Invitation to Regional Assembly, Oct. 5th, 10:00 a.m.

Dear GEECT members.

We are pleased to invite you to attend the Regional Assembly of our association that will take place on October 5, 10 am CET via Zoom.
Please join the meeting 10 min beforehand to check the connection works for you. The Zoom link to the meeting will be sent to you in an e-mail.

The following issues will be on the agenda:
» Board: Present situation and future options
» Budget 2021
» Future events and publications

We are looking forward to (virtually) seeing you in this meeting. Please send your confirmation to geect.chair@mail.ulusofona.pt

Best regards,
Manuel José Damásio

Chair of GEECT

Developments in Hungary: Higher Arts Education Networks’ SZFE Solidarity Statement

AEC, Cumulus, EAAE, ELIA and GEECT stand in solidarity with colleague institutions in Hungary and SZFE Budapest in particular. 

As European higher arts education networks, we express our deepest concerns regarding the recent direction and implementation of Hungarian policy, which is severely affecting free development of education in the arts. We particularly condemn the undermining of the autonomy of the University of Theatre and Film Arts (SZFE), a renowned 155-year-old higher arts education institution. Free development of education in the arts, together with freedom of artistic expression and freedom of research are cornerstone values of European societies and cannot be negotiated. 

We urge the Hungarian government and policymakers to guarantee freedom of development and organisational autonomy for SZFE and all higher arts education institutions in the country. 

AECCumulusEAAEELIAGEECT

The Vienna Declaration on Artistic Research

GEECT – GROUPEMENT EUROPÉEN DES ÉCOLES DE CINÉMA ET DE TÉLÉVISION – THE EUROPEAN GROUPING OF FILM AND TELEVISION SCHOOLS is happy to present the Vienna Declaration, a Policy Paper advocating for the full recognition of Artistic Research across Europe. More than one year ago, the main organisations and transnational networks dealing with Artistic Research at European level and beyond decided to join forces to increase the visibility and recognition of this strand of research. The Vienna Declaration, co-written by Manuel José Damásio, is the first outcome of this important collaboration. The initiative is open to the involvement of other international organisations proving legitimate interest.

Plese find the full text of the declaration here:

1st GEECT VIRTUAL SEMINAR

Call for participations for the first GEECT Virtual Seminar.

Scheduled Time: October 6th, 2020 – 10 a.m./6 p.m. CET

The Oslo Congress has been postponed…but we are still meeting each other online!

Four panels and one final discussion panel.

Provisional schedule:

Panel 1 – 10-11.15 am CET
Panel 2 – 12-13.15 pm CET
Panel 3 – 15-16.15 pm CET
Panel 4 – 16-17.15 followed by 45 minutes discussion. Farewell and closing remarks. 6pm CET

Theme of the seminar: How Film Schools Coped During Pandemic

Who would have believed that we would be delivering our university education completely online and for the transition to have taken just a week to complete! Suddenly we are all experts at Zoom, Microsoft Teams, Blackboard Collaborate, pick a platform, any will do, liaising with staff and students like we have always been working this way. Of course, we have amazing teams, pulling out all of the stops to make this happen, but for a creative education there is a whole host of challenges to work through. How do you continue to teach location based film production, technical workshops or live theatrical group performances? There is no doubt that we have learnt so much in the last few days and the creative education pedagogy that will be shared will be rich.  Which is why we are hosting a 1 day seminar to discuss what we have learnt on the 6th of October.

Questions have arisen, like are there copyright/intellectual property right issues sharing material on platforms? Not all students have access to the high level professional software for games and animation courses or the broadband speeds to handle large files, how are we handling this?

Every course has a distinct personality. Our games students are perhaps more practiced at being in front of a computer all day working, but our drama students feed off the energy of a live environment, so balancing the cohorts needs both in terms of academic and pastoral has relied on out staff really understanding the make-up of their cohorts. What is going on in the world is overwhelming for us all, but even more so if you are an international student away from home and unable to get a flight back. How do we juggle both pastoral and educational deadlines?

