Television School Research Articles

University film schools at the heart of creative collaborations with industry: a case study

ABSTRACT This paper is a detailed case study of how the Bond University Film and Television School collaborated with external production companies to actively participate in, and support, the production of the $1.5 million feature film The Fear of Darkness as a means of providing a unique student learning and industry networking experience. Students were able to take genuine on-set production roles for the duration of the production, rather than conventional short-term internships and work experience, which, upon their graduation, has contributed towards meeting the industry’s current skills gap. Furthermore, this case study also shows how the production provided a significant opportunity for academic staff to have senior production roles to further their professional development. Additionally, this collaboration supports the notion that academic staff with significant prior industry experience can function as a useful conduit between film schools and industry.

IX Международная научная конференция «География искусства»

Geography of Art is an interdisciplinary synthesis inspired by the theme of creative genius comprehending and exploring space. The project began in 1994, with the first collection of works published at the Russian Heritage Institute under Yuri Vedenin’s guidance; the first conference was held in 2009. In recent years, the conferences have been held annually under the auspices of the Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, GITR Film and Television School, the Russian State University for the Humanities. The IX International Conference Geography of Art of 2023 united culturologists and art historians, geographers and philosophers from all over Russia and abroad. Traditionally, the participants discussed issues related to artistic space of literary and pictorial works, local texts, geographical and cartographic images, and virtual spaces created by art. As always, a separate section was devoted to “mastering,” using, modeling space in screen and photography art. An innovation in the scholarly dispute of the 2023 conference was the culturological and anthropological discourse on the visual image genesis and transformation from archaic to modern times, as well as the transgression of genius loci in the online media and virtual space.

Цифровые и аналоговые пространства: VIII Международная научная конференция «География искусства»

The VIII International Scientific Conference Geography of Art was held in May 2022. This is a new step in a long-term project devoted to the issues of “mastering” geographical space through art, including the semiotics of spaces created by artists, sculptors, and architects. Among other aspects, the conference examined how art creates geographical images and fantasy worlds, which always have a trace of the real world’s spatial regularities. Since 1994, the project has existed in the form of collections of scientific articles, and since 2009—in the form of conferences as well. The project was conceived by Russian geographer Yury Vedenin, and later Olga Lavrenova, philosopher and culturologist, picked up the initiative. In recent years, the conference has been organized by the Institute of Scientific Information on Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, GIRT Film and Television School, and the Russian State University for the Humanities. In 2022, the Faculty of Geography and Geoinformation Technology of the HSE University joined the team of organizers. A separate section of the conference was dedicated to media, photo and cinema. There were reports on the historical and cultural aspects of creating virtual spaces, and on the images of the territories created by screen arts. Following the tradition, conferees considered the role of territorial factors in the formation of art schools and individual art works. This year, the discussions focused on digital media. An important place was given to photography as a tool for shaping geographical images and fixing them in time. The combination of a digital replica of the world with new landscape art creates a new augmented reality as a work of art. The geography of fashion and musical culture are also expressed in digital reality. A separate subject is the structures of chaos and order in cinema—the very concepts of space, which are yet another traditional talking point at the conference. These topics are in the mainstream of the discussion of semiotics of space created through art, as well as the geographical aspects of art development, including digital art.

Всероссийская научная конференция «От “позорищных игр” до кинокомедий: история человека смеющегося»

The article reviews the reports presented at the All-Russian Scientific Conference From “spectacle plays”1 to film comedies: The history of Homo Ridens, which was organized by the State Institute for Art Studies and the GITR Film and Television School on June 2–3, 2022. The event focused on comprehension of the historical development of laughter culture, introduction of trusted research concepts, disclosure of new facts and archival materials, and revealing the relationship between the comic, its intensity and semantics in postmodernist aesthetics. The following key areas were proposed: fundamental problems of aesthetics, cultural studies, and art criticism; genre and stylistic varieties of comedy; circulation of laughter culture in film, television and other screen arts and in the Internet environment; transformations of representation of comic, laughter, and humor in the historical context; provocation, deconstruction, and citation in comics. The reports were divided into two groups: “Komos & ode: The laughter culture of Europe” and “Deconstruction—meaning—reality.” The results of the conference showed the polyvalence of comic existence, the absence of unified ways of achieving aesthetic flawlessness of the genre, and its formcontaining aspects.

