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Introduction: More Than Film School—Why the Full Spectrum of Practice-Based Film Education Warrants Attention

  • Mette Hjort
Chapter
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Part of the Global Cinema book series (GLOBALCINE)

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 of becoming not only 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.

Keywords

Middle East Creative Industry Institution Building Cultural Policy Training Initiative 
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Notes

  1. 2.
    The Danish Directors 2: Dialogues on the New Danish Fiction Cinema, ed. Mette Hjort, Eva Jørholt, and Eva Novrup Redvall (Bristol: Intellect Press, 2010), 231.Google Scholar
  2. 3.
    The Danish Directors 3: Dialogues on the New Danish Documentary Cinema, ed. Mette Hjort, Ib Bondebjerg and Eva Novrup Redvall (Bristol: Intellect Press, 2013).Google Scholar
  3. 5.
    See Richard Maxwell and Toby Miller, “Film and the Environment: Risk Off-screen,” in Film and Risk, ed. Mette Hjort (Detroit: Wayne State University Press, 2012), 272. See also, Mette Hjort, “The Film Phenomenon and How Risk Pervades It,” in Film and Risk, 20–22.Google Scholar
  4. 14.
    Mette Hjort, “Danish Cinema and the Politics of Recognition,” in Post-Theory, ed. Noël Carroll and David Bordwell (Madison: University of Wisconsin Press, 1996).Google Scholar
  5. 17.
    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);Google Scholar
  6. see also Mark Bray and Steve Packer, Education in Small States: Concepts, Challenges, and Strategies (Oxford, England and New York: Pergamon Press, 1993).Google Scholar
  7. 18.
    See Mette Hjort, Small Nation, Global Cinema (Minneapolis: University of Minnesota Press, 2005),Google Scholar
  8. and Mette Hjort and Duncan Petrie, “Introduction,” in The Cinema of Small Nations, ed. Hjort and Petrie (Indianapolis and Edinburgh: University of Indiana Press and Edinburgh University Press, 2007).CrossRefGoogle Scholar
  9. 19.
    The Danish Directors: Dialogues on a Contemporary National Cinema, ed. Mette Hjort and Ib Bondebjerg (Bristol: Intellect Press, 2001); The Danish Directors 2; The Danish Directors 3.Google Scholar
  10. 21.
    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).Google Scholar
  11. 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).Google Scholar
  12. 24.
    Tom Edgar and Karin Kelly, Film School Confidential: Get In. Make It Out Alive (New York, NY: Perigee, 1997).Google Scholar
  13. 25.
    Projections 12: Film-makers on Film Schools, ed. John Boorman, Fraser MacDonald and Walter Donahue (London: Faber & Faber, 2002).Google Scholar
  14. 26.
    Ni Zhen, Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation (Durham: Duke University Press, 2001).Google Scholar

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© Mette Hjort 2013

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  • Mette Hjort

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