WEDNESDAY 5                   THURSDAY 6                  FRIDAY 7                  SATURDAY 8

                                                         Conference 4
                                                                                                                                              General Assembly 4
                 Presentation of the Hosts                                                  Chinese Film
                                                                                                                                                     Reports
09.00-10.30                                              Writer/Director                 and Globalization                                                                      Regions
                                                                                                                                                New Technologies
                 Walk Through Programme                         or                          Prof. Xie Fei
                                                                                                                                                 Lessons in Film
                                                         Writer+Director

10.30-11.00                Break                              Break                             Break                                                 Break                      Break

                      Conference 1                       Conference 5                   General Assembly 1
                                                                                                                                              General Assembly 5
                                                                                       Quorum Voting Rights
                                                                                      Admission New Members              Excursion                   Reports
11.00-12.30   New Ways of Distributing Audio-               Animation                   Reports of Executive                                                               Contributed Papers
                                                                                                                                                      Rivers
                     visual Content                                                     Approval of Reports
                                                  Reconciling Students’ Desires
                                                                                                                         Great Wall                 Digital Film
                                                 with the Demands of the Market             CILECT Prize
12.30-14.00               Lunch                       Lunch / Visit Cinelabs                    Lunch                                                 Lunch                      Lunch
                                                                                                                       Summer Palace

                                                                                        General Assembly 2
                      Conference 2                       Conference 6
                                                                                                                     Beijing Duck Dinner
                                                                                          Statute Changes
14.00-15.30                                                                                                                                          Regions               Contributed Papers
                                                                                    Vote on Proposal for Change
              New Approaches to Documentary            Bridge Programmes
                                                                                             of Statutes


15.30-16.00               Break                              Break                             Break                                                  Break                16.00-16.30 Break


                                                                                        General Assembly 3                                    General Assembly 6
                      Conference 3                       Conference 7
                                                                                     Election of President, VP Fi-                                 New projects
16.00-17.30
                                                                                       nance and Fundraising,
                                                                                                                                           Vote on Activities and Budget
              How Do We Teach New Formats          Approaches to TV Curricula
                                                                                    VP Publications and Research                               Biennium 2008-2010


                          Dinner                             Dinner                 18:30 KODAK Presentation
   18.00
                 Friendship Hotel at 19.00                                          and Dinner (BFA Building C)
                                                                                                                                                      Dinner                 Closing Dinner
              Screenings CILECT Prize Nominees   Screenings CILECT Prize Nominees
   21.00
                  and Winners 2007 and 2008          and Winners 2007 and 2008




                                                    3/151
                                   MONDAY
                                        Inaugural Session

9:00 – 10:30
                                        Welcome
                                        Professor Zhang Hui-Jun is President, B.F.A.
                                        He is a distinguished Director of Photography, a member of the
                                        Member of the Eleventh Chinese People's Political Consultative
                                        Conference, and serves on the CPPCC Committee for Educa-
                                        tion, Science, Culture, Health and Sports. He is Director of the
                                        Department of Higher Education of the China Association of
                                        Photographers, Deputy Chairman of the Beijing Film and TV
                                        Artists Association, Deputy Director of China Society for the
                                        Promotion of Art Education, Council member of China Film As-
                                        sociation, and Supervisor and Professor at Peking University's
                                        Academy of Chinese Culture. He is a Member of the Standing
                                        Committee of China Society of Motion Picture and Television
                                        Engineers, and a member of the Sub-Committee for Education
                                        and Supervision of Master of Fine Arts of the Degree, Commit-
                                        tee of the State Council and the Ministry of Education.


                                          Caterina D‟Amico, President of CILECT


                                                 A Walk Through the programme




10:30-11:00    Break



11:00-12:30    Panel 1: New Ways of Distributing Audio Visual Content


               Until recently, ―audiovisual content‖ meant films and television programmes, and distri-
               bution meant sending reels of films to theatres where they would be projected for audi-
               ences, or broadcasting programmes over the air, by public or private entities, within na-
               tional boundaries. Beginning with videocassettes and cable television, the paradigm
               evolved to include DVD‘s, satellite broadcasting, video-on-demand, digital projection,
               high-definition, ―mobisodes,‖ broadband downloading, and other technologies still not
               clearly defined. This has been intensely disruptive to established patterns of training, not
               to mention the ecology, economics, and art of what we used to call film and television.
               The quandary is how to adjust our curricula to the New Ways of Distributing Audio-
               visual Content.




                                                 4/151
MONDAY
 Nenad Puhovski, chair, is a Professor and former Vice-Dean at
 ADU in Zagreb, Croatia, and Chair of CILECT's Standing Com-
 mittee on Technology. He has directed over 150 professional
 productions in theater, film and television. Many of his docu-
 mentary films deal with social problems and fine arts, and they
 have been screened and honored at festivals worldwide. In
 1997, he founded FACTUM, now the largest and most influen-
 tial independent documentary film producer in Croatia. In 2004,
 he founded ZagrebDox, the largest major documentary festival
 in the region, and he continues as its director. He is a member
 of European Film Academy.


 Brigid Maher is an assistant professor and head of the New
 Media concentration in the School of Communication at Ameri-
 can University. Her scholarship focuses on the interplay be-
 tween traditional film and new media theories. She is also an
 award winning filmmaker in both narrative and documentary.
 Her films have shown in film festivals in the U.S. and abroad,
 and her latest documentary, Veiled Voices, focuses on Muslim
 women religious leaders.




 Peter Hort is Director of the BA course in Film & Television
 Production at the University of Westminster. He worked in the
 film and television industry for 20 years, initially as a production
 manager and then as an editor. He ran an independent produc-
 tion company for ten years, co-producing TV drama and docu-
 mentaries with European partners.


 Wangtae Lim is Dean, School of Arts, and Professor, Film Art
 Department at DIMA, The Dong-Ah Institute of Media and Arts
 in Seoul, Korea. He was educated at Soongsil University in Ko-
 rea, and he earned an MA in English and American Literature
 from the University of Wisconsin and a Master of Fine Arts in
 Directing from the California Institute of the Arts.




 Angel Blasco is Founder-Director of Escuela de Artes Visuales
 in Madrid, where he teaches script writing. He also teaches Film
 Directing at Centro Universitario Villanueva, of Universidad
 Complutense, in Madrid. He has a 30 years background in the-
 atrical exhibition, Video/DVD, Video on Demand, EST, and oth-
 er new media platforms). Currently, he heads the Film Area at
 Telefonica, dealing with digital platforms in all territories where
 Telefonica is present. He has written several screenplays, pro-
 duced four movies and directed two of them.




        5/151
                                 MONDAY

12:30-14:00                           Lunch




14:00-15:30   Panel 2: New Approaches to Documentary


              Documentary was once the stepchild of the cinema, kept in the background while its
              glamorous fictional sister attracted most of the attention. Certain important developments
              of the past such as Cinema Vérité were enabled by new technologies, but in the opinion
              of many, the documentary tradition suffered from too close a connection to news report-
              age, and excessive reliance on archival compilation and the didactic. Over the past few
              years, however, formal experimentation has broadened the genre to include a great va-
              riety of new approaches, some of which have blurred the borders between fact and fic-
              tion. Increasingly versatile video production has contributed to further changes in docu-
              mentary storytelling, both by reducing costs and enabling the use of advanced digital
              technologies. There is no single paradigm of documentary, and schools are in the midst
              of grappling with the quandary of developing New Approaches to Documentary.




                                      Chair: Henry Breitrose, CILECT Vice-president for Publications
                                      and Professor of Communication Emeritus, Stanford University.




                                      Kristine Samuelson is chair of the Department of Art and Art
                                      History and Director of the Film and Media Studies programme
                                      at Stanford University. Her works have been broadcast and
                                      shown at many festivals, including Sundance, New York, Mann-
                                      heim Film Festival, Montecatini, Ann Arbor, San Francisco
                                      (Special Jury Prize), Athens (Best of Category), Charlotte (Best
                                      Experimental Documentary), Florida (Grand Jury Prize), Savan-
                                      nah (Best Documentary), Mostra Curta Cinema Brazil, and
                                      Margaret Mead Film Festival. She was nominated for an Acad-
                                      emy Award.


                                      Juan Mora teaches at the Centro de Capacitación Cinemato-
                                      gráfica and the Centro Universitario de Estudios Cinematográfi-
                                      cos in Mexico City. He holds an M.F.A. degree "summa cum
                                      laude" from FAMU, in Prague. He has directed, written, and
                                      edited film and video documentaries, features and commercials
                                      since 1967. He won the "Great Special Jury Award‖ at the VII
                                      Latin-American Film Festival in Trieste for the feature film "Re-
                                      turn to Aztlan, and Mexican Film Academy Awards for best edit-
                                      ing and best screenplay, a Guggenheim Fellowship and a grant
                                      from John D. and Catherine T. Macarthur Foundation..




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                      MONDAY
                       Carole Desbarats is Head of Studies at the French National
                       Film School, La Fémis. Previously, she taught film analysis at
                       the Ecole Supérieure de l'Audio Visuel (E.S.A.V.) at the Univer-
                       sity of Toulouse. At La Fémis she is in charge of programmes
                       and teachers. She has written about Rohmer, Godard, Egoyan,
                       Del Toro, Eastwood, documentary, violence on screen and how
                       cinema represents childhood. At this time, she is preparing a
                       book about child characters in cinema.




                       Ben Tsiang is the CEO of the CNEX Foundation and co-
                       founder of SINANET.com. He established CNEX, a social en-
                       terprise for innovative documentary making for Chinese society.
                       He was Vice President of Global products, and General Manag-
                       er and Executive Vice-president of Product Development of
                       SINA Taiwan, and General Manager of SINA Mobile China. In
                       2007, he established CNEX, a social enterprise for innovative
                       documentary making for Chinese society which strives to facili-
                       tate cultural exchange between Chinese and the rest of the
                       world through supporting documentaries depicting contempo-
                       rary Chinese and people of Chinese ethnicity, the way they live
                       and their society. He graduated from National Taiwan University
                       and received a master's degree from Stanford University.




15:30-16:00   Break




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                                        MONDAY

16:00-17:30                                  Panel 3: How Do We Teach New Formats?
Youtube, its imitators, and advanced mobile phones have introduced new words to our vocabulary, such as
webisodes and mobisodes, and have challenged our traditional ideas of narrative and visual language. The
Aristotelian logic of beginning, middle, and end is difficult to squeeze into the very brief time available, and
cinematic visual spectacle doesn‘t play well on the very small screen. But these and other formats are an
important part of the audiovisual environment, and schools are faced with the quandary, How Do We Teach
New Formats?


                                             Chair, Caterina D‟Amico, President of CILECT, former Director
                                             and currently teacher at the Centro Sperimentale di Cinemato-
                                             grafia, Rome.



                                               Silvio Fischbein is Undersecretary for Institutional Planning
                                               of Buenos Aires University and professor of Cinema at the
                                               University of Buenos Aires and the National University. He
                                               has made over forty short movies and five feature films, and
                                               participated in numerous juries and seminars in Europe, USA
                                               and Latin America. He was director of audiovisual studies of
                                               The University of Buenos Aires (1998 – 2006), and is the cre-
                                               ator of the Audiovisual Factory, an academic event dedicated
                                               to reflection on audiovisual education.



                                               Elizabeth Daley is Dean of the USC School of Cinema-
                                               Television and the inaugural holder of the Steven J.
                                               Ross/Time Warner Dean‘s Chair. Before coming to USC in
                                               1989, she served as director of the film and television subsid-
                                               iary of the Mark Taper Forum, and prior to that was a produc-
                                               er for MGM/Television. She has also been an independent
                                               producer and media consultant, and serves on the boards of
                                               directors of the Center for Governmental Studies, the Benton
                                               Foundation, the Digital Coast Round Table, and AVID Tech-
                                               nologies, as well as the Board of Governors of Operation
                                               Smile.



                                             Li Wei is a Lecturer in the Department of Cinematography, Bei-
                                             jing Film Academy. He has taught at Ngee Ann Polytechnic in
                                             Singapore, and trained for in Bilingual Teaching Skills in RMIT
                                             University, Melbourne. He now is teaching Cinematography for
                                             Feature Film in the Department of Cinematography, BFA, and is
                                             studying for the doctoral degree in Film Study at BFA, while
                                             maintaining an active professional life as a Director of Photog-
                                             raphy. His work has won awards at Cannes and the Shanghai
                                             Film Festivals.



19:00                                        Inaugural Banquet
                                             Friendship Hotel




21:00               Screenings of 2007 and 2008 CILECT Prize Winners
                    Friendship Hotel




                                                    8/151
                                      TUESDAY

9:00-10:30         Panel 4- Writer/Director or Writer AND Director


In January, 1954, Francois Truffaut's article, "Une Certain Tendance du Cinéma Français," appeared in
the CAHIERS DU CINEMA, and ignited the explosion of the French New Wave. He resurrected Alexan-
dre Astruc's concept of the camera-stylo, cinema as an author's pen, and launched the Politique des
Auteurs, which made the case for a director-driven cinema. By 1968, wars were being fought in film
schools between the students, who were inspired by the idea of artistic autonomy, and the faculty, who
saw film making as a collaborative art. While no one questions the role of the producer in making a film,
after 40 years, the debate continues, and schools are still in a quandary about whether to teach
Writer/Directors or Writers AND Directors


                                        Chair: Stanislav Semerdjiev is Rector of NATFA, Sofia, and
                                        Vice-President for Conferences and Festivals of CILECT.




                                        Renen Schorr founded the Sam Spiegel Film and Television
                                        School, Jerusalem. His feature Late Summer Blues (1987) won
                                        the Israeli Oscar for Best Film of the Year. He was the execu-
                                        tive producer of the award-winning films Miss Entebbe ,James‟
                                        Journey to Jerusalem, and the television series ―Voices from
                                        The Heartland.” Hedirected and co-produced The Loners, to be
                                        released in 2008. Schorr was president of GEECT, (2000-
                                        2004).


                                        Deszo Magyar is the Artistic Director of the Dodge College of
                                        Film and Media Arts at Chapman University. Following a distin-
                                        guished independent filmmaking career in his native Hungary,
                                        then in the United States, he became the Artistic Director of the
                                        American Film Institute‘s Conservatory, and the Canadian Film
                                        Center. His former students include Todd Field, Darren Aronof-
                                        sky, Steven Shainberg, Andrea Arnold, Donald Petrie, and Vin-
                                        cenzo Natali.




                                        Bert Beyens is head of RITS in Brussels. In 2003 he was nom-
                                        inated for the Flemish Film Culture Prize for his work there. He
                                        is an active filmmaker, best known for his film Jan Cox A Paint-
                                        er‘s Odyssey, which was named Best Biography at the Interna-
                                        tional Festival for Film on Art, Montreal 1989. He graduated
                                        from RITS and did post-graduate training at the American Film
                                        Institute, the Actor‘s Studio, and with Syd Field in Los Angeles.


10:30-11:00                             Break




                                                   9/151
                                      TUESDAY
11:00-12:30        Panel 5- Animation: Reconciling Expectations with Market Demands.


There is a gap between student expectations and the realities of the market, especially in animation.
Industry demands skills and training in fundamental areas like color theory or animation drawing skills,
but many students assume that digital software can do this for them. As ever, the young are impatient
and want to become producers and directors without the apprenticeship of on-the-job training. They tend
to assume that what is taught film school is sufficient to immediately put them at the top of the industry
hierarchy. They expect good salaries, but their skills may not be sufficient to justify their expectations.
This seems to be another manifestation of the eternal quandary of reconciling student expecta-
tions and the impatience of the young with the realities of the market.


                                         Chair: Victor Valbuena, Director, School of Technology for
                                         the Arts, Republic Polytechnic, Singapore, CILECT Vice-
                                         President for Training and Development (2006-2010) and Vice-
                                         Chair, CILECT Asia Pacific (CAPA).




                                         RAMATU MUSTAPHA DADZIE teaches Animation at the Na-
                                         tional Film and Television Institute in Accra, and is Head of the
                                         Design Department and a member of the Curriculum Develop-
                                         ment Committee. She studied Film and Television Production,
                                         and specialized in Graphics and Animation. At NAFTI, and the
                                         Deutsche Welle Television Training Centre, in Berlin. In 2006
                                         she was awarded a Masters Degree in Media-Animation, from
                                         the University of West of England, UK.




                                         Tatiana Nikolaevna Storchak is the Vice-Rector for Interna-
                                         tional Affairs of VGIK in Moscow. She began her career as
                                         Deputy Head, International Department State Committee for
                                         Cinematography (Goskino), and Deputy Head, International
                                         Service Goskino USSR. She also represented Sovexportfilm in
                                         Africa. Dr Storchak has published works on various aspects of
                                         international cooperation in cinema & TV, and film production in
                                         developing countries.



                                         Albert Lim Song Lian is Deputy Director (Projects) in the
                                         School of Interactive & Digital Media., Nanyang Polytechnic,
                                         Singapore, where he specializes in digital media education. He
                                         was involved in the development of Diploma in Digital Media
                                         Design, Diploma in Digital Entertainment Technology, and
                                         Computer Animation Specialist Program. He was a member of
                                         the International Resource Committee of SIGGRAPH 2004
                                         conference in Los Angeles.




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                                       TUESDAY
12:30-14:00
                                          Lunch




14:00-15:30         Panel 6 - Bridge Programmes


When does the school‘s responsibility for a student begin and when does it end? Upon graduation, or
when the student is launched into "the industry"? Some schools take no responsibility, regarding their
graduates much as an art academy does a painter or sculptor. Other schools organize elaborate fea-
ture-length productions for graduating students, or arrange internships with production companies, much
as medical schools do with hospitals. There are a wide array of alternatives, and some serious ques-
tions about whether life after film school should be none of the school‘s business, or what level of sup-
port is appropriate in the context of national and regional tradition and priorities.. But increasingly, it is
not so much the matter of whether to create a transition, but the quandary of when and how to build
the bridge between school and industry.


                                          Chair: Don Zirpola is Professor and Director of International
                                          Studies, School of Film, Loyola-Marymount University; Vice-
                                          President for Finance, CILECT




                                          Caterina D‟Amico is former Dean, Centro Sperimentale di
                                          Cinemat, Rome, Chief Executive Officer, RAI-Cinema, Presi-
                                          dent of CILECT




                                          Teri Schwartz is the inaugural Dean of LMU|School of Film
                                          and Television. She brings a rich history of producing award-
                                          winning feature films and deep connections throughout the en-
                                          tertainment and emerging media industries. With a robust cur-
                                          riculum, signature initiatives, distinguished mentors and festival
                                          programs connecting SFTV students to the global media indus-
                                          try, the school‘s vision is to serve as a premier center for mas-
                                          ter visual storytelling grounded in humanism, innovation and
                                          diversity. Dean Schwartz is passionate about film education as
                                          a powerful means to developing a new voice for the next gen-
                                          eration of industry and creative leaders throughout the world.




                                                    11/151
                                TUESDAY

                                   Mario Santos is Vice Rector of Universidad del Cine in Buenos
                                   Aires, where he is in charge of production and the school‘s fi-
                                   nancial affairs. He is a graduate of the Faculty of Architecture,
                                   Design and Urbanism, of the University of Buenos Aires, and
                                   holds an MBA degree from the IAE Business School, Univer-
                                   sidad Austral, Buenos Aires. He was the Executive Producer of
                                   five feature films: ―Mala época‖, ―Sólo por hoy‖, ―Mercano el
                                   marciano‖, ―Vísperas‖ and ―Fantasma de Buenos Aires‖.




15:30-16:00                        Break


16:00-17:30                        Panel 7: Approaches to Television Curricula


              In the era of digital convergence, television, like film, is undergoing
              immense       transition. Economics       and     technology     are   driving    the
              changes, and they challenge traditional programming and program genres. Shortage
              of spectrum space no longer limits the number of channels, commercial broadcast-
              ing, whether advertiser-supported or subscription based, is becoming the norm, Sat-
              ellite transmission makes national borders irrelevant in parts of the world, and new
              programme formats erode the primacy of fictional series. Given the complexity of the
              new television, especially its relation to theatre and cinema, and the challenges
              posed by digital media, the quandary is how should schools approach the TV
              Curriculum?


                                   Chair: Maria Dora Mourão is a Professor in the School of Film
                                   and Television at the University of São Paulo and Chair of
                                   CIBA, CILECT‘s Ibero-American regional association.




                                     Esther Hamburger is Chair of the Department of Film, Radio
                                     and Television at the University of São Paulo and Professor
                                     of History and Theory of Film and Television. With a back-
                                     ground in social anthropology (Ph.D., University of Chicago,
                                     1999), she has emerged as one of the leading television
                                     scholars, conducting original primary research in Brazil. She
                                     has published widely. Her book O Brasil atenado is a study
                                     of the Brazilian telenovela, and her current research focuses
                                     on representations of race, poverty, modes of exhibition, and
                                     viewer response in contemporary Brazilian cinema.




                                            12/151
                        TUESDAY
                            Ifeyinwa Uzodinma is Rector, NTA Television College, Jos,
                            Nigeria. She holds a degree in Mass Communication and a
                            Masters degree in Public Relations from the University of Ni-
                            geria, Nsukka. She has held many positions of responsibility
                            in the Nigerian Television Authority, including Director of
                            Training and Capacity Building, and Zonal Director of the
                            NTA Enugu Network Production Centre. She is a member of
                            the Institute of Public Relations and various media women
                            organizations



                            He Suliu is the deputy dean and PhD student supervisor at
                            the School of Television & Journalism Studies, Communica-
                            tion University of China in Beijing. His major research inter-
                            ests include documentary studies and political communica-
                            tion.


18:00                     Dinner, Tairyo Restaurant, Teppanyaki Buffet




21:00   Screenings of 2007 and 2008 CILECT Prize Winners – Friendship Hotel




                                   13/151
                WEDNESDAY
                 Keynote Address
                 Chinese Films in the Context of Globalization


9:00-10:30       Xie Fei is Professor of Directing at the Beijing Film Academy,
                 and Honorary President of the BFA‘s International Student Film
                 and Video Festival. In addition to an influential career as a
                 teacher, he is one of China‘s most distinguished film directors.
                 His films have earned numerous national and international
                 awards, including a Don Quixote Award from the San Sebastian
                 Film Festival, a Golden Panda from the Montpellier Film Festi-
                 val, and Silver Bear and Golden Bear Awards from the Berlin
                 Film Festival, among many others.




10:30-11:00      Break




11:00-12:30      General Assembly 1
                         Quorum and Voting Rights
                         Admission of New Members
                         Reports of the Executive
                         Approval of Reports
                         Presentation of the CILECT Prize

12:30-14:00      Lunch




14:00-15:30      General Assembly 2
                         Statute changes – Presentations and Discussion
                         Statute changes – Vote on change of statutes



15:30-16:00      Break




16:00 – 17:30    General Assembly 3
                         Election of President, VP for Finance and Fundraising,
                          VP for Publication and Research




                          14/151
        WEDNESDAY
18:30    Kodak Presentation and Dinner
         Beijing Film Academy




                 15/151
              THURSDAY
                   Excursion to the Summer Palace and the Great Wall
                           Depart from Friendship Hotel. Time TBA


                                 A note about the Great Wall

               It is believed that China began to build the Great Wall during its
               Spring and Autumn Periods, when the country was in great
               chaos, and rival states fought for territory and power. To protect
               their states and people, independent walls were built along their
               states borders. It was not until the Qin Dynasty, after the coun-
               try was unified by Qinshihuang (king of the Chinese State of
               Qin from 247 BCE to 221 BCE), that the construction of the
               Great Wall as we now know it took place.

               In 221 BC, after Emperor Qinshihuang unified China, he decid-
               ed to link up all the separate high walls built by its rivals, espe-
               cially the walls in the north, built by the states of Qin, Zhao and
               Yan as a great defence project to ward off harassment by the
               Huns. When it was completed, the total length of the Wall ex-
               ceeded 5,000 kilometres. The construction of the Great wall
               never ceased during nearly all of Chinese feudal dynasties. The
               Shui Dynasty rebuilt the Wall six times, while the next dynasty,
               Tang, which was the culmination of China's feudal age, never
               extended the Great wall owing to its superior power over its
               northern nomad neighbours. The Song Dynasty worked on the
               Great Wall to protect against the invasions of Liao, Xixia and
               Jing in the north and northwest.

               Lunch


15:00-18:00                          The Summer Palace

               Situated in the western outskirts of Haidian District, the Sum-
               mer Palace is 15 kilometers (9.3 miles) from central Beijing. It
               contains examples of the ancient arts, it also has graceful land-
               scapes and magnificent constructions.
               The Summer Palace is the archetypal Chinese garden, and is
               ranked amongst the most noted and classical gardens of the
               world. In 1998, it was listed as one of the World Heritage Sites
               by UNESCO.
               Constructed in the Jin Dynasty (1115-1234), during the suc-
               ceeding reign of feudal emperors; it was extended continuous-
               ly. By the time of the Qing Dynasty (1644-1911), it had become
               a luxurious royal garden providing royal families with rest and
               entertainment. Originally called 'Qingyi Garden' (Garden of
               Clear Ripples), it was known as one of the famous 'three hills
               and five gardens' (Longevity Hill, Jade Spring Mountain, and
               Fragrant Hill; Garden of Clear Ripples, Garden of Everlasting
               Spring, Garden of Perfection and Brightness, Garden of Tran-
               quility and Brightness, and Garden of Tranquility and Pleasure).
               Like most of the gardens of Beijing, it could not elude the ram-
               pages of the Anglo-French allied force and was destroyed by
               fire. In 1888, Empress Dowager Cixi embezzled navy funds to
               reconstruct it for her own benefit, changing its name to Summer
               Palace (Yiheyuan). She spent most of her later years there,
               dealing with state affairs and entertaining. In 1900, it suffered
               again, being ransacked by the Eight-Power Allied Force. After
               the success of the 1911 Revolution, it was opened to the pub-
               lic.

               Composed mainly of Longevity Hill and Kunming Lake, The
               Summer Palace occupies an area of 294 hectares (726.5


                         16/151
         THURSDAY
          acres), three quarters of which is water. Guided by nature, art-
          ists designed the gardens exquisitely so that visitors would see
          marvelous views and be amazed by perfect examples of refined
          craftwork using the finest materials.

          Centered on the Tower of Buddhist Incense (Foxiangge) the
          Summer Palace consists of over 3,000 structures including
          pavilions, towers, bridges, and corridors. The Summer Palace
          can be divided into four parts: the court area, front-hill area,
          front-lake area, and rear-hill and back-lake area.




19:00-    Beijing Duck Dinner at Quanjude

           Beijing Duck was first prepared for the Emperor of China in the
          Yuan Dynasty. The dish was mentioned in the Complete Reci-
          pes for Dishes and Beverages 1330 by Hu Sihui, an inspector
          of the imperial kitchen. In the Ming Dynasty, the Peking Duck
          was one of the main dishes on imperial court menus. The first
          restaurant specialising in Peking Duck, Bianyifang, was estab-
          lished in the Xianyukou, Qianmen area of Beijing in 1416.

          By the Qianlong Period (1736-1796) of the Qing Dynasty, the
          popularity of the Peking Duck spread to the upper classes, in-
          spiring poets and scholars who enjoyed the dish. For instance,
          one of the verses of Duan Zhu Zhi Ci, a collection of Beijing
          poems was, "Fill your plates with roast duck and suckling pig".
          In 1864, the Quanjude restaurant was established in Beijing.
          Yang Quanren, the founder of Quanjude, developed the hang-
          ing oven to roast ducks. With its innovations and efficient man-
          agement, the restaurant became well known in China, and in-
          troduced the Peking Duck to the rest of the world.

          By the mid 20th century, the Peking Duck had become a na-
          tional symbol of China. Henry Kissinger, the U.S. Secretary of
          State met Premier Zhou En Lai on his first visit to China. After a
          round of inconclusive talks in the morning, the delegation was
          served Peking Duck for lunch. They continued their discussions
          over duck lunch, and the following day the Americans and Chi-
          nese issued a joint statement, inviting President Richard Nixon
          to visit China. The Peking Duck is considered by some to have
          been a major factor in the rapprochement between the United
          States to China. Following Zhou's death in 1976, Kissinger paid
          another visit to Beijing for more Peking Duck. The Peking Duck,
          at the Quanjude in particular, has been a favourite dish of vari-
          ous political leaders ranging from Cuban revolutionary Fidel
          Castro to former German chancellor Helmut Kohl. At the
          Quanjude, dinner consists of nothing but duck, prepared in a
          variety of ways.




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                                FRIDAY
9:00-10:30                                 General Assembly 4
                                                 Reports


                                Standing Committee on New Technology: Nenad Puhovski,
                                Chair, with the assistance of Angel Blasco (Spain), Peter
                                Hort (UK), Brigid Maher (US), Wangtae Lim (Korea), Li Wei
                                (China), Daniel Leonard (USA, and Joost Hunninger (UK).
                                Interest in the work of the Committee was also shown by
                                Diwaker Balakrishnan (India), Garrick Filewod (Canada),
                                Peter Giles (Australia), Domenico Maselli (Itally), Paul
                                Moody (UK) among others.
                                Lessons in Film: Herman van Eyken heads the Putt-
                                nam School of Film. He was formerly on the faculty of
                                RITS Film School, Brussels, from where he graduated.
                                He pursued postgraduate film studies at the University of
                                Rome, and the University of Bologna.