Transcendental Style Reconsidered: Absence, Presence, and a “Place Which Is Not-a-Place”

Research Article| October 01 2021 Transcendental Style Reconsidered: Absence, Presence, and a “Place Which Is Not-a-Place” Dan Chyutin Dan Chyutin DAN CHYUTIN is a teaching fellow at Tel Aviv University’s Steve Tisch Film and Television School and University of Haifa’s master’s program in culture and film studies. His articles have been published in such peer-reviewed publications as Cinema Journal, Shofar, Jewish Identities, Short Film Studies, and Jewish Film & New Media, and his coedited anthology Casting a Giant Shadow: The Transnational Shaping of Israeli Cinema was published by Indiana University Press in 2021. Search for other works by this author on: This Site Google Journal of Film and Video (2021) 73 (3): 34–46. https://doi.org/10.5406/jfilmvideo.73.3.0034 Cite Icon Cite Share Icon Share Facebook Twitter LinkedIn MailTo Permissions Search Site Citation Dan Chyutin; Transcendental Style Reconsidered: Absence, Presence, and a “Place Which Is Not-a-Place”. Journal of Film and Video 1 January 2021; 73 (3): 34–46. doi: https://doi.org/10.5406/jfilmvideo.73.3.0034 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All Scholarly Publishing CollectiveUniversity of Illinois PressJournal of Film and Video Search Advanced Search The text of this article is only available as a PDF. Copyright 2021 by the Board of Trustees of the University of Illinois2021 Article PDF first page preview Close Modal You do not currently have access to this content.

ВИЗУАЛЬНЫЕ ОБРАЗЫ ПРОСТРАНСТВА. ОБЗОР VII МЕЖДУНАРОДНОЙ КОНФЕРЕНЦИИ «ГЕОГРАФИЯ ИСКУССТВА»

The Geography of Art International Scientific Conference has a long history. Geography of Art began in 1994 and was originally conceived as a purely publishing project. In 2009, the first conference was held under the auspices of the Likhachev Russian Research Institute for Cultural and Natural Heritage and its director Yuri A. Vedenin. The topics at the conferences are traditionally very diverse, but the “protagonist” of all discussions, debates, and subsequent collections is invariably space, in all its guises, and its interaction with culture. The original subjects such as the geography of art schools and traditions and the placement of artifacts on the earth’s surface have over time been supplemented by conceptual questions of the construction of spatial images in painting, literature, and cinema. Over the past few years, the conference has been organized by the Institute of Scientific Information on Social Sciences of RAS, the Russian Academy of Arts, GITR Film and Television School, and the Russian State University for the Humanities. In 2021, for the first time, the conference was arranged in a hybrid format: some sessions were held in person at the Russian Academy of Arts and GITR, while some discussions were convened online. This made it possible to significantly expand the geography of our participants. An important topic was brought up—the possibility of generating images of space and transforming the spatial picture of the world by different types of art, including screen art, creating new meanings of places and regions. A separate section was devoted to the concepts of space and the corresponding images in digital media, cinematography and photography. The section discussed the peculiarities of national cinematography from the point of view of forming the country’s image, which can play a significant role in intercultural communication, and regional images created with the help of photography and IT-technology as an attractor in the formation of recreational flows. Among other things, the conference covered the specifics of space perception in the era of digitalization, the creation of representations, and spectacularity. A separate topic was the construction of narrative topoi within the framework of different versions of screen adaptations of the same work. All discussions complemented each other in creating a three-dimensional picture of spatial images by means of digital and screen arts, generating a modified reality supplemented by photo and film visualizations.

