Methodology, Skills and Professional Benefits Participants Participants' Comments MEDICI Coordinator and Head of Studies «The 12 Labours of Hercules» Report of the Reports – Workshops 1 to 4

Reports Previous Workshops

Sixth Workshop – 27 to 29 September 2016 – Warth (Switzerland)

Module 6 – Hybrid contents: the mix of different artistic disciplines

Introduction

There are new ways for artistic content creators to develop, finance and distribute their audiovisual works and to engage with audiences in both classic screenings and exhibition environments and beyond.

Or, in other words:

Case Study 1 / Funding Artist Feature Films: in the borderland between art and film

Please also see Tobias Pausinger’s presentation (PDF)

What is artist feature film?

Why Artist film?

But

Different categories of artist films

1. From the WHITE BOX to the BLACK BOX

Films made by visual artists who move directly from the art world to the art-house film world. They create films that adopt the style and narrative of classic art-house cinema, and are not one-man shows any longer, but collaborative projects.

Examples:

2. From WHITE BOX to MULTIPLEX

This category includes only very famous visual artists.

Examples

3. From WHITE CUBE to WHITE CUBE

4. From BLACK BOX to WHITE CUBE

Art-house filmmakers start making art installations. Those installations are not part of any film. By selling them, or having them commissioned by the museums and art galleries, the filmmakers in fact earn money that they later invest into a feature film.

Example:

Hybrid Projects

Difference Between Arthouse and Artist Films

Art-house films Artist films
DEVELOPMENT
Auteur’s vision Collaborative, includes other art forms
Predictable Performative and unforeseeable
One-form Hybrid of visual arts and film
Scripted Non-scripted (only a concept)
Director knows how to make a film Director knows why he wants to make a film
Based on storytelling Based on process-following
Clear crediting system Chaotic crediting system
Director include him/herself in the budget Director does not include him/herself in the budget
Selling the rights Selling the product
Clearly defined producer’s function No clearly defined producer’s function
FINANCING AND RECOUPMENT
Transparency Collector’s secrecy
Contractual commitment Handshake
Recouping (producer) Owning (collector)/selling (gallerist)
Co-producer Investor
A lot of available data No data on financing and sales
DISTRIBUTION AND EXHIBITION
Distributing Collecting
Owning “rights” Owning an “object”
Sublicensing Selling
Territorial distribution Institutional distribution
Long gestation time of a film process Long programming process of galleries and museums (i.e. two years in advance)
Broad distribution Scarcity and limited access (museums/galleries)

Challenges for the film funds

Recommendations for film funds

Case Study 2 / The “FUSION” project (Sweden)

www.filminstitutet.se/sv/sok-stod/filminstitutets-stod/produktionsstod/fusion/
(see PDF document for translation)

The idea behind

Participants

Supporters

Methodology

Outcomes of group discussions

Optimistic approach

Skeptical approach

The Development of Content: Challenges and Opportunities – Public Funds as Pawns or Players?

Illustrations by Séverine Leibundgut

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