10:30-11:00
                                Break



11-12:30       General Assembly 5
               The Global Rivers Project
The Global Rivers Project, is a case study research venture that examines the workflow
processes of shooting and editing a High Definition (HD) collaborative documentary
worldwide. The Global Rivers Project involves six CILECT Schools shooting on the Ama-
zon, Danube, Ganges, Rio Grande and Mississippi Rivers.

                               Rivers: Project Chair, Suzanne Regan (UFVA) teaches at
                               California State University, Los Angeles. She was a Board
                               member and President of the UFVA and Editor of the Jour-
                               nal of Film and Video.


                               Rivers: Project Chair, Melinda Levin (UFVA) chairs the
                               Department of Radio, Television and Film at the University of
                               North Texas and is immediate Past President of UFVA. She
                               is as active in production. Her recent book is entitled ―Post:
                               The Theory and Technique of Digital Nonlinear Motion Pic-
                               ture Editing.‖



                               Rivers: Project Chair Karla Berry (UFVA) is Associate Pro-
                               fessor of Media Arts at the University of South Carolina. She
                               was President of UFVA, and is a member of the Board of
                               Directors of the International Digital Media Arts Association.
                               She produces experimental, documentary film, video, and
                               installations.


                                        18/151
               FRIDAY
              Collaborators


              Leena Jayaswal is                          Norman Hollyn is
              Assistant Professor in                     Associate Professor
              the School of Com-                         and Head of Editing
              munication at American                     Track at USC. He is
              University, and a pho-                     a long-time film, tele-
              tographer and film mak-                    vision and music
              er.                                        editor


              Aleksandar Mandic is                       Zuzana          Gindl-
              professor of directing at                  Tatarova is Profes-
              Fakultet       Dramskih                    sor in the Film and
              Umetnosti in Belgrade,                     TV Faculty VSMU
              Film and TV director,                      Bratislava. She was
              and former professor at                    trained at FAMU and
              NYU                                        worked at the Film
                                                         Studio KOLIBA. She
                                                         has collaborated on
                                                         12 feature films.


12:30-14:00


                                            Lunch


14:00-15:30


                                     Regional Meetings




15:30-16:00
                                            Break



16:00-17:30
                                     Regional Meetings




18:00
                                          ARRI Dinner
                               Dong Feng Hong Restaurant




                        19/151
              SATURDAY
9:00-10:30




               Regional Meetings



10:30-11:00
               Break




11:00-12:30                        Contributed Papers I


               Treading Softly: Ethical Concerns in Student Documen-
               taries


               Jan Krawitz is Professor and Director of the MFA Program in
               Documentary Film at Stanford University. She has been pro-
               ducing documentaries for thirty years. Her films have screened
               at Sundance, the New York Festival, Nyons, Edinburgh, Lon-
               don, Sydney, SilverDocs, and Full Frame. Her latest film, Big
               Enough, was included in the series P.O.V. and broadcast on
               US public television and internationally in 14 countries.


               Teaching 3D animation: Creative versus Technical Skills
               Craig Caldwell is Head of the Griffith University Film School,
               Brisbane, Australia. Worked at the Disney Feature Animation
               Studios,Electronic Arts Games Company (2006), taught at
               Northern Arizona University and University of Arizona. Present-
               ed at CAA, ISEA, and most recently at SIGGRAPH 2008.




12:30-14:00


                                          Lunch




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              SATURDAY
14:00-15:30                        Contributed Papers 2




               Documentary Esperanto

               Russell Porter teaches in the Documentary Program at Colum-
               bia College, Chicago. He is also the Titular Head of the Docu-
               mentary Department at EICTV in Cuba. He is a documentary
               filmmaker, writer, teacher and traveler who has won a number of
               national and international awards for his films, many of which
               deal with cross-cultural and social issues, and science and soci-
               ety. He has taught in the USA, Australia, Latin America and Eu-
               rope and is currently writing a book on documentary ideas and
               developing a feature documentary on Human Consciousness.


               A Triangle Dialogue: Cooperation And Intercultural Ex-
               change Among Three Film Schools
               Renen Schorr founded the Sam Spiegel Film and Television
               School, Jerusalem. He is a director-producer whose feature
               Late Summer Blues (1987) won the Israeli Oscar for Best Film
               of the Year. He was the executive producer of the award-
               winning films Miss Entebbe (Berlin Festival 2003), James‟ Jour-
               ney to Jerusalem (Cannes, 2003) and the television series
               ―Voices from The Heartland.” In 2007, he directed and co-
               produced his second feature-length film, The Loners, to be re-
               leased in 2008. Schorr was president of GEECT, (2000-2004).




15:30




               Free Time




20:00-
                  Closing Reception and Dinner, Tong Yuan Restaurant




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General Assembly            Bejing, 5 & 7 November 2008




       EXECUTIVE COUNCIL REPORTS




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General Assembly                      Bejing, 5 & 7 November 2008




                   Report of the President

                     Caterina D’amico




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General Assembly                 Bejing, 5 & 7 November 2008




           Report of the Vice-President
           for Finance and Fundraising

                   Don Zirpola




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                Report of the Vice-President for Finance and Fundraising

The job description:


The Vice-President for Finance and Fundraising has overall responsibility for formulating the
CILECT budget and supervising income and expenditure. The Vice-President for Finance is
responsible for initiating general fundraising activities and coordinating the raising of funds to
help support specific projects and activities. The Vice-President for Finance is also charged
with making necessary adjustments to budget between meetings of the Executive Council,
and providing annual and biennial reports as specified in the Statutes. The Vice-President for
Finance works closely with the Executive Secretary to disburse funds as quickly and efficient-
ly as possible.


Fund raising includes contributions from sponsors in cash or in kind. Our Sponsoring Mem-
bers represent CILECT on a global scale, most especially Eastman Kodak's Worldwide Stu-
dent Programs and Emerging Filmmakers Program. In recent years, significant contributors
have included Gorilla Software and Frameforge3D Software. In order to contribute to projects,
initiatives and festivals, sources of support beyond the annual membership fees are im-
portant, and becomes a matter not only for this office, but for the entire Executive Council.


CILECT as an Association of schools:


CILECT is a voluntary professional association. Its sole continuing employee is the Executive
Secretary. The bulk of its budget is devoted to supporting projects voted on by the member-
ship, and initiatives relevant to its mission which are approved by the Executive Council. As a
voluntary association, it relies on proposals made by the members which are relevant to the
mission defined in the Rules and Statutes, and promise the greatest good for the greatest
number of member schools. "Projects" are approved by the General Assembly at the biennial
General Assembly, "Initiatives" are approved by the Executive Council, and may be proposed
at any time.


There is provision for support of the CILECT activities of the President, Vice Presidents, Pro-
ject Committee Chairs, Standing Committees, and for special activities. The expenses in-
curred under each allocation are limited to support of official capacities, or for activities which
they supervise, as defined by their job descriptions. CILECT's accounts are maintained in the
Fortis Bank-Belgium, (recently taken over by the Belgian government) so the books are audit-
ed to European standards


Cost Pressures:


Executive Council members travel to meetings at their own expense, to a maximum expendi-
ture of €2500 per biennium. It has been the policy of CILECT over the years to reimburse
members of the Executive for travel costs in excess of that amount, and their out-of-pocket
expenses such as meals and local transport, while attending CILECT meetings. At the last
General Assembly, the membership decided that the heads of the regional associations sit on
the Executive Council, together with the elected officers which has increased its size from five
members to ten. This fact, together with the increased cost of travel, inflation, and the current
state of the global economy has put great pressure on the CILECT budget. In addition, there
were unanticipated expenses from the Madrid Congress, which arrived very late, and the
costs of subsidizing the Beijing Congress did not anticipate the re-valuing of the Chinese cur-
rency.


I should also remind the membership that fees have not increased since 1997, while the infla-
tion rate in the developed world rose approximately 1% annually, and the developing world

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                Report of the Vice-President for Finance and Fundraising

considerably more. The impact on transportation costs of the rise in the price of oil is obvious
to all of us. Thus, like the world at large, CILECT faces some serious challenges. The good
news is that CILECT is a voluntary association and is not greatly affected by the cost of labor,
so we do not recommend an increase in fees at this time.


Minimizing Administrative Costs:


We cope by continuing our efforts to maximize the productivity of the association. The Execu-
tive Secretary has upgraded his computer and printer to more reliable and younger technolo-
gy. In consultation with the Vice President of Research and Publications, the Executive Sec-
retary produces CILECT News at very reasonable cost. The high-speed server for the
CILECT and CILECT Forum websites is maintained at a very favorable cost. The Executive
Council has attempted to be realistic about the costs associated with all of its activities, and in
the long-standing tradition of CILECT, council members have drawn on the resources of their
schools, and in a few cases their personal funds, to carry out the association‘s work.


Recommendations:


       If the chairs of the regional associations are to remain as members of the Executive
        Council, there need to be fewer physical meetings, in favor of email consultation and
        video/ telephone conferencing. The current costs of travel are simply too great for
        eleven people from every continent except Antarctica to meet in a single place with-
        out significant drain on resources that could be spent in more useful ways. I believe
        that tri-annual meetings are necessary, but they need not all be face-to-face.

       Given the current economic environment and its effect on current and potential spon-
        sors, CILECT must revisit and re-examine its priorities for resource allocations. The
        past biennium was characterized by unprecedented support to virtually all areas of
        CILECT‘s activities consistent with its mission, including subsidizing the Madrid and
        Beijing Congresses, but we cannot look forward to a continuation of this policy.

Value for Money:


CILECT supported a number of activities in whole or in part, all of which were consistent with
the general consensus of the Executive that the training and development of teachers contin-
ues to be our highest priority.


Activities that were awarded CILECT funds during the past biennium:
       CILECT Prize and film Festival 2007, 2008
       ANIWA Festival, Accra
       FESPACO Festival, INIS School Meeting, Ouagadougou
       Munich Film Festival
       Tel Aviv Festival
       Beijing International Film Festival
       Helsinki Illumenation Festival
       Student Film Festival in Buenos Aires, 2008
       CAPA Workshop, Singapore
       Training Workshops on Documentary and New Technologies, Hanoi,
       DOP Workshop, Budapest


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               Report of the Vice-President for Finance and Fundraising

       CCC Mexico Film Festival and School Exchange Seminar 2008
       Sao Paulo Digital Workshop on New Media
       Seminar on Writing/Producing, Santiago, Chile
       I Encontro Ibero-Americano de Escolas de Cinema e Audiovisual, Sao Paulo
       Student Exchange Programme: RITS, Brussels, VSMU, Bratislava, Sam Spiegel
        School, Jerusalem, ifs, Cologne, FUC, Buenos Aires, La Fémis, Paris
       CILECT FORUM Teachers Exchange Site 2008
       CILECT Website Revision/updates 2006-2008
       CILECT Newsletter 2006-2008
       CILECT Publications 2006-2008 including the Madrid Congress
       Digital Cinema Project- 2006-2008
       Lessons in Film Project 2006-2008
       Rivers – Workflow Project 2006-2008
       CILECT Madrid Congress 2006 subsidy
       The Standing Committee on New Technology


A Personal Note:


As Vice President for Finance, I have tried to responsibly and responsively oversee the finan-
cial affairs of the association, working closely with the President and Executive Secretary. I
have also worked closely with my other Executive Council colleagues, and with the member-
ship, to make CILECT a vibrant and positive force in international film and television educa-
tion.


This will be my last term of office as your Vice President. It has been my pleasure to serve
you and to meet virtually every CILECT member school. I hope to maintain contact with all of
you, and to assist the mission of CILECT in any way that I can.


Respectfully submitted,




Donald J. Zirpola
Vice-President for Finance and Fundraising


Appendices:
1) The Income and Expenditure Statements, January 2006-December 2007, January-June
2008. I invite and encourage the membership to ask such questions they may have regarding
the budget or expenses.


2) VRC Bedrijfsrevisoren Registered Auditors audited the accounts for 2006 and 2007, as
required by CILECT statutes. While all previous accounts were judged acceptable, European
accounting standards have recently been "harmonized," i.e. revised, unfortunately without the
auditors notifying the Executive Secretary. As a result, there are some procedures that must
be revised in order to comply with the new regulations (CILECT is not alone in needing to ad-
just to the new regulations. The Council of Europe revised its ―Rules concerning the reim-
bursement of travel and subsistence expenses‖ in February, 2008.)


                                        27/151
                                           APPENDIX

                              Income and Expenditure January 06-December 07
                                              compared to
                                 Budget 06-08 Biennium voted by GA 2006



                                              Budgeted                   Actual
                                                                      Jan 06-Dec 07
INCOME
   Membership Fees
        CILECT                                   340,000                    287,897
        GEECT                                               22,000                      23,292
   Sustainers                                     30,000                      7,788
   Bank Interest                                     500                          518
   Provision Bank Fees                             5,000                      5,474
   Congress                                                                  12,145
TOTAL                                           € 375,500                  €313,822
Income Shortfall                                                            €61,678
EXPENDITURE
   Activities & Initiatives                       -80,000                    85,953
   Festivals                                      -40,000                    45,000
    Projects                                      -30,000                    27,500
    Executive Council Meetings                    -30,000                    38,174
    Executive Council                             -13,000                     8,134
    Authorised Travel                             -10,000                     2,248
    Standing Committees
        New Technologies                           -5,200                     1,450
   Publications                                   -15,500                    24,635
   Administration                                 -78,800                    65,856
   Bad Debt                                        -8,000                     3,445
   Currency Adjustments                                                           737
   Bank Service Charge                             -5,000                     4,117
   Congress                                       -30,000                    60,875
   Pending Reimbursements                         -30,000                    32,540
   Refund GEECT Fees                                        -22,000                     23,206
TOTAL                                          -€ 375,500                  €400,664
Expenditure over budget                                                     €25,164
Balance                                                                    -€86,842




                                               28/151
                                       APPENDIX


                                 Income & Expenditure
                               January through June 2008


A1 Membership Fees                           142,787
A11 GEECT                                    10,880
A3 Bank Interest                             142
A4 Provision Bank Fees                       2,475
B01 Activities & Initiatives
     CIBA                                    -6,228
     CILECT Prize                            -17,500
     Festival Beijing                        -7,500
     Festival Mexico                         -10,000
     Festival Tel Aviv                       -10,000
     Student Exchange                        -12,000
Total B01 Activities & Initiatives           -63,228


B03 Projects
     Digital Film                            -9,000
     Rivers                                  -5,000
Total B03 Projects                           -14,000


B04 Executive Council Meetings
     0711 Buenos Aires                       -216
     0805 Rome                               -9,730
     0806 Niteroi                            -8,191
Total B04 Executive Council Meetings         -18,137


B05 Executive Council
     Currency Adjustments                    -100
Total B05 Executive Council                  -100


B06 Authorised Travel
Total B06 Authorised Travel                  -6,667


B07 Standing Committees
     New Technologies                        -2,000
Total B07 Standing Committees                -2,000


B08 Publications
     Newsletter                              -121
Total B08 Publications                       -121


B09 Administration
     Communications                          -1,641
     Consumables                             -960

                                          29/151
        Equipment                         -1,163
        Secretariat                       -9,375
   Total B09 Administration               -13,139


   B10 CILECT Congresses
   Total B10 CILECT Congresses            -5,934


   B11 Bad Debt                           -2,194
   B12 Bank Service Charge                -1,494
   B13 Refund GEECT Fees                  -11,796
TOTAL                                     17,474




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General Assembly                     Bejing, 5 & 7 November 2008




           Report of the Vice-President
          for Conferences and Festivals

                   Stanislav Semerdjiev




                           38/151
               Report of the Vice-President for Conferences and Festivals




1.       FOREWORD
In my program for election at the Madrid Congress (2006) I prioritized my proposed activities
for the biennium as follows:

     a) To make the CILECT PRIZE an annual, useful, and prestigious tradition;
     b) To continue monitoring the existing or/and emerging student film festivals in the five
        CILECT regions, and to lobby in the Executive Council for financial support for the
        ones that provided the greatest opportunities for creative exchange among as many
        of the members as possible;
     c) To research possible financial and organizational resources for CILECT conferences
        that could be held separate from the congress.



2.       THE CILECT PRIZE
The following charts indicate how many schools entered films, and how many of them actually
voted in the three editions of the CILECT PRIZE. I do not wish to delve into long editorial
commentary but one thing is clear: many of us prefer to participate, but not to vote!

The number of schools entering films in the second and the third years of the competition has
increased by more than 35% but the number of schools that voted has decreased by almost
10%.


                             Participating Full   Percentage of    Compared to Full Mem-
          Total Full Mem-
                                Members           Total Members     ber Participants in the
          bers (Countries)
                               (Countries)         (Countries)          Previous Year
 2006         102 (45)            57 (35)          56% (78%)                   -
 2007         113 (48)            78 (38)          69% (79%)                +40%
 2008         112 (48)            74 (34)          66% (71%)                 -5%


                               Voting Full        Percentage of    Compared to Full Mem-
          Total Full Mem-
                                Members           Total Members     ber Participants in the
          bers (Countries)
                               (Countries)         (Countries)          Previous Year
 2006         102 (45)            56 (35)          55% (78%)                   -
 2007         113 (48)            52 (28)          46% (58%)                 -7%
 2008         112 (48)            51 (31)          46% (65%)                 -2%


Therefore, I want to specially acknowledge the 75 schools that have voted in one or all of the
three editions of the CILECT Prize:
AFI, AABK, AFDA, AFTRS, AGRFT, BFA, Boston U, CalArts, CCC/USA, CCC/М, Chapman
U, CLCF, CSC,CUC, CUEC, DDF, dffb, DI, DNF, ECAL, ECAM, EICTV, ENERC, ESAV,
ESCAC, ESTC, FAMU, FDU, FEMIS, FSU, FTII, HCTSS, HSL, HFF/B, HFF/M, HMS, IAD,
IADT, IESAV, ifs, JSFS, KHM, LFS, LMU, NAFTI, NATFA, NCSA, NFS, NFTA, Nihon U, NP,
NTUA, PWSFTviT, RITS, SCTNM, SFE, SKDA, SPSUFT, Stanford U, SVA, TAA, TAMK,
TAU, Turku U, UCINE, UFF, UNATC, UNIACC, UNICAMP, UPFI, USP, VCA, VGIK, VSMU,
York U.




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              Report of the Vice-President for Conferences and Festivals


Of course, I wish to thank all the schools that sent, and hopefully will continue to send film
entries. The films are the foundation on which this truly worldwide event is built.
I will continue to put all my efforts in the further development of the CILECT PRIZE. Needless
to say, I will pay special attention to the opinions of the schools that, for whatever reasons,
have stayed passive until now, and I will do my best to investigate the changes they would
like to see that would make it more interesting for them to submit entries, and increase their
desire to participate in voting.
Finally, I wish to personally congratulate the winners and the finalists of all three editions of
the CILECT PRIZE, and to wish them success in the hard professional life that awaits them.
The following list shows how diverse CILECT really is, and how talent can be nourished eve-
rywhere in the world. (With one notable exception, there is no school represented twice.) This
is something of which we should be proud.


2006
1. Visiting Hours                                          (TAU, Israel)
2. A Family                                                (DI, Sweden)
3. Moonglow                                                (RITS, Belgium)
4. The Border                                              (VGIK, Russia)
5-6. (Tie) Before Life, After Death                        (NATFA, Bulgaria)
5-6. (Tie) Melodrama                                       (PWSFTviT, Poland)

2007
1. Dark Night                                             (TAU, Israel)
2. Abel's Black Dog                                       (VSMU, Slovakia)
3. Fair Trade                                             (HFF/M, Germany)
4. Isola                                                  (DNF, Norway)
5. Gaining Ground                                         (HMS, Germany)

2008
1. Roads                                                  (TAU, Israel)
2. Paragraph 15                                           (DDF, Denmark)
3. Ela                                                    (NFTS, UK)
4. August 15th                                            (CalArts, USA)
5. New Dress                                              (ESCAC, Spain)


The Myron Emery Proposal
In 2008 I received a proposal by our colleague and friend from CalArts, Prof.Myron Emery,
who felt that animation and documentary films were not getting sufficient attention, especially
in the voting process, and he volunteered to organize a special animation section in the
CILECT PRIZE Competition.

I put the proposal forward for discussion at the Rome‘08 meeting of the Executive Council.
The Council strongly appreciated the idea of introducing categories (fiction, animation,
documentary), but came to the conclusion that in the present situation, such an enlargement
of the event would create too big a burden on CILECT‘s financial and organizational capabili-
ties. It is the intention of the Executive Council to revisit the proposal as circumstances dic-
tate.


Visibility of Votes
The last item I would like to put forward for consideration at the General Assembly is the visi-
bility of members‘ votes.

I have often been asked by members whether it might be possible to reveal the final results of
THE CILECT PRIZE by the number of schools voting for each entry, and to identify which
schools voted for which films.


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                Report of the Vice-President for Conferences and Festivals


The most important motivation I‘ve heard from those who expressed this opinion was that
such information would give us an invaluable idea of how each film was received by students
and professors around the globe.

More generally, it was thought to be interesting to reveal precisely how a film acquires all its
points. Whether it is by a vote in which many schools liked it moderately, and rated it as their
 th     th                                                                                  st
4 or 5 choice, or if it was because fewer schools liked it greatly and rated it as their 1 or
 nd
2 choice. In more practical terms, it could reflect the voting procedures and philosophy of
some schools by describing the results of their decision making in more detail.

Last but not least, it would demonstrate that there were no technical mistakes on the part of
the Vice-President for Conferences and Festivals in the process of tallying the votes.

I acknowledge that some of us would prefer to stay with the current system, especially those
delegates who value the principle of a secret ballot, but I firmly believe that it is a fair request
that leads in a positive direction and I would be very happy if the General Assembly decides
to authorize full visibility of the vote. After all, we all stand behind our votes with an official no-
tification signed by the head of the school that in most cases reports the votes of significant
numbers of our academic staff and students.



3.        THE CILECT FESTIVALS
According to the CILECT Festival Policy drawn up in 2003, in the last biennium I continued to
recommend to the Executive Council ideas for support to festivals that are rich in program
and open to as many member schools as possible. The festivals that received financial help
from CILECT in the last two years since the Madrid Congress were:
In GEECT
         ISFF in Munich, Germany                    15,000 Euro (2007 and 2008)
         ISFF Illumination, Helsinki, Finland       7,500 Euro (2007)
         ISFF in Tel Aviv, Israel                   10,000 Euro (2008)
In CIBA
         ISFF, Mexico City, Mexico                  10,000 Euro (2008)
In CAPA
         ISFF in Beijing, China                     15,000 Euro (2007 and 2008)
There were no requests for funding from CARA and CNA.


A Modern Approach to Festivals
I would also allow myself the pleasure to report being the first one in CILECT to consult on
such an approach, and to encourage its presentation in front of the Executive Council. This
happened in 2007 and the sole authors of the enlivening idea were Renen Schorr and the
JSFS team. The proposal was called ―The Jerusalem International Online Student Film Festi-
val‖. In brief, it would be available on a dedicated Internet channel; it would include only
CILECT film schools that would show their films for a limited broadcasting period; a jury of 60
renowned professionals such as Pedro Almodóvar, Nikita Mikhalkov, Luc Besson, Jeanne
Moreau, David Lynch and others would vote for the five finalists in the different categories
(after they have been chosen by wider specified procedures). I think this sounds really excit-
ing and I am looking forward to the upcoming realisation of the project.




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               Report of the Vice-President for Conferences and Festivals


4.       THE CILECT CONFERENCES
The possibility of holding conferences separate from the Congress has been proposed by
members over the years and pursued with no success by my predecessors. I spent a lot of
time researching different options and came to the conclusion that, given the size of CILECT,
which has doubled over the past 20 years, it is a nostalgic ―mission impossible‖ to accommo-
date and organize a world conference every year. It is more realistic to support such events in
the regions and open them to the members who wish to attend.
Therefore, I decided to concentrate my input regarding conferences into the preparation of the
Beijing Congress/Conference – the venue visit, the schedule preparation, the conference
panels‘ creation and the choice of panelists, statutes‘ revisions and innumerable discussions
with the whole Executive Council on all of these. I hope it will be a prolific one.



5.       OTHER ACTIVITIES
New Member School Visits
According to the New Members Admission‘ Policy, I visited three candidate schools during
the biennium and am happy to report that because of their demonstrated quality as institu-
tions providing creative training in film and television, I recommend them for full member sta-
tus at this General Assembly.
        2007 Bezalel Academy of Arts and Design, Jerusalem, Israel (BAAD)
        2007 Istanbul Kultur University, Istanbul, Turkey (IKU)
        2008 Academy of Film and Multimedia ―MARUBI‖, Tirana, Albania (AFMM)
One important result of this work is that for the first time in the history of CILECT, we have
candidates from Albania and Turkey. I have spent considerable effort achieving these results
because I believe them to be important steps in the direction of broadening the horizons of
our association. I truly hope that the General Assembly will recognize it as such.


The CILECT Famous Graduates List
I began putting efforts into the creation of the representative list of internationally recognized
film and TV makers that graduated from our member schools. I already have some input from
13 of them (ESCAC, VSMU, NTUA, INSAS, UQAM, NCSA, CSC, ESBA, CCC/USA, UCINE,
USC, VCA, NATFA) but even those partial lists have still to be revised according to the crite-
ria that I will present to the new Executive Council. Only then I will be able to continue the
pursuit of that goal, because I firmly believe it is one of major importance for CILECT‘s image
and visibility, and could be of much help in the area of fundraising.




Report respectfully submitted on 01 October 2008




                                              42/151
 Report of the Vice-President
for Development and Training

      Victor Valbuena




             43/151
               Report of the Vice-President for Development and Training



For the period 2006 – 2008, the following activities were initiated, supported, coordinated,
and/or implemented in the area of Training and Development:



TRAINING SEMINARS AND WORKSHOPS
Regional Seminar on Asian Cinema: Recent Trends and Developments in Cinema and
Film Education in Asia / Singapore, February 18 – 27, 2007
This activity was organized in collaboration with the School of Film and Media Studies, Ngee
Ann Polytechnic, a CILECT member-school. The seminar featured paper presentations and
workshop discussions on trends and developments in cinema and film education in the Asia-
Pacific Region. The seminar also looked into the contributions of Asian film schools in the de-
velopment of the local and regional film industries. Participants included academics from
CILECT member-schools as well as researchers and industry practitioners from Australia,
China, Japan, India, Indonesia, Malaysia, Philippines, Singapore, Taiwan, and Vietnam. Se-
lected seminar papers were published in the CILECT Newsletter. CILECT provided the major
funding for the seminar, with additional support from Ngee Ann Polytechnic, Shaw Founda-
tion, and The Cathay Organization.
I served as Organizing Chairman and Seminar Director for this project.




Training Workshops on Documentary and New Technologies / Hanoi Academy of Thea-
tre and Cinema, Vietnam, October 2007
This was a training program requested by the Hanoi Academy of Theatre and Cinema, a
CILECT member-school, to complement the academy‘s staff / student development pro-
grams. Prof. Nenad Puhovski of the Academy of Dramatic Arts, Croatia and Chair of
CILECT‘s New Technologies Committee, conducted the workshops. During his visit to Hanoi,
Nenad also assessed the various development needs of the school, including teacher train-
ing, and expressed the hope that CILECT could address them.


Requests for training workshops on Documentary Production were also received from the
following institutions:
NTA Television College, Nigeria
This was a request for a training course on Documentary Production from partner-member
NTA Television College in Nigeria. CILECT agreed to support the initiative and made ar-
rangements for Nenad Puhovski to conduct the program. Unfortunately, scheduling and other
constraints prevented implementation of the course. However, this initiative will still be pur-
sued, possibly next year.
The College has also requested CILECT assistance in the development of other areas, in-
cluding facilities and library development.
AJK Mass Communication Research Centre / Jamia Millia Islamia University, New Del-
hi, India
A similar request for teacher training in Documentary Production was received from candidate
member-school Mass Communication Research Centre, Jamia Millia Islamia University in
India. CILECT has given in-principle approval for this initiative but will need to work out cost-
sharing and scheduling details with the school.




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              Report of the Vice-President for Development and Training


MEMBERSHIP
On behalf of the Executive, I visited and conducted on-site assessment of the following
schools in connection with their application for CILECT membership:
       Dong-Ah Institute of Media Arts, Anseong, Republic of Korea
       School of Interactive and Digital Media, Nanyang Polytechnic, Singapore
       AJK Mass Communication Research Centre, Jamia Millia Islamia University, In-
        dia
       Jakarta Institute of the Arts, Indonesia

All have been accepted by the Executive as candidate members, to be confirmed as Full
Members at the Beijing Congress.
Dong-Ah institute of Media Arts organized a Film Festival and Filmmaking Camp for Youth
held in Anseong, South Korea in April 2007. CILECT member-schools from China, India,
Singapore and Vietnam were invited to participate. I served as resource person and
chairperson of the jury for the youth film festival.