МЕЖДУНАРОДНАЯ НАУЧНАЯ КОНФЕРЕНЦИЯ «ИСКУССТВО И МАШИННАЯ ЦИВИЛИЗАЦИЯ»

The text reviews the Arts and Machine Civilization International Scientific Conference. The conference took place on March 30—April 2, 2021, and was organized by the State Institute for Art Studies, GITR Film and Television School, and the Saint Petersburg State University. SIAS has been hosting conferences on contemporary culture, screen art and television for 17 years. This year, for the first time in the history of such forums, the researchers were tasked with analyzing the new things that machines have brought to the arts and, in general, to human life. The conference took its special place among the forums held over the past year in Russia and abroad in the following areas: artificial intelligence (Artificial Intelligence Journey, Moscow,Russia); machine learning (International Conferenceon Machine Learning, Vienna, Austria; 3rd International Conference on Machine Learning and Machine Intelligence, Hangzhou, China); civilization of knowledge (Civilization of Knowledge: Russian Realities, Moscow, Russia), etc. The novelty of the conference lies in the unification of the seemingly incompatible phenomena: art and machine civilization. As is commonly known, art was traditionally opposed to technology as something alien, sometimes hostile, although the both were born in human mind and created by human hands. Until now, the expression “machine civilization” in art has been used mainly in the genre of fantasy and with an emphasis on its negative connotations. The purpose of the conference was to comprehend the artistic practices in the era of machine civilization, get acquainted with current hypotheses, publish new facts and discuss modern terminologies (law of spontaneity, law of semantic uncertainty, algorithmic apophenia, post-opera, artificial life and new vitality). Along with the study of new challenges, old issues were raised, which became in demand in the machine civilization: originals and copies of artworks, the boundaries of conventionality and overcoming distrust in new media, narratives and poetics in serious and entertaining screen genres. The conference reports were divided into six blocks: Theoretical Models, ScreenArts—Cinema, Fine Arts, Music, PC Games, and Digitalization.

Things Shining in the Dark

Research Article| December 28 2020 Things Shining in the Dark: A Conversation with Evangelia Kranioti Blythe Stevenson Worthy Blythe Stevenson Worthy Blythe Stevenson Worthy recently received her doctorate in English literature from the University of Sydney, where she works as a researcher and adjunct instructor. Search for other works by this author on: This Site PubMed Google Scholar Afterimage (2020) 47 (4): 16–25. https://doi.org/10.1525/aft.2020.47.4.16 Views Icon Views Article contents Figures & tables Video Audio Supplementary Data Peer Review Share Icon Share Facebook Twitter LinkedIn MailTo Tools Icon Tools Get Permissions Cite Icon Cite Search Site Citation Blythe Stevenson Worthy; Things Shining in the Dark: A Conversation with Evangelia Kranioti. Afterimage 28 December 2020; 47 (4): 16–25. doi: https://doi.org/10.1525/aft.2020.47.4.16 Download citation file: Ris (Zotero) Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search All ContentAfterimage Search Evangelia Kranioti has professionally produced both documentary films and photography in the Mediterranean and Greater Europe since 2007, offering a vibrant observation of the transnational and transitory states of various communities. Initially educated in law at the University of Athens in her home country of Greece, Kranioti has also studied at the film and television school La Fémis in Paris, and now again resides in Athens. Producing films and photography that reflect her own restless ideology threaded with classical Greek literary influences, Kranioti’s work is both inward- and outward-looking, concentrating on both migrant groups and agitated identities. With her most recent film, Obscuro Barroco (Obscure Baroque, 2018), for example, Kranioti analyzes the complexities of transgender communities in Rio de Janeiro, Brazil, using an interior monologue script compiled from Brazilian writer Clarice Lispector’s 1973 prose collection Água Viva. Drawing on traditional ceremonies born of the country’s horrific colonial history in... You do not currently have access to this content.