And do we want to move completely back to the way things were just because we can? For some modules the online ‘flipped classroom’ approach works really well, for example Scriptwriting, so should we not be too hasty to revert back to the way things were just because we can?

We welcome 10 minutes presentations to share best practices, suggested topics include:

·       Dealing with copyright issues on platforms (commercial music/films)
·       Should we keep the flipped classroom for some topics (scriptwriting for example)
·       Dealing with location based work
·       How to resolve software issues
·       Managing, motivating a staff team online
·       Engaging students
·       Trials and triumphs
·       And more…

Please send your proposal by the 15th of June to:

geect.chair@mail.ulusofona.pt
Proposals should include:
Name;
School;
Proposed topic
Keywords
250 words abstract

This will be a closed event. Registration will be required

Call For Papers: GEECT CONFERENCE SPRING 2021

Remembrance of Things to Come

Re-imagining the Past and Constructing the Future in the Film School Archive

 

***

PLEASE NOTE THAT THE CONFERENCE HAD TO BE RESCHEDULED TO JUNE 2021 DUE TO THE CURRENT CORONA CRISIS – MORE INFOR TO COME

***

This GEECT conference will be held in London on June 2021, at the University of Westminster’s Harrow campus (20 minutes by tube from central London). We will use student accommodation (en-suite single rooms) to keep costs low; the halls are two minutes’ walk from our lecture theatres, studios, post production and scanning facilities.

Many film schools have significant archives of student work (as well as teaching materials and other records) going back many years. We want to consider their historical, cultural and social significance, not just as of early works of important film makers, but also as a record of the responses across time of young people to the world at large, and the local community around their University, which can be of interest to researchers in many fields.

We will also consider the practice of the preservation and restoration of these collections, the cataloguing of associated metadata and contextual information, making the material accessible to students and researchers, and available online.  Westminster has a scanning and restoration facility with a Lasergraphics 5K scanner and Phoenix restoration software, to which we are adding a Mk 1Northlight scanner. We will schedule hands-on workshops for those that want them to demystify film scanning, and allow participants time to scan a film from their own archive, with professional support.

  • Conference sessions on the nature and importance of archives in general, of film school archives and memory in particular.
  • Conference sessions on the aesthetics and science of imaging, looking at scanning, preservation and restoration; subjectivity and objectivity in assessing image quality.
  • Short school presentations of their current approach to archiving (from thorough to negligible?). Individual school archives are relatively small, but collectively they may be significant.
  • Practical workshops on film scanning and the chance to ‘scan a film from your archive’ (with professional help). We will also present our project to build a low cost Kinograph scanner with our students, and compare the technical and aesthetic quality of its output with the new Lasergraphics and the older Northlight scanners.

 

We would like to invite proposals for 20 minute panel presentations.

Please provide 200 word abstracts plus biography of 50 words

Please send all submissions to  Peter Hort  hortp@westminster.ac.uk

Please also feel free to suggest potential keynote speakers from outside GEECT/CILECT.

We plan to invite ‘School overview presentations’ (5 minutes maximum) from each participating school: brief overviews of what individual schools are doing with their archive.

Survey: we are preparing a questionnaire that will be circulated to allow us to gain an overview of what GEECT schools are doing in the area of archiving and preservation.

Please see the next page for a more detailed list of potential subject areas.

The Significance and Preservation of Film School Archives:  Themes and ideas

 

What is an archive; What and who is it for? What should be kept?

  • Methodologies of selection and classification; decisions about metadata will influence what can be discovered. Memory and history is constructed from what we have in the present.
  • Is ‘a film’ the master? A viewing copy? The components to allow re-mastering?
  • The evolving nature of the screen: how should we watch material from an archive?
  • Theoretical perspectives and reflection on the practice of archiving.
  • Legal and copyright questions around public access and streaming.