PROJECT OVERSIGHT
Members of the Executive are allocated a CILECT-funded project each to monitor the pro-
ject‘s implementation. I was assigned to The Rivers Project, a collaborative project involving
member-schools from CILECT North America (CNA), CILECT Ibero-America (CIBA) and
CILECT Europe (GEECT).
I participated in the planning workshop to define the scope and workflow processes of the
project, held at the Avid Headquarters in Tewksbury, Massachusetts, USA in June 2007. I
also participated in the CILECT/ USA panel that gave a preview of the project outputs at the
recent University Film and Video Association (UFVA) Conference held in Colorado Springs,
USA in August 2008.
Findings of the action research component, as well as excerpts of the documentary films pro-
duced during The Rivers Project will be presented at the Beijing Congress.


Respectfully submitted:
DR. VICTOR T. VALBUENA
CILECT Vice President for Training and Development
October 22, 2008




                                             45/151
 Report of the Vice-President
for Publications and Research

      Henry Breitrose




             46/151
          Report of the Vice-President for Publications and Research


Madrid Congress Report


                 In addition to the usual collective work of the Executive Council, the
                 Vice President for Research and Publications is charged with a number
                 of specific duties. Among the most important is the preparation of the
                 Congress Report, which serves the interests of members who are una-
                 ble to attend, and establishes a permanent record of CILECT. It should
                 be noted that a proper CILECT Archive was compiled in connection
                 with the 50tth birthday of the association, and resides at the Biblio-
                 thèque du Film of the Cinemathèque Française in Paris.


                 Unfortunately, severe technical problems restricted what could be done
                 with the Madrid Congress report. It was intended to distribute several
                 presentations in DVD form, but this was impossible. It was possible to
                 retrieve some of the audio from other sessions, but the key presenters
                 were asked to go back to their notes and reconstruct their presenta-
                 tions in text form.


Website


                 Most of the CILECT reports are now available in the Archive section of
                 the CILECT website, including Triangle 1, 2, and 3, the 1999 Interactive
                 Distance Learning Conference, the Animation Project, Pinocchio:
                 Teaching How to Make Films and TV Programmes for Children, and
                 the first Report of the D-Cinema Project. All of the reports of the Stand-
                 ing Committee on New Technology are also available. We consulted
                 with several web design firms with an eye to upgrading the basic de-
                 sign, but cost estimates were prohibitive. In the end, and in preparation
                 for the end of his work on the CILECT Executive Council, the responsi-
                 bility for maintaining the website was placed in the capable hands of
                 the Executive Secretary, with the recommendation that the website re-
                 design be referred to the new Vice-President for Research and Publica-
                 tions.


CILECT Forums


                 An ongoing challenge to CILECT has been to penetrate beyond the
                 administrative layers of member schools and engage the teachers. To
                 this end, a decision was taken to utilize internet technology and create
                 a group of on-line forums at www.cilectforums.org. The initial forums
                 reflect the topics of the Beijing Congress: Animation, Bridge Programs,
                 Distributing AV Content, Documentary, New Formats, New Technolo-
                 gies, Screenwriting/Directing, and Television Curricula. CILECT Forum
                 had its ―soft opening‖ in June, as a proof of concept, and it is now
                 available. Other forum topics can be added, and suggestions should be
                 directed to the Executive Council. CILECT Forum was brought to frui-
                 tion by Executive Secretary Henry Verhasselt, with the advice and
                 counsel of John Burgan and Peter Gerard, who organized The D-Word,
                 an online community for documentary makers.




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         Report of the Vice-President for Publications and Research


Newsletter


                  The Newsletter has been significantly upgraded, with more photo-
                  graphs and better graphic presentation, due to the excellent work of the
                  Executive Secretary. We are now carrying reviews of film making text-
                  books that may be useful to the membership, and somewhat longer ar-
                  ticles. The special edition of Best Kept Secrets was very well received
                  by the membership.


Conference questionnaire


                  At the conclusion of the Madrid Congress, a questionnaire was distrib-
                  uted to the members present at the General Assembly, and the results
                  were analyzed and used to inform the structure of the Beijing Con-
                  gress.


Beijing Congress Program


                  Another important responsibility of the Vice-President for Research and
                  Publication is the compilation of the programme book for the Congress.
                  I wish to take this opportunity to extend my gratitude to all of the partic-
                  ipants who were kind enough to send their bios and photographs in a
                  timely manner.


A Personal Note


                  This is my last report for CILECT. I‘d like to use this opportunity to
                  thank the CILECT friends who have enriched my professional and per-
                  sonal life through our shared interest in the education of young people
                  in a film and television culture that transcends national, regional, and
                  ideological, borders. As I saw it, CILECT embodied the best and high-
                  est ideals of collegiality, mutual respect, collaboration, and a selfless-
                  ness that could only come from dedication to a vital ideal.




                  Henry Breitrose
                  VP for Research and Publication




                                          48/151
CAPA Report

Zhong Dafeng




     49/151
Since the Madrid congress 2006, our activities have focused on the development of
the already substantial cooperation among CAPA schools and the preparation of the
present CILECT Congress. At the same time we have made full use of every chance
like festival, or international academic conferences to introduce CILECT to non-
CILECT Asia-Pacific schools, stressing the importance of CILECT in improving the
international communication between film and TV schools around the world. We are
trying to organize and push forward the communication and cooperation among
CILECT member schools and non-CILECT schools, and trying to broaden its power.




Preparation of Beijing Congress
Beijing Film Academy has attached great importance to the preparation works of
CILECT congress, 2008. In 2007, the organizing committee has been shaped, and
we have received support form Beijing municipal government, and also we have
gained support from famous international companies. Beijing Film Academy has
been upgrading meeting places and equipments since then.
During March 2nd to 5th, 2008, some of the executive members have come to the
Beijing Film Academy and together we discussed further the preparatory arrange-
ments for the Congress. They have brought forward many valuable opinions, follow-
ing which Beijing Film Academy has been undergoing much more arranging work.
During the Beijing congress, besides the general conference, assembly and lecture,
we have prepared a lot of activities, like multi-media art exhibition, film screening
program, etc. We are endeavoring to provide a platform for our participants for com-
munication, presentation, and exchanging experience. We hope all of these activities
can help CILECT schools to know each other, and hence explore more cooperation.




New Member


In the last two years, seven more schools have applied for CILECT membership.
They are from Singapore, Korea, India, Indonesia, and China. Among them, five
have passed the pre-examination of the executive committee, and will be proposed
for full membership at this congress. And there are some schools are expressing
their interest and desire for joining us .We will keep working on this.
      In Beijing congress, there will be non-CILECT film schools that wish to attend ac-
tivities of the CILECT congress, they wish to explore more chances for cooperation
with CILECT schools as observers.




                                          50/151
Cooperation among CAPA and other Schools


      In these two years, the teaching cooperation between CAPA schools, the scien-
tific research among teachers and students, the artistic creation and film production
have been developed well. We are uniting non-CAPA members to join this teaching,
scientific research cooperation, pushing the film and TV education of Asia-Pacific
moving forward.
      Beijing Film Academy and another two schools of Korea and Japan have signed
agreement for students work coproduction. We have basically finished the prepro-
duction period, and we are gearing into the production stage, and will finish in the au-
tumn of 2009. Beijing film Academy and Griffith Film School are also preparing a film
exchange program and a student film coproduction project. Beijing Film Academy
and Hong Kong Academy for Performance Arts, together with a non-CILECT school,
Taipei University of Arts, have held the first Mainland, Taiwan and Hong Kong Film
School Festival, and have decided to host the festival in turn the following two years.
During the festival, three schools have set up a cooproduction plan. The screenplay
for the coproduction will be chosen during next festival at the Beijing Film Academy.
     The International Student Film and Video Festival of Beijing Film Academy has
been held consecutively for 7 years. Every year, most of CAPA schools are attend-
ing. This year, during the festival, we will add a special screening for China and Ko-
rea students‘ film coproduction. Through this, we wish to help the students learn
more through communication and cooperation.
    The new Director of Singapore‘s School of Film & Media Studies at Ngee Ann
Polytechnic has also visited Beijing Film Academy to discuss further cooperation op-
portunities.
     For other CAPA schools, for example, Victoria College of Arts, Australia, has al-
so been active with Ngee Ann Polytechnic, with Professor Lang completing his first
year as international assessor of the Film and Media School‘s Diploma and Graduate
Diploma programs.
    In March 2008, VCA hosted a productive series of documentary master-classes
by corresponding member Professor Alan Rosenthal of the Hebrew University, Jeru-
salem.
     In 2008, VCA has also been engaged in a script lecturer exchange program with
Ireland‘s national film school IADT, Dun Laoghaire, seeing VCA‘s Annabelle Murphy
swap jobs with Ireland‘s Paul Freaney for 10 weeks. The exchange focuses on de-
veloping standardized dissertation criteria for Masters level scriptwriters, and fosters
clearer recognition of practitioner craft-skills within the participating academic institu-
tions.
     Recently, Victorian College of the Arts has put forward a project that is building a
communication platform through internet for students‘ films. This project has received
positive responses from other CAPA schools.


     We wish that we can build CAPA as the best platform for Asia-Pacific schools,
and also we wish the Beijing congress will facilitate the understanding and communi-
cation between Asia-Pacific schools and film and TV schools all over the world, ena-
bling the film and TV academies and universities to adjust to the demands of the 21st
century.
                                                                         ZHONG Dafeng
                                                                           Chair CAPA
                                           51/151
CARA Report

Martin Loh




    52/151
            Report of the Chair of CILECT‘s Regional Association for Africa



1.0 FEPACI INITIATIVE
As a follow-up to the African Film Summit held in Pretoria, South Africa in 2006, the reconsti-
tuted Executive Council of the Pan African Federation of Film and Television Mak-
ers(FEPACI) organized a symposium for the Southern Africa region on Curriculum for film
and tv training in Windhoek Namibia, from July 30 to August 1. This symposium was under a
                                                                           st
general theme: Aligning the Audio Visual Cinema Curriculum to the 21 Century.
Four CARA member institutions were invited to participate in the event i.e. Afda Johannes-
burg, NFTS, Johannesburg, NAFTI Accra and ISIS Ouagadougou.
Two CILECT member schools, NAFTI and Afda made presentations. The delegation from
ISIS arrived late due to flight problems but participated fully in the syndicate discussions.
Issues concerning curriculum, funding, the quality of skills and knowledge imparted by the
various audio visual training institutions as well as integration of learning systems into the
mainstream industries were discussed.
The symposium was quite exciting but the short duration of the symposium did not make it
possible for participants to formulate the various recommendations into a comprehensive
package.
However, and Advisory Committee was formed to continue to work with the Secretary Gen-
eral in this regard.
Fepaci expects to hold similar symposium in the other regions of Africa.


2.0 RE-ORGANIZATION OF CARA
Work has been completed on the revised Constitution for CARA. Members are to discuss the
document at the 2008 Congress and General Assembly to enable them ratify it at the CARA
meeting scheduled during ANIWA in Accra in July next year. Re-organization of the Secretar-
iat along the lines suggested at ANWA 2007 will also be discussed.


3.0 ANIWA
The next edition of ANIWA will be held at NAFTI, Accra early July 2009. A firm date accepta-
ble o all members will be discussed at 2008 Congress. This is in accordance with the decision
taken by members at ANIWA 2007.


4.0 FUNDING OF FILM SCHOOLS IN AFRICA
A major problem facing the schools in Africa is the acquisition of equipment to enable them
offer quality training into the mainstream industries. The television Industry is receiving a good
boost from foreign investment. The quality of productions being beamed across the continent
                                                                                                 st
is quite high. The dilemma of the film schools is how they can meet the challenges of the 21
Century.


MARTIN LOH                                                          OCTOBER 10, 2008
Chair
CARA




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   CIBA Report

Maria Dora Mourão




       54/151
                     Report of CILECT‘s Regional Association for Latin-America


                         CIBA – CILECT IBEROAMERICA REPORT
                                October 2006/ November 2008




In the last biennium, the Latin American region, in partnership with Spain and Portugal, con-
tinued its activities developing and conducting projects, seminars, festivals, meetings and
workshops. Most of these events were open to all CIBA member schools. Other events were
attended by members of the CIBA executive and specially invited professors from the CIBA
schools.
It is important to note that since the establishment of CIBA (CILECT Ibero-America Associa-
tion) at the Helsinki Congress 2004 as CILECT‘s regional association of for Latin America,
with the Spanish and Portuguese schools as partners, the schools have been linked in carry-
ing out activities of common interest.
 For CIBA, this is very important, because we believe that what makes CILECT, important and
essential as an association, is the opportunity that it creates for collaboration and the ex-
change of ideas and knowledge.


REGIONAL PRIORITIES:
In addition to the evolution of CIBA, three priorities were addressed in the biennium:
1- The continuity of the ―In Transit‖ project, initiated in the 2006-2006 biennium, exploring its
commercial possibilities;
2- The start-up of the new project: ―Digital Film – New formats of audiovisual expression‖;
3- The development of a series of seminars entitled ―Training the Trainers‖, as was deter-
mined at the CIBA meeting during the CILECT Congress in Madrid.


OTHER CIBA ACTIVITIES IN THE 2006-2008 BIENNIUM
      th
  1. 7 INTERNATIONAL STUDENT FILM FESTIVAL – November 2006 – Buenos Aires –
      ARGENTINA
The festival was organized by Universidad del Cine - Buenos Aires with the aid of CILECT.
More then a 100 short film from 74 schools from 33 countries were exhibited in several sec-
tions.
The jury consisted of: Marc Nicolas – President (France), Dudley Andrew (USA), Eduardo
Antín (Argentina), Rodrigo Moreno (Argentina), Maria Dora Mourão - representing CILECT
(Brazil).
Two master classes and an exhibition were presented in parallel with the festival:
- Michal Bregant (Czech Republic) who was responsible for the master class ―Avant Garde
and the Way to Break the Limits of Representation‖.
- Dudley Andrew (USA) who was responsible for the master class ―The Cahiers Line‖.
- Marc Nicolas, who presented the exhibition ―La Fémis at Twenty‖.
2- CIBA EXECUTIVE MEETING - November 2006 – Buenos Aires - ARGENTINA
The executive met in November 2006, taking advantage of attendance at the FUC Festival,
met to discuss the next steps for CIBA.




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        Report of the Chair of CILECT‘s Regional Association for Latin America

3- FORCINE CONGRESS - Brazilian Film and Audiovisual Schools‟ Congress - Decem-
ber 2006 – Ceará, Fortaleza - BRAZIL
                                                                                                 th
In December 2006, the Brazilian Forum of Film and Audiovisual Schools organized its 4
Congress in Fortaleza, Brazil. The main subject of the Congress was ―Towards a public policy
for Film and Audiovisual Education‖.


4- CIBA EXECUTIVE MEETING – June 2007 – Tandil - ARGENTINA
                                 th
The meeting took place at the 7 Tandil Film Festival in Argentina organized by the University
                       th     th
of Tandil, from June 26 to 30 . The main subject of the meeting was the organization of the
 st
1 seminar of the new project ―Digital Film – New formats of audiovisual expression‖.
5 – 2nd SÃO PAULO LATIN-AMERICAN FILM FESTIVAL – July 2007 – São Paulo -
BRAZIL
The Festival was organized by the Latin-America Memorial Foundation (São Paulo) with the
support of the São Paulo State Government. CIBA was responsible for the organization of a
panel on the topic ―The importance of professional education for the audiovisual industry‖.
Representatives from CIBA Schools in Latin America were invited to constitute the panel: Ma-
rio Santos from Universidad del Cine-Argentina, Silvio Fischbein from Universidad de Buenos
Aires-Argentina, Hugo Rodriguez from Centro de Capacitación Cinematográfica – México and
Maria Dora Mourão from the Universidade de São Paulo-Brazil.
The purpose of the panel was to discuss and exchange reflections on the pedagogic model
adopted by the four Latin American Schools represented at the meeting, and the relation with
the evolution of the Film and Audiovisual industries in their countries.
6- INTERNATIONAL SEMINAR - September 2007 – Santiago - CHILE
―Creative production and script editing in the development of an industry‖. Development work-
shop for fiction feature length film projects to strengthen the growth of a film industry in Ibero-
America.
The seminar was sponsored by the Ibermedia Program and CILECT among others. Orga-
nized by UNIACC University, Chile, and co-organized by Universidade de São Paulo, USP,
Brazil; Escuela de Cine de Uruguay, ECU; Fundación para la Investigación del Audiovisual de
la Comunidad de Valencia, FIA, Spain; Escuela Nacional de Experimentación y Realización
Cinematográfica, ENERC, Argentina; Fundación Universidad del Cine, FUC, Argentina with
the aid of Sociedad Peruana Industria Audiovisual, Peru; VIART, Venezuela; Universidad del
Norte, Colombia.
Maria Dora Mourão was the moderator of a round table.


7- LATIN-AMERICAN FILM SHOWCASE - Cinema and Psycho-analysis: what unites Lat-
in-America in its diversity – November 2007- São Paulo - BRAZIL
A showcase of Latin-American films accompanied by discussion panels was co-organized by
CIBA, the Brazilian National Film Archive (Cinemateca Brasileira), the University of São Pau-
lo, and the Brazilian section of the International Psycho-Analytical Association (IPA).
The objective of this showcase was to discuss the possibility of pinpointing common elements
of Latin-American identity in contemporary Latin-American film production.
8 - CILECT EXECUTIVE COUNCIL MEETING – December 2007 – Buenos Aires –
ARGENTINA.
ENERC – Buenos Aires
November 28 – December 3, 2007




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       Report of the Chair of CILECT‘s Regional Association for Latin America

9- FORCINE Congress - Brazilian Film and Audiovisual Schools‟ Congress – December
2007 – Tiradentes, Minas Gerais – BRAZIL.
            th
During the 5 Congress of the Brazilian Forum of Film and Audiovisual Schools, a special film
exhibition was organized for the professors participants, highlighting three films that competed
for the CILECT Prize 2006. The films were: Visiting Hours – Tel Aviv University, A Family –
Dramatiska Institutet, Sweden and The Border – VGIK, Russia.


10 – 1st Seminar of the Project “DIGITAL FILM – NEW FORMATS OF AUDIOVISUAL
EXPRESION” – April 2008 – Buenos Aires.
see project report.


11 – CIBA EXECUTIVE MEETING – April 2008 – Buenos Aires – ARGENTINA
The main subject of the meeting was a discussion of the content of the CILECT Conference
2008 and the participation of CIBA Schools delegates.


12 – INTERNATIONAL MEETING OF FILM SCHOOLS – INTERNATIONAL STUDENT
SHORTFILM COMPETITION - June 2008 – Mexico City – MEXICO.
The meeting was organized by the Centro de Capacitación Cinematográfica with the aid of
CILECT.
The intention of the meeting was to create a space were students, teachers and directors of
six CILECT Schools (Sam Spiegel Film and Television School of Jerusalem, Stanford Univer-
sity, Universidad del Cine de Argentina, Victorian College of the Arts of Australia, Korean
Academy of Film Arts, La Femis of France) whose diverse geography and academic empha-
ses would provide new vision by their discussion and reflection on teaching.


13. CILECT EXECUTIVE COUNCIL MEETING – June 2008 – Rio de Janeiro, Brazil – Uni-
versidade Federal Fluminense.


                                                           rd
13a – Festival, Workshops and Cycle of Debates – 3 SÃO PAULO LATIN-AMERICAN
FILM FESTIVAL – July 2008 – São Paulo – BRAZIL
The Festival is organized by the Latin-America Memorial Foundation (São Paulo) with the
support of the São Paulo State Government.
CIBA organized some of the events of the Festival with the partnership and the supporting of
FIA – Fundación para la Investigación del Auduiovisual, Valencia – Spain; Universidade de
São Paulo, Brazil; Associação do Audiovisual, Brazil and CILECT:
Festival of Films and Videos from the CIBA-CILECT Schools: a session of the festival
was devoted to screening films and videos from the schools affiliated to CIBA-CILECT organ-
ization from Brazil, Cuba, Mexico, Argentina, Chile and Uruguay.
A student from each School was invited to attend the Festival. The meeting resulted in a crea-
tion of a network from which nine short films, directed by the students will be produced on the
issue of Latin American cultural identity.

Cycle of Debates: AUDIOVISUAL EDUCATION PANEL –Coordinated by Maria Dora
Mourão (USP – Brazil) and with the participation of Gustavo Montiel (CCC - Mexico), Evandro
Lemos da Cunha (UFMG - Brazil), Gustavo Mosquera (ENERC – Argentina) and Carles
Cereceda (ESCAC – Spain).
Workshops: Maria Dora Mourão (USP – Brazil) and Joan Alvarez (FIA – Spain) were the
coordinators of five workshops, for students, young filmmakers and independent producers:




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           Report of the Chair of CILECT‘s Regional Association for Latin America

Workshop 1
Development of Projects (pitch, the role of the producer and the creation of the
screenplay).
Responsible Teachers: Teresa Cebrian (FIA - Spain), Gustavo Montiel (CCC- Mexico) and
Joan Alvarez (FIA – Spain)
Duration: 5 days
Workshop 2
Strategies of Co-Production
Responsible Teacher: Joan Alvarez (FIA-Spain)
Invited Teachers: Steve Solot (LATC – Brazil)) and Francesc Fenollosa (FIA-Spain)
Duration: 3 days
Workshop 3
Ways and Strategies of Financing: how to work with international resources.
Responsible Teacher: Pancho Casal (Association of Producers - Spain)
Invited Teacher: (Fabiano Gulane - Brazil)
Duration: 3 days
Workshop 4
Marketing and Market Investigation
Responsible Teacher: Patrícia Marcela Primón (Argentina)
Duration: 2 days
Workshop 5
Models and New Forms of Exhibition and Distribution.
Responsible Teacher: Mocha Aguilar (Spain)
Duration: 2 days.

14 – 2nd Seminar of the Project “DIGITAL FILM – NEW FORMATS OF AUDIOVISUAL
EXPRESION” – September 2008 – São Paulo, BRAZIL
See program attached.
      st
15 – 1 CONGRESS OF IBEROAMERICAN CULTURE – FILM AND AUDIOVISUAL, Octo-
ber 2008, MEXICO
The Ministries of Cultures of the Ibero-American countries organized this Congress. The Pan-
els discussed problems of production, co-production, cinema as memory and heritage, com-
mercialization, the future of the Ibero-American cinematography, new formats, the Ibero-
American film policies, the critic and the training of professionals.
CIBA was present in the Panel: ―The challenge of training and the new technologies. The pro-
fessional update‖.
Participants: Joan Alvarez (FIA – Valencia, Spain), Josep Maixenchs (ESCAC – Barcelona,
Spain), José Ramon Miquelajauregui (CUEC – Mexico), Carlos Taibo (CCC – Mexico), Tarik
Souki Farías (Venezuela), Maria Dora Mourão (USP – Brazil).
José Bogalheiro (ESTC – Lisbon, Portugal) was in the Panel: ―Looking at the future: audi-
ence and training of trainers‖.


16 – CIBA SCHOOLS MEETING – October 2008 – MEXICO
               st
During the 1 Congress of Iberoamerican Culture, the CIBA Schools‘ representatives dis-
cussed the development of a series of seminars entitled ―Training the Trainers‖, as decided at
CIBA meeting during the CILECT Congress in Madrid. The first two seminars will be: (1)
―Teaching film and audiovisual in the contemporary world‖ to be organized by Joan Alvarez
from FIA – Valencia, SPAIN, (2) ―How to teach directing‖ to be organized by Tanya Valette
from EICTV – CUBA.




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           Report of the Chair of CILECT‘s Regional Association for Latin America

17 – IX INTERNATIONAL FILM SCHOOLS FESTIVAL – October 2008, Montevideo,
URUGUAY.
The Festival is organized by the Escuela de Cine de Uruguay (ECU). 100 films from 20
CILECT Schools plus 5 Uruguayan Schools, representing 18 countries were shown. This
Festival is not sponsored by CILECT, but as ECU is a CILECT School, CIBA accepted the
invitation to be part of the Jury.
      th
18 - 8 INTERNATIONAL STUDENT FILM FESTIVAL – October 2008 – Buenos Aires -
ARGENTINA
The festival is organized by Universidad del Cine - Buenos Aires with the aid of CILECT. Be-
sides the exhibition of films, and the tribute to the Tisch School of the Arts of the New York
University, the Festival invites Walter Murch to conduct a Master Class. CILECT was repre-
sented on the Jury by Silvio Fischbein (UBA – Argentina).
19- III INTERNATIONAL SEMINAR - October 2008 – Santiago - CHILE
―Creative production and script editing in the development of an industry‖. Development work-
shop for fiction feature length film projects to strengthen the growth of a film industry in Ibero-
America.
The seminar was sponsored by the Ibermedia Program and CILECT among others. Orga-
nized by UNIACC University, Chile, participated, among others, Don Zirpola (Loyola Mary-
mount University, USA), Silvio Fischbein (UBA – Argentina), Esther Hamburger (USP – Bra-
zil).


Respectfully submitted,


Maria Dora Mourão




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 CNA Report

Chap Freeman




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       Report of the Chair of CILECT‘s Regional Association for North America


1. Name Change
In May of 2007, I polled the 19 U.S. and Canadian schools who are full members of CILECT
from North America, requesting approval to change our name from UFVA to CNA (CILECT
North America). In the recent past, there had been considerable confusion between this as-
sociation and the University Film and Video Association in the U.S., which is also a member
of CILECT worldwide. The eleven schools responding were unanimously in favor of the
change, which was approved by CILECT‘s Executive Council at its meeting at BK Art Acade-
my, Belgrade, Serbia, June 1 – 4, 2007.


2. Preparation for Beijing Congress, 2008
An enormous amount of work on the part of the Executive Council and many others, including
an organizing group at the Beijing Film Academy, has resulted in what I believe will be an
outstanding event, November 3 – 8, 2008. The Congress portion of this event will include
sessions devoted to New Methods of Media Distribution, New Approaches to Documentary,
New Media Formats, Approaches to Television Curricula, the development of Bridge Pro-
grams between schools and the media industry, a Screenwriting session ―Writer/Director or
Writer AND Director‖, and an Animation session, ―Reconciling Students‘ Desires with the De-
mands of the Market‖.
In each case, sessions will begin with a moderated conversation among teacher/specialists
from member schools around the world, and then open for discussion among all those in at-
tendance.
The General Assembly portion of the week will address Admission of New Members, reports
from members of the Executive, a report on The CILECT Prize, 2008, Proposals for changes
in CILECT‘s Statutes, and the election of a new President, a new Vice-President for Finance
and Fundraising, and a new Vice-President for Publications and Research. In addition there
will be reports from two past biennial projects, ―Lessons in Film‖ and ―The World Rivers Pro-
ject.‖ The General Assembly will conclude with a vote on new projects and activities for 2008-
2010.
Regional Meetings for each geographic subgroup will be divided into two sessions, so that
each region can discuss its thoughts before voting on new projects for the next biennium.
The week will also contain two sessions of Contributed Papers, selected from topics that
apply to the subjects of the Congress. This is a new event. In addition, there will be a session
on Cultural Diversity in China, and a day of Excursion --Thursday, Nov. 6 -- which will in-
clude a visit to The Great Wall.
Members of CNA who have registered for Beijing have all this information in a chart from the
Executive Secretary, Henry Verhasselt, in Brussels.


3. Two New Initiatives
In the 2006-2008 biennium, the Executive Council has approved two new Initiatives, projects
intended to be shorter and less costly than the biennial Projects approved by the whole mem-
bership. One is a set of Student Exchanges, proposed by INSAS (Institute National Supéri-
eur des Arts du Spectacle et Techniques de Diffusion) in Brussels, the goal of which is the
making of a film by students from two CILECT schools. Two students from school A are host-
ed by school B. There, they shoot their film, with assistance from students of the host school.
Students from A then return to their home school for post-production. A DVD of the finished
film is made available both to school B and CILECT. A pilot grant was allocated by the Execu-
tive for this project, whose first results will be evaluated at the Beijing General Assembly.
The second new Initiative is the creation of The CILECT Forums, an internet platform that
facilitates exchanges among members for raising questions and making comments on teach-
ing issues. The first set of discussion topics reflect the themes of the Beijing Congress in No-
vember. (See above.) The Forum‘s address is http://cilectforum.org.



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4. UFVA Conference, 2007
In the U.S., the 2007 conference of the University Film and Video Association was held at
North Texas University in Denton, Texas on August 7 – 11. It was hosted by then-UFVA Pres-
ident Melinda Levin, and included a meeting of the North American members of CILECT,
among a great many other events. These included panel discussions, reading and evaluation
of member‘s screenplays, screening and critique of member‘s films (both finished and in pro-
gress) and various caucuses to address the special interests of its members.