ПРОСТРАНСТВА КИНО: ОБРАЗНЫЙ МИР КУЛЬТУРНОГО ЛАНДШАФТА. ОБЗОР VI МЕЖДУНАРОДНОЙ НАУЧНОЙ КОНФЕРЕНЦИИ «ГЕОГРАФИЯ ИСКУССТВА»

The international scientific conference “Geography of Art” is devoted to the development of a wide problematic field of interaction between art and geographic space. It traditionally considers not only spacing of artifacts and monuments over the earth’s surface, but also specific features related to the reflection of geographical space in art and creation of fantasy worlds in which the dependence on consistent patterns of the real world formation can easily be traced. The conference has been held since 2009; it was initiated by the geographer Yu.A. Vedenin and carried forward by the philosopher and culture specialist O.A. Lavrenova. In recent years, organizers of this representative forum are the Institute of Scientific Information for Social Sciences of the Russian Academy of Sciences, the Russian Academy of Arts, Film and Television School (GITR), the Russian State University for the Humanities. In 2020, for the first time the conference was held online. As always, there was discussed the role of territorial factors in formation of art schools and individual works, as well as a creative perception of the cultural landscape, the place of art in the formation of the territory image. An important topic was a concept of space in art works, the possibilities of comprehending, transforming, “reformatting” the space by different art types including screen art, creating in this way the “increment of meaning” of places and regions. Within the framework of this conference there were discussed НАУКА ТЕЛЕВИДЕНИЯ № 16.3, 2020 162 THE ART AND SCIENCE OF TELEVISION historical and cultural features of the national and world cinema, which capture real spaces and create their own modifications. Participants touched upon the topic of traveling in the cinema, virtual representations of cultural landscapes using digital narratives and, accordingly, the possibilities and specific features of the virtual travel. The issue of studying urban spaces by means of cinema was considered in a wide semantic variety—from buffoonery to marginality. A city appears as a universal scenery for a performance while real street loci with their inhabitants become heroes of modern visual media. A separate topic was the discussion of constructed spaces of Korean TV series and their adaptation in Russian culture as a tangible result of the process of intercultural communication. All the above mentioned studies represented by conference participants actually complement each other in terms of understanding the figurative component of the cultural landscape.

CILECT as the Project of a World Film School: Origins, Specifics, Development

The continuing introduction of digital technologies into the production of meaningful and engaging audiovisual images accentuates the necessity of international cooperation in the sphere of the professional education of those young people who are planning to work in film, television and other screen arts. All over the world film schools are challenged by problems the solution of which requires consolidated participation of worldfamous masters. This has been recently confirmed at the Congress of the International Association of Film and Television Schools (CILECT) Congress held in October 2019 in Moscow in connection with the 100th anniversary of the All-Russian State Institute of Cinematography (VGIK). This essay analyzesVGIK's contribution to the process of perfecting programs in the field of screen arts at different stages of their development.
 The essay explores issues of CILECT development since its foundation in 1954. Initially, CILECT was supported by nations with developed film cultures, such as Brazil, Chile, Czechoslovakia, France, Italy, Poland, the Soviet Union, Spain, the United Kingdom, and the United States. Today, the Association unites 180 film schools from 65 nations. The essay analyzes VGIK's role in the development of film education and, more generally, the development of screen arts; and emphasizes the importance of international cooperation in this technological, digital age.

Art History in the Context of Other Sciences: Challenges of Modernity

The interview reveals modern art history’s main trends identified within the framework of the conference “Art History in the Context of Other Sciences in the Modern World. Parallels and Interactions”. The Russian State Library and the scienti­fic journal “Observatory of Culture” were partners in organizing the conference in 2019. The method of aca­demic interviewing used in this publication provides an opportunity to reveal the personal vision of the conference project’s author and co-chairman of the Organizing Committee, chairman of the Program Committee, head of the Department of Humanities and Social Sciences of the Institute of Contemporary Art, chief researcher of the GITR Film & Television School, expert of the Times Higher Education World University Rankings, member of the Russian Expert Council (ASEP/Scopus), D.Sc. (Art History), professor Grigoriy R. Konson. In fact, the interview is a quintessence of the author’s policy document on the development of culture, science and education in modern society.The academic forum was a socially significant event of international scale, characterized by the latest scientific and educational trends in Russia and fo­reign countries, as well as by art studies integration into the context of interdisciplinary research loca­ted at the intersection of art history, philology, linguistics, philosophy, cultural studies and psychology. As a result, there are prospects for reaching the level of cross-sectoral conceptualization of research ge­neralizations. The interview reveals the topical issues of science functioning in the modern internatio­nal society. There is concluded that the scientific integration characteri­zing the conference “Art History in the Context of Other Sciences in the Modern World. Parallels and Interactions” is a progressive method in understanding the essence of art, permeated by multi-vector trends in the global humanita­rian process. Therefore, the joint efforts of scientists here contribute to the development of an antidote to destructive trends in the socio-cultu­ral life of mo­dern society.

