Programme available to all types of Ji.hlava IDFF accreditation will be held in English. Susanna Baranzhieva's and Vitaly Mansky's lectures will be in Russian with simultaneous translation to English.
Wednesday, October 24
4:30 - 6:00 pm
Lecture: "Opening of the film”
by Thomas Ernst, editor and script editor, Germany/Hungary
Moderated by Iikka Vehkalahti
Hotel Gustav Mahler (HGM), room 2
Editing is a very subtle process that consists in assigning meaning to images and shaping them into stories. In his lecture, film editor Thomas Ernst will discuss this process both on a theoretical level and a practical one that will touch upon all the stages that editors/ story tellers /writers have to go through when confronted with hundreds of hours of rushes. Using texts and examples from films he has edited, Thomas will reveal particularly how to edit opening of the film, how to manifest our story into the "first four minutes".
Thursday, October 25
10:00 am - 11:30 am
MASTERCLASS: Sean McAllister, director, UK
HGM, room 2
Sean McAllister is an award-winning documentary filmmaker celebrated as one of the UK’s most exciting talents. From his early films Working for the Enemy and Minders, both nominated for a Royal Television Society Awards, to his successes, Sundance Jury Prize-winning Liberace of Baghdad, Japan: A Story of Love and Hate and Prize-winning A Syrian Love Story, Sean’s work continues to inspire, surprise and fascinate audiences. Sean will be describing his unique approach to documentary direction and camerawork. We will learn about, how it is to shoot a film in his home country and home town, after being for so many years dedicated to the topics and protagonists in other parts of the world.
Friday, October 26
10:00 am - 18:30 pm (incl. coffee breaks)
Lecture: LEGAL ISSUES OF INTERNATIONAL CO-PRODUCTION I, II, III, IV
by Dr. Stefan Rüll. Support - Mikael Opstrup
HGM, room 2
A series of four lectures by Dr. Stefan Rüll, German attorney-at-law and specialist in international co-production and author’s rights, will offer an insight into the essential legal framework that is established when an audio-visual project overlaps the framework of national production.
Friday, October 26
5:00 pm - 6:30 pm
LECTURE „History of Joke“
by Mike Bonanno, director and activist, USA
Dukla Cinema - Reform – Jana Masaryka 20
As The Yes Men, Andy Bichlbaum and Mike Bonanno's brand of activism that has kept them in the headlines in USA for nearly two decades. They have made few feature films. They have also started online Action Switchboard website which was recently launched as a platform for participatory direct action. By injecting humor into drop-dead serious subjects, they provoke laughter and debate from audiences. Igor Vamor alias Mike Bonanno of the notorious “Yes Men” will talk and answer questions and more in a lively lecture that begins with a brief history of tricksters and progress and ends with lively autobiographical lessons he’s learned in over 20 years of comic creative direct action.
Saturday, October 27
10:00 am - 11:30 am
LECTURE “The audience engagement for documentaries”
by Joanna Solecka, Film Marketing Strategist, Alphapanda, Poland
HGM, room 2
Are documentaries being an effective way to communicate serious matters to the public, motivating dialogue and action around important issues. The following session explores the contemporary documentary within a networked, new media landscape. It addresses how new media can be utilised by filmmakers wishing to expand the dialogue around their films subject and increase public awareness and engagement.
Alongside traditional, on-the-ground approaches to audience engagement, new media tools and platforms can be used in a myriad of ways to increase communication and social impact. Session will focus on how new media can be applied effectively, throughout the documentary process, to heighten social engagement and impact, finding larger audiences.
Saturday, October 27
12:00 pm - 1:30 pm
LECTURE: "Story of our company“
by producer KriStine Ann Skaret, Stray dog productions, Norway/Denmark
HGM, room 3
How is it to run a fairly small production company, producing only creative documentaries. Mission or a profession?
With clips from different movies that she has worked on, KriStine Ann Skaret, will talk about documentaries, about creating a unique strategy for each film and director and how is it to accomplish this creative producing process. Moderated by Ivana Pauerová Miloševičová.
Sunday, October 28
3:00 pm - 5:00 pm
LECTURE: "Tribute to Alexander Rastorguev"
by Susanna Baranzhieva, teacher, director and screenplay writer, Russia
Dukla Cinema - Reform – Jana Masaryka 20 (come 20 min before it starts)
A session dedicated to recently killed director Alexander Rastorguev who was best known for his documentary Srok (The Term) about Russia’s anti-Putin opposition. Alexander was slayed together with other two Russian journalists recently in Central African Republic while investigating a Russian private military company with links to the Kremlin, according to top ranked media world agencies.
Sunday, October 28
5:30 pm - 7:00 pm
MASTERCLASS: Vitaly Mansky, director, Russia
Horácké Theater – Komenského 22, Main stage (come 20 min before it starts)
Russian filmmaker feature documentary: ”Putin’s Witnesses” is portrait of Russia from a unique and unlikely perspective. Composed exclusively of archive footage shot by the director Vitaly Mansky at the very beginning of Putin’s presidential era. The director will discuss his process of weaving together these materials to create a greater picture in this extended case study of the film.
Monday, October 29
10:00 am - 12:00 pm
LECTURE: What is a script in documentary film?
by Susanna Baranzhieva, teacher, director and screenplay writer, Russia
HGM, room 7
Is there such a thing? And how is possible to write it in context of the genre? What is it that differentiates a documentary film from a security camera feed? Or the home video for that matter? Or a news report?
Or a vlog channel?
The difference is screenwriting.
If we have ever watched a documentary, we’ve felt it: the narrative pull; the emotional investment we find ourselves a part of; the concern, the craftsmanship, the wonder at how much time and effort went into documenting whatever fantastic, yet utterly REAL, story is unfolding. And nearly all of that is because the filmmaker telling the story, is actually a storyteller making a film. A storyteller that has done a screenwriting before.
Training