FAVz032 Studying European Film Festivals

Filozofická fakulta
podzim 2012
2/0/0. 5 kr. Ukončení: zk.
Dorota Ostrowska (přednášející)
Stefano Pisu (přednášející)
Aida Vallejo (přednášející)
Mgr. Luděk Havel, Ph.D. (pomocník)
Mgr. Maša Hilčišin, Ph.D. (pomocník)
Mgr. Vladimíra Chytilová (pomocník)
doc. Mgr. Petr Szczepanik, Ph.D.
Ústav filmu a audiovizuální kultury - Filozofická fakulta
Kontaktní osoba: doc. Mgr. Petr Szczepanik, Ph.D.
Dodavatelské pracoviště: Ústav filmu a audiovizuální kultury - Filozofická fakulta
Omezení zápisu do předmětu
Předmět je nabízen i studentům mimo mateřské obory.
Předmět si smí zapsat nejvýše 120 stud.
Momentální stav registrace a zápisu: zapsáno: 0/120, pouze zareg.: 0/120, pouze zareg. s předností (mateřské obory): 0/120
Mateřské obory/plány
předmět má 14 mateřských oborů, zobrazit
Cíle předmětu
At the end of the course students should be able to: understand and explain principles of European Film Festivals, their history and socio-culturual contexts.
  • The course will provide theoretical and historical discussion of European film festivals. Abstracts of individual lectures:
  • Lecture 1.
  • Polish Cinema at International Film Festivals
  • Dorota Ostrowska (Birkbeck College, University of London)
  • Throughout its post-war history Polish cinema enjoyed a strong presence at various international film festivals on both sides of the Iron Curtain – not only Cannes, Berlin, Venice, Locarno and San Sebastian, but also Moscow and Karlovy Vary. The careers of Polish auteur directors, Aleksander Ford, Andrzej Wajda, Jerzy Kawalerowicz, Agnieszka Holland and Krzysztof Kieslowski among others, were perpetuated with the help of these film festivals. Polish School emerged in the context of 1957 Cannes’ award-winning screening of Wajda’s CANAL linking closely the history of Polish cinema and that of the festival. In contrast to the Polish School, Cinema of Moral Disquiet of the 1970s which defined another important moment in post-war Polish cinema remained virtually unknown abroad and underrepresented on the film festival circuit whilst the films of one of its key representatives, Krzysztof Kieslowski, were seen as the festival discovery throughout the 1980s, making him a household name among foreign arthouse audiences.
  • These winding paths of Polish national cinematography could be accounted for in the context of history of the film festivals themselves. The appearance of the Polish School in Cannes and Venice in mid-50s coincided with the period in the festivals’ history when the selection of films was done by countries themselves. It also took place before politique des auteurs became the paradigm for understanding European cinema. This earlier type of selection privileged the national collective effort at film-making over a single film-maker. Kieslowski’s success occurred at the time when festivals became independent from national cinemas and were responsible for making their own programming choices which put emphasis on a figure of an auteur direct and on the high aesthetic value of the films which came to be recognised as a marker of arthouse film-making. This was also the period when it became much more difficult to launch a new national cinema movement at the festiwal which was demonstrated by the failure of the Cinema of Moral Discontent internationally.
  • This paper is an attempt to open the debate about Polish cinema in the new direction by casting its history in a broader international context, in particular that linked to the international film festival circuit. It will map out the performance of the Polish films on the international film festival circuit thus painting a fuller transnational picture of the cinematography thus far represented only in the context of the national cultural politics.
  • Readings:
  • 1. Corless, K. and C. Darke. Cannes : inside the world’s premier film festival. London: Faber and Faber, 2007.
  • 2. Cowie, P. The Berlinale. The Festival. Berlin: Bertz+Fischer, 2010.
  • 3. Haltof, M. Polish National Cinema. London: Berghahn Books, 2002.
  • 4. Laura, Ernesto G. (Ed). Tutti i film di Venezia 1932 – 1984. Venezia : Edizioni La Biennale di Venezia, 1985.
  • 5. Michalek, B. The Modern Cinema of Poland. Bloomington: Indiana University Press, 1988.
  • 6. Zajicek, E. Poza ekranem. Warszawa: Filmoteka Narodowa, 1992.
  • Bio: Dorota Ostrowska is a lecturer in film and modern media at Birkbeck College, University of London. She is the author of Reading the French New Wave: Critics, Writers and Art Cinema in France (2008) and European Cinemas in the TV Age (with Graham Roberts) (2007).
