Serge Toubiana’s opening welcome, in French.
Images taken by Michelle Cannon, of CEMP, UK, of the launch of the Framework for Film Education for Europe, Paris, June 19th, 2015
So, the launch seminar came and went! We have adapted the Press Release to give an account of the event, and have in French, texts of two of the presentations and PPTs from presenters – in the next post.
60 people attended in all, from many different countries. Tweets can be found under #effe2015. Please feel free to sign up and follow FLAG – and you become a member!
The launch of our document, A Framework for Film Education in Europe, happens this week at the Cinematheque Francaise in Paris, Friday 19th June.
Speakers include Alain Bergala, author of L’Hypothese Cinema; Xavier Lardoux, who wrote ‘For a Film Education Policy in Europe’ last year; presenters of projects exemplifying the Framework approaches, and Ian Wall will present the Framework itself.
Attached are a Press Release, programme for the day, and list of delegates as at 14 June.
PresentationofScreening Literacy Prague, January 14 to 18
On 16Januarythe oldPonrepo cinema in Praguehosted the Conference“Film Education for the 21st Century” organized by theCzechNational Film Archivein collaboration withFree Cinema: FilmProgramof OpenEducation, featuring the presence ofa multitude ofrepresentativesofEuropean institutionsactivein the field ofFilmLiteracy. You canview the programin English here:
On 14th and 15th January at the premisesofFAMU–Film and TVSchool of theAcademyof Performing ArtsinPrague, theCzechNational Film Schoo, – we held the secondmeeting of the project“European Framework for Film Education“. The project, funded under the Creative EuropeProgramme, is coordinated by theBFI (British FilmInstitute in London)andwith the…
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During the Film Literacy Advisory Group meeting in Prague, we were invited and guided with great care and a personal touch at the Czech National Film Archive which proved to be a very intriguing experience.
At the Archive, the main issue we were exposed to among others was the restoration of original films of the 1920′s which were tinted (colored) at the time. While working with black and white film, as the only option (!), the creative people of the period felt it would be more engaging and impressive if they could add some color to the images. So, one solution was to “over-colour” whole scenes in certain basic colors: we mainly find cyan, yellow, pink (!) and green with varying strength and density.
While watching extracts of a recently restored Italian film about the Biblical stories, an amazing super production of the 20′s, I tried to put myself into the shoes of a spectator of the time. The strong images of Moses, the destruction, fights and efforts of the masses around him, obtained a magical overall feeling of a colored “light”. Although it may seem funny at times today, tinting was definitely one of their special effects. When the hero moves from one space to another we often found ourselves in a different color environment. The magic of storytelling through moving images on a big screen, was definitely enhanced taking into account the drawing and painting orientated, slow pace, locally driven life of the viewers.
Was there a symbolic code for choosing which color to put where? Was there a conscious use in relation to exteriors or interior shots? We hear from the specialists that probably not. The people responsible for the process functioned in an intuitive way, absorbing the feeling of the film and the particular scene before deciding which color to apply to each part.
History of film proves that film crews every other decade had the chance to try out some new achievement to make their art more impressive: double exposures, sound, later came the cranes and smoothly rolling cameras, matte paintings, light and smaller cameras which can go out in the streets, visual effects with motion control cameras and stereo sound, not to mention Dolby surround and 3D. This latter, being an important filmic treat of our younger generation, only recently became an expected feature. However, it is not more than 8-10 years ago that it was considered a spectacular novelty for the mainstream audiences. How long still do we have to bear with 3D? Is it going to lead to something new? What will the next step be? ( I do remember Peter Greenaway’s lectures on the death of cinema and the filmic experience of the future, but I see people still watching films!).
With all that in mind I sympathize much more with the editors and chemists who patiently tried all possible colors and hues and tones.
Hosted by FAMU, introduced to us by Pavel Jech, the Dean of Faculty, as the ‘oldest democratic film school in the world’, this is the second seminar preparing our Framework for European Film Education, in Prague, Czech Republic. FAMU is housed in the National Theatre, one of the central buildings in the Velvet Revolution of 1989, and a living reminder of the power of arts and culture to embody political and social change.
The atmosphere, fabric, intellectual weight, and heritage of FAMU reminds me of Rajko Grlic’s ‘Interactive Film School‘ – a beautifully realised immersive film school programme released on CD-ROM nearly 20 years ago. Even down to the slightly grumpy looking security guard. Professor Grlic graduated from.. FAMU. Conversations in the lift, corridors, outside spaces confirm Pavel’s claim that this is an international film school, welcoming emerging film-makers from all over Europe and the world beyond.
We were in a large classroom overlooking the Vltava, the Charles Bridge, and the castle. Right in the heart of European film education, and an appropriate place to debate, discuss, argue over principles and priorities in educating people of all ages in this ‘richest and most complex artform’.
The seminar is organised alongside the Czech Film Archive’s national conference on film education, and Pavel Bednarik has set up screenings of Jiri Menzel’s remastered Closely Observed Trains, and a compilation of animated shorts; tomorrow evening he takes us around the National Film Archive.