This year, the film school focuses on film editing. It is amazing, what can be done with visionary cutting. But breaking the rules needs skills and our film school brings these two ends together.
10:00-14:00 SÜTISTE MAJA
BREAKING THE RULES
The importance of challenging the conventions of classic editing in search of a new cinematographic language. Illustrated through examples from my own works and my collaboration with Lars von Trier on Breaking the Waves, Dancer in the Dark and Dogville.
Anders Refn (b 1944) is a film editor and director. He has edited more than 25 films and TV Series, among them Breaking the Waves from Lars von Trier, which won the Danish Film Academy Award for the best editing. He is mostly known with his collaboration with Lars von Trier on films as Dancer in the Dark and Dogville. During the past two years he has also worked as editing doctor and consultant.
10:00-14:00 SÜTISTE MAJA
EDITING AN EVENT AS MAXIMISING THE PLOT
I will attempt a reflection on the editing of an event from the point of view of some thinkers who are sometimes labelled as belonging to the phenomenological and the hermeneutic traditions. I will also say a few words about the function of perfectionism and ellipses from this same point of view. Quite intentionally, I will simplify considerably the issues relating to the phenomenological and hermeneutic traditions, in order to facilitate understanding and thus encourage the use of possible insights. To ‘maximizing the moment’, the theme of our conference, I will add ‘maximizing the plot’.
Igor Ignac Koršič was born in 1947 in Arnova sela, Slovenia (then also Yugoslavia). After finishing chemistry in a technical college in Ljubljana, finished a degree in social sciences, philosophy and cinema in Stockhom in 1975. PhD on André Bazin at the University of Stockholm in 1988. After teaching History and Theory of film at the University of Stockholm, professor of History and Theory of Cinema and Screenwriting at Academy for Film, TV, Radio and Television (AGRFT) at the University of Ljubljana.
Holding courses at a number of filmschools in Europe and elsewhere. Wrote, adapted and developed several film scripts. Occasionally acting in films. Author of a staged theatre play on Marlene Dietrich entitled Blue Angel (1990). Translated and published a number of books and articles on cinema, ranging from film historical to film aesthetical issues to issues of film policy. Published an essay – book To Europe!. Organizing international workshops on cinema. Member of the executive board of the Association of Slovene film makers, representative of Slovenia in Eurimages. Chair of the CILECT's Kalos K'Agathos – theory for practice project, member of the managing board of the Film Fund of the Republic of Slovenia, co-coordinator of international scriptwriting programs Re-sources and Member of the boards of the Media programmes East of Eden and Sources.
10:00-12:00 SÜTISTE MAJA
Discussion about the idiocyncracies of editing from a cinematographer’s point of view. In most cases a director has some sort of overview of the final version of the film by the time of the shooting. Quite often it proves to be insufficient as the crew is not psychic, so to speak. How and when can a cinematographer support the director; what should be his input? Dr Ramses Marzouk enlightens the audience about the co-operation between a director and a cinematographer when the shooting is in full swing giving his personal insight in the light of his Egyptian-French cultural background. The participants should be familiar with the film “Adam’s Autumn” that will be screened on the previous night at Sütiste Maja under “Film School in Focus” subprogramme.
Dr Ramses Marzouk (b 1940) is an Egyptian cinematographer. He studied fine arts at the University of Helwan in Cairo in the 1950-ies and cinematography at Fine Arts Institute until 1963. He completed his Ph.D about cinema at Sorbonne University in Paris in 1983. He has worked as a professor and instructor for various film schools in Egypt and France. Additionally he is also working as a director of photography. Ranes Marzouk is member of the jury of Tallinn Black Night's Film Festival's competition programme EurAsia.
12:00-14:00 SÜTISTE MAJA
EDITING A DOCUMENTARY
The film workshop culminates with Torben Simonsen’s seminar on documentary film editing. What is similar and what is different from the fiction film editing? He will also discuss practical matters related to in situ cinematography.
Torben Simonsen started his film career making art videos and experimental film in workshop environment during the late 80-ies. From 1989, he worked as a photographer, editor, producer and director at documentaries, performance videos, short films and music videos. In 1993 he founded Media School Ballerup where he led video workshops. During 1997-1999 he worked as a producer at Danish TV and radio channel DR2’s programme Deadline and from 1999 to 2001 as a multi-camera line director at National Film School of Denmark TV Department. In 2001 he was a documentary consultant for various projects and continued teaching at the Film School, TV School and The School of Modern Dance, and a photographer and editor. From 2002 he owns a film studio, and teaches at the Film School Documentary Department.
Please register for film school at the festival's information desks in KINO SÕPRUS or SÜTISTE MAJA. Participation fee 300 EEK should be paid at the desk. You receive a wristband, which enables the entrance.