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DTSTART;TZID=Europe/Zurich:20190401T133000
DTEND;TZID=Europe/Zurich:20190401T170000
DTSTAMP:20260503T021922
CREATED:20190318T125033Z
LAST-MODIFIED:20230223T153721Z
UID:4315-1554125400-1554138000@www.aacamera.org
SUMMARY:BYE BYE creative and diverse Europe?
DESCRIPTION:Dear Ladies and Gentlemen\, \nthe cultural and creative industries are a driving force behind the value creation of the European Union – at the moment they employ around one million people alone in Europe – and the most important identity bearer for the trademark “Europe”. \nEuropeans’ high creative standards\, especially in the audiovisual sector\, are confronted with a professional reality characterised by flexibility\, self-exploitation and precariousness\, while content production is a rapidly growing market worldwide. \nAn increasing number of important decisions that concern the film industry are no longer made on just a national level. For this reason\, it is essential for European filmmaking to establish fair framework conditions on a European level\, with regard to working conditions\, insurance and distributing structures\, gender equality\, minimum compensation and distribution networks. \nEvelyn Regner MEP and Interface Film cordially invite you to the panel “Bye-bye creative and diverse Europe?” in order to present proposals\, resulting from various workshops and networking meetings. \nIn view of the industry’s current condition\, the panel will discuss practical solutions for improving and networking the different national systems at a European level. Since the audiovisual industry is the blueprint of the future world of work\, proposals implemented here could be groundbreaking for tackling social challenges in the digital working environment in general. \nPeople working in the creative industries need your support. \n \nMonday\,\nApril 1 st 2019\,\n1:30 pm (CET)\n~ European\nParlament\nASP 3H1 \n  \n\nSpeakers:\nZora Bachmann\n(Interface Film)\nKurt Brazda\n(IMAGO/AAC)\nPauline Durand-Vialle\n(FERA)\nMercedes Echerer\n(former MEP/EU XXL Film)\nand\nFabian Eder\n(Austrian Filmmakers Association\, Chairman)
URL:https://www.aacamera.org/event/bye-bye-creative-and-diverse-europe/
LOCATION:wien
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DTSTART;VALUE=DATE:20190404
DTEND;VALUE=DATE:20190408
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CREATED:20181219T105410Z
LAST-MODIFIED:20230223T153651Z
UID:4176-1554361200-1554620399@www.aacamera.org
SUMMARY:Cinematography in Progress CONFERENCE
DESCRIPTION:  3rd International Conference on teaching and researching Cinematography \nBRUSSELS 4\, 5 and 6 of April 2019 \nCALL FOR PAPERS\nDeadline 4th of January 2019 \nThe organization of the 3th International Conference on teaching and researching Cinematography hosted by RITCS and INSAS\, Brussels and in association with the Lusofona University\, Portugal\, invites academic and professionals to submit original proposals that are fitted in the dynamic of the event as described in the topics of the conference. \nThe partners of this event are IMAGO\, the European federation of Cinematographers and SBC\, the Belgian Society of Cinematographers. \nInscription starts 15 of January 2019. \n  \nKEEP ME POSTED \n\n\n\nProgram\n\n\n\nDAY 1 – 4 April 2019\n\n \n\n\n\n\n9.30\nArrival and Registration Conference Opening\n\n\n\n\n\nSeminar 1\n\n\n\n\n13.00\nLunch\n\n\n\n\n\nROUND TABLES 1 // Poster presentation sharing session\n\n\n\n\n18. 00\nSocial gathering\n\n\n\n\n\n\n\n\n\n DAY 2 – 5 April 2019\n\n \n\n\n\n\n9.00\nArrival and coffee\n\n\n\n\n\nROUND TABLES 2 // Round Tables 2 session 1 & 2 & 3 (3 x 1h)\n\n\n\n\n13.00\nLunch\n\n\n\n\n\nSeminar 2\n\n\n\n\n16.30\nCoffee\n\n\n\n\n\nScreening SBC Select\n\n\n\n\n19.00\nDinner\n\n\n\n DAY 3 – 6 April 2019 morning\n\n \n\n\n\n\n9.30\nArrival and coffee\n\n\n\n\n\nPresentation of conclusions of round tables\n\n\n\n\n\nPodium Discussion and Conclusions\n\n\n\n\n  \nROUND TABLE DISCUSSIONS \nThe first day we will hold poster presentation sharing sessions with two main topics: \no   Sharing methods of research \no   Sharing methods of teaching \nThe round table topics of the second day are \no   New opportunities for cinematographers – expanded cinematography \no   Teaching the foundation of Cinematography for narrative cinema (Using celluloid film as a method to teach cinematography) \no   How to start with the research\, the do’s and the don’ts \no   Teaching Lighting design instead of capture \no   Teaching methods regarding responsibilities and duties of a cinematographer \no   Teaching cinematography to digitally articulate students \n  \nWe welcome papers related to the following subject:\nThe overall subject of the conference is Cinematography and in a wider context visual storytelling for fiction films. Ideally\, we want to invite scholars and cinematographers who have researched related topics as will be debated during the round tables at the conference. \nThe focus is on the connection between the methodologies of researching cinematography and teaching cinematography.