Uudised
Winners of Sleepwalkers Student Film Festival 2005  
Vanemad uudised
Soovin saada festivali uudiskirju





FILM SCHOOL LECTURES

November 28th, at 10.00 - 14.00
Ronald Bergan: Are film ctitics really necessary?
The heading of the lecture is not as provocative as it initially might seem to be. A film critic, historian, scriptwriter and lecturer Ronald Bergan poses the following question: With the mass marketing of Hollywood films do the film critics have any influence at all? Is it possible for a film critic to change public opinion, instead of agreeing with everything? Can a film critic help the audience to understand the film, while with today’s digital technology everybody sees himself as a critic and film maker? Are the film critics more unsure and less competent in their chosen profession than the critics of say literature, architecture or art? Can a critic be impartial and is this an objective at all? How to become a film critic? These and many other questions will be discussed at the film school and maybe some answers will even be found.  

November 29th, at 10.00-14.00
Peeter Simm: Film directing in the conditions of catastrophy
Estonian film-making wasn’t in a good shape in the middle of 1990s: no money, no producers, no international co-production. What about now, has it gone any better? Estonian director Peeter Simm and producer Artur Talvik are discussing the present situation in estonian cinema. 

November 30th, at 10.00 - 14.00
Thomas Mauchs master class
Thomas Mauch has been compared to Raoul Coutard, the "cinematographer in ordinary" of the French new wave directors. Mauch holds a similar position among the German new wave film makers. He developed a strong and sharp black and white imagery, which suited the semi-documentary screen stories of that time to perfection. Mauch’s co-operation with Werner Herzog supplemented his works with a new level of completeness, adding a shade of mystic, that culminated in "Fitzcarraldo". 
Although Thomas Mauch has also been the director of many  films, his awards have been earned for remarkable cinematography. To the Sleepwalkers’ film school Mauch takes along those films in the production of which he has personally participated in, and will speak about his experience as a cinematographer and a director. Mauch will show cuts from his former films such as "Fitzcarraldo" and "Aguirre", but also speak about his newer works, e.g. the costume drama "Saint-Cyr" (2000), starring Isabelle Huppert.
  

December 1st, at 12.00 - 14.00
Renate Roginas: The art of co-production: from development to marketing
With each passing year more and more co-operation can be seen in the European film scene, the film markets at Berlin and Cannes are filled with producers looking for co-prduction partners and films that have already been completed as a result of co-operation between different countries. Renate Roginas is an experienced producer who, as the Executive Secretary of the Eurimages, has concentrated specifically on international co-production and who reviews all the film projects requesting financial support. In the Sleepwalkers’ film school she concentrates on international production, speaks about the advantages and risks of co-operation and gives some pointers about how to find the necessary people for a specific project. Roginas, who in years 1980 - 1999 led, as producer, the international co-production department of Telefrance, covers in her seminar the film production process starting with project development and ending with its  marketing. 

December 2nd, at 10.00 - 14.00
James Ragan: Principles of dramatic structure in screenwriting
James Ragan, an American of Czech origin, is a Fulbright professor, a successful playwright and a screenwriter and the author of many award-winning books of poetry. Ragan is the director of the Graduate Professional Writing Program at the University at Southern California and his play productions include Saints and Commedia with Raymond Burr. In the Sleepwalkers’ film school he speaks about the foundation essential for a film’s success, i.e. about the dramatic structure in screenwriting, the formulation and composition of ideas. James Ragan starts his master class with the primary source of screenwriting, that is with an overview of Aristotel’s principles of dramaturgy and proceeds to the screenwriting of a comedy. In between he also covers analysis of dialogue and the leading character, dissection of conflict situations etc, etc.  


prg. mart kalmo