5. UFVA Conference, 2008
       nd
The 62 Annual UFVA conference was held at Colorado College in Colorado Springs, August
12 – 16, hosted by Tom Sanny, Assistant Professor of Film Studies. Activities like those listed
above were once again much in evidence. Presenters of a progress report on The World Riv-
ers Project, a current CILECT biennial project (see below), graciously shared their time-slot
with members of the CILECT Executive, who answered questions about upcoming activities,
sources of support for CILECT member schools, and the upcoming Congress in Beijing.
Dr. Diane Carson has been elected the president of UFVA for 2008-2010. Dr. Carson is re-
cently retired from St. Louis Community College at Meramec, where she headed the film pro-
gram and taught both production and film studies courses. She will represent UFVA at the
Beijing Congress.
Other UFVA officers include Executive Vice-President Frank Tomasulo (2007-2009), Confer-
ence Vice-President Mara Alper of Ithaca College (2007-2009), Editorial Vice-President Steve
Lipkin of Western Michigan University (2008-2010), Secretary LeAnn Erickson of Temple Uni-
versity (2008-2010) and Treasurer Peter Bukalski of Southern Illinois University (2008-2011).
The UFVA website is at www.ufva.org.


6. CNA Entries to CILECT Prize 2007 and 2008
The CILECT Prize for student films, now completing its third round of yearly competitions, has
included a number of entries from CNA schools.
For 2007--The School of Visual Arts, New York, New York; Stanford University, Stanford, Cal-
ifornia; Loyola Marymount University, Los Angeles, California; University of California Los An-
geles, California; York University, Toronto, Canada; Florida State University, Tallahassee,
Florida, New York University, New York, New York; Boston University, Boston, Massachu-
setts; Columbia College, Chicago Illinois; and The California Institute of the Arts, Valencia,
California.
For 2008 – North Carolina School of the Arts, Winston-Salem, North Carolina; The California
Institute of the Arts, Valencia, California; Columbia College, Chicago, Illinois; Florida State
University, Tallahassee, Florida; Stanford University, Stanford, California; Loyola Marymount
University, Los Angeles, California; York University, Toronto, Canada; Chapman University,
Orange, California; Boston University, Boston, Massachusetts; The American Film Institute,
Los Angeles, California, and The School of Visual Arts, New York, New York.
The 2008 contest attracted 24 hours of film from around the world. Samples of these projects,
and of the most recent winners, will be screened at the Beijing Congress.


7. The World Rivers Project
Until 2006, no U.S. school (or schools) had submitted an application for a biennial project
grant from CILECT. At the Madrid Congress that year, a small group of U.S. delegates,
spearheaded by Melinda Levin (University of North Texas), Karla Berry (University of South
Carolina) and Suzanne Regan (California State University at Los Angeles) brought forward a
proposal to document famous rivers of the world, and the human lives that surround them. In
the end, the Amazon, Danube, Ganges, Rio Grande and Mississippi were chosen as sub-
jects, and participation expanded to include not only its originators, but CILECT members
from American University in Washington D.C.; Escola de Comunicacoes e Artes, Sao Paulo,

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Brazil; Fakultet Dramskih Umetnosti, Belgrade, Serbia, and Vysoka Skola Muzickych Umeni,
Bratislava, Slovakia, as well as the UFVA.
A major goal of the project was to test collaborative High Definition tapeless workflow in an
educational application. Industry partners included Panasonic, Avid, and B&H Photo Video. In
2007, Norman Hollyn at the University of Southern California agreed to join as editor of a ―me-
ta-movie‖ to be assembled from the individual exploration of each waterway.
An extensive report on the project, including its technology, the trials, tribulations, and joys of
shooting tapeless HD, and the complications of sharing many hours of material among coun-
tries with different degrees of broadband access are all included, as well as responses to the
cultural and ecological differences among the rivers themselves. As a very large, international
undertaking, The World Rivers Project has been a test (and corroboration) of CILECT‘s mis-
sion to advance media training beyond national borders and among different schools. Some
of the teachers involved in its production will be present for a screening and discussion of the
meta-movie at the Beijing Congress.


SUBMITTED BY
Chap Freeman
North American Regional Representative to the CILECT
Executive Council, 2006-2008
Professor of Film and Video
Department of Film & Video
Columbia College Chicago, U.S.A.
cfreeman@colum.edu
+1-312-369-6762




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GEECT Report

Marc Nicolas




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                                     GEECT Report of Activities
                                     October 2006 – October 2008




-   Introduction and Strategy
-   Conferences 2007-2008
-   Conferences 2009-2010
-   Initial Training in Europe
-   Executive Board Meetings / Elections
-   Annexes




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FROM MADRID 2006 TO BEIJING 2008


Introduction and Strategy


Since the last General Assembly in Madrid two years ago, GEECT has continued to organise conferences on
various issues related to film schools, while actively pursuing its lobbying activities, since 2004, for a unique
collaboration with the European Commission, with a view to include initial training in MEDIA – the EU support
for the European audiovisual industry - and hence create an essential dialogue between film schools in Eu-
rope.


Conferences 2007-2008

The Best-Kept-Secrets technical conference in Amsterdam, September 2007
Hosted by Marieke Schoenmakers at the NFTA, moderated by Nik Powell of the NFTS, and conducted by
Tore Maritvold of the Norwegian Film School, this Best-Kept Secrets technical conference successfully gath-
ered over two days participants coming from all over Europe, including Georgia, Israel, Lebanon, but also from
Australia, and India.

The aim of the seminar and workshop was to take a look at how film schools in Europe and the rest of the
world are tackling the new challenges brought about by the changes in technology, hence the changes in the
industry regarding their models of production and post-production that the film schools themselves wanted to
introduce.

Prominent film schools agreed that the seminar achieved its purpose by inviting technical directors to create an
arena for discussing technical matters between engineers, teachers and students both inside each school and
between schools, and to cover some of the special technical concerns expressed by the schools such as digi-
tal cinema, HD cinematography, digital and film images, storing and archiving.

Attached in Annexe 1 are the agenda of the conference and the list of 49 participants from 16 countries.


The European Film School Network seminar in Paris, April 2008
The sixth meeting of European Film School Network organised by La fémis, in partnership with the London
Film School and the VSMU in Bratislava, provided an overview of the projects submitted and selected under
the new MEDIA scheme for initial training launched in 2007. Information was provided on the upcoming call for
proposals under that scheme (see below).

The aim of the initial training programme is to encourage the mobility of students and/or trainers and the col-
laboration of film schools in Europe. Another priority is to create links between film schools in order to facilitate
the entry of graduates into the film industry.

Currently, there is not much ―Europe‖ in the curricula of most European film schools. The training activities
supported by MEDIA will hopefully have an impact on this approach and help film schools learn from each oth-
er, either with students travelling to present their own film industries or film professionals travelling to present
the European film industry. The training activity should have a significant impact on the school itself, and not
just on the students involved in the project. MEDIA funds should not be going to specific students but should
have an impact on the school as a whole.

Attached in Annexe 2 are the agenda of the seminar and the list of 34 participants from 17
countries.




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Conferences 2009-2010

Members agreed for three types of conferences: one on teaching subjects, such as animation, documentary,
etc, one on subjects other than teaching, such as technical, curriculum, etc, one on « political issues » such as
Bologna or MEDIA, on the basis of two to three conferences per year.

For 2009, the following three conferences have been confirmed.

1. Paris, 2-3 April 2009 “European Film School Network”, the yearly meeting of European Film Schools,
organised by La fémis in Paris, in partnership with the London Film School and the VSMU in Bratislava, will
gather to evaluate the results of the training set up by the programmes supported by the first call for proposal
in 2007 and discuss the content of the programmes submitted for the second call in 2008.


2. Lisbon, 28-29 May 2009 "Between Film and Digital Animation: when old distinctions no longer work".
Organised and hosted by Universidade Lusofona in Lisbon, in partnership with VSMU in Bratislava, the first
aim of this seminar is to discuss the "state of the art" on digital film and animation techniques in the presence
of different school representatives, professionals and invited scholars. The second goal is to stimulate the de-
bate amongst different schools on the new pedagogic challenges technological evolution promotes, namely on
what concerns film and animation teaching from a stand point where both disciplines are closely interlinked.
The content of the seminar will not only involve round table debates and presentations but also hands-on
demonstrations in our MOCAP and 3D labs as well as several presentations.

3. London, 5-8 November 2009 “Best-Kept-Secrets conference on editing” will be organised and hosted
by the National Film and Television School in Beaconsfield, UK. It will be extended to sound editing and could
address more generally all post-production aspects of film.

For 2010, the following three conferences are being discussed.

- The annual European Film School Network seminar, which content is still to be confirmed,
- One conference on the LMD evaluation system involving schools, which have already adopted it,
- One best-kept-secrets technical conference gathering the heads of technical, like the one in Amsterdam in
  2007.


Initial Training in Europe

At Berlinale 2007, at the first meeting that took place after the Madrid Congress, the Executive decided to con-
tinue its lobbying activities to promote initial training in Europe. After many years of negotiations with the Euro-
pean Commission, MEDIA officially announced its support to film schools with a view to encourage the mobility
of their students and trainers, to build a common curricula and a network of European professionals. During
the festival, the guidelines of this new scheme were presented to an audience, which consisted of training as-
sociations and film schools. In particular, this new programme was designed to increase the share of its sup-
port for projects involving participants from Central and Eastern European countries with a view to enhance a
wider cooperation between East and West.


After Berlin, Marc Nicolas contacted the members of the association to inform them of this major phase of de-
velopment for film schools in Europe. He initiated meetings and seminars, in Brussels then at Cannes, to gath-
er film schools, provide them with the guidelines of this new scheme, and encourage them to submit projects.




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On a very short notice, many film schools joined forces to imagine common programmes for their students.
Ten projects were selected by the first MEDIA scheme in 2007, nine of which involved one or more GEECT
film schools. Among the ten projects selected in the second scheme in 2008, seven of the projects involve one
or more GEECT film schools.

The European Commission launched in 2008 a Preparatory Action ―MEDIA International‖, for structuring and
strengthening relations and networks between EU and third countries professionals in the audiovisual sector,
with a view to develop a new programme possibly called MEDIA MUNDUS. At this stage their support only
covers continuous training activities.

However, as discussed at their Public Hearing in Brussels in June, Initial Training should be in the pipelines,
depending on the results of the recent initial training projects in Europe, and on the budget available for this
new scheme in the coming years.

The GEECT Executive, who has been much involved in the implementation of the European programme, fol-
lows with great interest the development of this new phase and encourages the Commission to take the nec-
essary measures for including initial training in the future MEDIA MUNDUS.

Attached in Annexe 3 is the list of projects supported by the first MEDIA call of
2007 Attached in Annexe 4 is the list of projects supported by the second
MEDIA call of 2008. In bold are the schools members of the GEECT


GEECT Executive Board Meetings / Elections

The following Executive Board Meetings took place since Madrid 2006:

February 2007, Berlin; November 2007, Paris; October 2008, Paris.

In the Executive meeting held in Berlin, February 2007, the Executive council members agreed that except for
the President and the Treasurer, the other Board members‘ positions are not defined.

The GEECT Executive Council currently consists of:
*Marc Nicolas, President, La fémis. October 2006, elected in mid-term till 2008
*Malte Wadman, Treasurer, Den Norsken Filmskolen, Norway. October 2006, elect-
ed till 2010 *Nik Powell, The National Film and Television School. October 2006,
elected till 2010 *Zuzana Tatarova, VSMU. October 2004, elected till 2008
*Marieke Schoenmakers, NFTA. Elected in October 2006, she resigned from the NFTA after one year at the
Executive end of 2007

Three positions have to be filled at this general assembly: Executive Council President and two Executive
Council Members.

CILECT Executive Board Meetings

Marc Nicolas attended the following Board Meetings as president of GEECT:
February 2007, Los Angeles; November/December 2007, Buenos Aires; April
2008, Rome.




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However he could not attend the meeting in Belgrade, May/June 2007, and the one in Niteroi, June 2008. He
attended the meeting in Rome for only one day.

While attending these meetings in the name of the GEECT Executive, Marc Nicolas expressed a number of
suggestions for improving the operational organisation of CILECT. In particular he underlined that most Euro-
pean members of GEECT expected it to become more active. The following orientations were proposed:

- To make the biannual congresses much more dynamic and more focussed on the exchange of experience
- To implement more cooperation projects between member schools in between congresses
- To implement more cooperation projects between member schools belonging to the different regional associ-
  ations
- To encourage CILECT to support schools interested in participating in exchange activities organised by other
regional associations

- To allow the CILECT Executive to become more involved in the leading of the activities
- To renew more often the members of the CILECT Executive by limiting the terms of their mandates
As a result, all the members of the GEECT Executive met the CILECT Executive in Rome, in April 2008, and
confirmed their above-mentioned proposals.

The GEECT Executive, October 2008




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ANNEXES


  1. Amsterdam conference: agenda and list of participants
  2. European Film School Network: agenda and list of participants
  3. List of initial training projects for 2007
  4. List of initial training projects for 2008




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GEECT Best Kept Tech Secrets Amsterdam, 5 & 6 September 2007


Venue:
The Netherlands Film and Television Academy Amsterdam, The Netherlands
www.filmacademie.nl


Wednesday 5 September
2007

11.45 -12.15 hrs           Registration and coffee


12.15 hrs                  Welcome
                           Marieke Schoenmakers – director
                           Netherlands Film and Television Academy
12.30 hrs                  Lunch

13.30 -15.30 hrs           Facility tour

15.30 -16.00 hrs           Tea break

16.00 -17.00 hrs           Kick off
                           Tore Maritvold – technical manager
                           Norwegian Film - & TV School
                           Marc Tiemissen – head of Audiovisual facilities
                           Netherlands Film and Television Academy and
                           Hanneke Bloemendal – head of finance and
                           facilities
                           Netherlands Film and Television Academy
                           Departure for boat trip, drinks and informal
17.15 hrs                  dinner
                          at the Lloyd Hotel www.lloydhotel.com




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Thursday 6 September 2007


The sessions will be moderated by Nik Powell,
director of the National Film and Television
School, UK.


9.00-9.30 hrs              Coffee/tea

9.30-10.45 hrs             Celluloid & HD
                             From the look and feel to the effects on the production
                             process
                             Jon Houchin, head of engineering
                             National Film and Television School, UK
10.45   -11.15 hrs           Coffee/tea

11.15   -12.30 hrs           Sounds good !
                             Choices and technique in film sound from a Dutch per-
                             spective
                             Ben Zijlstra, head of sound department
                             Netherlands Film and Television Academy
12.45   -13.45 hrs           Lunch

13.45   -15.00 hrs           The post production pipeline
                             Formats, digital intermediate and infrastructure
                             Wim van Slooten, technical director
                             Filmmore, The Nederlands
15.00   -15.30 hrs           Tea break
=
                             How to manage your data
15.30   -16.45 hrs           Compression, storage and distribution
                             Doug Shannon, engineering department
                             National Film and Television School, UK
16.45   -17.00 hrs           Closing

17.00   -18.00 hrs           Drinks on the roof




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 List of participants - Technical GEECT Conference
 Amsterdam 5 & 6 September 2007
Name                  Academy                                Country

                          National Film and Television
Nik Powell                School                         UK, London              Director NFTS
Septimiu Moraru           Norwegian Filmschool           Norway                  Head of Cinematography
Mikko UImonen             University of Applied Sciences Finland                 Lecturer Cinematography
                                                                                 Senior Lecturer Editing and
Kauko Lindfors            University of Applied Sciences     Finland             Post
                                                                                 Production
Leena Mäkelä              University of Applied Sciences     Finland             Head of Media
Lewis Paul                Northern FilmSchool                UK, Leeds           Senior Lecturer
                                                                                 Hoofd Post Productie departe-
Filipe Roque do Vale       University Lusofona               Portugal, Lisbon    ment
Filipe Costa Luz           University Lusofona               Portugal, Lisbon    Docent Computer Animatie
Timo Heinänen              School of Motion Pictures         Finland, Helsinki   Lecturer Cinematographer
Ari Kivimäki               Media Centre Lume                 Finland, Helsinki   Director Media Centre Lume
Sunedria         Nicholls-
Gärtner                                                      Germany, Koeln      Head Post Production
                                                                                 departement
Terry Hopkins             London Film School                 UK, London          Senior Lecturer
Bert Beyens               Rits, Erasmushogeschool            Belgium, Brussels   Head of the department
Roger Leclercq            Rits, Erasmushogeschool            Belgium, Brussels   Lecturer cinematography
Sven Vilain               Rits, Erasmushogeschool            Belgium, Brussels   Lecturer editing
Michel Coquette           Rits, Erasmushogeschool            Belgium, Brussels   Lecturer audiotechnology
Patrick Geeraerts         Rits, Erasmushogeschool            Belgium, Brussels   Coordinator audiovisual
                                                                                 techniques
                      Film and Television Institute of In-
Kothandam Rajasekaran dia                                    India
Emilia Stoeva         National Academy of Theatre and        Bulgaria            Lecturer
                      Film Arts
                      Screen Academy / Napier Universi-
Colin Mc Leod         ty                                     Scotland, Edinbrugh Senior Lecturer
Tore Maritvold        Norwegian Film and TV School           Norway              Technical Manager




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                          National   Film   and    Television
Jon Houchin               School                                UK, London        Head of Engineering
                          National   Film   and    Television
Doug Shannon              School                                UK, London        Engineering Department
Elsbeth Epema             AHK                                   Netherlands,
                                                                Amsterdam
Ferry van Spanje          AHK                                   Netherlands,
                                                                Amsterdam
Marc Tiemissen            AHK, NFTA                             Netherlands,      Head audiovisual facilities
                                                                Amsterdam
Ben Zijlstra              AHK, NFTA                             Netherlands,      Head Sound department
                                                                Amsterdam
Rene van Uffelen          AHK, NFTA                             Netherlands,      Head editing department
                                                                Amsterdam
Hanneke        Bloemen-
dal                       AHK, NFTA                             Netherlands,      Head Finances and Facilities
                                                                Amsterdam
Meindert Kok              AHK, NFTA                             Netherlands,      Lecturer interactive media / visual
                                                                Amsterdam         effects
Harry Schreurs            AHK, NFTA                             Netherlands,      Head interactive media / visual
                                                                Amsterdam         effects
                                                                                  Head Cinematography depart-
Dirk Teenstra             AHK, NFTA                          Netherlands,         ment
                                                             Amsterdam
                                                             Australia,     Mel-
David Price               VCA Film & Television              bourne              Senior Lecturer VFX, post
                          University of Melbourne                                production coordinator
                                                             Sweden,      Stock-
Johan Andersson           University College of Film, Radio, holm                Audio & Video technician and
                          Television and Theatre                                 electrician
Dmitry Kabakov
                          The Sam Spiegel Film & TV
Ness Bar-Nahum            School                         Israel, Jerusalem        Head of the technical department
                                                         Sweden,       Stock-
Per Edlund                Film Department of Dramatiska  holm                     Technical manager
                          Institutet
Janna Nurmimaa            University of Art and Design   Finland, Helsinki        Post production supervisor
Levan Khetaguri           Shota Rustaveli Georgian State Georgia                  Vice rector
                          University of Theatre and Film
Nino Mkheidze             Shota Rustaveli Georgian State Georgia
                          University of Theatre and Film
Inaki Aizpuru             Cinema and Video School        Spain                    Director
                                                                                  Innovation and Project develop-
Maria Aizpuru       Cinema and Video School                     Spain             ment
Roger Rozencwajg La Femis                                       France            Head of the technical department
Christine Ghazarian La Femis                                    France            Manager of European
                                                                                  Atelier/Masterclass
Ronald Gow                The Westminster Film School,          UK, London        Lecturer
                          University of Westminster
Julie Lambden             The Westminster Film School,          UK, London        Lecturer
                          University of Westminster
Joost Hunnigher           The Westminster Film School,          UK, London        Consultant
                          University of Westminster
Jean Gibran               Saint Joseph University               Lebanon, Beirut   Head sound department
Christian Eller           Internationale Filmschule Koln        Germany, Koeln    Technical manager




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                                                              ==

                           EUROPEAN FILM SCHOOL               NETWORK
                                  April 3 & 4, 2008
                                    Schedule




Thursday April 3rd,
2008
                      Opening of the seminar: presentation of the session, of participants and
9:30 -10:30 AM        their schools by Marc Nicolas, Director General, La fémis


                      Outcome and results of the networking and cooperation projects approved by
10:30 – 11:00 AM      the MEDIA Programme by Pascale Borenstein, Head of International, La
                      fémis


11:00 – 11:30 AM      Coffee Break


11:30 AM – 1:00 PM    Presentation of two cooperation projects by their coordinator
                      - FOR A FISTFUL OF EUROS by Ben Gibson, Director, LFS
                      - EUROPEAN ANIMATION PRODUCTION MASTERCLASS by Eric Riewer,
                      Head of Animation Cinema, Les Gobelins

1:00 – 2:30 PM
                      Lunch at La fémis

2.30 – 3.30 PM
                      Presentation of FOUR CORNERS
                      by Sergi Casamitjana, Vice Director, ESCAC

3:30 – 4:00 PM
                      Coffee Break

4:00 – 5:30 PM
                      Workshops (in four groups) on the following topics:
                      - Film development workshops
                      - School film co-productions
                      - Digital projects
                      - Conference style learning events (semi-
5:30 – 6:00 PM        nar, etc) Debriefing of the workshops


6:00 – 7:30 PM
                      Screening session or guided tour of La fémis
8:00 PM
                      Dinner organised by La fémis at Brasserie Wepler




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Friday   April   4th,
2008
                            International cooperation programmes currently in progress in film schools
9:30 -11:00 AM              (FAMU, VSMU, Filmakademie Baden-Württemberg, La fémis, etc)


                            Coffee Break
11:00 – 11:30 AM

                            MEDIA presentation of the first and second call for initial
11:30 AM – 12:30            training by Pauline David, MEDIA Executive Agency
PM

                            Lunch organised by La fémis at Casa Lola

1:00 – 2:30 PM
                            Presentation of Cinespace: a website project designed by the London Film
                            School as part of the EFSN scheme by Kaster Hynds, LFS
2.30 – 3.30 PM

                            Coffee Break
3:30 – 4:00 PM
                            Strategies and visions for the future
4:00 – 5:30 PM
                            Conclusions of the seminar, evaluations and prospects
5:30 – 6:00 PM


____________________________________________________________________________________
__________




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EUROPEAN FILM SCHOOL NETWORK
Paris 3 & 4 April 2008


List of Participants
 Country=          School=                           Representative=        Title=
 Belgium=          Rits Erasmushogeschool =          LaiKin Chang=          International Relations=
         =         Ecole Superieure d'Art - Sint                   =        Audiovisual Department - Production
Belgium             Lukas=                           Daphné Pascual         Office=
Belgium=            IAD=                             Nathalie Degimbe=      Head of International Relations=
Bulgaria=           NATFA=                           Iskra Nikolova=        Head of International Relations =
Czech Republic=     FAMU=                            Michal Bregant=        Dean=
Denmark=            National Film School=            John Ole=              Head of International Relations=
       =                                      =      Jyri Sillart=          Head of Film Art=

Estonia             Baltic Film & Media School       Edith Sepp=            Coordinator (ENGAGE)=
       =            Taik University of Art and                  =                      =
Finland                     =                        Kirsi Rinne            Coordinator
                    Design
       =            TAMK University of Applied                   =                         =
Finland                       =                      Markku Veima           Project Manager
                    Sciences
                                                     Marc Nicolas=          Directeur Général=
                                                     Pascale Borenstein=    Head of International Relations=
France=             La fémis=                        Guillaume Cousin=      Project Manager=
                                                     Christine Ghazarian=   L'Atelier / Masterclass=
                                                     Carole Desbarats=      Head of Studies=
France=             Les Gobelins=                    Eric Riewer=           Head of the Animation Department =
Germany=            DFFB=                            Dagmar Jacobsen=       Lecturer - producer=
        =           Filmakademie Baden-                               =                            =
Germany                          =                   Guido Lokoschek        Referent des Direktors
                    Württemberg
Germany=            HFF=                             Andreas Gruber=        Head of the Fictional Department=
       =            Szinhaz - es Filmmüveszeti                   =                                  =
Hungary                     =                        Janos Xantus           International Relations
                    Egyetem
Hungary=            MOME=                            Rita Domonyi =         Professor of animation=
     =                                        =                        =    Director of the Lombardia Dept of Centro
Italy               Scuola Nazionale di Cinema       Bartolomeo Corsini                                      =
                                                                            Sperimentale di Cinematografia
                                                     Malte Wadman=          Artistic Director=
Norway=             Norske Filmskolen=                          =           Head of Producer's
                                                     Anne Ingvar                       =
                                                                            Education
Portugal=           Universidade Lusofona=           Paulo Viveiros=        Professor - cinema=
Slovakia=           VŠMU=                            Zuzana Tatárová=       Vice-dean Foreign Affairs=
Spain=              ESCAC=                           Sergi Casamitjana=     Vice Director=
        =                              =             Marianne Persson, =    Head of section : Production film/tv=

Sweden              Dramatiska Institutet            Lotta Mothander=       Head of Film Department=
Switzerland=        ECAL=                            Lionel Baier=          Head of Cinema Department=
                                                     Nik Powell=            Director=
United      King-                                                           Screen Academy Executive & Head of
dom=                NFTS=
                                                     Paul Moody=            Diversity
                                                                            (Passion to Market)=
United      King-
dom=            LFS=                                 Ben Gibson=            Director=
              = Screen Academy Scotland at                            =             =
United Kingdom                   =                   Robin Mac Pherson      Director
                Napier University


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List of Initial Training Projects – GEECT member schools in bold
Call 10/2007 – selected projects

 Tridoc
Tridoc is a mobility program which builds mixed teams of students coming from three different Eu-
ropean film schools: IAD in Belgium, NAFTA in Bulgaria and BFM in Estonia. As an outcome,
each of the 3 teams will shoot a short documentary. This project contributes to give to students the
opportunity to enrich their professional and artistic knowledge and to meet different cultures, con-
ditions of work, way of thinking or in Europe.

SWIM
SWIM in the Digital World is a three-week training program which focuses on the applications of
digital technologies for contributing to the development of new ways of creation, production and
distribution. Its pedagogical process is based on a case study method. 30 participants, mainly me-
dia and film school students and young audiovisual producers are expected to attend the SWIM
seminar which will take place in Nantes, France, in July 2008. The project organisation is operat-
ed by the SWIM Consortium which gathers representatives of Sciences com school (FR), Au-
dencia School of Management (FR), the Norwich School of Art and Design (UK), the Babes-Bolyai
University of Cluj-Napoca (RO) and the Berlin University of the Arts (DE).

Summer Media Studio
"Summer Media Studio‖ (SMS) is an annual intensive international three-week workshop, which
brings together advanced film students and top-level professionals from different film schools and
audiovisual industry for an intensive work at a theoretical and practical level (a short film is pro-
duced during the programme). The project is coordinated by the Lithuanian Academy of Music and
Theatre (LT), with the Helsinki Polytechnic STADIA (FI), the NATFA (BG) and the Baltic and
Media School as main partners. SMS 2008 is entitled "Camera tells the cinematic story" and will
focus on visual solutions of the film and the place of the visual solutions in script writing process.
The project aims to help students to find new experimental film forms for their ideas and to find
their way to film industry.


Passion to Market
Passion To Market is a bridge into industry programme for eighteen (in six teams of three) of re-
cent writing, directing and producing graduates from the British (NFTS), French (La fémis) and
Polish (Lodz) national film schools. Through it they will become better established sooner as real
participants in the global film market. Passion To Market will achieve this by supporting the devel-
opment, production and marketing of a feature length script, full promotional package, budget,
marketing plan, and teaser film for the selected team's project.


 A Fistful of Euros
A Fistful of Euros is led by London Film School (UK), in collaboration with University of Drama
and Film Budapest (HU), La fémis (FR) and National Film School of Denmark. The project will
create good practice models through a pan-European exchange on low-budget films (< 2 M€) and
is aimed at film school students and graduates, new entrants to the industry, and more established
film professionals.

The European Animation Production Masterclass
The European Animation Production Masterclass is a 4* 8 week project based training course de-
signed to train animation students. Each partner school will cover one part of an animated prod-
uct‘s development and production process, while also presenting its country-specific production
styles, schemes and methods. The participants will have to come with a project of their own to be
developed throughout the course. This training project, led by The Animation Workshop, will in-
volve bachelor-level students from a consortium of 4 European partner animation film schools:
MOME in Hungary, the Filmakademie Baden-Württemberg in Germany, the Gobelins in France
and The Animation Workshop in Denmark .




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European Film School Network
The European Film School Network project is designed to enhance a common reflection
on pedagogical issues, to improve the mutual knowledge of the European film schools
and set up exchanges. La fémis (FR), the London Film School (UK) and the VSMU
(SK) will elaborate a "training for trainers" programme, taking into account the issues and
challenges that they, and the other European film schools, face. Furthermore, in parallel,
a dedicated European film school website will also be set up in order to allow European
film schools to network and share their experience.

