Daily programs will generally begin with a brief introduction to the day’s activities, then a film followed by a discussion session.  Workshops will continue in the afternoons, and optional activities and open workshop sessions will be held in the evenings.

THE ARTIST – THE JOURNAL:  KEYS TO FINDING ONE’S VOICE

We will be exploring “the journal” as a (visual as well as literary) form of autobiography, how it permits the artist a frankness that art created for exhibition or sale cannot, and how the activity of keeping a journal is related to the creative process.  Our exploration will include creating formats and developing journals of our own which can be in visual, textual or combined formats.

MIMESIS AND THE ARTIST AS MENTOR – THE ARTIST AS MUSE

This workshop will explore the way in which the relationship between yourself and an artist can be developed into a relationship like that of student to mentor, through the process of mimesis rather than imitation.  We will discuss the roots of mimesis and apply the lessons to group and individual exercises—and to various art forms. We will also survey of some of most significant mentor/learner relationships in the history of art, such as Verrochio and da Vinci, as well as some of the important mentor/learner relationships in cinema, as well.

MICRO-ART: SHORT SUBJECTS IN FILM, LITERATURE AND ART

In this workshop, we will explore the short (or micro) subject, as it is articulated in filmed, written and visual forms. We will also experiment with combined forms—most particularly words and images. Our two short subjects films will include: several episodes from Creature Comforts and Visas and Virtues. Our written focus will be on selected works of micro-fiction, and our visual emphasis will be on miniature painting and illuminated manuscripts.

ICONOGRAPHY AND NATURALISM

In this workshop we will explore the origins of iconographical elements, the development of naturalism, and iconography and naturalism as metaphor. We will discover how symbols have become embedded in the language of all art forms, and how natural elements have been, and continue, to be described and interpreted in literary and visual forms.

ARTISTIC RESPONSES TO CRISIS

Throughout the ages, writers, philosophers, artists and filmmakers have utilized their talents to respond to crises in their cultures. In this workshop, we will examine and discuss the filmic, written and visual treatments of works devoted to crisis themes, and analyze how the “vocabularies” created present the crisis and the potential solution. As part of this process, we will discuss the documentary film as a journal approach to filmmaking, and will watch and discuss An Inconvenient Truth (2006), which focuses on global warming.

THE ULTIMATE COLLABORATION?

In this workshop, we will look closely at the art of telling stories, in all art forms, and the extent to which all art is “collaborative”.  We will be considering narrative form, style, genre, and the interdisciplinary approaches taken to communicating, mood, tone and ultimate thematic objectives. We will examine dialogue, narration, imagery, color choices, music and the methodologies of selected works of film, literature and visual art—in efforts to identify how elements are creatively synthesized in storytelling.

OPTIONAL FILMS FOR EVENING VIEWING

There will be available an array of films for viewing in the evenings during this workshop.  The scope of cinema will be presented – from feature-length to short films, and Hollywood blockbusters to independent art-house films, as well as animated films and documentaries – from more than sixty years of movie history.  Such films available are:  Casablanca, The 400 Blows, Delicatessen, The Man in the Iron Mask, City of Lost Children, The Talented Mr. Ripley, Le Fableau destin d’Amelie Poulain, March of the Penguins, An Inconvenient Truth, Visas and Virtues, West Bank Story and Creature Comforts.  A more extensive list will be made available to attendees once they have registered.

Faculty Information

Dr Jill Kiefer has been designing, coordinating and leading arts programs for over twenty-five years. She has taught and teaches Fine Arts, Art History, Media Studies and the Humanities for the Mount Saint Mary's College, Warnborough College, Glendale Community College, Los Angeles Valley College, Palos Verdes Art Center, University of New Mexico, and the California public schools. Dr.. Kiefer has led workshops, tours and presentations in the USA and Europe--and has developed curricula for hundreds of workshop and presentation programs. She is a published author, editor, artist and illustrator, and is the founder and director of Port-of-Arts, Ltd.

INFORMATION ON ADDITIONAL FACULTY MEMBERS WILL BE PUBLISHED SHORTLY

Contact Details

Daily programs will generally begin with a brief introduction to the day’s activities—and a recap/status update of our project(s).  Selected films and clips will be used to orient participants to the topic of the day and will also interface with the workshop sessions.  Workshops will continue in the afternoons and evenings, as we work toward completing a film(s) of our own; optional activities (e.g. film screenings) and open workshop sessions will be held in the evenings.