Re-visioning screen production education through the lens of creative practice: an Australian film school example

ABSTRACTThe Australian Film Television and Radio School is a well-established training institution with an impressive track record in producing successful alumni. In 2016, an industry survey of the Australian media landscape heralded the need for more resilient creative entrepreneurs who are able to negotiate the rapid technological and industrial changes in the sector. As a result, creative practice as research was recommended as fundamental component of the curriculum. In 2017, the school introduced a new Master of Arts Screen (MAS) program, which included a core Creative Practice curriculum across four semesters of the degree. While creative practice is making a significant contribution to the production of innovation in the academy globally, debate still lingers on its inclusion in national film schools which have traditionally focused on the training of technical and craft skills of the artist. This paper traces the pedagogical move towards a practice-based rather than artefact-based teaching at AFTRS, during the first iteration of the new curriculum. The case study describes the introduction of concrete conceptual models of ‘creative practice as research’ and evaluates the challenges of defining, clarifying, exploring and integrating creative practice theories, methodologies and professional understandings of what it means to be a creative filmmaker.

Gabriel García Márquez’s Scriptwriting Workshop: Screenwriting pedagogy and collective screenwriting in Latin America

Abstract This article explores three volumes published in Latin America in the 1990s under the banner ‘Gabriel García Márquez’s Scriptwriting Workshop’. These volumes compile transcripts of the workshops for Latin American screenwriters that the Nobel Laureate taught at the International Cinema and Television School in Santo Domingo de los Baños, Cuba, in the 1980s and 1990s. García Márquez’s scriptwriting workshops were practice-based and production-oriented, generating film and television scripts that were subsequently brought to the screen. Therefore, while these workshop texts were disseminated throughout Latin America as manuals for aspiring screenwriters, these collected transcripts also disclose processes of creative collaboration taking shape within localized industrial contexts. Drawing on contemporary research on screenwriting manuals, critical industrial practices and forms of corporate and situational authorship, this article explores García Márquez’s workshop as a window into the craft training of screenwriters and the development of forms of collective screenwriting emerging at the intersection of literary and cinema movements in Latin America.

The value of film school in the success of female filmmakers in Australia

This paper discusses the role of film schools and government funding initiatives on the gender imbalance between male and female directors in the Australian film industry in the years 1970–2015. It traces the career trajectories of some of the first women graduates of the Australian Film Television and Radio School, such as Gillian Armstrong, Jane Campion and Jocelyn Moorhouse, who negotiated the pathways of government film financing to the commercial film industry. The exploration notes that a change in film school curricula, the rise of new film programmes within public universities, and reduced government funding impacted on the profile of female filmmakers in Australia during the 1990s to early 2000s. However, a bias towards male directors on bigger budget films and the perennial challenge of balancing a career and motherhood continue to prevail in the Australian film industry. The researcher looks at possible avenues of redress, calling on the education sector, the film industry and film bodies to provide support for women directors traversing the complex social capital required to succeed in the commercial film industry.

Managing the Archives of the Hellenic Film and Television School

For the purposes of my dissertation concerning the evolution of Greek institutions that have provided education for future filmmakers and other professionals of the audiovisual sector, I had the opportunity to access the archives of the Hellenic Film and TV School «L. Stavrakos» . Being the oldest and most recognized institution of its kind in Greece, it has served for many years as the main source of professionals for its national film industry. Its archives consist of numerous documents on a variety of issues, such as detailed catalogues of students and faculty, notes on lessons, grades and diplomas. All this material, from the institute's foundation until today, has been preserved in a proper state thanks to its director’s care and interest, followed to an equal extent by its heirs. Given the fact that academic research relating to Film Studies in Greece faces a notable difficulty to find archives of that kind on such a large scale and in such good condition, their importance can be easily understood. The combination of the information they provide, along with other testimonies and the few existing related bibliographical references, constitutes the main corpus of my study. Furthermore, the methodology used in processing the findings could be useful as an example for similar research attempts.