Engage
ENGAGE is a transnational collaboration between the national film schools of Scotland
(Screen Academy Scotland), Ireland (IADT) and Estonia (Baltic Film and Media
School) which, through a series of intensive project development workshops and online
forums, aims to grow a new generation of European filmmakers with the knowledge, skills
and understanding required to work collaboratively across national cultures and indus-
tries. The subjects and skills taught during ENGAGE will focus on creative and commer-
cial screen project development skills in ―high value, low budget‖ film and television with
an emphasis on the potential of lower budget, new / HD technology based production.

Four Corners
Four Corners central idea is to identify and nurture the most talented European film stu-
dents (and eligible postgraduates) who can demonstrate the potential to create economi-
cally viable new films and programs that will find audiences beyond their own cultures. To
achieve that, the ESCAC (ES), in collaboration with its partners the Bournemounth Arts
Institute (UK), the UNATC Film School (RO) and the Thessaloniki Film Festival (GR),
has developed a three-part project dealing with development, marketing & distribution
and co- production & finance.

Prodigi
PRODIGI is a training project that articulates all participants through the promotion of one
common goal: the co-production of 3 short fiction films that depict a common single reali-
ty; whilst at the same time promotes the acquisition of all skills involved in the new digital
film production value chain. All films are co-productions to be developed by mixed teams
of students from the partner schools COFAC (PT), the New Media Technology College
(IE) and the Universidad de Santiago de Compostela (ES).List of Initial Training Pro-
jects – GEECT member schools in bold


Call 03/2008 – selected projects

SWIM
SWIM in the Digital World is an 18 days training program which focuses on the applica-
tions of digital technologies for contributing to the development of new ways of creation,
production and distribution. Its pedagogical process is based on the case study method
and the inter-cultural approach.
Around 40 participants, mainly students from film or management schools are expected
to attend the SWIM seminar which will take place in Cluj-Napoca, Romania, in June 2009.
The first edition of this project was held in Nantes, in July 2008.
The project organisation is operated by the SWIM Consortium which gathers representa-
tives of Sciencescom school (FR) Audencia Nantes School of Management (FR), the
Norwich School of Art and Design (UK), the Babes-Bolyai University of Cluj-Napoca (RO)
and the Berlin University of the Arts (DE).

Engage II
ENGAGE II is a trans-national collaboration between the Screen Academy Scotland
(UK), the Baltic Film and Media School (EE), the University of Art and Design of Helsin-
ki (FI) and the National Film School at IADT (IE) which, through a series of intensive pro-
ject development workshops and online forums, aims to grow a new generation of Euro-
pean filmmakers with the knowledge, skills and understanding required to work collabora-
tively across national cultures and industries.
The first edition of this project was held in 2008.


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Budapest Cinematography Masterclass, 2009
The Budapest Cinematography Masterclass is a biannual workshop that has been run-
ning since 1991 under the auspices of the Hungarian University of Drama, Film and
Television and the Hungarian Society of Cinematographers (HSC). During the two-
week hand-on schedule, postgraduate film school students and young professionals film
collaborate in film short exercises on a sound stage under the supervision of the world¹s
greatest living cinematographers (Heads of the 2007 Masterclass were Vilmos Zsigmond
ASC and Elemér Ragályi HSC.)
The next edition will be held from August 23 to September 6, 2009, in collaboration with
the Film School Konrad Wolf (DE), the NFTS (UK), the University of Art and Design of
Helsinki (FI) and the Westminster Film School (UK).

Formation de Formateurs
This training for trainers has been organized for several years by the European Associa-
tion of Animation Film Cartoon (BE) and is designed for European animation schools and
universities. This annual seminar has three main objectives : strengthen the network be-
tween European animation schools, allow them to share their knowledge and experience
for the benefit of their students and training curricula, and make the schools better under-
stand the evolution of the animation market.Main partners of the January 2009 edition are
the VIA University College (DK), the Moholy-Nagy University of Art and Design in Buda-
pest (HU), the school Albert Jacquard (BE) and the University College of Gent (BE).

European Film School Network
The European Film School Network project is designed to enhance a common reflection
on pedagogical issues, to improve the mutual knowledge of the European film schools
and set up exchanges. La fémis (FR), the London Film School (UK) and the VSMU
(SK) will elaborate a "training for trainers" programme, taking into account the issues and
challenges that they, and the other European film schools, face. Furthermore, in parallel,
a dedicated European film school website will also be set up in order to allow European
film schools to network and share their experience.
These meetings have been organized by La fémis since 2002.

Four Corners
Four Corners central idea is to identify and nurture the most talented European film stu-
dents (and eligible postgraduates) who can demonstrate the potential to create economi-
cally viable new films and programs that will find audiences beyond their own cultures. To
achieve that, the ESCAC (ES), in collaboration with its partners the Bournemouth Screen
Academy (UK), the Thessaloniki Film school (GR) and the NATFA (BG), has developed a
four-part project dealing with development, co- production, finance and marketing & dis-
tribution.
The first edition of this project was held in 2008.

Summer Media Studio
"Summer Media Studio‖ (SMS) is an annual intensive international three-week workshop,
which brings together advanced film students and top-level professionals from different
film schools and audiovisual industry for an intensive work at a theoretical and practical
level (a short film is produced during the programme). The project has existed since
2003, and is coordinated by the Lithuanian Academy of Music and Theatre (LT), with the
Helsinki Polytechnic STADIA (FI), the NATFA (BG) and the Latvian Academy of Cul-
ture (LV) as main partners.

SMS 2009 is entitled ―Vilnius: alive documentaries for professional screening‖ and will
take place in the context of the event ―Vilnius – European Capital of Culture 2009‖. The
SMS 2009 will focus on searching new cinematographic expressions of documentary film.
The project aims to help students to find film forms for their ideas and to find their way to
film industry.

Passion To Market
Passion To Market is a bridge into industry programme for eighteen (in six teams of
three) of recent writing, directing and producing graduates from the NFTS (UK), La Fémis
(FR) and the Lodz Polish National Film and Television School. Through it they will

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become better established sooner as real participants in the global film market. Passion
To Market will achieve this by supporting the development, production and marketing of a
feature length script, full promotional package, budget, marketing plan, and teaser film for
the selected team's project.

The first edition of this project was held in 2008A Fistful of Euros
 ―A Fistful of Euros‖ is led by London Film School (UK), in collaboration with University
of Drama and Film Budapest (HU), La fémis (FR) and National Film School of Den-
mark. The project will create good practice models through a pan-European exchange on
low-budget films (< 3M€) and is aimed at film school students and graduates, new en-
trants to the industry, and more established film professionals.
The first edition of this project was held in 2008.

Animation Sans Frontières
Animation Sans Frontières is a project based training course in 4 parts, designed to train
animation bachelor-level students from a consortium of 4 European animation film
schools. Each partner school will cover one part of an animated product‘s development
and production process, while also presenting its country-specific production styles,
schemes and methods.
The project is led by The Animation Workshop and developed in partnership with the
MOME in Hungary, the Filmakademie Baden-Württemberg in Germany and the Gobe-
lins in France.
 The first two modules in Germany and Hungary will concentrate on the development of
 the project idea while the third and fourth modules in Denmark and France will centre on
 production methods.




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        Henry Verhasselt




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1.       MEMBERS

1.1      Status Change
Following member schools are proposed for change of status to ―full membership‖:
ESTONIA
    Baltic Film & Media School of Tallinn University
NIGERIA
    The National Film Institute
    NTA Television College

UNITED KINGDOM
    Screen Academy Scotland

                          Voting for the admission of member institutions
           ―One Country One Vote‖             Open ballot                   simple majority.
              The presence of the candidate is obligatory to be admitted full member.



1.2      Election of New Members
The Executive is empowered to admit new applicants in between two General Assemblies, as
candidate members.
The General Assembly in Beijing has to ratify the admission of following members admitted
by the Executive since the General Assembly 2006, and vote on their status.
For a school to be elected full member a representative of the school must be present at the
General Assembly.
It is recommended that admissions be voted in block, provided proposals for admission are
unanimously agreed on.
1.2.1    Schools admitted by the Executive Council since the General Assembly 2006
         with proposed status


ALBANIA                    Akademia e Filmit dhe Multimedias                                   full
BRAZIL                     Latin American Training Center                                      partner
CHINA                      The Central Academy of Drama                                        full

FRANCE                     Ecole Nationale Louis Lumière                                       full

FRANCE                     ESRA                                                                full
INDIA                      AJK Mass Communication Research                                     full

INDIA                      Satyajit Ray Film and TV Institute                                  full
INDONESIA                  The Jakarta Institute of the Arts                                   full
IRAQ                       The Kurdish School of Cinema                                        candidate
ISRAEL                     Bezalel Academy of Arts and Design                                  full

ISRAEL                     Tel Hai College                                                     full
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KOREA                          Dong-Ah Institute of Media Arts                             full
MEXICO                         Universidad Iberoamericana                                  full
SINGAPORE                      Nanyang Polytechnic
                               School of Interactive and Digital Media                     full
SINGAPORE                      Republic Polytechnic -School of Technology for the Arts full
SOUTH AFRICA                   National Film and Video Foundation                          partner
                               (provided they are in good standing)
TURKEY                         Istanbul Kültür University                                  full
UNITED STATES                  Columbia University, New York                               full


                              Voting for the admission of member institutions
                ―One Country One Vote‖       Open ballot                simple majority.
                The presence of the candidate is obligatory to be admitted full member.


1.2.2    Corresponding members admitted since GA 2006
o     Jussi Etto, Finland
o     Syhem Belkodja, Tunisia
o     Andreas Treske, Turkey
o     Christopher Thornton, UAE
o     Alby James, UK
o     Jonny Persey, UK
o     Gabrielle Kelly, USA


                            Voting for the admission of Corresponding Members
                     ―One Country One Vote‖       Secret ballot     simple majority.



1.3      Suspension - Withdrawals
    o    IIIS, Institut International de l‟Image et du Son, France, are under a new manage-
         ment and reapplying for validation of their diplomas. Since they no longer meet crite-
         ria for full membership their membership status has been suspended until the French
         authorities validate their diplomas, April 08.
    o    Binger Filmlab cancelled their partner membership for financial reasons, January 07
    o    Corresponding members Mark Axelrod, Martin Botha and Deanne Edwards have not
         renewed their membership.




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2.    PROPOSALS FOR REVISION OF STATUTES AND RULES
      There are two proposals for Revision of the Statutes and Rules: one put forward by
      the CILECT Executive, the other by the GEECT Executive.
      The GEECT proposal concerns only the ―Terms of Office for the Executive Council‖.


2.1   Terms of Office for the Executive Council
      Proposal of the CILECT Executive

      Here is what the current Statutes say about the terms of office for Executive Council
      members.
      Art 4.8.6
      ―The President and Vice Presidents shall serve a maximum of two consecutive terms and shall
      be eligible for re-election no sooner than one consecutive term after their last period of service.‖

      Under the current statutes there is no limitation to the number of years the President
      and Vice-Presidents can serve as long as they break for one term after serving two
      consecutive terms.
      The amendments propose to limit the terms of office as follows:
              No member on the Executive shall serve more than three terms (12 years).
              No member on the Executive shall serve more than two consecutive terms (8
               years).
              There shall be a gap of minimum one term (four years) following a period of
               two consecutive terms of office.
              This provision does not apply for Vice Presidents and Representatives of re-
               gional associations who run for President.
      The intention of the proposed amendment is to ensure greater mobility in the Execu-
      tive Council while allowing for continuity and sharing of experience.


2.2   Terms of Office for the Executive Council
      Proposal of the GEECT Executive

      The amendment put forward by the GEECT Executive proposes to limit the terms of
      office as follows:
              No member on the Executive shall serve more than two terms (eight years) in
               any position.
      This change should encourage the members of the CILECT to get more involved in
      the activities of the association by renewing more often the Executive Council. It
      should also help members to realise that the Executive is not an exclusive club.
      Two objections could be made to this proposal:
      - it is the lack of candidates that causes the renewal of the same people, and
      - it is the need of experience that encourages the members to vote for the same can-
        didates
      These objections can be addressed with the following reactions:
      - this new rule will be a strong signal for attracting new candidates, and
      - experience can be maintained by the members currently in function.

                   Voting for Proposal (Executive Proposal or GEECT proposal)
          ―One Country One Vote‖               Secret ballot                simple majority.

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2.3        Representation of the Regional Associations on the Executive
           Replace Statutes, art. 4.8.1
           ―The Executive Council consists of a President, four Vice Presidents, and ex officio
           the chairs of the regional associations recognised by CILECT.‖
           By
           ―The Executive Council consists of a President, four Vice Presidents, and ex officio
           the representatives of the regional associations recognised by CILECT.‖

           This change is proposed in order to streamline the terms of office of the representa-
           tive of the region with those of the President and Vice-Presidents.




2.4        Admission of Corresponding Members
           Replace Statutes, art. 3.2.3.
           ―Corresponding members are proposed by the Executive Council and are admitted by
           the General Assembly in a secret ballot by simple majority.‖ by
           ―Corresponding members are admitted by the Executive Council‖.
           The intention of the amendment is to lighten the procedure for admission of individual
           members.
           The number of corresponding members has increased significantly in recent years
           and greater mobility (members applying and members withdrawing) in this member-
           ship category can be expected.




2.5        Members in Good Standing
           Replace Rule 1.7
           “A member will remain in good standing so long as he has paid his contributions up
           to and including the last complete financial year.”
           By
           ―Members will remain in good standing as long as they have paid their subscriptions
           as specified in art.7.3 of the Rules1.‖
           The intention of the amendment is to remove a contradiction between the rules and
           the statutes.

The General Assembly can accept, amend or reject the pre-circulated amendments. No fur-
ther amendments can be presented in Beijing except for textual modifications.
Voting for Revision of Statutes (Rules, art. 8.3)
             ―One Country One Vote‖                 Secret ballot          two-thirds majority.




1
    Rules, art. 7.3 The payment of subscriptions shall be made in the first three months of the financial
     year for which they are due.

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3.      ELECTION OF EXECUTIVE COUNCIL MEMBERS
The terms of Caterina D‘Amico, President, Don Zirpola, Vice-President for Finance and Fund-
raising, and Henry Breitrose, Vice-President for Publications and Research come to an end at
this General Assembly.
They are not running for re-election.
Call for candidacies was circulated 30 June 08, deadline for receiving candidacies was 15
September, six weeks prior to the General Assembly.
The dossiers of all candidates were circulated by email, 1 October 08, and are included in this
General Assembly file (pp 96-119).


President:
    Nik Powell, NFTS, UK
    Don Zirpola, LMU, USA


Vice-President for Finance and Fundraising:
    Bert Beyens, RITS, Belgium


Vice-President for Publications and Research:
    Maria Dora Mourao, USP, Brazil


                                  Voting for the Executive Council
             ―One Country One Vote‖            secret ballot              simple majority.
Each candidate must be proposed by a full member and this proposition seconded by another full
member.
In the case of a tied vote, a second vote is taken, if repeated tie, the President has the casting vote




4.      A PILOT INITIATIVE
At the suggestion of INSAS, Brussels, CILECT launched ―Supporting Student Exchanges‖, a
pilot initiative to encourage student exchange and film production between member schools.
Following schools applied for support:
    FUC, Buenos Aires and La Fémis, Paris
    international school cologne and Sam Spiegel School, Jerusalem
    INSAS, Brussels and SFE, Budapest
    RITS, Brussels and VSMU, Bratislava
Reports from the schools are appended: pp 127-134



5.      PROJECTS BIENNIUM 2006-2008
The General Assembly 2006 adopted three projects: Cross Cultural DVD Series, Digital Film
and Rivers.
Reports on ―Digital Film‖ and ―Rivers‖ arre appended p.121.
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Project Chair Garth Holmes reported that ―Cross Cultural DVD Series‖ had to be cancelled
due to lack of external funding.
Final report on ―Lessons In Film‖ (Project voted at the Helsinki GA 2004) is expected t be re-
ceived.



6.       PROJECTS BIENNIUM 2008-2010
No Projects have been received for the biennium 2008-10.


7.       PUBLICATIONS - INTERNET
Since the General Assembly 2006 the Secretariat has published:
    the Minutes of the General Assembly, Madrid, 2006
    the Minutes of the Executive meetings since Madrid, 2006
    the CILECT Directory; updated on a monthly basis, circulated by email.
    The Newsletter, which is also downloadable from the CILECT web page.
    A new platform for communication and sharing between members has been set up: the
     CILECT Forums. http://cilectforum.org/


8.       MEMBERS IN ARREARS OF PAYMENT FOR TWO YEARS OR MORE
A member can be proposed for deletion if fees have not been paid for two consecutive years.
The procedure laid down in the Rules is as follows:
         ―1.9.2 The General Assembly shall take one of the following decisions in a secret bal-
         lot with a 2/3rds majority:
         1.9.2.i to approve the proposal for deletion submitted by the Executive Council;
         1.9.2.ii to approve the proposal for deletion submitted by the Executive Council but to
         suspend its operation for a maximum period of 90 days in order to allow the member
         concerned to settle its financial obligations. If the payment is not made within this pe-
         riod, deletion shall be automatic;
         1.9.2.iii to reject the proposal for deletion submitted by the Executive Council if new
         circumstances can be presented which the Executive Council has not taken into ac-
         count and to refer the matter back, if necessary mandating a final decision by the Ex-
         ecutive Council.‖
Following members are in arrears of payment for more than two consecutive years. Fees in
arrears are shown in Euro up to and including 01 October 08.
     o    FEISAL                          2,580
     o    Italy NUCT                      2,370
     o    Burkina Faso ISIS              1,290 (payment announced 23/10/08)
                          Voting for Deletion of Members (Rules, art. 2.3.6)
           ―One Country One Vote‖            Secret ballot               two-thirds majority.



9.       REMOVAL FROM MEMBERSHIP
The Technische Film Hochschule Berlin was admitted as candidate member in 2004. They
have not attended any General Assembly since their admission.
They have been notified by email and by registered letter that candidate member status was
an interim status in between two General Assemblies and that failing to attend the Beijing
General Assembly they would be proposed for removal from membership.

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No reply has been received.
Fees for 2008 have not been cashed.
It is proposed that the Technische Fim Hochschule Berlin be removed from membership.


                       Voting for Deletion of Members (Rules, art. 2.3.6)
             ―One Country One Vote‖   Secret ballot              two-thirds majority.



10.    NEXT CONGRESSES
      UQAM, Montréal will host the 2010 Congress.
      HFF Munich has offered to host the 2012 Congress




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Report of the Chair of the Standing
 Committee for New Technologies

         Nenad Puhovski




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         Report of the Chair of the Standing Committee for New Technologies

       At the 2006 Cilect Madrid Congress, the Committee biennium Report 2004-2006 was
approved and new tasks given for the future work.
        The main theme of the biennium was defined as ―New Ways of Distributing of A/V
content‖. Later during biennium another topic came into sight, namely ―Tapeless Production
and what it means for Cilect Schools‖. After short consultation with Executive, I decided to
present both topics at the Congress.


        COMMITTEE MEMBERS
         In my view, the main success of the Committee in the past biennium was its ability to
attract new members. After the initial action through the regional organizations, a number of
teachers have shown their interest in the work of the Committee.
         After Cilect Executive decided to organize a Panel during the Beijing Conference on
the topic of ―New Ways of Distribution‖, many of our colleagues expressed their willingness to
help and to take part in the Panel - Angel Blasco (Spain); Peter Hort (UK); Brigid Maher (US);
Wangtae Lim (Korea) and Li Wei (China). In addition, professor Daniel Leonard (USA) offered
to share his experience on the topic of „Truly Tapeless Workflow―. Finally, interest in the work
of the Committee was also shown by our colleagues Diwaker Balakrishnan (India), Garrick
Filewod (Canada), Peter Giles (Australia), Domenico Maselli (Itally), Paul Moody (UK)... I am
sure that many others will join us in Beijing.

        PUBLISHING
        As always, for the Beijing Congress Reports will be written and presentations pre-
pared, dealing with the topics mentioned above. In addition I am also preparing two Power-
Point presentations.
        As said before, Cilect Committee for New Technologies is moderating the first Panel
at the Beijing Conference with the topic ―New Ways of Distributing Audiovisual Content―.
        In all of the regular Cilect Newsletters I published „New Technology Updates‖ in
which I presented newest equipment of interest for member schools.
       With the approval of the Executive, a Croatian, extended edition of ―Digital Glossary‖
(272.300 words) was published in 2008.
        As the newest activity, I am also hosting Cilect Forums on ―Digital Film‖ and ―New
        Ways of Distributing AV Content―.

        FIELD WORK
        In the last biennium, I continued my field work, visiting schools and regional meetings,
teaching and consulting on new technologies. I visited National Film and Television Insti-
tute in Ghana where I attended ANIWA festival with participants from Ghana, Nigeria, Zimba-
bwe and South Africa. A short presentation and a number of meetings dealing with NT took
place during the event.
       I also visited The Hanoi Academy of Theatre and Cinema where I conducted a
week long workshop on new technologies in autum of 2007.
        Finally, I attended the „Cinema Digital― conference in Sao Paulo in September of
2008.
        In all these occasions, I also did some concrete consultancies with Cilect members on
their equipment purchases.


        FINANCES
        For the work of the Committee were secured by Cilect through its Executive, some-
times helping members to organize some of the events. Neither myself, nor anybody involved


                                              91/151
        Report of the Chair of the Standing Committee for New Technologies

in work of the Committee, received any fee for the work described in this Report. More on the
finances in the VP report.


       FUTURE
       For the next biennium I am suggesting the topic of “Working with the Workflows”


       I am also attaching a short overview of the previous activities of the NT Committee.




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         Report of the Chair of the Standing Committee for New Technologies

                                                                        Nenad Puhovski, chair
                       SHORT REPORT ON THE WORK OF THE
         STANDING COMMITTEE FOR NEW TECHNOLOGIES, 1990-2006


        SETTING UP OF THE STANDING COMMITTEE
         Committee was founded at the 1990 Congress that took place in Blois. Its main task
is to help members to enter the age of digital technology and to present affordable solutions
for the schools. In addition to these regular activities, Committee is addressing specific needs
of the schools and also publishing regular updates in order to bridge the gap between two
Congresses.


        COMMITTEE MEMBERS
        were recruited according to the specific main project and/or subprojects. In some
cases some of them have developed separate project, like the D-Cinema which was first pre-
sented in Melbourne by the Committee.


        PUBLISHING
        Committee published 12 Reports, two editions of the Digital Glossary, two video doc-
umentaries (Teaching for New Technologies in Developing Countries & CILECT's 50
years), two multimedia specials (How Do We Teach Sound? & CILECT A/V archive), etc...


        FIELD WORK
        in addition to the "paper work", Committee was also present in the schools that asked
for more or less specific help, dealing with the technological issues. Here is a part of these:
   — 1992, presentation at the FEISAL Congress, Sao Paulo, BRAZIL
   — 1993, week long workshop at VGIK, Moscow, RUSSIA
   — 1993, presentation at the HD Conference at Centro Formazione Professionale per
     le Techniche Cinetelevisive, Milan, ITALY
   — 1993, consulting at IAB, Montreux, Switzerland
   — 1996, consulting Binger film institute, Amsterdam, Netherlands,
   — 1996, consulting Romanian "Tempus" project group.
   — 1997, presentation at the NT Symposium, Johannesburg, South Africa
   — 1998, consulting and having workshops at the UNESCO Zimbabwe Film and Video
     Training Harare,
   — 1998, workshop at the Film and Television Institute of India FTII, Pune
   — 1998, workshop at The Hanoi Academy of Theatre and Cinema, Hanoi, VIETNAM
   — 2002, 2003, workshops at the Escola Superior de Cinema i Audiovisuals de Cata-
     lunya, ESCAC , Barcelona Terrassa, SPAIN,
   — 2002 workshop at the Ngee Ann Polytechnic, School of Film and Media Studies,
     SINGAPORE
   — 2003, presentation at the conference of UFVA (University Film & Video Association),
     Columbia, South Carolina, USA
   — 2004, presentation of the "NT in documentary" Fundación Audiovisual de Andalucía
     Seville, SPAIN
   — 2005, presentation of the New Technologies at the Talent Campus, Berlinale

        FINANCES
       Finances were secured by Cilect in order to support the activities, acquisition of the
research and reference material, purchase of some basic equipment for teaching in develop-
ing countries (from the TDC budget) and support some of the travels. Standard biennium
budget was in the area of SFR 5.000 - € 5.000.

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         Report of the Chair of the Standing Committee for New Technologies



        MONITORING & COORDINATION
         As a rule, Committee's work is between Congresses monitored by the Cilect Execu-
tive, one of the Executive members being specifically in charge of the Committee's work. Al-
so, Chairperson of the Committee is invited once in the biennium to attend the meeting of the
Executive to give an interim report.




REPORTS


Munich, 1992
        REPORT - TECHNOLOGY FOR TEACHING, TEACHING FOR TECHNOLOGY,
        - 50 pages, 12.414 words
        - interactive video disc presentation
        - AVID presentation
        - Sony presentation


Oaxaca, 1995
        REPORT - NEW TECHNOLOGIES, or Everything you always wanted to know about
        the Newest, New & Not so new Technologies but didn't dare to ask your students
        about
        - 76 pages, 31.398 words


Ebeltoft 1, 1997
        REPORT - DIGITAL COOKBOOK,
        - 102 pages, 52.140 words
        - digital equipment exibition


Ebeltoft 2, 2000
        1. CONGRESS REPORT - "FILM TECHNOLOGY IN THE XXI CENTURY"
        - 16 pages, 1.200 words
        2. SURVEY ON THE PROBLEMS IN PROCESSING OF THE 16MM FILM
        - 1.542 words
        3. TEACHING FOR NEW TECHNOLOGIES IN DEVELOPING COUNTRIES
        - Video presentation - 30'
        4. DV – A SUCCES STORY
        -84 pages, 3.410
        5. NEW TENDENCIES IN TELEVISION TECHNOLOGY or YOU'RE GOING TO LIKE
        THE FUTURE, WHETHER YOU WANT TO OR NOT
        - 18 pages; 8222 words


Melbourne 2002

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        Report of the Chair of the Standing Committee for New Technologies

        REPORT - DIGITAL FILM, DIGITAL CINEMA - THE WAY TO GO IN THE 21st
        CENTURY
        - 198 pages, 97.291 words


Helsinki, 2004
        1. Digital Glossary, 1st edition
        - 3.633 terms explained in 294 pages and 206.681 words.
        2. How Do We Teach Sound?
        Multimedia presentation with the video clips from the intervies from the folowing
        schools: AFTRS, Australia; UNIAC, Chile; FAMU, Czech Republic; DFS, Denmark;
        NAFTI. Ghana; Nederlandse Film en Televisie Academie, The Netherlands,
        Temple University, SAD; Ngee Ann Polytechnic, Singapore; ESCAC, Spain.
        3. CILECT's 50 years, documentary


Madrid, 2006
        1. REPORT - High Definition,
        - 147 pages, 74.573 words
        2. Digital Glossary, 2nd edition, 4418 terms 358 pages and 289.262 words
        3. First volume of the Cilect A/V archive




                                              95/151
       Candidacies


            for


Executive Council Positions




            96/151
CANDIDATES for PRESIDENT

      NIK POWELL
      DON ZIRPOLA




           97/151
NIK POWELL




     98/151
•     A letter of intent, detailing their proposed programme for the next biennium

„Don‟t be afraid to take big leaps. You cannot cross a chasm with two small jumps‟
Dear members of CILECT,
A new generation has taken over the running of many film schools around the world in the last dec-
ade. The Film and Audio-Visual industries AND the Cultural industries have also been changing and
continue to change at high speed. CILECT must address this new generation‘s expectations and more
particularly the expectations of the next generation of Film students and their teachers with even
greater urgency than before. CILECT must be structured to enable itself to address these changes
and future changes and the issues they create as well as serve its membership efficiently and produc-
tively in these often new circumstances.
The CILECT leadership which you elect must review CILECT‘s structure, polices and modus operandi
in order to assess whether it is best positioned to face these issues. If it is, then we must leave it as it
is now. If it is not, then the elected leadership must make those changes that such a review shows to
be necessary to meet the challenges of the future.
I am one of that new generation of Film School heads (despite my age!) and I think I know the issues
that face the World‘s Film Schools if they are to survive and prosper in this new, exciting but some-
what dangerous and difficult world in which we live.
I believe I will bring experience, expertise, understanding, humour and most of all strong, incisive and
public leadership to CILECT in the next Biennium.
I hope the foregoing is clear, but if it is not, then please do not hesitate to contact me,
Yours sincerely,
Nik Powell
Director of National Film and Television School
Mobile: 07785 325833
Email: npowell@nfts.co.uk




                                                      99/151
•     A curriculum vitae, with my history in CILECT and a brief description of experience relevant to
      the position for which they are applying



•     My History with CILECT


•     The NFTS has been part of CILECT since the NFTS was founded in the early 70‘s. Indeed the
      NFTS‘ founding Director Colin Young served as president of CILECT for many years. I have
      served as Vice Chairman of the GEECT Board for the last two years and have taken part in
      many of the GEECT conferences including those in Helsinki, Poitiers, Paris, Bratislava and Am-
      sterdam. I have also played a role in the successful lobbying for EC Media funds for projects ini-
      tiated by European Film Schools. I have spoken at both the Berlin and Sarajevo Talent Cam-
      pus‘. I have given master classes in many film schools from the West Coast of America to the
      furthest reaches of Europe and beyond.