The specific relevance of film school archives

  • What is the interest of student films? Student film as a cultural and historical practice that can give outside views of specific places and contexts.
  • Time capsules of how people of film school age have interpreted the/their world without commercial pressures.
  • Access to past work enables students and schools to situate themselves in a tradition that can be continued or questioned.
  • Not necessarily just films: classes; teaching philosophies; backgrounds of students
  • Links between National Archives and film schools. A network of film school archives?

Film Preservation & Archiving

  • Physical storage and preservation. Can ‘passive archiving’ (e.g. leaving a film can in a cupboard) happen in a digital age?.
  • Organising and integrating film archives with other archives within and outside the organisation.
  • IT implications and long term digital storage
  • Preservation or restoration?

Aesthetics and imaging technology

  • Methodologies for evaluating image quality: the boundary of science and aesthetics.
  • From preservation to restoration and enhancement (e.g. HDR or remastering). The opportunities and the tensions brought by technological advance.
  • Scanning, now and the future. Will a scanned ‘archive master’ become the ‘original’?
  • Videotape restoration.

Workshops/’hands on’ sessions

  • Comparison of Lasergrapics, Northlight and Kinograph scanners
  • The practice of scanning: bring and scan your film with professional support
  • Kinograph self build scanner project: demo of a student built a low cost scanner
  • Possible visits to labs and archives close to London

See also the Ecole Louis Lumière’s  publication ‘Audio-Visual Archives and Memory in Schools’ (2015), on which we would like this conference to build:

https://www.ens-louis-lumiere.fr/cahier-louis-lumiere-ndeg9

CALL FOR PAPERS: International Journal of Film and Media Arts

GEECT Special issue: Mapping Artistic Research in Film

Issue editors: Manuel José Damásio & Jyoti Mistry

Artistic Research is the proposition of artistic practice and systematic reflection through art itself. It is an epistemic inquiry directed towards advancing knowledge, insight, understanding, and competences that are explored from within inside the discipline even though it mobilizes inter-disciplinary and cross disciplinary approaches to research enquiry. Furthermore, artistic research combines artistic methods with methods from other research traditions facilitating many dimensions of research about/for/through art and draws from research strategies from the empirical sciences and the humanities.  Artistic practice and its focus on research must be distinguished from artistic development where artistic research typically supports the further development of art practice but aims at topics of enquiry with a broader socio-political, cultural and economic significance.

While artistic research (AR) has been acknowledged for over two decades as a significant knowledge base for education in the arts in Higher Arts Education Institutions (HAEIs), its import in film education and media arts has only gained increased momentum over the last several years.  To this end, AR has become a relevant and urgent topic due both to external processes (i.e. accreditation) and internal pressures (i.e. staff capacitation) making it increasingly relevant for film schools.

A special issue on artistic research in film schools is an opportunity to reflect on the multivalent challenges, opportunities, potentialities and possibilities for collaborations that AR affords film schools. The special issue aims to also encourage reflections through case studies of AR projects and PhD supervision experience in film research and film education.

International Journal of Film and Media Arts invites papers that deal with but are not limited to the topics of:

  • Examples of creative practice and research in film schools
  • Role of critical and contextual theory in film related to artistic research
  • The relationship between teaching and research
  • Challenges with creating a research dynamic environment in film education
  • The relationship between professional practice and artistic research
  • Creating or developing doctoral education with a film focus in artistic research
  • Any related topics that broadly deal with the role of artistic research in film schools

 

 Abstracts to be submitted by 28 April 2020

Provide a single document with:

  • ABSTRACT, no longer than 500 words with 5 keywords
  • BIO, no longer than 300 words
  • Name, Email address and institutional affiliation

Please submit to:

Anna.coutinho@ulusofona.pt

Time line for publication:

  • Feedback on abstracts – 10th May 2020
  • Submission of full paper – 30th July 2020
  • Final revisions – 30th September
  • Publication date – 30th October