\nWe have identified four main angles namely: \nThe role of disruptive new technologies\nThis includes topics such as different displays\, recording formats and projections technologies and its impact on narration and complications of teaching these subjects in a film-school environment. \nSharing pedagogical experiences\nAn emphasis will be put upon the tools and methods to exchange teaching and practice experience and the documentation of it for educational goals. Which methods are effective to teach the foundation of lighting\, framing\, camera-placement\, virtual cinematography\, 360 degrees etc.. and what tools\, books\, exercise do exist? \nRelation between practice and academic research of cinematography\nWe want to bridge and connect academic researchers in the field of visual studies and cinematographers that research and teach in film schools.\nThe exchange of articles\, books and experiments is interesting for researchers in related fields such as optics\, art-history\, electronics\, digital data etc.. and vice versa. \nCinematography as an expressive form of visual narration\nThe debate on the role of cinematography and its impact on the visual narration can range from the perspective of film history\, style\, aesthetics\, film language\, color and perception. Putting a focus on Cinematography in the field of film studies for academic research is a promising area to explore. \n  \n\n\n  \n\n\n\nDeadlines\n\n\nThe deadline for submission of proposals is January 4\, 2019. Each applicant may submit only one proposal. We invite submissions of paper presentations of 20 min. ABSTRACT max 500 words \nPapers may be presented by co-authors\, provided that at least one of them will be registered during the conference. (20 min)\n\n\n\n\n\n\nImportant dates:\n\n\nPaper deadline: January 4\, 2019\nPaper Notification: January 15\, 2019\nEarly bird registration February 15\, 2019\nInscription Deadline: March 1\, 2019\nConference date: 4\, 5 and 6 April\, 2019\nLink to the planning (to be made)\n\n\n\n  \n  \n  \n  \n  \n  \n\n\n  \n Proposal submissions: \nPlease send your proposal as a Word document or PDF via email (  education@imago.org ) including the following information:\n• Author(s)\n• Institutional Affiliation\n• Title of proposal\n• Abstract. Proposal for paper/presentation (not more than 500 words) plus five keywords\n• Biography of each author (not more than 150 words) \n  \n\n\nCOSTS \nPARTICIPATION FEE\nIncludes coffee breaks and lunch for the 3 days of the conference. \n150 euros\n100 euros early bird registration until February 15th\, 2019 \n  \n\n\n  \n\n\n\nSCHOOL \nADRESSES\n\n\nRITCS\n70 Rue Antoine Dansaert\n1000 Brussels\nhttps://www.ritcs.be/en\nINSAS\n8 rue théresienne\n1000 Brussels\nhttps://insas.be\n\n\n\n  \n\n\n  \nFinal articles: \n• The selected final articles will be included in the event’s e-Book\, and published by the IMAGO website.\n                 A. Author guidelines:\no The submission is an original and is not being considered for publication elsewhere. The articles\, as well as the images copyright\, are of the exclusive responsibility of the authors.\nSubmissions in English only will be accepted.\no Submission files are in Microsoft Word. Images are inserted in the text and should be uploaded as supplementary documents (JPEG\, PNG or PDF format will be accepted with 300 dpi of resolution) \n                 B. The article should follow the style standards and bibliographic requisites described next:\n1. The article should not have more than 8 pages and should follow the next structure:\nTitle of the article;\nAuthor;\nInstitution/ affiliation;\nAbstract and Key-words;\nText;\nBibliographic and Filmic references;\n2. Bibliographic and Filmic references:\nReferences must follow the APA (American Psychological Association) system.\n3. Quotes:\nThe quotes and footnotes/endnotes must follow the APA (American Psychological Association) system.\n4. Images: Images must be inserted in the body of the text. All images must have numbered captions using the following format: “Image 1: caption content” (No images will be published without caption).\n5. Formatting instructions:\nTitle: Times New Roman\, size 14\, 1\,5 space paragraph\, left alignment.\nAuthor/ Institution: Times New Roman\, size 12\, 1\,5 space paragraph\, left alignment.\nSummary and Key-words: Times New Roman\, size 10\, single space paragraph\, justified alignment.\nBody text: Times New Roman\, size 12\, 1\,5 space paragraph\, justified alignment.\nFootnotes/Endnotes: Times New Roman\, size 10\, single space paragraph\, justified alignment; footnotes are marked by sequential arabic numerals.\nQuotes: Quotations over 40 or more words must be separated from the body text by a paragraph\, size 10\, single space paragraph\, justified alignment.\nBibliographic and filmic references: Times New Roman\, size 12\, single space paragraph\, justified alignment.