“The World from Dawn til Dask”. Contemporary Images of the City in the Documentary Projects of Maciej Drygas and Mirosław Dembiński

“The World from Dawn til Dask” . Contemporary Images of the City in the Documentary Projects of Maciej Drygas and Miroslaw Dembinski The text refers to two documentary projects that were created by well-known Polish documentary film directors: Maciej Drygas and Miroslaw Dembinski. The first one, Łodź from Dawn till Dusk , was made as a part of the education program at the Polish National Film, Television and Theatre School in Łodź in 2007. For several years, students in the second year of the Directing Department made short films about Łodź, forming out of this mosaic, images of the city from dawn till dusk. After having been experienced in Łodź, the project led to the idea of using this method to describe various cities around the world. Finally, five films were made in five different cities under the auspices of the Adam Mickiewicz Institute. This article concentrates on the analysis of the structure of these films and the images of the cities that emerge out of them.

Encounters with Difference: Community-Based New Media Programs and Practices

Community-based new media programs offer a distinct place of arts learning in the larger learning and media ecologies that teens and young adults navigate. As part of a 3-year case study of new media programs, the Gulf Islands Film and Television School (GIFTS) presents pedagogical and curricular insights that are relevant to both out-of- and in-school art programs. We suggest that the roles of the teacher and the learner are rapidly shifting as the curricular potential of new media emerges across educational landscapes. Community-based new media programs provide an occasion to create encounters for both producers and viewers to experience differing ways of knowing. At GIFTS, an emphasis on creativity, critical analysis, identity development, and voice are achieved through an intense immersion into film production. Community-based new media programs prompt encounters with difference, and in this case, we highlight the learning possibilities of time, place, new media, identity development, and teaching and learning. This inquiry suggests that through new media production, agency and empowerment become significant outcomes for both students and teachers.

Introducción a la educación mediática infantil: el diseño del Storyboard

Children of the 21st century are called digital natives, and for that reason they need a practical education that helps them understand and exploit the contents of the different screens open to them. This work explores the value of Storyboard as a key tool in teaching media literacy to children. It builds on the experience of the audiovisual workshops for children given by the authors in Venezuela and Spain. It also examines other practices from film and television schools for children in different parts of the world. The research method was the mapping and content of the stories suggested by the young learners. Storyboard is a useful tool not only from a technical standpoint - identification of drawings and narratives - but also from the viewpoint of the script - as the child more clearly detects the character profile: who does what and what does he do? As well as the transmission of content: what is it that I am trying to get across? All this is reflected in the final audiovisual document. This work will also examine new software which, although having the same end function, has modernized computer storyboard development.

Theory/practice and the British film conservatoire

ABSTRACTFilm and media education in the UK has long been characterised by a fundamental polarisation between theory and practice. This is most clearly manifest in the widespread separation between academic study and hands-on production training within University and College departments and programmes. The situation has arguably been exacerbated over the past few years by the training agenda devised and promoted by Skillset and the UK Film Council in the creation of networks of Screen and Media Academies to ensure an appropriate focus on industry approved vocational skills. The Skillset Screen Academy network includes two long established traditional film schools — the National Film and Television School and the London Film School — and in this paper, I will examine the history and development of these two institutions in order to consider the conception and operation of theory and practice within a sphere of education and training that has a longstanding relationship to industry. Such a consideration can not only help us to understand the obstacles to a more productive integration of theory/practice, but it can also indicate potential opportunities for achieving such an integration

Structuring Democratic Places of Learning: The Gulf Island Film and Television School

Structuring Democratic Places of Learning: The Gulf Island Film and Television School