•     a brief description of experience relevant to the position of president

I was appointed Director of the National Film and Television School in 2005, although I remain as non-
executive chairman of Scala Productions.

I am also Vice Chairman of the board of the European Film Academy and, previously for 9 years, the
Chairman of EFA and host of the European Film Awards.

I am Vice Chairman of the Bafta Film committee and a trustee of the Bafta Board of Trustees.

I was a Director of the board of the Northern Ireland Film and TV Commission and Chairman of its
Film Investment Fund Committee 2003 to 2007.

I am a member (and often Chair) of many film festival and awards juries including (among others)
Sundance film festival, Locarno Film Festival, the European Film Academy Documentary and Music
juries and the Bafta Screenwriting and Costume and makeup juries.

I am a member of the US academy: AMPAS (Association of Motion Picture Arts and Sciences), mem-
ber of the council of PACT (UK Producers Alliance for Cinema and Television), member of British
Screen Advisory Council (overall umbrella body for UK media, set up by Prime Minister Harold Wilson,
president is Lord Attenborough), and a member of European Producers Club.

I am Vice President of The National Society of Epilepsy.

I am a Chevalier de L‘Ordre des Arts et Des Lettres.

I have been a member of many Working Groups including Margaret Thatcher‘s working Party on Brit-
ish Film and even chairman of the Rotterdam Film Festival Film Parliament!
I am a keynote speaker at many Industry Conferences. For instance I will be the keynote speaker at
the European Film Academy Conference at the European Film Awards in Copenhagen on December
  th
7 entitled ‗What makes Europe laugh!‘

Why my experience is relevant

While I am new to education, as a distributor of more than 300 films from around the world and as ex-
ecutive producer or producer of more than 40 feature films over the last quarter of a century, I can
bring that experience to the world of education and to CILECT as I have done successfully at the
NFTS and as vice chairman of GEECT.


                                                    100/151
My experience is truly international. As co chair of early Virgin, of Palace Pictures, of Scala Produc-
tions, and as chair of the European Film Academy, I have built a knowledge of the worldwide film in-
dustry and in particular of film schools, filmmakers, government ministers, financiers, and audiences
from across the world.


My more detailed CV

In the early 1970‘s I set up Virgin Records with Richard Branson and in the space of ten years we
turned a small mail-order record operation into a multi-million pound entertainment conglomerate.
In 1982 I went into partnership with Stephen Woolley, proprietor of the Scala Cinema, having sold out
from Virgin the previous year. Together we formed Palace Video, followed by Palace Pictures, and
then Palace Productions, soon establishing each as highly regarded entities within the UK film distri-
bution and production industry. I acted as Executive Producer on all of Palace‘s productions including
Neil Jordan‘s COMPANY OF WOLVES and OSCAR NOMINATED and award-winning MONA LISA,
Michael Caton-Jones‘ SCANDAL, starring John Hurt. Other productions included Neil Jordan‘s THE
CRYING GAME for which I was the sole executive producer. Starring Stephen Rea, Miranda Rich-
ardson, and Forest Whitaker, this was one of the biggest British independent films at the time taking
over $65 million at the US box-office alone. NOMINATED for SIX OSCARS, including ‗Best Picture‘,
Neil Jordan WON the OSCAR for ‗BEST ORIGINAL SCREENPLAY‘. The major recession of 1989/90
in the UK saw Palace Pictures being wound up despite having signed Reservoir Dogs, Howards End,
Strictly Ballroom for UK distribution and of course producing the Crying Game

Our new company Scala (started in 1991) produced Ian Softley‘s BACKBEAT and Terence Davies‘
THE NEON BIBLE, starring Gena Rowlands. We also executive produced FEVER PITCH starring
Colin Firth based on Nick Hornby‘s best-selling book about the great Arsenal Football Club!

Other productions include Michael Radford‘s B MONKEY starring Asia Argento, Jared Harris, Rupert
Everett and Jonathan Rhys Meyers; Stephan Elliott‘s WELCOME TO WOOP WOOP, and Shane
Meadows‘ first film TWENTYFOUR: SEVEN, which won the international critics‘ ‗Fipresci‘ prize as well
as a ‗PIERROT‘ AWARD at the VENICE FILM FESTIVAL and ‗BEST ACTOR‘ for BOB HOSKINS at
the EUROPEAN FILM AWARDS.

We also produced LITTLE VOICE , directed by Mark Herman , and starring Michael Caine, Ewan
McGregor, Jane Horrocks and Brenda Blethyn. Little Voice won the BEST ACTOR GOLDEN GLOBE
for Michael Caine and was also nominated for the Best Actress - Jane Horrocks - at the same awards
and Brenda Blethyn as Best supporting Actress. Brenda Blethyn was nominated for an Oscar as Best
supporting Actress. Meanwhile Mark Herman won the Alexander Korda prize for Best British film at the
British BAFTA awards. Other productions included LAST ORDERS (from the 1996 Booker Prize win-
ning novel), with the award-winning Fred Schepisi directing and starring Michael Caine, Bob Hoskins,
Tom Courtenay, Helen Mirren, David Hemmings and Ray Winstone, premiered at the 2001 Toronto
Film Festival and Scala‘s first animated feature, CHRISTMAS CAROL - THE MOVIE, from the classic
Charles Dickens novel, directed by the Oscar winning Jimmy Murakami (―The Snowman‖) and pro-
duced by Iain Harvey with voice recordings which include Nicolas Cage, Kate Winslet, Jane Horrocks,
Rhys Ifans and Simon Callow.

My last production was LADIES IN LAVENDER, Charles Dance‘s directorial debut, starring Dame
Judi Dench, Dame Maggie Smith, and Daniel Bruhl. Nik also executive produced CALENDAR GIRLS
featuring Helen Mirren and Julie Walters.




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102/151
DON ZIRPOLA




     103/151
Dear CILECT Colleagues,

I have made the decision to apply for the position as President of CILECT and serve for one term. I
currently serve as Vice President for Finance and Fundraising and have done so with many accom-
plishments, a few of which I would like to highlight. But before I do I would like to share with you why I
am qualified for this position.
In addition to my post on the executive board, I am a full Professor and Special Advisor for Interna-
tional Programs in the School of Film and Television at Loyola Marymount University, Los Angeles,
California.
In addition to my work at the university, I have been an award winning professional in the entertain-
ment industry for over thirty years, as a director, writer, and editor, working for many companies in-
cluding Universal, PBS and ABC TV. My work has won many awards for documentaries, short film
and commercials. I have given over thirty five invited academic presentations and have been involved
in more than 14 scholarly publications.
When I was brought to Loyola Marymount University from USC, it was a fine school for screenwriting
and television. I was charged with creating a new film program, and in twelve years it grew to one of
the preeminent programs in the U.S. Students who I‘ve mentored have earned high recognition and
virtually every major award for films they have written, produced or directed. You may recognize a few
of them:
             Brian     Helgeland    -   Mystic   River,  LA Confidential Academy Award®-
             Winning Screenwriter, Director, Paul Hook Executive Vice President/ Head, Motion Pic-
             ture Production. ICM, Steven McEveety – Producer, Braveheart, The Passion of the
             Christ, Effie Brown , Producer Real Women Have Curves, Rocket Science Winner: Sun-
             dance Film Festival Dramatic Audience Award , Ted Kroeber, Producer American Gun,
             Four Sheets to the Wind, Sundance Special Jury Award Winner, Bob Beemer , Sound
             Designer, Ray, The Bourne Identity, Gladiator, Dreamgirls, Academy Award-Winner for
             Sound, Patricia Witcher Executive Producer of Memoirs of a Geisha, Dreamgirls, among
             many others..
In addition I have served as Division Head of the College of Communication and Fine Arts, Chairman,
and Acting Director of the department and school at LMU.
Earlier in my career, I was instrumental in building a new Master of Fine Arts film degree at Southern
Illinois University while producing documentaries in Chicago and New York for Public Television.



                                                     104/151
I headed five production companies that produced film and television in the US, Hong Kong, in South
America and the Middle East.
I have been actively involved in the Academy of Motion Picture Arts and Sciences Student Academy
Awards Program (the Student Oscars) for over 15 years as the Western Regional Coordinator.
I continue to give professional workshops on international producing, directing, and advanced produc-
tion and I have served on juries in countries on almost every continent.
I am also the Director of the Universal Studios Summer Producing and Directing Workshop Program
at USC, which has attracted students from all over the world, many of whom have gone on to profes-
sional careers and won Oscars, Emmys and awards from many of the world‘s major festivals. Many of
the most prestigious names in world cinema serve as guest lecturers.
I was awarded a Rockefeller Foundation Grant together with Professor Henry Breitrose of Stanford to
support CILECT‘s early initiatives in international distance media education with our colleagues in Afri-
ca and Southeast Asia.
I was elected President of the University Film and Video Association in the U.S. and my last act as
UFVA president was to help fund the inaugural UFVA travelling film festival.
In the late 1990‘s, I took several years leave from LMU to serve as the inaugural Dean of a new Tele-
vision and Film school at the Hong Kong Academy for Performing Arts, where I designed and imple-
mented their B.F.A. degree. The curriculum was accredited and internationally recognized during my
tenure.
I have served on the Advisory Boards of major international corporations such as Kodak and Avid, and
was instrumental in Kodak‘s decision to make a major donation to the University Film and Video
Foundation, which now has an endowment of well over half a million dollars. It creates scholarships for
students and production grants for faculty.
In addition to my duties as a VP of CILECT, I was instrumental in creating CILECT Ibero-America, and
I have worked closely with CAPA to engage schools throughout the Asia-Pacific region. My experi-
ence with CILECT and international contacts with schools and filmmakers in Latin America, Europe,
and Asia testify to the international scope of my interest in film, television, and digital media education.
Most recently, I participated in a CIBA Seminar in Brazil, where I gave a presentation on new Digital
Media, emphasizing the need for schools to embrace new technologies and create new venues for
storytelling.




                                                      105/151
CILECT PROGRAMME 2008- 2010


On the basis of my history of involvement in all aspects of CILECT, it is clear that our organization
must begin making what may seem to some members a radical transition. In my view, the job of the
next president should be to ensure that this transition is accomplished in the most thorough, careful,
and reasonable manner. Among members of the Executive Council the president is first among
equals. In my view the president‘s most important tasks are to be innovative, to be proactive, to stay in
communication with the members, and to consult, coordinate, prioritize, and motivate the association
to embrace and carry out the necessary changes.
Why the need for a transitional presidency now? During the Cold War era, CILECT was invented as a
forum for the few film schools in the Socialist bloc and a few in the West to exchange ideas. It was
largely about liaison, which is to say communication, among the nine founding schools. Now we num-
ber well over one hundred twenty schools in fifty-two countries. What was once an exclusive ―club‖
has evolved into an inclusive international organization, representing the top schools from around the
globe. Its Executive Council has striven to attain transparency in all of the association‘s activities, but a
major challenge is the need to involve our members more deeply in interactive and collaborative activi-
ties.
Membership in CILECT has become widely recognized as a sign of serious creative professional edu-
cation. CILECT needs to gain even greater stature in the world community of media education and
production, distribution and exhibition. It needs to become the preeminent voice for international story-
telling inside and outside our schools.
For me, the spirit of cooperation among colleagues is CILECT‘s core function. While I believe that co-
operation is and always will be our hallmark, we must make a number of transitions to shape the new
CILECT. Among them are:
       Experiment with replacing several of the full executive council meetings each biennium with
        the use of the Internet and video conferencing, so as to make better use of CILECT travel
        funds. Those funds can then be repurposed to create closer contact with the various regions.
       Strengthen the philosophy that a primary activity of CILECT is to “train the trainers,” in order
        to improve the quality of instruction in our schools, through seminars, symposia, meetings,
        and initiatives.
       Curtail or eliminate the two year biennial Projects. Begun as a noble experiment, fewer than
        20% have reached completion since the program’s inception in 1990. While some of these
        projects were outstanding and became jewels in the crown of CILECT’s achievements, too
        many others were of marginal quality. I believe that the most effective way to use our re-
        sources is through Initiatives that can be presented and reviewed by the membership at
        CILECT congresses, as has been the custom with projects. The difference here is that most of
        CILECT’s best work has come from the membership between the biennial congresses. These
        Initiatives are innovative, well researched, and come out of a direct need to collaborate with
        schools within and across regions.
       Identify and articulate ways to correct the uneven development of CILECT regional organiza-
        tions, so that useful activities occur with greater frequency in all the regions.
       Stimulate more effective and innovative sharing of regional activities, for example the web
        streaming of the recent CIBA Digital Cinema meeting in Sao Paulo and our new forums on the
        association’s website.
       Create a structure for more efficient transfer of knowledge between older, larger, and more
        established schools and schools that are in earlier stages of development. The technology is
        there, but it requires a real commitment from all of our schools to be a part of the CILECT
        community
       Re-visit the current voting model, to determine whether the new CILECT should move to a
        “one school, one vote” system and abandon the current system in which some votes are
        conducted on the basis of one nation, one vote, while others are conducted on the basis of


                                                      106/151
        one school, one vote. I would ask us to do this only if it would help to open up more schools
        to experiments with each other across countries and regions.
       Review the ability of the CILECT secretariat to deal with the administrative needs of the asso-
        ciation, with an eye to expanding its professional staff.
       Create stronger relationships with the film, television, and digital media industries. This
        would provide advanced training for our teachers and internship possibilities for our stu-
        dents on an international scale.
       Aggressively strengthen the CILECT “brand” so that it is universally recognized as a premier
        source for consultation and advice on film, television, and digital media education.
Ultimately we must all ask ourselves – what is CILECT for me and for my school? What are the real
benefits of membership, and how can we mold the association so that it produces the greatest good
for the greatest number?
As VP of Finance I established many links among schools. I‘m familiar with most of our needs be-
cause I have nurtured these associations. Over the next four years, a key objective is to profit from
these links and relationships to further our mutual goals.
Martin Scorsese (another Italian –American) once wrote, ―Filmmaking should be a passion – you must
want to do it more than you want anything else in the world. But like any other human endeavor the
best achievements are built upon the foundation of those who have gone before. You (we) can learn
from their mistakes and their accomplishments, and hopefully contribute to the richness of the (world
film heritage)‖.
I have always had the strong belief that the practice of art and craft and education go hand in hand. I
have carried this practice and philosophy with me all of my life.
I ask for your support and your commitment to our future, as CILECT changes and evolves to make
ways for our students‘ stories to be told on the world‘s screens both large and small. Let us make a
new CILECT story for the coming years.


Professor Don Zirpola




                                                   107/151
                                      LETTER OF SUPPORT


From:
Schwartz, Teri E.
To:
henry.verhasselt@cilect.org;
cc:
O"Neill, Timothy P.;
Subject:
Letter of Support for Professor Don Zirpola
Date:
16 September 2008 03:14:59


September                                       15,                                             2008
Mr. Henry Verhasselt Executive Secretary CILECT
Dear Henry
The School of Film and Television is fully supportive of Professor Don Zirpola's candidacy as Presi-
dent of CILECT. The school will support his work during the tenure of four years in office. Don's work
on the CILECT Executive, his many stellar achievements within the academy, and his work in the pro-
fession make him a preeminent candidate for the office of President.
With Regards,
Dean Teri Schwartz
School of Film and Television Loyola Marymount University,
LMU|School of Film and Television (310) 338-5800 tschwartz@lmu.edu




                                                   108/151
              CANDIDATE
                   for
VICE PRESIDENT FINANCE AND FUNDRAISING

             BERT BEYENS




                   109/151
LETTER OF INTENT
Dear Colleagues of Cilect,
Following a professional carreer as writer-director for film and television I started teaching in RITS
BRUSSELS in 1994.
For a couple of years I was coordinating the filmsection.
I was elected Head of the School with a 4-year mandate in 2001, and reelected in 2005 for a second
term.
From 2001 on I assisted all major CILECT/GEECT-meetings.
I would like to share some reflections concerning my candidacy for Cilect Vice-President for Finance
and Fundraising.
―The Vice-President for Finance and Fundraising has overall responsibility for formulating the CILECT
budget and supervising income and expenditure. The Vice-President for Finance is responsible for
initiating general fundraising activities and coordinating the raising of funds to help support specific
projects and activities. The Vice-President for Finance is also charged with making necessary adjust-
ments to budget between meetings of the Executive Council, and providing annual and biennial re-
ports as specified in the Statutes.‖
I would like to continue the process of having a more transparent financial policy within the organiza-
tion. Criteria for allocation of funds should be in full clarity at all times.
It speaks for itself that the Vice-President for Finance and Fundraising works in close connection with
the Executive Council and monitors the realisation of projects and concretisation of activities that have
its approval.
Maintain good relationships with existing partners is crucial; new initiatives could take place within the
‗fundraising‘-term of the job.
Our simple motto should remain: ―to make possible as many things as... possible‖.
Sincerely yours,
Bert Beyens
Rits Erasmushogeschool
Brussels Belgium




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CURRICULUM VITAE
Bert Beyens (°1956) is a Belgian filmmaker, best known for his awarded film Jan Cox A Painter‘s
Odyssey (Prize for best Biography at the International Festival for Film on Art, Montreal 1989).
Bert Beyens gratuated from RITS in filmdirecting (1978), and assisted writing courses and workshops
with American Film Institute-teachers Bloch, Peyser and Fadiman (1979) and Syd Field, Root en
Lamb (1980). Workshop ‗directing the actor‘ with Actor‘s Studio Los Angeles professor Delia Salvi in
1995.
He worked as a writer and director for film and television between 1978 and 2000. Bert Beyens is
member of the Guild of Belgian Directors.
In 1994 Beyens was asked to become a fulltime teacher in RITS; he was elected head of the school in
2001.
The RITS has training and education in Audiovisual Arts (film, television, documentary, animationfilm,
radio and writing for the screen), Audiovisual Techniques (sound, image, editing, assistancy), Dra-
matic Arts and Techniques (acting, directing). The school has about 700 students and 200 teachers.
RITS is part of Erasmushogeschool Brussels, and associated with the Brussels University VUB.
For his work in RITS Bert Beyens was nominated in 2003 for the Prize of Flemish Film Culture.
He is also on the executive board of VAF (Flemish Film Fund).
Bert Beyens represented RITS at following GEECT/CILECT-meetings since 2001.
GEECT: Procedures for selection, 30.03-1.04 2001, La Fémis, Paris, FRANCE
CILECT: Theory for Filmschools Conference, 15-18 november 2001, AGRFT, Ljubljana, SLOVENIA,
with lecture
CILECT: Cilect Congress 2002, 6-13 april 2002, Victoria College of Art VCA, Melbourne, AUSTRALIA
GEECT/EFA(European Film Academy): European Film , 2-3 december 2003, Deutsche Film und
Fernsehen Schule DFFB, Berlin, GERMANY
MEDIA/LA FEMIS/GEECT: European Teacher‘s Workshop: ECTS II, 11-13 march 2004, La Fémis,
Paris, FRANCE
CILECT: Cilect 50th Anniversary Congress
17-23 may 2004, University of Art and Design UIAH, Helsinki, FINLAND
MEDIA/LA FEMIS/GEECT: European Filmschool‘s Workshop
16-18 march 2005, La Fémis at the Henri Langlois Student Film Festival, Poitiers, FRANCE
GEECT: Geect Conference
13-14 april 2005, University of Art and Design UIAH, Helsinki, FINLAND
GEECT: School‘s Best kep Secrets: Our heritage, 29.05-01.06 2006, Film&Television Faculty VSMU,
Bratislava, SLOVAKIA
CILECT : Cilect Congress
16-21 oktober 2006, Escuela de Cinematografie ECAM, Madrid, SPAIN, presentation project Lessons
in Film
GEECT: Best Kept Secrets: How to challenge the imaginative power of film students, 20-23 november
2006, Nederlandse Film en Televisie Academie NFTA, Amsterdam, NETHERLANDS
GEECT: Best Kept Tech Secrets
Nederlandse Film en Televisie Academie NFTA, Amsterdam, NEDERLAND, September 2007
GEECT: Accreditation in Europe
FAMU & Fresh Film Festival, Karlovy Vary, Czech Republic, august 2008


Bert Beyens has visited following CILECT schools:
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AFTRS Sydney (Australia), AGRFT Ljublijana (Slovenia), Dún Laoghaire Institute of Art, Design and
Technology, IADT (Ireland), Ecam Madrid (Spain), Escac Barcelona (Spain), Famu Prague (Czech
Republic), Flinders Adelaide (Australia), HFFB Berlin (Germany), La Fémis Paris (France), NFTA Am-
sterdam (Netherlands), Nhee Ang Polytechnics (Singapore), Tallinn University, Baltic Film and medi-
aschool, Tallinn (Estonia), UIAH Helsinki (Finland), VCA Melbourne (Australia), VSMU Academy of
performing arts (Bratislava, Slovakia).




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113/151
                CANDIDATE
                    for
VICE-PRESIDENT PUBLICATIONS AND RESEARCH

          MARIA DORA MOURÃO




                   114
Dear Colleagues,
Is my intention to run for CILECT Vice-Presidency for Publications and Research. To this end,
I‘m presenting myself and proposing a program for the next biennium.
I have a Bachelor‟s degree in Film, a Master and a PhD from the University of São Paulo,
Brazil and a post Doctorate from the Ecole des Hautes Etudes en Science Sociales
(EHESS) -Centre de Recherches sur les Arts et le Langage, France, with a research about
The influence of the new technologies on contemporary conception of film language.
My professional production specialty is Editing, and in my academic capacity I have published
many articles and books and have participated in a number of research projects.
I am a full professor at the Film, Radio and Television Department – School of Communica-
tions and Arts – University of São Paulo, Brazil were I have been teaching since 1972. I was
Head of the Department from 1989 to 1993 and again from 2002 to 2006. Is important to note
that in my University the administrative positions are chosen by election, with 4 years man-
date each term.
My University has been a CILECT member since 1992 and from that time I have served as a
project coordinator. Currently, I‘m the coordinator of the Latin American Region (CIBA –
CILECT), and in that capacity I am also a member of CILECT‘s Executive Council.




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PROGRAMME
For the next biennium I propose to strengthen the CILECT Web Site in order to increase the
relations among regions and schools, and to strength the community life and identity in the
association..
To achieve that, I wish to:
    1.   Create a virtual documentation center that allow the community members to generate
         their own contents and to consult the reports of the organization projects, standing
         committees, regional and individual initiatives and other relevant links.
    2.   Create a teachers corner to provide on line pedagogic tools and experiences relevant
         to our activity.
    3.    Create a virtual Publishing service for teaching materials, research reports and
         community works as: comment bibliography, filmography, papers and articles.
    4.   Establish an on-line Students meeting point to exchange their films and ideas, build-
         ing on the concept of social networking that has been pioneered by sites such as Fa-
         cebook.
    5.   To WEBCAST relevant activities of the community like Seminars and Festivals in-
         cluding a VOD (video on demand) catalog. We put the recent Sao Paulo meeting on
         the web in the form of a streaming video, as a proof of concept.
    6.   To continue and expand the CILECT Newsletter in order to report relevant events
         and activities.
    7.   To build and expand the newly-established CILECT FORUM website so as to in-
         crease CHAT and BLOG activities for teachers, on specific pedagogical issues.
    8.   Create an on-line bulletin board for exchange initiatives.


Thank you very much for your attention.
Sincerely yours,
Maria Dora




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MARIA DORA GENIS MOURÃO – CURRICULUM VITAE



Maria Dora Genis Mourão earned a B.A. in Film in 1971, a M.A. in Film and Arts in 1980 and
a Ph.D. in Arts in 1989 at the University of São Paulo, Brazil.

In 1997 she did a Post Doctorate at the Ecole des Hautes Etudes en Science Sociales
(EHESS) - Centre de Recherches sur les Arts et le Langage, Paris.

Since 2000 she has been a Full Professor of the Film, Radio and Television Department –
School Of Communication and Arts – University of São Paulo.

Her teaching and research interests include editing theory, the influence of the digital technol-
ogies in the film language and documentary. Her current teaching includes an undergraduate
editing theory course and a graduate course related to the new technologies and film lan-
guage.

Mrs. Mourão is the co-author of Cinema e Montagem (Cinema and Editing), co-editor of O
Cinema do Real (The Cinema of the Real) and editor of Ciclo de Debates do 1o Festival de
                                                                           st
Cinema Latino-Americano de São Paulo 2006 (Series of Debates of the 1 Latin-American
Film Festival of São Paulo 2006) among others. She has published articles and chapters of
books in areas as new technologies and editing, and is member of the editorial board of the
Revista Significação, the Brazilian Revue of Film and Audiovisual Studies.

She has worked as editor on fiction and documentary films and videos.

She currently serves as:
    - Director of CINUSP ―Paulo Emílio‖, the University of São Paulo movie theater;
    - President of Sociedade Amigos da Cinemateca, an association dedicated to support-
        ing the activities of the Brazilian Film Archives;
    - Member of CILECT Executive Council, the Centre International de Liaison des Ecoles
        de Cinéma et Télévision, as coordinator of the Latin American Region (CIBA-
        CILECT).
Since 1992, when the University of São Paulo became a CILECT member, Mrs. Mourão has
been the CILECT contact. Her history in CILECT could be summarize as follows:
1995/1998
– CILECT Project Chair responsible for the project: The influence of new tools on contempo-
rary conception of film language as a mode of expression.
2001/2004
- Member of the CILECT Project Committee: Relation between distribution and film education,
together with Mireya Letelier (Escuela de Comunicación Audiovisual – UNIACC, Chile), Silvio
Fishbein (Escuela de Diseño de Imagen y Sonido – Universidad de Buenos Aires), José Ra-
món Miquelajauregui (Centro de Capacitación Cinematográfica – México) Maria Dora G.
Mourão (Depto. de Cinema, Rádio e TV, ECA-USP).
2004/2006
- Member of the CILECT Project Committee: IN TRANSIT – Production of fiction and/or doc-
umentary series produced by Iberoamerican Film and Television Schools for sale to regional
commercial television. Mireya Letelier (Escuela de Comunicación Audiovisual – UNIACC,
Chile), Silvio Fishbein (Escuela de Diseño de Imagen y Sonido – Universidad de Buenos Ai-
res), José Ramón Miquelajauregui (Centro de Capacitación Cinematográfica – Cidade do
México), Maria Dora G. Mourão (Depto. de Cinema, Rádio e TV, ECA-USP).



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- Coordinator of the International Seminar Trend and Perspectives of the Audio-visual Busi-
ness, which took place in September 2006 in Sao Paulo, organized by the Film, Radio and
Television Department – University of São Paulo, Brazil as part of the CILECT Project.
2006/2008
- Member of the CILECT Project Committee: DIGITAL FILM – NEW FORMATS OF
AUDIOVISUAL EXPRESION, together with Silvio Fischbein (Escuela de Diseño de Imagen y
Sonido – Universidad de Buenos Aires), José Ramón Miquelajauregui (Centro Universitário
de Estudios Cinematográficos – Universidad Nacional Autónoma de Mexico), Silvia Barales
(Escuela Nacional de Experimentación y Realización Cinematográfica de Argentina).
- Coordinator of the International Seminar Digital Cinema: New formats in Audiovisual Ex-
pression and Exhibition, which took place in September 2008 in São Paulo, organized by the
University of São Paulo (Office of Culture and Extension and Film, Radio and Television De-
partment) and the Brazilian Film Archive as part of the CILECT Project.
- Member of the group from the Film, Radio and Television Department of the University of
São Paulo that is participating on the CILECT RIVERS Project.