\nWork languages\n• English \n  \n\n\n  \nORGANIZATION: \nCONTACT: education@imago.org \nPerson in charge of the Conference (Conference Chair):\nMarijke Van Kets\, SBC\, RITCS\nElla van den Hove\, SBC\, INSAS \nIMAGO\nTony Costa aip – communication and website – + 351 917776693 tony@imago.org \n  \n\n\n  \nDescription of the Conference: \nThe overall topic is the interaction of research and teaching cinematography. We do not see that as two separate entities but as interacting methods to look into the storytelling capacities of moving images. Essentially\, it intends to reveal the relevance of the study of cinematography to the field of film studies. We make a bridge between academic research and the practice of teaching cinematography. This also includes the understanding and researching of the experiential knowledge of cinematographers. Cinematography research has significance beyond the academic field and is committed to generate knowledge that matters. In our mediated social world\, the hunger about how to create emotion-evoking images\, and how they are perceived\, is becoming more and more relevant. Although movies do not offer a realistic window on the world\, they do shape our experiences and offer us tools for defining our societies (Verstraten\, 2013\, p. 50). To better understand cinematography is a worthwhile goal\, “a medium like film is a tool that modern society uses to organize itself\, and that to function efficiently and productively\, people should know how to accurately interpret media” (Young\, 2012\, p. 179). \nThe first aim is to add to the scholarly field of film studies\, to put a focus on the methodology for researching cinematography by connecting educators and academic researchers in that relatively new field of study: cinematography. Beginning with the first investigations of cinema in the early twentieth century\, the intellectual milieus in which knowledge of cinema has been generated stood far away from the production film set (Grieveson & Wasson\, 2008\, p. xvii). Cinematography has hardly been researched. We want to lay out and talk about an alternative area of investigation in the field of film studies: the contribution of cinematography to narrative film. \nA key objective is to present papers and research from academic researchers\, to build a bridge between film practice and film studies. The argument for tapping into the knowledge of cinematographers lies in the simple fact that since the existence of cinema\, cinematographers\, or cameramen as they were first known\, were always there. “Cinematographers have been there since the inception of the motion picture. Without them\, there could be no film” (Sterling\, 1987\, p. vii). Moreover\, the study of cinematography needs to become an established part of film studies; it needs its own space\, so that critical focus can be put on the cinematographic expression. That will then invite investigations into the different aspects of cinematography\, especially its role in narrative film. The challenges and the limitations when researching cinematography are numerous\, not only does the technology evolves super fast\, the art and craft of cinematography is little understood in the academic world. However\, in this fast-paced age\, the hunger of how to create emotions evoking images and how it is perceived is big. \nA second key dimension of the conference is to discuss the current trends in cinematography and how this should be applied to future teaching in film school and other educational facilities. It does not limit itself to technique but includes the “development of the eye”\, film history\, the study of art history and traditional teaching of established techniques alongside the teaching of digital workflow and other more recent developments in the digital domain. The round tables we will organise will generate conversations with the international cinematographers societies with the teachers of cinematography on related topics. The round tables will be led by selected experts in the field. \nMethodology\nThe focus is on academic research and teaching (in an academic setting\, a.k.a. schools) and the connection between the methodologies of researching cinematography and teaching cinematography. We have identified four main angles namely:\n1. The role of disruptive new technologies\n2. Sharing pedagogical experiences\n3. Relation between practice and academic research of cinematography\n4. Cinematography as an art form \nThe overall topic; the discourse of the visual\, is linked to the three stages of film modes: production\, projection and film participation.\nWe will pay attention to the overall framework and the contributions to the field of film studies that the conference will bring. It looks into new knowledge acquisition and its methodologies. These approaches are historically not embedded in film studies but currently many cinematographers are turning into scholars. For example while during the round table we can discuss how to teach digital colour grading\, we can during the seminar session learn about academic research on the perception of colour. \n1. TEACHING CINEMATOGRAPHY – ROUND TABLES\nEach participant will be able to attend two of the below round tables where a key question will be asked at the start of each session.