Abstract
Adapting Simone de Beauvoir’s well-known phrase, one is not born a filmmaker but becomes one.1 To ask about the nature of practice-based film education as it has emerged around the globe and exists today, is to begin to understand how filmmakers become filmmakers. Inquiry along these lines sheds light on the process not only of becoming a filmmaker, but also a particular kind of filmmaker, where “kind” encompasses skills, as well as narrative and aesthetic priorities, preferred modes of practice, and understandings of what the ideal roles and contributions of film would be.
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Notes
Mette Hjort, “Danish Cinema and the Politics of Recognition,” in Post-Theory, ed. Noël Carroll and David Bordwell (Madison: University of Wisconsin Press, 1996).
Miroslav Hroch, The Social Preconditions of National Revival in Europe: A Comparative Analysis of the Social Composition of Patriotic Groups among the Smaller European Nations (Cambridge: Cambridge University Press, 1985);
see also Mark Bray and Steve Packer, Education in Small States: Concepts, Challenges, and Strategies (Oxford, England, and New York: Pergamon Press, 1993).
Mette Hjort, “Affinitive and Milieu-Building Transnationalism: The Advance Party Project,” in Cinema at the Periphery, ed. Dina Iordanova, David Martin-Jones, and Belén Vidal (Detroit: Wayne State University Press, 2010). See also, Mette Hjort, “On the Plurality of Cinematic Transnationalism,” in World Cinemas, Transnational Perspectives, ed. Nataša Durovicová and Kathleen Newman (London and New York: Routledge, 2010).
Tom Edgar and Karin Kelly, Film School Confidential: Get In. Make It Out Alive (New York: Perigee, 1997). 2 5. Projections 12: Film-makers on Film Schools, ed. John Boorman, Fraser MacDonald, and Walter Donahue (London: Faber & Faber, 2002).
Ni Zhen, Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation (Durham: Duke University Press, 2001).
Cornelius Castoriadis, The Imaginary Institution of Society (Cambridge: Polity Press, 1987),
cited by Meaghan Morris and Mette Hjort in “Introduction: Instituting Cultural Studies,” in Creativity and Academic Activism: Instituting Cultural Studies, ed. Meaghan Morris and Mette Hjort (Hong Kong and Durham: Hong Kong University Press and Duke University Press, 2012).
Toby Miller and George Yúdice, Cultural Policy (London: Sage Publication Ltd., 2002).
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© 2013 Mette Hjort
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Hjort, M. (2013). Introduction: More than Film School—Why the Full Spectrum of Practice-Based Film Education Warrants Attention. In: Hjort, M. (eds) The Education of the Filmmaker in Africa, the Middle East, and the Americas. Global Cinema. Palgrave Macmillan, New York. https://doi.org/10.1057/9781137032690_1
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DOI: https://doi.org/10.1057/9781137032690_1
Publisher Name: Palgrave Macmillan, New York
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