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LETTER OF SUPPORT
São Paulo, September 15 2008.
To Cilect´s board of directors,
        The University of São Paulo´s Film School strongly recommends the candidacy of
Professor Maria Dora G. Mourão to the position of Vice-president for Publications and Re-
search of Cilect. As University of São Paulo Full Professor, Professor Mourão has been act-
ing as Latin American representative in Cilect for a long time. She has helped to found and
organize Ciba. In Brazil, she has helped to found and has presided for seven years our Na-
tional Association of Schools of Cinema, FORCINE.
        As an active producer of inter-institutional activities, professor Mourão has contributed
immensely to keep both professors and students from the Film, Radio and Television De-
partment of the School of Arts and Communications of the University of São Paulo, attuned to
the relevance of international links at times of rapid changing audiovisual landscape. Her help
in developing interchange programs involving our students in taking courses abroad, in Latin
America, and Europe, deserves to be noted.
        Professor Mourão activities as the director of CINUSP, the University of São Paulo
Cinema, also deserves mention, as in association with the Department, Cinusp develops
seminars, workshops and conferences such as the Annual International Conference on Doc-
umentary, an endeavor we realize in cooperation with ―It´s all true, São Paulo Annual Interna-
tional Documentary Festival.‖ This conference provides undergraduate, and graduate stu-
dents, and faculty with a regular window to interact with documentary film makers and schol-
ars from different places around the world.
         For the past two years professor Mourão has also been acting as the President of the
Society of the Friends of Cinemateca Brasileira (Brazilian National Film Archive), an institution
that helps to administrate Brazilian main Film Archive. As such, professor Mourão has helped
to strengthen this university´s ties with Cinemateca, by facilitating our daily usage of Cinema-
teca´s resources, by organizing international seminars such as the International Seminar on
Digital Cinema. She has also stimulated the development of programs of cooperation such as
a Course on Film Preservation, to be conducted by USP in conjunction with the University
Autonomous of Mexico (UNAM) and the Brazilian and Mexican Film Archives, currently in ini-
tial planning.
         Besides this impressive history of activities, in her statement of candidacy to the Vice-
Presidency of Publications and Research, professor Mourão proposes to enhance interna-
tional virtual online communication, one further reason to recommend the Department´s sup-
port to her candidacy.
        My Best Regards,
        Esther Hamburger
        Chair
        Department Film, Radio and Television
        School of Arts and Communications
        University of São Paulo




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Project Reports
 Digital Cinema

 Lessons in Film

     Rivers




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Digital Cinema




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                                        DIGITAL FILM
                   NEW FORMATS OF AUDIOVISUAL EXPRESION


ACTIVITIES: we did two seminars with the participation of all CIBA – CILECT Schools. During
the two seminars, we discussed the new audiovisual expression and formats and how to in-
troduce this subject in our schools. We listened to some experiences from the participant
schools, teachers, national and international artists and professionals, specialists in distribu-
tion and market and all of us agreed that it is necessary to introduce it as an aesthetic and
market need, not simply as one more subject in the curricula.

1º SEMINAR - 4 panels:
April 2008 – ENERC - Argentina

ESTHETICS AND NARRATIVE IN NEW FORMATS 1.
Guest:
Jorge La Ferla (Argentina) - Arlindo Machado (Brazil)

PRODUCTION CRITERIA IN NEW AND TRADITIONAL FORMATS.
Guest:
José Ramón Mikelajauregui (México) - Don Zirpola (USA) – Mario Santos (Argentina).

ESTHETICS AND NARRATIVE IN NEW FORMATS 2.
Guest:
Ana Amado (Argentina) - Esteban Sapir (Argentina)

HOW TO TEACH NEW FORMATS.
Guest:
María Dora Mourao (Brazil) - Armando Casas (México) - Silvio Fischbein (Argentina) - Gus-
tavo Mosquera (Argentina).

2º SEMINAR - 6 panels:
September 2008 – USP – Brazil.

NEW DIGITAL TECHNOLOGIES AND AUDIOVISUAL PRODUCTION.
Guests:
Frank Chindamo (USA) - Nenad Puhovski (Croatia) - Carlos Ebert (Brazil) -
Luis Gonzaga Assis de Luca (Brazil).

ISSUES IN AUDIOVISUAL LANGUAGE AND NEW CREATIVE PROCESSES IN THE
DIGITAL ERA.
Guests:
José Ramón Mikelajauregui (México) - Rejane Cantoni (Brazil) - Vibeke Hansen (UK) - Lynn
Speier (USA)

EXHIBITION.
Guests:
Angel Blasco Marquetta (Spain) - Alain Besse (France) - Adhemar de Oliveira (Brazil).

BROADCASTING AND MARKETING.
Guests:
Alex P. Galvão (Brazil) - Marco Aurélio Marcondes (Brazil) - Caio Túlio Costa (Brazil).

PROFESSIONAL PROFILES AND THE ROLE OF SCHOOLS IN THE DIGITAL CINEMA
ERA.
Guests:
Rodrigo Saturnino Braga (Brazil) - Don Zirpola (USA) - Silvio Fischbein (Argentina) - Ana Vi-
nuela ( France)

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APPLICATIONS AND IMPACT OF DIGITAL TECHNOLOGY IN THE PRESERVATION OF
AUDIOVISUAL ARCHIVES.
Guests:
Guadalupe Ferrer Andrade (México) – Patrícia de Filippi (Brazil) – Daniel Wagner (USA) –
Osvaldo Emery (Brazil)

During the Congress we‘ll give a detailed report of our discussions and conclusions. We are
also preparing a DVD that will be distributed among all CILECT schools.


Silvio Fischbein
Coordinator CIBA‘s Project.




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Lessons In Film




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RIVERS




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Student Exchanges


Supported by CILECT




        127/151
         LA FÉMIS / Universidad de Cine EXCHANGE PROGRAMME

Since 2004, La fémis has set as one of its main priorities developing international relations:


    -   Setting up exchange programs with film schools in the world,
    -   Organizing common curricula with partner schools,
    -   Creating summer university programs for foreign students,
    -   Organizing a short program for European documentary filmmakers,
    -   Actions within the network of film schools.



After setting up exchange programs with Columbia University, the NFTS and the Ecole Can-
tonale des Arts de Lausanne (ECAL), La fémis has organised in 2008 a new program with the
FUC in Buenos Aires.

Three students in cinematography graduated from the FUC attend a program at La fémis for 4
weeks, which includes a workshop on cinematography and 35 mm with DP Ricardo Aronovich
and 3rd year students, and shooting exercises in special effects for the editing students of La
fémis.

3 fourth-year direction students will go to Buenos Aires in February 2009, after having di-
rected their graduation film and will direct a documentary film. They will work for 7 weeks with
the FUC guidance and assistance.

This program is supported by the Department of European and International Affairs of the
French Ministry of Culture and Media and by CILECT.




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                         RITS, Brussels – VSMU, Bratislava
                                      CILECT project
             „Lukas tends to forget‟ (Original project title „About Eva‟)

In 2007 I studied film directing as an Erasmus student at the VSMU in Bratislava. I had the
idea of making a docu-fiction short about a film teacher. I made some arrangements for this
picture but finally I had to return to Brussels before I could finish it.
One year later I picked up this project again and started rewriting the script. Through Laikin
Chang who is responsible for international relations in our school (RITS) I got to know
CILECT. I wrote a paper about my project and got the funding to realize it.
I contacted Jan Melikant whom I got to know during my Erasmus stay and I asked him to be
the producer of this short. Jan studies producing at the VSMU in Bratislava.
I finished the script that had become a whole new story and sent it to Katarina Uhrova, a
scriptwriter at the VSMU. She translated it into Slovak. Until then everything had been ar-
ranged through mail, a slow medium when it comes to organizing a movie.
In June I took a five day trip to Bratislava to check the locations, do a casting and meet the
Slovak crew members.
In these five days we visited several locations and I ‗talked‘ with many different actors. With
the selected actors en Jan I arranged the shooting days for the beginning of August.
My first idea was to do the photography myself. After my trip I once more realized my crew
(including myself) consisted of people with little or no experience making a picture. On top of
that half of them and the actors didn‘t speak any English. I realized I would need all my focus
to work with them. I decided to ask a camera man in the second year of our school to come
with me (Pieter Geerardyn). I had worked with him once before and that had been a pleasant
experience. I booked the flights and arranged a place to sleep. By the middle of July every-
thing was settled to start the filming.
        th
On the 4 of August Pieter and I left Brussels for Bratislava.
The first three days we arranged the art direction. Together with Miro (Art director) and Jan as
a translator we looked for furniture and requisites.
In Bratislava there aren‘t any second hand stores (except for clothes) so it was very difficult
finding everything. We painted the apartment and brought in the furniture.
The fourth day I met with the actors. We talked about the script. I tried to get to know them
but we couldn‘t have a real conversation because everything had to be translated.
On the first shooting day we filmed the very last scene because only that day the location (the
cinema in a university) was available.
This day was the most difficult one. I had troubles directing the actors because I couldn‘t ad-
dress to them directly. It‘s a very strange feeling seeing actors playing not understanding what
they are saying.
The second day and third day I adapted to the situation and it went better although problems
were never far away. It‘s impossible to write about all the little (and big!) problems during the
production because I would end up writing a book. It should be imaginable considering the
situation.
After shooting I found it the best idea to edit the material myself instead of working with an
editor. I knew the whole story and understood the actors so using someone else as an editor
(with no understanding of Slovak) would only make it more difficult.
Although after writing, shooting and editing, my view on the film was very blurred. I could only
see mistakes of no importance instead of the storyline. I subtitled the picture and showed it to
people who weren‘t familiar with the project. I asked them what they understood and what
was unclear to them. Finally a fellow director of my school helped me finishing the editing.


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I asked a graduated sound engineer to do the post-production of the sound. He could sonor-
ize and mix it in a professional studio.
Making the short was an overall exciting experience. Working in Slovakia showed me the ad-
vantages and possibilities we have in Belgium.
The different environment and atmosphere gives certain freshness to the creative process.
When working in a different culture you have to adapt to it. This was a lot easier for me then
for Pieter who has never been there before.
A lot of problems arise because of these differences. Luckily in the end it gives a very fulfilling
feeling being able to create something in another country and in another language then your
own.
Benjamin Deboosere
CILECT 2008
RITS - VSMU




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                           JERUSALEM - WARSZAWA - KÖLN
                                    A Triangle Dialogue
        A Cooperation And Intercultural Exchange Between Three Film Schools


                             An Initiative of Filmstiftung NRW
                               A Co-production of arte/WDR


Three schools – the Sam Spiegel Film & Television School Jerusalem, the Andrzej Wajda
Master School of Film Directing and the ifs international film school cologne – began a joint
project for young filmmakers in June 2007.


Six 30-minute documentaries
Renowned documentary authors as tutors
Three workshops in Tel Aviv, Warsaw and Cologne
Shooting in Israel, Poland and Germany
The three best films will be compiled into one 90-minute film, co-produced by arte/WDR


The Sam Spiegel Film & Television School was founded in 1989 by the Jerusalem Founda-
tion and the Ministry for Education and Culture in Israel. The hands-on-training in the four-
year programme has a particular focus on film narrative in short films. Teaching staff are re-
nowned, professional filmmakers who strongly influence Israel‘s film culture and industry.


The Andrzej Wajda Master School of Film Directing was founded in 2001 by the Polish master
of directing, Andrzej Wajda; his well-known film director colleague, Woijciech Marczewski;
and the Warsaw Film Studio. The most important personalities in Polish film culture teach
there. Young filmmakers who have gained initial experiences as creative professionals in film
obtain post-graduate training in fiction and documentaries during their masters classes. The
Andrzej Wajda School was once a partner of ifs internationale filmschule köln in 2005 in the

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joint documentary film project ―Reflection‖, which debuted at Berlinale‘s Talent Campus in
2006.


Dieter Kosslick founded ifs internationale filmschule köln in 1996. ifs is a subsidiary of Filmstif-
tung NRW, its main shareholder. ZDF joined in as a minor shareholder in 2006. Film studies
at ifs emphasise story-telling, the development of one‘s personal artistic potential and inter-
disciplinary work among young creative professionals in a film production. Traditionally, ifs‘
main focus has been training and continuing education for young screenplay authors. In di-
recting classes, fiction and documentary are taught with equal significance. Renowned pro-
fessors and instructors teach at ifs. Almost all of them are actively integrated in national and
international film culture and industry.


The Project


There are very few countries that are as closely and inextricably connected to each other
through history in the past century as Germany, Poland and Israel. Even in recent years, art-
ists of the younger generation have repeatedly dealt with the memory of these common roots
and their effect on the present.


In June 2007, a mutual film project was brought into being for the first time by three film
schools from Israel, Poland and Germany. The project has come into being by way of ex-
change and intensive encounters with each of the cultures. The initiator of this unique project
is Michael Schmid-Ospach, Managing Director of Filmstiftung NRW, which also financially
supports this cooperation.


The project is geared towards young graduates of the three schools who have completed
their studies in the past two years. In Germany, graduates of ifs internationale filmschule köln
as well as graduates of Kunsthochschule für Medien in Cologne were allowed to apply.


Applicants were asked to submit their ideas and exposés for three-minute documentary films.
The material should not take place in one‘s own country, but instead take place in one of the
partner countries, be researched in-depth and realised there. The schools then help each
other on the technical and staff level. Furthermore, the young filmmakers obtain help for the
development, production and postproduction of their films during three one-week workshops
in Jerusalem, Warsaw and Köln. During the 12 months, they are tutored by renowned
filmmakers. Dominik Wessely is in charge in Germany. He is the professor for documentary
films at ifs and known for such films as ―Die Blume der Hausfrau (The Flower of the House-
wife, 1996)‖ and ―Gegenschuss – Aufbruch der Filmemacher (Reverse Angle – Rebellion of
the Filmmakers, 2007)‖.


The Polish graduates study under the tutelage of the renowned documentary filmmaker An-
drzej Titkow and the graduates from Israel study with the experienced author and director,
Yair Lev, whose latest documentary film ―HUGO II‖ just celebrated its debut at the interna-
tional film festival in Jerusalem in 2008. Of course, the tutors act as advisors to all the gradu-
ates in the project, regardless of their nationality


Topic


A topic, in the strict sense of the term, has not been set. A thematic frame was merely created
to incite inspiration and creativity in the young filmmakers, and not to set limits.
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Identity and Change


Young people in Israel, Poland and Germany face the challenge of finding their identity be-
tween past and present or re-inventing it. Still influenced by fading childhood memories of the
world‘s division between east and west or of the socialist era, many of them have experienced
walls falling and borders opening. Others saw how new walls and fences grew in troubled
times of war and destruction. Growing up in the era of globalisation goes together with expe-
riencing invisible but tangible rifts that go through and separate post-modern societies in Eu-
rope and the Middle East.


Our world is changing at breathtaking speed. Changes in the society we are living in, phe-
nomena such as migration and modern nomadism or pluralism of religion and culture in a
small societal space, all confront individuals with more and more new challenges.


The ever-faster developments in science and technology open up possibilities that have been
barely imaginable until now yet they also arouse fears and feelings of insecurity. Communica-
tion is available globally and it works faster than ever. The Internet makes international con-
nections, the development of new communities and parallel worlds such as ―Second Life‖
possible.


How will global networking affect humans in real-life neighbourhoods, relationships, love, fam-
ily and friendship?


The objective of this cooperation between the film schools in Israel, Poland and Germany is
an anthology of documentary films that trace the tracks of the past and the future in stories
about people, places, occurrences, fears, expectations and new perspectives.


Through the work in teams and the experiences together, young filmmakers from different
countries were given the opportunity to learn from the other cultures and to put personal
views into perspective. Through dialogue they can find what is familiar by looking into what is
foreign and even find the connection through separation.


Last but not least, this way of working together denotes an in-depth examination of other (film)
languages, cultures and traditions.


―I think the only path for us in our striving towards understanding and coexistence is to create
characters in a national language who cannot be experienced in another way.― (Andrzej Waj-
da)


Format


Since December 2007 a total of six 30-minute documentary films (two per film school and
country) were developed and produced. The three most artistically interesting films will be
compiled in a 90-minute film. The 30-minute films can also stand alone and their potential be
used individually.


In the context of this project, all the participating graduates have benefited from the opportuni-
ty of gaining unique experiences as filmmakers in a foreign country. During their research
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and shooting there were intense encounters, unpredicted obstacles and productive irritations.
The majority of the filmmakers chose material and stories with a radical, personal approach.


That‘s why most of the films tell very impressive stories about the force and effect of the past
on the present lives of families and individuals. The young authors and directors track down
family secrets, try to unearth buried memories or take part in an artistic conflict consisting of
complex socio-political relationships.


→ Extracts of six films


The one-week workshops at each school did more than enable productive and lively discus-
sions about the situation of movies or the acquaintance of contemporary and traditional cine-
ma in the social context of each of the three countries. The filmmakers all got to know each
other very well and have become a close-knit group that came together by means of sophisti-
cated and profound understanding of each other through the exchange.


→ Photos and testimonials of the participants


Plans for the films are to enter them, individually or as a compilation, in the international film
festivals in Berlin, Jerusalem and Warsaw.


Funding


The cost of the project is (tightly budgeted) 300 000 euros. Filmstiftung NRW has granted 90
000 euros as start-up financing and almost 40 000 euros come from arte/WDR as a co-
production share. CILECT supported the project with 8000 euros in funding.
In Poland, the film foundation has provided the project with 25 000 euros in funding. There
has not been any funding from Israel as of yet. The three schools provide technical and staff
services valued at 75 000 euros, free of charge.


Evaluation


A final evaluation of the project is still to be expected since the films are not yet finished. Nev-
ertheless, the workshops and the cultural exchange were such a valuable experience for all
participants that we hope and wish the project will be continued.




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CONTRIBUTED PAPERS




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Teaching 3D animation
Creative versus Technical Skills
Craig Caldwell
Griffith Film School, Brisbane, Australia


Introduction


Today we are getting much better at teaching the 3D technical skills (i.e. Maya, Max) that
our students need to get their foot in the door for visual effects and animation. These
technical competencies can take precedence in our teaching and we inadvertently give
less emphasis to the more elusive creative skills that determine promotion into positions
such as producers, visual effects supervisors, art directors etc. While 3D technical skills
will get them that ever-important first job, it won‘t get them promoted. The other side of the
coin is that while an extensive knowledge of theory, and creative thinking skills will pre-
                            nd        rd                                          st
pare our students for that 2 and 3 job it won‘t get them in the door for that 1 job; with-
out being able to execute the principles of animation as well as how to model, rig,… and
implement Subsurface Scattering shaders.


Before we lost John Lasseter to the many corporate hats he wears today (Chief Creative
Officer, Pixar and Disney Animation Studios, Principal Creative Advisor at Walt Disney
Imagineering), he wrote a solid article on the Principles of Animation (still available at
www.siggraph.org). Its introduction included this truism ―The appearance of reliable, user
friendly [computer] animation systems… will enable people to produce more high quality
computer animation. Unfortunately, these systems will also enable people to produce
more bad computer animation.‖ [1] This concept is just as valid today.


As much as I relentlessly warn my own students to avoid the dark side, some can not re-
sist the siren song ―if we just do a little bit more… it will look better syndrome‖ and they
invariably fall victim to the student dictum ―more is more‖; which is counter productive.
One reason for this phenomenon is that students don‘t spend the time to integrate the ba-
sics (they know them theoretically but can‘t convincingly execute them in their work); they
prefer to learn the latest 3D software tools believing this will compensate for their lack of
skills. As Ed Catmull, President of Walt Disney Animation Studios and Pixar Animation
Studios, observed, ―this doesn‟t work… rather than thinking that the computer can replace
these skills, the computer is really an amplifier for what skills you do have.‖ [2] While this
observation may be absolutely true, it doesn‘t provide the immediate gratification the way
3D technical application tools does for the students.


The Teaching Tips


Success in animation depends on getting the priorities right; knowing what to put primary,
and what to put on the back burner). Often this can depend on a number of factors, includ-
ing the mission of the school and the expectations of the students. In getting that balance
right, between creative and technical, we teach technical skills but always make sure the
priorities are tilted towards the creative and communication skills that will result in quality
outcomes that resonate with the audience. In this regard what we emphasize can be more
important than how we teach in 3D animation. The biggest dilemma we face is not just the
―what‖ to emphasize in computer animation but sticking to these quality outcomes even as
the students initially resist. For they can‘t make out the dividends this will pay in their ca-
reers and animation; they can‘t see yet.


Teaching animation is fundamentally about enabling students to see what is important.
They are learning to see; to recognize what resonates with an audience. To that end stu-
dents need to be shown, not just what strong, successful animation and what the teacher
wants to see, but also what the teacher doesn‟t want to see (use youtube, past semester
assignments etc). Narrowing their field of vision, and range of options, will result higher
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     quality outcomes. Students will always aspire to turn in the best work, but often they don‘t
     know what is a cliché in the field and you also put them on notice that you are well aware
     of what is weak, lazy work.


     The ―what‖ question is still out there… ―what‖ are the skills that students need to learn?
     Modeling? Scripting? Rigging? Shaders?, Principles of Animation? The answer is all of
     the above… but the Principles are primary! (this is not an original concept). Starting with
     the pendulum and the bouncing ball exercises insures that while the students are getting
     familiar with the software (though today that software familiarly is often a given) they can
     be checked out on how well they can execute the principles of animation. The focus in the
     grades and the assessment is be on the believability of these assignments, not how ―good
     they look‖ but how ―convincingly they feel‖. There is a subtle but all-important distinct dif-
     ference.


     A fundamental indicator is the concept of weight. If the students are integrating the princi-
     ples of animation (i.e. arcs, slowing and slow out, timing, follow-through, anticipation, stag-
     ing etc.) it will be reflected in a feeling of ―weight‖ in the animation. This reinforces the pro-
     cess of integrating the basics. There is a wonderful clip, on the supplemental disc of the
     ―Incredibles‖, which reinforces with this fundamental concept of weight in the film.


Helping our students learn to see can be reinforced with the following approaches:
1.    Turn off splines! Students need to be made aware of everything that is reflected on the
      screen. Switch to linear interpolation (animation settings -> linear tangents in Maya) as
      they are roughing out the animation. This way nothing will be influencing the process but
      their own choices in the animation. Later on, as they get more advanced and poses be-
      come primary they will want to switch to stepped tangents to minimize the influence of
      the computer on the inbetweens.
2.    ―Animation dailies‖ every week. In the industry animators much show their work every
      day. So why not in a learning situation. Something must be due every week (even if it is
      just minor refinements). This consistency requires more work on the teacher because
      you have to grade every week but it keeps students moving forward and reduces the
      repetition that results when students forget how the software works.

3.    To greatly increase student‘s capability in seeing spacing between frames use an inter-
      active path of action in the beginning. In Maya this is Motion Trail (in the options box use
      slow, numbers, and line).




Figure 1: Motion Trail as Path of Action
4.    To stimulate increased refinement of the work build in ―resubmissions‖ into the grad-
      ing/assessment process. This permits students to go back and improve the work after
      critiques, when the feedback really sinks in and you get even better work. While many
      students won‘t take advantage of this option, there are some that will improve an anima-
      tion… repeatedly.
5.    Provide access to examples good and bad work outside of class (links, students bring-
      ing in work from youtube, older assignments you have retained copies on intranet). It
      takes time for students to reflect and make critical judgments. In this way you set high
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     expectations and you give them a way to review and comprehend subtle differences be-
     tween pieces.




Figure 2: Examples
6.   Keep the animations short! Industry feedback indicates that Animation Supervisors only
     need 8.5 seconds to make a determination whether to keep watching a demoreel or hit
     the fast-forward. Then it takes only another 10 seconds to decide to hit eject. No point to
     long, boring, repetitive animation where uninteresting characters move for no real rea-
     son.


7.   Don‘t re-invent the wheel; use the standard proven animation assignments (or varia-
     tions):
               a. Harmonic Oscillation (pendulum)
               b. Bouncing Ball
               c. Three Balls of different weights
               d. Rigged lamp
               e. Walk Cycle
                f. Walk Cycle with emotion
               g. Character lifts weight, throws weight
               h. Character goes through emotional change.
                i. Character is animated to dialogue that emphasizes acting.

8.   Walk Cycles are so complex that students need a checklist for reference.




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      Figure 3: Walk Cycle


a. Hips "tilt forward & backward" and "up & down".
b. Body leans forward.
c. Body goes up and down (catching the weight pose [down] and then passing
     pose [up]) ―You don‘t get it if you don‘t integrate the fact that walking is a
     process of catching yourself so you don‘t fall to the ground‖.
d. Head swivels up and down (i.e. bobblehead doll).
e. Successive breaking of joints (i.e. arms, legs).
f. Balance - body weight shifts from side to side.
g. Hips and shoulders/torso twist (opposite direction).
h. Foot flattens immediately after heel strike
 i. Spine bends and flexes.
 j. Timing - Body actions are not simultaneous, there is a follow-through from
     one part to another.




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9.   Use the Supplemental discs (Collector‘s editions, Ultimate editions) they contain lots of
     inside processes on how the industry works and what is important.

If we move through assignments too quickly, without reinforcing the expectations of high
quality, even at the most basic level, (was that bouncing ball animation believable or did it
just look good? did it have follow-through and did it just stop moving?). If not, then the results
will be added to the pile of animation no one responds to or wants to look at... even if the
ideas and concepts are solid.


During all this prioritization on creative competencies the actual teaching will be through the
software, while steadily increasing the technical competencies. Introducing modeling (poly-
gons, nurbs), animation (path, keyframe, graph editor), lighting, shader concepts and pro-
cesses. As students move beyond a fundamental level there are technical resources they
can start to utilize (Digital Tutor, Gnomon etc.). As students become more creatively accom-
plished they can move beyond basic animation competencies and delve into why we animate
in the first place. Emphasis will change; story and acting will play an ever-increasing role in
keeping the audience‘s attention.


As Frank Thomas, one of the famous old Disney animators, indicated in his article ―The Fu-
ture of Character Animation by Computer‖ — ―all of our training and study really boiled down
to just three points. (1) Do you have an idea? (2) Are you communicating it clearly? (3) Is it
done in an entertaining way?‖ [3]
First is the idea. Is it something everyone will understand? Is it worth doing? Has it been
thought through? Are you sure? These questions always make me think of Michelangelo with
a four ton block of marble in the middle of the room, and made me wonder at what point he
was convinced enough of what he was going to do that he could take that first whack with
the mallet (screenplay and story books can be of great help in this area).
Second, communication. Is your presentation strong and simple? Does it involve the audi-
ence? Think of walking through an art museum and letting your eye wander over the paint-
ings. The ones that stop you are always by artists that understand how to communicate!
Third, entertainment. This does not mean a funny sit-com, for much that is entertaining is
not laughable. A good mystery, a football game, a concert; there is not a laugh in any of
them, yet they all come under the heading of entertainment. In the Royal Theater of Den-
mark in Copenhagen, there is a phrase written across the proscenium arch, “Ei Blot Til Lyst”
which translated says, “Not only for amusement.” The royal productions that play on that
stage are entertaining, but much more than just amusing. [3]
Taking that advice to heart indicates that our students need a broad range of skills; it isn‘t
sufficient to narrowly focus on just animation. George Miller (Director of Happy Feet) recently
stated that you must be multidisciplinary to thrive today [4]. Multidisciplinary implies students
need skills such Storyteller, Visual Artist, Cinematographer, Film Editor, Actor, Sound Editor,
Set Designer, Programmer (scripting)…the animator today must think of themselves as a film
maker to survive. They need to study film. Ed Catmull recently shared at SIGGRAPH2008
that to create stories within the Pixar Braintrust ―you have to be a filmmaker‖[5]. It is not
about the singular story idea that makes an animation work. Only after everything comes to-
gether, all the technical brilliance and creative storytelling works as a whole, do people na-
ively come to the conclusion… what a great story idea.


Conclusion


At the introductory level the challenge is keeping students focused on the basics (i.e. princi-
ples of animation) and to still make it exciting. At the intermediate level the challenge is keep-
ing an eye on the quality of the storytelling poses. The point is to not dazzle the audience
with technical skills (this works only in the short term) but to entertain and communicate (this
stays with the audience in the long run). At more advanced level, expectations and inde-
pendence is desired, yet students very much need guidance in balancing their desire to do
something original and creative, all the while connecting to the audience. This is where the
greatest challenges remain, because the students at this level understand all the parts of the
process; but linking everything together in a cohesive whole (with a story) and maintaining a


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realistic production timeline before graduation is something that, more often than not, eludes
students.


In teaching, the balance comes from getting your priorities straight, without becoming preoc-
cupied with the technical (the next new tool) or the creative (endlessly revising the story). As
I‘ve heard stated so well by Kevin Geiger, Animation Options, on numerous occasions to the
students ―its an animation, not a science project‖. As students work with reliable, user friend-
ly [computer] animation and produce more high quality computer animation there will also be
a bounty of ―good‖ computer animation to be produced.




 References
 1. LASSETER, J. 1987 ―Principles of Traditional Animation Applied to 3D Computer Anima-
 tion,‖ Computer Graphics
  (Proceedings of ACM SIGGRAPH 87), 21(4), 35-44.
 2. CATMULL, E. 1999 Talk given on Computer Animation at Computer Museum, Boston,
 March 5, 1999.
 3. THOMAS, F. 1984 ―The Future of Character Animation by Computer,‖ NCGA 84 Animation
 course notes,
   Anaheim, CA.
                                      st
 4. MILLER, G. 2008 Master Class, 31 of July at Griffith University, Brisbane, Australia.
                                                                    th
 5. CATMULL, E. 2008 Keynote speaker ACM SIGGRAPH 2008, 12 of August, Los Angeles, California.