Please note:  Because we will be unable to see all films discussed in their entirety, attendees will be given a complete list of films to be addressed in the program, all of which are available for rental or purchase. Participants are encouraged (but not required) to view these films in advance of the program.

Precise dates for the programme will be published shortly. All places are on a first-come-first-serve basis only. Places are strictly limited to 15 people per workshop.

Workshops

By watching films we learn how they are made and, in a sense, become critics ourselves.  We soak in the details, scrutinize the directorial choices, memorize the dialogue, study the editing, focus on the music, art direction, sound and special effects choices – essentially we take ownership of those cinematic works we most admire. In this workshop, we will discuss how one applies what has been learned by observation but without being imitative.  By utilizing an analytical approach of Mimesis (the Ancient Greek technique of literary imitation) we will uncover how we take the cinematic language of various film masters and create a unique vocabulary of our own.  We will be looking at the work of several directors such as Alfred Hitchcock, Woody Allen and Fritz Lang, and performers such as Meryl Streep, Philip Seymour Hoffman and Frances McDormand. 

‘IT’S A WRAP’: FILM CULTURE AND THE NUTS AND BOLTS OF PRODUCTION

There’s always a long way to go before anyone hears this phrase on a film set! In this session, we will discuss the various components of filmmaking, and the key role each person plays, from the film’s first inception with the screenwriter to postproduction, marketing and distribution. The nature of collaboration that is essential to a successful film will be addressed, along with the various approaches, and the adjustments made to a cast and crew set when making a low budget film.  Such roles discussed will be: screenwriter, director, set decorator, cinematographer, boom operators, dolly grip, gaffer, best-boy, foley and editor. 
 

 ‘MICRO-FILM’: THE SHORT SUBJECT AND THE ‘ SHORT SHORT’

The short subject enjoyed enormous exposure during the days when a “short” always preceded the feature film in movie theatres. In the years following its heyday, the short began to cover a much broader range of topics and became far more sophisticated.  Both the exposure for and attention paid to short subjects has changed dramatically, with the emergence of new venues for the short subject such as online distribution, film festivals and competitions.  In this workshop we will explore the short (or micro) film in order to understand both how and why short subjects are produced, and how the structure of a micro-film differs from that of a feature film.  Films examined will include Un Chien Andalou, The Wrong Trousers and The Danish Poet.  In addition to learning about the history, development and production of the short subject—this workshop experience will give us many of the tools we need to complete the collaborative short film we will produce during or program! 

SEPARATING FACT FROM FICTION: VIEWING FILM WITH A CRITICAL EYE

In this session, we will critically examine those films regarded as masterpieces which are based upon ‘real events’— with a view toward separating the facts from the fictions. Film plays a significant role in shaping cultural values and communicating information, so one must question how much artistic license a movie-maker can exert when depicting ‘the truth’ before he pushes the boundary of being ‘a good storyteller’ to being irresponsible.  We will be examining films that include historical dramas, political thrillers, documentaries, ‘biopics’, docudramas in order to attempt to identify ‘truths’ that have been stretched both to and beyond the boundaries of reality, for the sake of a good story and/or a commercial success. We will discuss this issue at length as we examine such films as Citizen Kane, The Ten Commandments, Malcolm X, Ed Wood, and Elizabeth.

THE DOCUMENTARY: INFORMATIVE OR MIS-INFORMATIVE?

In this workshop, we will examine the documentary—as a genre—and discuss its power and influence over the realms of facts and ideas. We will discuss whether the biased documentarian is really trying to provide a thought-provoking experience or is attempting to manipulate rather than inform our thinking.  We will also be exploring who it is that funds documentaries, who buys them, whether the market for documentaries has changed and if documentaries will ever be totally assimilated into mainstream cinema.  We will discuss films such as, Farenheit 911, An Inconvenient Truth and March of the Penguins. We will also examine a number of short documentaries, and analyze the evolution of the documentary film over time.

FROM WORDS TO PICTURES: AN ANALYSIS OF ADAPTATIONS FOR THE SCREEN

We have probably all lost count of the number of times we’ve said: “The movie was good but I liked the book better”.  In this workshop we will examine films that have been adapted for the screen from literature, dramatic works, and theatrical productions in order to arrive at our own conclusions about the best and worst of the lot, and the reasons behind our choices.  We will be questioning: why people frequently prefer primary source material over screen adaptations; why we sometimes feel that the integrity of an author has been betrayed by an adaptation; and why – in those rare instances in which a screen adaptation surpasses the quality of the original material – does the film achieve a critical acclaim that the original work would never have garnered.  Films we examine will include 1984, The Godfather, Jaws, Pride and Prejudice, Hamlet (Branagh and Brooks versions), Schindler's Ark (Schindler's List) and To Kill a Mockingbird.