  • Lecture 2
  • International Cultural Relations between Postwar and Cold War: USSR at the Venice Film Festival (1946-1953)
  • Stefano Pisu (University of Cagliari, Italy)
  • The paper concerns the position adopted by the USSR regarding the Venice International Film Festival between 1946 and 1953. Its purpose is to reveal, in its various aspects, one of the soviet leadership’s ways – the cinema – of promoting the soviet culture and exporting the “USSR product” into the West through the Venice Festival, thus emphasizing the position occupied by Moscow in the international arena. The presence or absence at the Festival was determined by a well thought estimate of the USSR, which understood it as a real competition in which it could show the outside world its superiority on the ideological and cultural level, that corresponded to the declared supremacy in the socio-economic and political fields. Therefore USSR attended the Festival only when it was sure of its own good performance. In fact, when this certainty was questioned by the idea of an anti-Soviet code or by a climate hostile, USSR declined the invitation in order to avoid a likely media defeat. The main archival sources consulted are the documents held by: the Russian State Archive of Social and Politcal History (RGASPI), the Russian State Archive of Literature and Art (RGALI), the State Archive of the Russian Federation (GARF) in Moscow; the Central State Archive (ACS) in Rome; the Archive of Contemporary Art History (ASAC) in Venice.
  • Keywords: USSR, Cinema, Venice International Film Festival, Cold War
  • Bio: Stefano Pisu is PhD in Contemporary History at the University of Cagliari (Italy). His main research field are the relations between Cinema and History. He has participated at international conferences in Poland, Romania and France. He has published several articles on the presence of USSR at the Venice Film Festival and on the relation between cinema, political power and society in USSR in the 20’s and 30’s. It’s about to appear his first monograph on the participation of USSR at the Venice Festival from 1932 to 1953.
  • Lecture 3
  • Industry Sections. Documentary festivals between production and distribution
  • Aida Vallejo (University of the Basque Country and Universidad Autónoma de Madrid)
  • In this paper, we offer a general overview of the different initiatives that took place in the Eastern part of the European Continent through the last 20 years, which led to the development of a network of film festivals specialized in documentary genre. We will focus on the international dimension of these events to explore the economic, cultural and political hierarchies established among them. One of the most significant changes in the organization of festivals in this period relates to the inclusion of parallel industry sections in their programmes (pitchings, co-production workshops and markets) mainly promoted and financed by MEDIA programme from EU.
  • Through a case study analysis, we will focus on the role that these economic practices played through the festival agendas affecting and modelling documentary production in the region. In doing so, we will put special attention to the international dynamics and hierarchies established between western and eastern European professionals and institutions, as well as new inner dynamics an hierarchies developed in the region depending on the period of incorporation of the different countries to EU.
  • Readings:
  • • De Valck, Marijke (2007) Film Festivals. From European Geopolitics to Global Cinephilia.Amsterdam: Amsterdam University Press.
  • • Iordanova, Dina and Rhyne, Ragan (eds.) (2009) Film Festival Yearbook 1: The Festival Circuit (St Andrews Film Studies: St Andrews).
  • • Seedox (2008) (several articles). Edited by GoEast Film Festival.
  • • DOX magazine (several articles). Edited by the European Documentary Network. www.dokweb.net (several articles).
  • • Slováková, Andrea (ed.) (2005) Documentary Handbook. Making a Documentary in Central and Easter Europe in the Context of International co-production (Institut Dokumentárniho filmu: Prague).
  • • Weiserova, Radka (ed.) (2007) Documentary Handbook 2. Ex Oriente Film – Making a Creative Documentary in Europe (Institut dokumentárního filmu: Prague).
  • Bio: Aida Vallejo works as a lecturer in Film, Art and Technology in the Faculty of Fine Arts of the University of the Basque Country (Spain). Her expertise relates to creative documentary, having worked in this field as a scriptwriter, critic, researcher and lecturer. She has just completed her PhD thesis: “Documentary Festivals. Networks of cultural circulation in the eastern part of Europe” (in Spanish) at Autonomous University of Madrid, supported by a grant from the Basque Government. She has researched Eastern European Documentary in FAMU University of Prague (Czech Republic), IDF and EastSilver videolibrary (Prague), OSA Archives in Budapest (Central European University) and various festivals of the eastern part of Europe: Zagrebdox (Croatia), Images of the XXI Century – Thessaloniki (Greece), Dialëktus (Budapest), Jihlava (Czech Republic), Dokufest (Prizren-Kosovo) and Documentarist (Istanbul). She has also worked as jury member in Jihlava IDFF and as a tutor for professional workshops in Kosovo and Czech Republic.
  • VALCK, Marijke de. Film festivals : from European geopolitics to global cinephilia. Amsterdam: Amsterdam University Press, 2007. 276 s. ISBN 9789053561928. info
Výukové metody
Metody hodnocení
preparatory written test, final written test
Vyučovací jazyk
Informace učitele
teaching schedule and venues:
1. a preparatory test (3 questionss based on 3 readings - to be uploaded to the course´s web site): 9:30, 22 Nov., at the room C34 (cinema auditorium, Faculty of Arts)
2. a seminar meeting at the room C34: 10:00-11:30, 22 November
3. the conference panel "Film Festivals and the Cold War" within the conference "Screen Industries in East-Central Europe Conference" (SIECE), at the main assembly hall of the Faculty of Social Studies, Joštova 10, 9:00-10:45, 23 Nov. 2012
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Studijní materiály
Poznámka k ukončení předmětu: Full time students: 100% presence at the lectures is required. Distance students: two absences are tolerated.
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