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Jan Krawitz
Stanford University


               Treading Softly: Ethical Concerns in Student Documentaries


         Each year, I prepare a first-day lecture for the new students in our two-year Master of
Fine Arts program in documentary film and video. Although my remarks and examples cited in
that opening discussion vary from year to year, one element remains constant. On the first
day of class, I introduce what becomes an ongoing dialogue about the ethical responsibilities
inherent in the production of nonfiction work. Before the student ever looks through a camera,
she is sensitized to the ethical challenges that are an integral part of working with real people
in real situations. Just as students can be taught to act responsibly with a camera, micro-
phone, or lights, so too can they be encouraged to act responsibly in their relationships with
their documentary subjects, their crew, and their audience.
         I share with my students an experience that was recounted in Through Navajo Eyes,
a book that describes a project undertaken by two visual anthropologists -- Sol Worth and
John Adair. In an effort to understand Navajo culture more fully, they proposed to teach
filmmaking skills to a small group of Navajo Indians in Arizona in 1966. Recognizing the need
to acquire formal permission before undertaking the project, the anthropologists approached
the tribal elder, Sam Yazzie, with their request. Yazzie listened intently as the two men de-
scribed their plans. When they were finished, Sam Yazzie asked two simple questions: ―Will
making movies do the sheep any harm?‖ Worth replied that as far as he knew, there was no
chance that making movies would harm the sheep. Yazzie then asked: ―Will making movies
do the sheep any good?‖ Worth replied that as far as he knew, making movies wouldn‘t do
the sheep any good. Yazzie thought this over before inquiring, ―Then why make movies?‖
         This parable has relevance for the student working today. She should be encouraged
to continually question her motivations for making a particular film. The filmmaker‘s acknowl-
edgement of her intentions and goals will necessarily go through different stages during the
production process. The relationship between the filmmaker and her ―characters‖ will develop
and evolve along with the story being told. At the script treatment and proposal stage, the
student should be required to address the following questions:
         What is the potential impact of this project, most specifically on the lives of those por-
         trayed?
         Who is the intended audience?
         Who might benefit from the film?
         Who might be hurt by the film?
If the student confronts these questions with honesty and insight, keeping them in the fore-
ground during the production process, she will undertake the project from an ethically in-
formed position.
         I was recently on a panel with other professors teaching film production (primarily fic-
tion film) when the issue of ―talent‖ was raised and whether one can teach ―talent‖ in the
classroom. I would argue that the analogue within documentary might be whether one can
teach the aspiring nonfiction filmmaker ―people skills‖ or sensitivity – traits that are essential to
the success of any documentarian. Although students may be aware of the ethical quandaries
that impact the genre, they do not necessarily have the required sensitivity or experience to
navigate potential mine fields. Our students are often confronted with healthy skepticism or
outright hostility from potential subjects as they begin their research and pre-production pro-
cess. At that early stage, they must deal with the challenges of access and trust as well as the
responsibilities that come with working with real people, rather than actors, as subjects. The
proliferation of reality TV has caused both documentary subjects and lay viewers to be more
savvy about the possibility of manipulation, distortion, misrepresentation, and de-
contextualization of images and scenes.
          Over the years, I have worked with the occasional student whose efforts – across pro-
jects -- are compromised by interpersonal blunders of which he or she remains unaware. Sub-

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jects may bow out of the project midway through production or they may feel violated when
they see the finished film. Often, the student described above assumes no responsibility for
these events. She may lack the requisite insight, self-awareness, or maturity to evaluate the-
se relationship casualties.
         A substantive discussion of ethics should be an integral part of any documentary pro-
duction course. The perils of working in documentary have become more complex and nu-
anced since the days of Flaherty or the advent of portable technology in the 1960‘s. Today,
issues of representation (who has the right to film whom), arguments about reality and truth,
and a consideration of audience are in the forefront of the ongoing debate around documen-
tary ethics. The student can benefit from an understanding of the ethical discussions in doc-
umentary as they have evolved over the past four decades.
         Thirty years ago, it was the occasional film -- one thinks of Grey Gardens (1976) or
Seventeen (1982) -- that catalyzed a flurry of excitement about perceived ethical transgres-
sions. Students today have been jaded by three decades of personal films, advocacy films,
and mock documentaries that have sometimes caused controversy about filmmaking tactics
or a breach of the filmmaker-subject contract. A mock documentary liked David Holzman‟s
Diary (1967) seems quite innocuous when compared to Borat (2006) in which Sacha Baron
Cohen assumes the role of a naïve journalist from Kazakhstan who takes a journey across
America at the expense of well-meaning, but unwitting participants. Cohen was chastised for
his disingenuous posturing and for obtaining signed releases from subjects who -- believing
they were appearing in a documentary – waived their right to bring lawsuits against anyone
associated with the film. Our students grew up with Michael Moore and Nick Broomfield –
filmmakers who appear in their films as a ―fly in the ointment‖, catalyzing confrontations with
subjects as a source of entertainment. Our students can gain insight into their own motives
armed with the knowledge that Fred Wiseman posited a ―greater good‖ argument when de-
fending Titicut Follies (1967) against accusations of invasion of privacy of the inmates por-
trayed in the film.
         The students must understand that filmmaker-subject relationships based on trust
and good will at the outset, sometimes devolve into something very different once production
is underway. It is not uncommon for the filmmaker to be subjected to a lawsuit initiated by the
film‘s subject. After The Thin Blue Line (1988) was in distribution, Randall Adams (the main
character) sued for the rights to his story upon his release from prison. The irony in this situa-
tion is that Adams‘ release from death row was a direct result of a renewed investigation
prompted by the film itself. In this case, the film did help the proverbial ―sheep.‖
         The documentary student must approach the filmmaker-subject relationship with the
candor and gravitas that it requires. Although film students do not submit to a ―human sub-
jects review process‖ as do their peers in the social sciences and medicine, they must ap-
proach their subjects with integrity both in the initial ―courting‖ stage when they are trying to
secure the participation of the subject and throughout the production. Jay Ruby, the American
visual anthropologist, has written at length about the fallacy of the notion of ―informed con-
sent‖ when applied to documentary subjects. Unlike the informed consent agreed to by the
subject in a medical trial where possible consequences (both positive and negative) can be
anticipated, the individual who agrees to participate in a documentary film cannot be informed
of the unknown consequences of his/her participation. The documentary subject enters into
the agreement with the filmmaker as an act of good faith, albeit lacking documentation as to
the possible positive or negative outcome of that participation.
             A student may believe that duplicity is a useful strategy for securing access to a
character or event. Some years ago, before the internet spawned new methods of finding a
spouse, one of my students wanted to make a film about a ―mail order bride‖ agency that was
run by a Caucasian man and his Filipina wife. The agency imported Asian women to be mar-
ried to white men in the United States. The student was a man from the Philippines who had
strong negative feelings about this institution. When he pitched the idea in class, he suggest-
ed that he would conceal his true opinion about the agency in order to gain access. I sug-
gested that he employ honesty in his dealings with them so that they would not feel deceived
when presented with the finished film. This approach worked and the student was able to
make a portrait of the couple and their work without either compromising his ideas or unfairly
maligning them. By being honest with the subject, the student levels the playing field so that


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both subject and filmmaker participate in the project with no false assumptions about the posi-
tion of the other.
             A documentary character may sometimes ask for a right to review rough cuts,
fine cuts, and final cut. In the program at Stanford, we insist that the student maintain creative
autonomy. It is at the discretion of the student whether they choose to show a work-in-
progress to their subject at a late stage in the editing. Recently, I had a student who was mak-
ing a film about a 10-year old girl with dwarfism. The portrait was overwhelmingly positive but
there was one scene where the girl lashes out at a group of children who are taunting her.
The student felt that she should eliminate the scene because it cast somewhat of a negative
light on the young girl who might feel embarrassed when viewing her actions on screen. I ar-
gued that the scene provided balance and ultimately, a more honest portrayal of her charac-
ter. The student‘s compromise position was to show the fine cut to the girl and her mother and
allow them to make the final decision. Ultimately, the scene stayed in the film.
         The documentary program at Stanford does not teach documentary from a journalistic
perspective with a mandate for balance, truth, objectivity, and fact checking. We encourage
students to create films in the spirit of the cinematic equivalent of the ―op-ed‖ page. They
should have an articulated perspective about a topic and express that point of view through
an artistic vision. Ultimately, the message of the film resides in the space where the sensibility
of the audience and filmmaker overlaps.
         A requirement of all of our graduate production classes is that the student presents
her film at a final public screening at the end of the quarter. All of the students entertain ques-
tions and comments from the audience after the films are shown. Many of the subjects who
appeared in the films are present at this event so the dialogue between audience, subjects,
and filmmakers can raise some unexpected responses. The student often gets new insight
into their work through these conversations.
 I will now show several clips from Stanford films that illustrate some of the ethical dilemmas I
have discussed. All of these situations presented ―teachable moments‖ as the issues raised
are always discussed with the class as a whole.




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                                       Documentary Esperanto

                                           An essay by Russell Porter
I want to explore some ideas that I have been bouncing around for decades, trying to nail down
why it is that some documentary films have the ability to work universally, to endure as part of the
world‘s heritage of important cultural work, while others fade into oblivion almost as soon as they
are finished.
It‘s not enough merely to make a film of technical and aesthetic excellence, or even of great crea-
tive and intellectual originality.
Perhaps the strongest claim made for documentary is the claim for truth. The implicit contract be-
tween a non-fiction film and its audience is that its content corresponds to something that actual-
ly, truly exists or has existed in the real universe.
Observational filmmakers have pushed the veracity stakes to the level of a noble crusade, decry-
ing all mediation as manipulation of reality. Yet we all know that documentary filmmakers, from
Flaherty onwards have had to represent only partial reality and to be highly manipulative in the
process - framing, editing, faking, and contracting time and space in order to make a cohesive
story.
These are all, to my mind, valid and essential tools in what might be called the truthy toolkit of
documentary filmmaking.
I won‘t buy further into the ongoing argument about ―documentary truth‖ – there‘s a whole aca-
demic industry devoted to that pursuit and I‘m grateful to my theoretician colleagues for helping
illuminate the issue – but that‘s not my main concern here.
I would like to suggest another way of thinking about documentaries, another kind of truth we
should pursue. It is an idea that has emerged from thirty-five years of living the documentarian‘s
life – as a filmmaker, film teacher and explorer of reality in all its glory and chaos.
The documentarian‘s life is a distinctive thing, because it is very hard to separate life itself from
the art and craft of ―the creative interpretation of reality‖. As a career path, it‘s not for everyone –
you don‘t do it for the money - so you have to be a curious person, in both senses of the word, to
embark on this pursuit of what could loosely be called the ―representational truth‖ of documentary.
So what is this other more compelling goal of documentaries? I believe the issue is not so much
that we should try to reproduce reality as faithfully as possible, but to reach towards something
bigger – a universal human truth.
That might sound like a romantic and idealistic kind of notion, but I believe there are elements of
the human condition that we all share, and that in order really to touch the collective human sen-
sibility, we have to work hard to shape our documentary work with this in mind.
The question however is whether there is such a thing as a universal language of documentary –
what I call Documentary Esperanto - one that transcends culture and geography and context. And
if there is such a thing, whether it is something we can – or even should - try to incorporate into
our teaching of the next generation of non-fiction filmmakers.
It can convincingly be argued that not just documentary, but all film - indeed all human creativity -
aspires to express universal human truths, but I will confine this paper to documentaries because
of their special claim to ―truth‖, and the powerful illusion of ―being there‖ – physically, culturally
and emotionally - that they can create.
So what is it that makes us want to make documentaries? I suggest it‘s not just because we have
these marvelous machines for recording and reproducing sounds and moving images, rather that
these technologies have been developed because they enable us to do what we as a species
have always done – and have had to do – to tell each other stories based in our lived realities.



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Telling each other stories from reality – whether as anecdotes, cave paintings, oral testimony or
electronic tools of awareness and information – has I believe been the single most important
mechanism for social and cultural evolution, throughout human history.
The explosion of access to digital filmmaking technology has made non-fiction audiovisual pro-
duction a global commonplace. This is a generation in which people everywhere can now record
every moment of significance in their lives – and much of which is of little significance whatsoev-
er.
In almost every community on the planet, people are wielding portable communication devices,
the way penny pamphleteers of the nineteenth century brandished their broadsheets in order to
publicize products and promote their views.
But just as only a few brilliant Dickensian writers soared above the verbosity of the street chroni-
clers, so our serious students of documentary want to leave their mark, to rise above the
YouTube morass, to make work of lasting value, to reach a broad audience.
An effective documentary to me is one that has the potential to transcend its place and time of
making, to speak of those elusive and intuitive emotional responses that are shared by people
everywhere. Sometimes it happens unconsciously but I think that no matter how parochial our
subject, our interpretation of it can and should have meaning well beyond its original context.
Trying to get this across to students can be difficult, particularly for those in countries and com-
munities where people have little knowledge of or interest in the wider world. But it can be done
and often is, almost by intuition by the brightest students.
Students often struggle with defining the difference between the premise and the theme of their
documentary projects. A useful exercise I employ to get over this confusion is to ask them to
identify the universal truth of their ideas – in four words or less.
After a bit of reflection, they usually they come up with something close to a statement of person-
al belief about human nature generally. Often they take the form of aphorisms: Some recent ones
include Love Conquers All, No Struggle No Gain, We Can Reinvent Ourselves, Identity Is Within
You.
For several years at Columbia College Chicago, we held the International Student Documentary
Competition, in which we received entries from some eighty different film schools.
Submitted films were judged in seven categories, and among the winners were:
        A film from Taiwan about an old man who played the organ and made paper airplanes in
         the streets to delight passers by;
        A film by an Australian Aboriginal film student who follows an old man back to search for
         traces of the house in which he grew up after being separated from his parents;
        Several films by students - from Brazil, France, Panama - attending the International
         Film and Television School in Cuba;
        A story made by a student at Stanford University about a young Rwandan woman who
         had fled her homeland for Toronto after the massacres in her homeland.
        What these films had in common was their ability to touch us and engage us profoundly
         with universally recognizable human situations and emotions. They made us, regardless
         of our backgrounds, laugh and cry and think.
As I have said, I believe the best non-fiction films endure beyond their own time and place. TV
news and current affairs reports use exactly the same technologies, but their work is by definition
ephemeral and transient, rendered immediately obsolete by the next day‘s reports.
Occasionally of course the content of news style footage is of such importance that it is saved
and eventually recycled and re-packaged into a broader documentary form.
There are also millions of hours of non-fiction - documentary-like stuff -being recorded every year,
and needless to say most of these works have a very narrow audience and a limited – if any -
shelf life.



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They are made because it pleases their makers to do so, or because they don‘t care about or
understand the deeper significance of inter-human communication. All are quite valid reasons to
turn on a camera, but they are not driven by what I call the true documentary impulse.
The best documentaries become part of the global legacy of human creativity – and will be sus-
tained and analyzed and discussed in collections and archives potentially forever, as part of the
canon of important works of art and social record.
So how and why do great documentaries achieve this lofty status? I believe it is because they
have the capacity to speak more profoundly to and record more literally some universally human
elements that have the capacity to move and illuminate audiences everywhere.
The Los Angeles-based International Documentary Association recently released its list of ―The
25 best documentaries of all time‖ – as determined by votes from its 2,800 members. You have
probably seen the outcome, but just in case, here they are in order of votes:

  1. Hoop Dreams (1994), Steve James
  2. The Thin Blue Line (1988), Errol Morris
  3. Bowling for Columbine (2002), Michael Moore
  4. Spellbound (2002), Jeffrey Blitz
  5. Harlan County U.S.A. (1976), Barbara Kopple
  6. An Inconvenient Truth (2006), Davis Guggenheim
  7. Crumb (1994), Terry Zwigoff
  8. Gimme Shelter (1970), Maysles brothers and Charlotte Zwerin
  9. The Fog of War (2003), Errol Morris
  10. Roger & Me (1989), Michael Moore
  11. Super Size Me (2004), Morgan Spurlock
  12. Don't Look Back (1967) D.A. Pennebaker
  13. Salesman (1968), Maysles brothers and Charlotte Zwerin
  14. Koyaanisqatsi: Life Out of Balance (1982), Godfrey Reggio
  15. Sherman's March (1986), Ross McElwee
  16. Grey Gardens (1976), Maysles brothers and Ellen Hovde Meyer
  17. Capturing the Friedmans (2003), Andrew Jarecki
  18. Born into Brothels, (2004), Ross Kauffman and Zana Briski
  19. Titicut Follies (1967), Frederick Wiseman
  20. Buena Vista Social Club (1999), Wim Wenders
  21. Fahrenheit 9/11 (2004), Michael Moore
  22. Winged Migration (2002), Jacques Perrin
  23. Grizzly Man (2005), Werner Herzog
  24. Night and Fog (1955), Alain Resnais
  25. Woodstock (1970), Michael Wadleigh


It is a remarkable list – not least because, as you can see that, with only a few exceptions, it‘s
made up of recent films, directed by white North American (US) men. Don‘t other kinds of people
make great documentaries in the rest of the world?
Of course they do, this list reflects nothing more than the demographic of the IDA‘s membership.
Most of us I suspect would have a significantly different list – shaped by our own cultural back-
grounds and subjective values.
But the absence of many great documentary masterworks that have been produced over the past
century from the rest of the world - including those from Europe (East and West), Latin America,
all over Asia, Australia, Iran, Africa, etc… is striking.
Where are Abbas Kiarostami, Dziga Vertov, Bob Connolly, Luis Bunuel, Peter Wintonick, Michael
Apted, Joris Ivens, Byun Young-joo, Fernando Solanas, Anand Patwardhan, Wang Bing, Patricio
Guzman – and thousands of others who deserve inclusion – and whose films would certainly be
higher on my list than, say, Spellbound at number four, for all its charm.
This is not necessarily an observation about US insularity - I suspect an equally unrepresentative
list would be compiled by documentary enthusiasts from India, France, Iran, Burkina Faso, Po-
land, Mexico or Australia.

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Of course in academic gatherings like this, and at international festivals and art houses around
the world, there is a widespread appreciation of great documentary films, wherever they come
from.
And it is reassuring that, now we are in the much vaunted ―new golden age of documentaries‖
they are attracting ever larger audiences internationally, both theatrically and on smaller screens.
But even great documentaries can never compete with the global reach of Hollywood block-
busters that depend largely on vast print and advertising budgets (and sometimes on good story-
telling) in order to dominate the domestic markets of the world.
Documentaries, like people, all tend to have regional accents – they reflect the cultural nuances,
thematic preoccupations and aesthetic sensibilities of the cultures that produce them. And so they
should.
So should we even consider this notion of universal human truth and why does it matter? You
could well argue that universality is a secondary by-product of good filmmaking, that the immedi-
ate and specific concerns of any film must be function of the filmmaker‘s primary experience and
intended audience.
This is quite a valid position, and of course many documentaries never transcend their home terri-
tory. But the world is shrinking at an incredible pace, and I would argue that we are at a turning
point in our social evolution in which geographical and cultural borders are rapidly becoming less
important than the global concerns of our species and our relationship with the ever-more pres-
sured planet we share.
My position, like that of most documentarians I know, is a humanist one – concerned with issues
that affect or should affect us all.
By way of explanation, I hope you will indulge me if I make a brief detour into a some personal
experiences that illustrate the points I am trying to make, and to explain how they have led me to
raise these questions today.
For some thirty-five years I have been making documentaries all over the world and trying to pass
on through teaching something of the language, craft, social role and cultural importance of doc-
umentary filmmaking, based largely on experience rather than on academic study.
It is a career that has produced no great works of filmmaking art, but it has given me the great
privilege of working among the whole spectrum of human ways of being, on every continent ex-
cept Antarctica.
I have become familiar with a myriad of expressions of our common human condition, every-
where from the collective farms in Guanxi Autonomous Region here in China to the deserts of
Central Australia with the last of the nomadic tribal communities , from New York City to the Ama-
zon, from Havana to East Africa.
My interest in the question of universality really began in a community in eastern Kenya, where I
was researching a film on dry land farming in 1986. There I went with a group of Western agron-
omists into an incredibly poor community.
We met a woman who was trying to survive on one hectare of dusty land, six cows, a couple of
emaciated goats. She had twelve children to feed, and her husband came back every Christmas
from Nairobi, as she put it, ―to give me another one‖.
This lady had never sat in a car, or made a phone call - yet she spoke three languages – Swahili,
Kamba and quite good English, learnt from missionaries. From the time they could walk the chil-
dren carried firewood and worked the land with her.
She told me that if rain did not come within the next three months, they would all die. It hasn‘t
rained properly there for many years.
I was filled with that familiar and confronting sense of uselessness and injustice – rich white male
guilt if you like – and I began apologizing for interrupting her day. As she made a pot of tea on her
fire, she said ―You don‘t need to apologize, I know who you are‖.
When I asked how she knew me, she said something that has sustained me in many subsequent
similarly confronting situations.


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―You are human being‖ she said, ―therefore what we have in common is very big… and what is
different about us is very interesting‖. She then gave me her insights into the six things we need
to be a human being.
We all need food and water to be human, she said. ―I have never eaten what you eat, but I could.‖
The second thing we humans need is each other – love - family, friends and neighbors. We need
each other.
The third thing we need is faith, she said – we have to believe in something – religious belief,
politics, a set of values - but it doesn‘t matter what.
Number four – I like this one - the fourth thing she said we need to be a human being is culture –
stories, music, the creative expression that gives us our identity.
The fifth thing we need to be human, she said, is freedom from oppression. She had seen how
cross-border cattle thieves had invaded her lands and how both the oppressors and victims lost
their humanity.
And number six I asked? We all need sense of the future she said– because without hope, we
cease to be human beings.
There are now plans to turn these ideas into an international and open-ended series, to be made
by largely by student filmmakers around the world. It is called in Spanish ―Ser un Ser Humano” -
―To Be a Human Being”. (If you are interested in collaborating, please let me know).
I have remembered this wise woman‘s advice many times when working out of my comfort zone.
She made me aware that there is no ―them and us‖ – there is only ―us‖. Hence this concern for
finding the universality in our documentary practice.
A few years later I was commissioned to make a film for a major State Museum in Australia. They
wanted to document a landmark legal case in which – after a huge legal battle - they were return-
ing ancient Aboriginal skeletal remains from their collections – hundreds of skulls, arm bones etc.
- to contemporary descendants of those tribal groups.
The museum‘s Aboriginal consultative group consisted of representatives of some thirty-five tribal
communities from southeastern Australia – collectively know as the Koori peoples. They were the
first tribes to be dispossessed of their land, and have since suffered two centuries of systematic
massacres, deculturation and marginalization by the colonizers – my ancestors.
After a lot of discussion, the communities reluctantly agreed to be the consultants for the film, but
said ―This film is about theft of our culture, and you people with cameras and notebooks have
been telling your version of our stories for two centuries and getting it wrong every time. We
might let you make a film with us, but not about us.‖
So, the version of the history they gave me was a powerful indictment of all museums and the
wider community‘s appropriation of their land, culture and cosmology. They were understandably
very suspicious of me, and of the possibility that I would continue this misrepresentation in my
film.
Eventually I agreed to do something that is against all documentary conventions - to allow the
participants to have the final say on its content.
The finished film, called Koori Culture, Koori Control, was nothing like what the museum expected
– but the Koori people loved it, and use it to this day.
The third experience happened when I was invited to present the Koori film at a festival in Augs-
burg, Germany and it provoked an interesting discussion about the authorial voice in documen-
taries – many arguing that only the filmmaker should have control over – and therefore be an-
swerable for - the content of his or her film.
Others argued that the indigenous Australians should make their own films. I agreed - indeed
since then there is a major indigenous filmmaking movement in Australia and elsewhere, and no-
one can make a film in the ethnographic tradition without close collaboration and consent of the
Aboriginal peoples involved.




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It is a model that is being repeated in many parts of the world, as Indigenous people from Bolivia
to Canada to the Philippines are taking up cameras to defend their rights to land and to express
and preserve their cultural identities.


When I first arrived at the Augsburg festival, I was introduced to a venerable old man with a long
white beard – the Argentinean filmmaker, teacher and poet Fernando Birri – a man who is often
called the Godfather of the Movement for new Latin American Cinema that began in the 1950s.
Along with Nobel laureate Gabriel Garcia Marquez, Fernando founded the International Film and
Television School in School in San Antonio de los Baños Cuba, of which he was the first Director.
We did a joint session in Augsburg, me showing Koori Culture, and Fernando showing a film de-
scribing the foundation and utopian philosophy of the school.
In the Q&A that followed the screenings, a strange line of argument developed. Some of the par-
ticipants could not understand how you could bring together people from such diverse back-
grounds and have them work together on common creative film projects. The students at the
EICTV have come from over fifty countries.
Their questions concerned the dilution of cultural and authorial voice – how could, say, a Danish
student and a Haitian find common ground? Whose point of view would be dominant? These are
concerns I still find expressed today – especially in countries where there is a dominant monocul-
ture.
Perhaps my perception comes from knowledge of places like Australia that don‘t have a fixed cul-
tural homogeneity and that are constantly being enriched by newly arrived multicultural popula-
tions, and therefore diverse cultural voices. Some of the most challenging documentary work
there comes from the second generation, sons of daughters of immigrants from all over the world.
Fernando Birri invited me to the EICTV to teach and in 1994 helped me to make a film in Cuba. I
have since returned some fifteen times – and am now nominally the head of the Documentary
Department there.
As I mentioned, several students from this international school won awards at the Columbia Col-
lege International Student Documentary Competition – and in many other festivals around the
world. To my mind, EICTV students consistently produces more original, compelling, multi-
layered and universal student documentary work than any comparable institution..
The school takes in six students for each of the seven departments, chosen by a rigorous and
competitive selection process. The result is that each year some forty of the best and brightest
young filmmakers from all over the world, including several Cubans, move to the school.
There they live, eat and play communally and work in close collaboration for the next three years
of their lives. It is a demanding and intensive program, and almost without exception the gradu-
ates say the experience has changed their lives positively forever.


The strength of the EICTV‘s work is its internationalism and humanism. People love the place,
and despite the wide range of cultural backgrounds and opinions, the school community, includ-
ing the large number of Cuban cooks, mechanics, medical people, gardeners and other workers
who sustain the place – regard each other as one big inter-dependent family.
As we speak, the third year documentary students are embarking on an ambitious seven-part
documentary series, called ―Cuba en Cambio” - (―Change in Cuba‖) – exploring the shifts that are
taking place in the country at a microcosmic level, as the revolution tries to re-invent itself and
open up the country and its people to the wider world.
The fact that the EICTV students operate in Cuba without official interference or hindrance is a
sign that the country really is undergoing a process of significant change.
So, let me come back to my original question: Is there a universal language of documentaries? I
would argue that of course there is. Documentary at its best is a lingua franca that - often uncon-
sciously – produces films that leap across continents and engage people everywhere because
the stories they tell resonate with universal truths.


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The question we as teachers must face is whether it is possible to instill this spirit of global con-
sciousness into our students – or is that just another idealistic notion that can never compete with
self-interest, the imperatives of the market and artistic ego?
It depends, I would suggest, on how we structure our academic programs, and the relationship
they have with the broader community and industry.
I recently visited some fifteen film schools around the world – mainly in Europe, but also in Aus-
tralia and Latin America, as part of a survey from which I hope to draw some international refer-
ence points for a text book on developing documentary ideas.
The spectrum of approaches seems to reflect some fundamental philosophical differences be-
tween schools and countries. It‘s the age-old tension between film as art and film as industry.
In many places, especially Western Europe, the UK, Australia and the USA, television has over
the past two decades or so become the primary habitat, stimulus and source of finance for docu-
mentaries at a professional level.
The consequence has been that filmmakers have been forced to try to adapt their films‘ content,
style and format to fit the requirements of the broadcasters. In some places, especially in Europe,
the film schools are deeply interconnected with and financially dependent on the local television
industry.
In other countries, such as Australia and Canada, this dependence is partially offset by access to
State funded development and production funding agencies, and by the fact that the costs of pro-
duction have come down markedly as the necessary technologies become ever more accessible.
In the United States, there are some excellent foundations and other sources for financing inde-
pendent films, and such is the size of their domestic market, it is possible for some independent
documentary filmmakers consistently to make interesting high quality work.
But for most US students to survive in this very competitive market, once they get their mandatory
degree there is little choice but to work within the commercial industry in order to repay the loans
that make their very expensive education possible.
In other places without a dominant television niche or State involvement for domestically pro-
duced documentaries, the emphasis is still on idea-driven and needs-driven films - rather than
documentary projects that are pulled and distorted by market demand.
Documentaries being made today in Latin America, Asia and Africa have as their audiences festi-
vals and an ever-expanding range of important community, cultural and political niches. These
films are hard to get off the ground as funded projects, but at a low budget community activist
level, documentaries driven by social, economic and political imperatives have become key
weapons in the armory of those fighting for justice and cultural awareness – and individual
filmmakers can still make powerful personal films as works of cinematic art.
But despite this diversity of sources of finance and target audiences, major film schools around
the world tend nevertheless to encourage a kind of authorial independent filmmaking. Students
everywhere - from Stuttgart to Havana, Chicago to Hong Kong - are encouraged to explore and
develop their distinctive creative voices and perspectives.
This might not sit easily with the commercial and television marketplaces, but once international
appeal is recognized for promising documentary filmmakers, through festivals and other ex-
changes, doors tend to be opened up.
The clue, I suggest, is to follow that old sixties maxim – to think globally and act locally. There is a
universal language of documentary, just as there is a universal human condition.
Encouraging our students to search out both these universals in their documentary work – to look
beneath the surface of their immediate subject and theme to find the broader human truth that
always lies there – is to my mind the key. By so doing, they will enrich their filmmaking experi-
ence and expand the potential for their films to endure and to reach people everywhere.




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