Valerie Heine

Dieses Seminar ist verbindlich für alle, die am GLS Spielfilmregie im Sommersemester teilgenommen haben (Vorbereitung und Dreh). In diesem Seminar werden wir in vier Sitzungen die Montagevorschläge des gedrehten Materials gemeinsam analysieren. Wir reflektieren dabei die gemachten Erfahrungen, insb. unter dem Blickwinkel der Bildaufnahme, der Schauspielführung und der daraus resultierenden Montagemöglichkeiten. Außerdem begleiten wir die Studierenden während ihres gesamten Postproduktionsprozesses bis hin zur Premiere ihrer fertigen Spielfilmübungen. Termine: 31.10, 14.11, 28.11, 12.12

In dem Seminar liegt der Fokus darauf, Grundlagen der Schauspielkunst durch praktische Erfahrungen zu vertiefen. Teilnehmer*innen sollen sich selbst als Laienschauspieler*innen erleben. Es werden verschiedene Schauspieltechniken z.B. von Lee Strasberg, Stella Adler, Sanford Meisner, Uta Hagen und Michael Chekov eingesetzt, wobei die Lehren Stanislavski´s die Grundlage unserer gemeinsamen Arbeit bilden. Ziel ist es, die Anwendbarkeit dieser Techniken auf Laiendarsteller*innen zu erkunden und einen Raum für individuelle und experimentelle Herangehensweisen zu schaffen. The seminar focuses on deepening the basics of acting through practical experience. Participants should experience themselves as amateur actresses. Various acting techniques such as those of Lee Strasberg, Stella Adler, Sanford Meisner, Uta Hagen and Michael Chekov will be explored, with Stanislavski's teachings forming the basis of our work together. The aim is to explore the applicability of these techniques to non-professional actors and to create a space for individual and experimental approaches.

Editing a film is the moment when everything comes together. Everything that went well and everything that was a disaster during filming. In editing, we are confronted with the realities of our material and how it might differ from our original script and vision. We have to work with this material and in a way rewrite the film through montage. With two editors, Benjamin Mirguet and Matthieu Taponier, who both have extensive experience as consulting editors at First Cut Lab, we want to focus on understanding what is useful feedback, how we can filter it and how we can decipher and understand the feedback in order to find solutions for decision making in the editing process. In the first part of this seminar we want to look at different cuts of a feature film and discuss how the changes affect the viewing experience. In the second part, the seminar offers a unique opportunity to students who are currently working on a narrative film project to gain practical insights into film editing: Participants can receive direct feedback on their own cuts as part of a simulated "First Cut Lab". They then have the opportunity to consult with an experienced editor in order to analyse the feedback they have received and develop optimal solutions for film editing. The seminar is open to students who are in the process of editing a narrative film, and participants who want to follow the process and learn by listening and watching. We are not yet sure how many films we can include, that will be watched, discussed, receive consultation etc. as this depends on the length of the films. But we would try and incorporate as many as we can. It could be anything from 4-6 narrative films. Benjamin Mirguet is an editor, consultant, director, festival curator. As an editor, he edited amongst others: Battle in Heaven - Carlos Reygadas, The Sky Trembles and the Earth is afraid and the two eyes are not brothers - Ben Rivers etc. He has been involved as a consultant editor for the First Cut Lab since 2015. Working as part of the Team at the Co-Production Office, he is very involved creatively during the entire process of the films they produce, but especially in charge of the creative post production strategies. Matthieu Taponier was born in 1982 in Paris, France. After studying Modern Literature, he completed an M.F.A. at New York University’s Tisch School of the Arts. Since 2009, he has been working as a screenwriter, script editor and film editor. He was a TorinoFilmLab Script&Pitch story editing trainee in 2012 and a script consultant for the Semaine de la critique « Next Step » lab in 2014. He worked as a script editor and film editor on Laszlo Nemes’ Son of Saul, Grand Prix at Cannes Film Festival 2015. Please apply if you have a rough cut or version of your film that you want to present. Or if you want to participate without a film, apply anyway. The seminar will be held in English.

Das künstlerisch filmische Arbeiten im Kollektiv ist eine echte Alternative zum von der kapitalistischen KI favorisierten Einzelkämpfer*innentum. Anhand von internationalen Film- und Performancebeispielen wollen wir erforschen, wie das gemeinschaftliche Arbeiten Erzählform und Tonalität beeinflusst und zu Ergebnissen führt, die in hierarchischen Strukturen so nicht möglich wären. In unserem Seminar werden wir die Vorteile kollektiver Arbeit eingehend betrachten und dabei sowohl ihre Potenziale als auch die damit verbundenen Grenzen und Herausforderungen diskutieren. Zu diesem Zweck werden wir Gespräche mit Mitgliedern verschiedener Kollektive führen, die bemerkenswerte Performances und Filme produziert haben, um Einblicke in ihre praktischen Erfahrungen zu gewinnen. Artistic film work in a collective is a genuine alternative to the lone wolf approach favoured by capitalist AI. Using international film and performance examples, we want to explore how collaborative work influences narrative form and tonality and leads to results that would not be possible in hierarchical structures. In our seminar we will look in depth at the benefits of collective work, discussing its potential as well as its limitations and challenges. To this end, we will have conversations with members of various collectives who have produced remarkable performances and films to gain insights into their practical experiences.