yearbook 2004/05 - The European Film College

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By Martin Møller Jensen FROM THE STUDENTS Innovation seems to me to be mostly about experimentation, just trying ideas out. I think I would find it impossible to actually try to do something innovative. It’s much easier to just do stuff and then squeeze something new and fun out during the process. However when you experiment a lot, you inevitably wind up with lots of failed attempts (at least that’s my justification for never really getting anything done) and failed attempts are sometimes the most fun. What is innovation? A constant mixing of differents subjects? A deconstruction of aging workforms? I don’t know what innovation is, I only know that I like people who have fun and play. I think that there’s a card in Brian Eno’s celebrated Oblique Strategies that simply says ‘Play’. I liked that one.
Present State of Art and some Recommendations FROM THE STUDENTS Film Audience in Bangladesh By Mofizur Rhaman This article was written to throw some light on the state of contemporary Bangladeshi film and its audience. It is actually part of a broader research project conducted by myself and a colleague of mine, Fahmidul Haq. Introduction Just after the first successful cinematic recording by T.A. Edison and the projection by the Lumiere brothers at the grand café of Paris on 28th of December in 1895, cinema rapidly became popular in different places throughout the world and it was also being appreciated as a new medium of art and communication as well. The Indian sub-continent was no exception to this cinematic craze. Pioneered by Hiralal Sen, Nazir Ahmed, J.F. Madan, Abdul Jabbar Khan and some others cinema was put forward as the latest form of entertainment and art. From the very beginning, endeavors were taken to make good films in spite of the many limitations regarding film making in this region. Attempts were observed to celluloid social discourse.1 Emerging urban dwellers and different professional groups were considered as the main target audience. The way the form and content were put together was very decent and tasteful. The love story was the prevailing force in the newborn industry and the visual imagery was made truly under the purview of social legitimacy. So the middle class people found it a new, interesting medium and used to rush to the cinema hall for entertainment very often. At that time, going to the cinema hall with friends and family members, purchasing tickets, and watching movie in a darkened cinematic environment was almost a routine of most of the middle class households. During the sixties, cinema was the prime source of entertainment in East Pakistan, which is now Bangladesh. Present situation By 2001, three decades have been elapsed since Bangladesh became independent. Currently the country has a big cinema industry in comparison to its geographical entity. Over 100 full length feature films are produced by private entrepreneurship each year. Government subsidies for film making are not worth mentioning. Besides features, quite a number of short film are also made by independent film makers. Bangladesh has about 1500 cinema halls all over the country. Though the industry has developed in many spheres, cinema critics note that through this 30-year period, the quality of Bangla cinema has deteriorated to a great extent. There are hardly any modern films which can be seen in social and family environment. According to the critics these changes happened due to the introduction of extreme commercialism. Critics observe that mainstream cinema producers in Bangladesh nowadays seek ways to maximize their return on their investment. They consider movie production only as a tool of money-spinning, which causes them not to think much about the form and content of cinema as a medium of art. Commitment to society is rarely observed in their endeavors. Instead of filming social narratives, producers lean more towards celluloid fantasies, violence and sexy extravaganzas. It results in the form and content of contemporary Bangla cinema not to befitting the taste and choice of the middle class people. Contemporary Bangla cinema is overburdened with untrue stories and is removed from reality. It is often said that Bangla cinema is no longer to be enjoyed with family members due to its clownish characteristics and portrayal of eroticism and sexism. For these reasons, the middle classes, who were once the significant part of the audience of cinema, have turned their faces away from the cinema halls. They are not frequently being found at the cinema as it has not managed
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The Yearbook of the European Film C
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The Yearbook of the European Film C
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Executive Board og the European Fil
Page 7 and 8: Life after the EFC By Jens Rykær I
Page 9 and 10: Creating the documentary on Don Rob
Page 11 and 12: was to make extreme efforts to show
Page 13 and 14: The New Student Lounge Cleaning Dut
Page 15 and 16: stone. Now she has made a feature-l
Page 17 and 18: Photo: Jens Rykær The summer that
Page 19 and 20: SUMMER 2003 Irm Hermann Morten Arnf
Page 21 and 22: SUMMER 2003 Harriet Knitter and the
Page 23 and 24: SUMMER 2003 “For example”, cont
Page 25 and 26: Diary 2003-04 By Jens Rykær SUMMER
Page 27 and 28: SUMMER 2003 Chr. Brand Thomsen & Ho
Page 29 and 30: Photo: Jens Rykær Christopher Wint
Page 31 and 32: SUMMER 2003 0
Page 33 and 34: Jubilee Celebrations By Mark Le Fan
Page 35 and 36: During the weekend, guests from abr
Page 37 and 38: Ebeltoft Lecture By Mark Le Fanu EV
Page 39 and 40: EVENTS spent a wonderful summer wor
Page 41 and 42: EVENTS ly. Peter left school early
Page 43 and 44: Photo: Jean Leander News Year’s C
Page 45 and 46: at the school we began the behind-t
Page 47 and 48: FROM THE TEACHERS Visiting the Film
Page 49 and 50: Ghosts of EFC By James Fernald FROM
Page 51 and 52: Why Seek Globally... By Esben Høil
Page 53 and 54: FROM THE TEACHERS lectic process of
Page 55 and 56: FROM THE TEACHERS Having said that
Page 57: FROM THE STUDENTS At a slight angle
Page 61 and 62: FROM THE STUDENTS [The] artists wer
Page 63 and 64: The Greeks at the EFC By Persefone
Page 65 and 66: A step on the journey By Nahed Awwa
Page 67 and 68: Framing the Subjective By Laurent Z
Page 69 and 70: The Duellists By Bue B. Petersen Em
Page 71 and 72: FROM THE STUDENTS Feraud walks from
Page 73 and 74: The Berlinale Experience By Kjetil
Page 75 and 76: My left foot AWAY FROM THE EFC Rott
Page 77 and 78: AWAY FROM THE EFC
Page 79 and 80: Are you bored? LET’S GO TO THE MO
Page 81 and 82: Photo: Jens Rykær LET’S GO TO TH
Page 83 and 84: This also meant that all teachers a
Page 85 and 86: Staff News By Jens Rykær WHO’s W
Page 87 and 88: Principal and teachers: Jens Rykær
Page 89 and 90: to the “script”: preliminary re
Page 91 and 92: Guess who’s coming to dinner The
Page 93 and 94: Richard Martin: Teachers’ assista
Page 95 and 96: education as a kitchen assistant in
Page 97: Students 2003-2004 Adler, Sonny Ana
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yearbook 2004/05 - The European Film College

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