\n1. In practical terms\, what exactly should a student of cinematography be able to do once he/she finishes school? \n2. What new educational methods have you already put into practice in regards to the specific theme of your workshop? This can obviously include hardware\, software as well as the theoretical aspects taught in class. \nFollowing this preliminary exchange of views\, the participants of each workshop will then explore some more specific topics. \n• Round Table & paper presentations Topics\n    1. The role of disruptive new technologies\nThis includes topics such as different displays\, recording formats and projections technologies and its impact on narration and complications of teaching these subjects in a film-school environment.\n    2. Sharing pedagogical experiences\nAn emphasis will be put upon the tools and methods to exchange teaching and practice experience and the documentation of it for educational goals. Which methods are effective to teach the foundation of lighting\, framing\, camera-placement\, virtual cinematography\, 360 degrees etc.. and what tools\, books\, exercise do exist?\n    3. Relation between practice and academic research of cinematography\nWe want to bridge and connect academic researchers in the field of visual studies and cinematographers that research and teach in film schools.\nThe exchange of articles\, books and experiments is interesting for researchers in related fields such as optics\, art-history\, electronics\, digital data etc.. and vice versa.\n    4. Cinematography as an expressive form of visual narration\nThe debate on the role of cinematography and its impact on the visual narration can range from the perspective of film history\, style\, aesthetics\, film language\, color and perception. Putting a focus on Cinematography in the field of film studies for academic research is a promising area to explore. \n2. RESEARCHING CINEMATOGRAPHY\n• Paper presentations:\nA call for papers will be launched and selected researchers will be invited to present their research on Cinematography during the conference. \nDISCUSSION CONVERSATION\n• Conclusions:\n– Podium discussion on artistic research\n– The heads of the round table give a summary of conclusions and findings \nConference Partners:\nIMAGO the European federation of Cinematographers\nIMAGO has been reaching out the last decade to partners in society and education. In 2014 an education committee was formed and the members have since organised debates\, conferences and other educational activities. This conference will also be co-organised by its members. Besides the creation of the images\, cinematographers feel responsibility towards connecting the makers and the audience\, the professors and the students\, the cinematographers and the directors on an international scale. The power of an image is not to be understated and can show us the wonders-the truth if you want- about humanity and the world but can also manipulate\, deceive and spread hate. The last couple of years a big effort has been done to organize conferences on the question ‘how to teach’. The members are aware of their responsibility in this debate and will participate in this conference\, sharing teaching methods and academic research methodologies. Tony Costa is the chair of the education committee of IMAGO and teaches at Lusofona University\, which is a partner in the organisation of this conference. \nSBC the Belgian Society of Cinematographers\nThe two co-chairs from this conference\, van den Hove and Dr. Van Kets are members of the education committee of IMAGO and are co-chairs of the education committee of SBC. Ella teaches at INSAS and Marijke teaches at RITCS. Marijke is also engaged by the RITCS as a researcher and intends to establish a research group with a focus on cinematography in the field of film studies. \nTarget group:\nWe will have four groups namely participants\, experts\, presenters and observers. Clearly one can also be a participant and a presenter\, the divide between the groups might not always be crystal clear.\nBut roughly we can state the following:\n• The participants\, our prime target group\, are mainly film faculty teaching and/or researching cinematography and related topics in film schools (GEECT).\n• The second group of presenters will include academics who might not be cinematographers but who are conducting research into related fields such as the perception of visual media\, the narration of moving images and so on.\n• The third group consists of experts who will be heading the round tables for moderations and are experts in the specialisation discussed\, for example on the topic of: VFX a specialisation? an expert in Visual effects cinematography and post-production (who can also be teaching this subject) will lead that round table.\n• The fourth group of observers will be cinematographers (not teaching staff)\, other film faculty\, head of departments\, technical staff and film students attend the sessions and presentations but are not expected to participate in the discussions.
URL:https://www.aacamera.org/event/cinematography-in-progress-conference/
LOCATION:Brüssel\, Brüssel\, Belgien
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