THE ICONIC FILM: THE INTEGRATION OF CINEMA INTO CULTURE

Most successful films are greater than the sum of their parts. But some movies contain cinematic moments or pieces of dialogue that become part of our individual psyches and our cultural fabric. These films are considered “iconic” because they contain moments that survive and transcend time and place in moments that embody a universal understanding and appeal.  Powerful cinematic moments, moods and suggestions from iconic films stay with us forever. They make their way into everything from ad campaigns and TV commercials to parenting techniques and negotiation strategies. They influence our personal philosophies and our fashion choices, and both reflect and define our culture. We will examine the power of iconic films within cultural, societal frameworks—and identify how they articulate such concepts as good, evil, passion, nobility, cowardice, courage, honor and humility. Films examined will include Citizen Kane, Dirty Harry, King Kong, Annie Hall, 2001: A Space Oddysey and It’s a Wonderful Life.

MAKE ‘EM LAUGH: THE SERIOUS BUSINESS OF COMEDY

Film comedies are wonderful vehicles for helping us to enjoy some much laughter and keep all of the drama of our world in a balanced perspective. In addition, a comedy can go as far as any dramatic film in enlightening us about world issues and personal relationships. The making of a successful comedy is a serious endeavor, which involves a high degree of artistry at every level of production. In this workshop, we will explore numerous approaches to comedy such as: physical comedy, satire, farce, absurdist comedy, black comedy, parody, screwball comedy and romantic comedy. Our goal will be to come up with our own definitions of “funny” and to identify why and how the best comedies of all time are able to survive time, space, and changing cultural values and tastes. We will explore some of the masters of comedic cinema including such icons as Buster Keaton, Laurel and Hardy, Peter Sellers, Jerry Lewis and Bob Hope. The movies we examine will include such comedies as Duck Soup, Airplane, Monty Python and the Holy Grail, Some Like it Hot, Dr. Strangelove, MASH, Young Frankenstein, and The Simpsons Movie.
 

THE “UNFOREIGN” FOREIGN FILM: AN ANALYSIS OF THE FOREIGN LANGUAGE CATEGORY

The notion of ‘foreign’ is relative: film is only “foreign” if you do not happen to live in the country where it was produced and speak the native language. The finest non-English speaking films cross all ethnic and national boundaries and speak to us in “tongues” using the universal language of cinema. In this session, we will examine those masterpieces of film that have earned their acclaim by doing just that. Because many of these films cannot be wholly understood through translated subtitles, we will pay close attention to those dynamic, non-verbal devices that define characters, tell stories, and drive thematic content. The understanding and sensitivity gained through this experience will help us to recognize the value of non-verbal language, as expressed on film. Our cinema library for this workshop will cover a broad base of genres, and will include films such as Day for Night, The Seven Samurai, War and Peace, Il Postino,and Crouching Tiger, Hidden Dragon.

‘THE LITTLE MOVIE’: AN EXAMINATION OF INDEPENDENT FEATURES

There have always been some independent films; however, the “indies” really began to enjoy their heyday in the 1960s. Filmmakers who were weary of the old studio system and wanted more control over their projects were able to do so, as the studio system began to break down. Some of the independents simply raised funds, others formed their own companies, and, before long, there were a variety of festivals cropping up — strictly devoted to independent films — as well as film “camps”, such as Sundance.  Independent films are still typically produced on a much smaller budget than studio features, and are often characterized as being ‘artsy’ or offbeat. In this session, we will examine some of the most noteworthy independent features, and identify the ways in which they’re different from major studio releases—in terms of subject matter, cinematic style, “look”, and other characteristics. We will attempt to determine why we are drawn to independent films, and how these films actually get produced. Among the films we discuss will be: Raising Arizona, One Flew Over the Cuckoo's Nest and Chinatown.

THE FILM PROJECT

In addition to—and in conjunction with—the presentations described above, we will have daily workshops focused on completing a short film of our own. The content and subject matter will be determined by the participants and program leaders—and we will work the project from development through to post-production. This will be a fun and challenging exercise in experiential learning—and everyone involved will have at least one role to play in the process. We’ll work together as a film crew—in the spirit of collaboration—to write, produce, direct, perform, edit, score, distribute, and exhibit, market, and review our film. 

Faculty Information