The hypothesis of the course is that the archive of images available to us today, along with digital tools, is preparing a third great epoch in the history of the cinema, after silent films and talkies. Digital editing (in which the film-maker works alone, like a painter in his studio) is taking cinema towards another form of writing, in which the camera is often actually dispensable: film has created an archive, an alphabet or a dictionary of images and films with which to (re)write its history and that of its times. From this viewpoint, works such as Godard's Histoire(s) du cinéma represent not an end but a fresh beginning or starting point for new possibilities and discoveries in film, and reinventions.
Theory seminar (6 to 8 p.m.)
Tuesday 14 April
Gonzalo de Lucas
From the Soviet avant-gardes to digital editing
Thursday 16 April
Isaki Lacuesta
Filmmakers without a camera
Tuesday 21 April
Andrés Hispano
Found-footage film
Thursday 23 April
Antoni Pinent / David Domingo
Film recreated
Tuesday 28 April
Xavier Pérez / Raffaele Pinto
Taking a second look at an image
Thursday 30 April
Fran Benavente / Santiago Fillol
Alles Kaput. History, editing and archive images
Tuesday 5 May
Pedro Costa
Filming in the cutting room
Thursday 7 May
Paulíno Viota
The appropriation of the History of the Cinema in the work of Godard
Tuesday 12 May
Joan Fontcuberta / Núria Aidelman
Blow up Blow Up
Thursday 14 May
Mercedes Álvarez
Art-house film
Practical seminar (6 to 9 p.m.)
By Núria Esquerra and Gonzalo de Lucas
Editing in process I
Group A: Tuesday 26 May
Group B: Wednesday 27 May
Group C: Thursday 28 May
Editing in process II
Group A: Tuesday 2 June
Group B: Wednesday 3 June
Group C: Thursday 4 June
Viewing and appraisal of the workshop shorts
Group A: Tuesday 9 June
Group B: Wednesday 10 June
Group C: Thursday 11 June
Individual editing work is optional, but all participants may follow the practical seminar, during which the projects and short films will be commented on. To take part in editing, participants must have a computer and an editing program (Premiere, Final Cut, Avid or similar).
