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Open Day
The school holds a registration open day on three dates.
During this day a guided tour of school will be held, student films shown, a meeting with a graduate and school management.
Open day will also be held on the following three dates:
Thursday 5.1.2012
Thursday 29.3.2012
Thursday 24.5.2012
Please confirm arrival by phone a week prior to the date with the school’s administration office.
Registration can be done by anyone with a Matriculation certificate*, that views him/herself fitting for the screenwriting program studies and is not over 35 years old at the start of the school year. Prior knowledge or experience in cinema and/or television is not necessary. Certain preference will be given to people with background in writing and creating.
*The acceptance committee is able to accept students with a proven academic history that did not complete the full Matriculation certificate.
Registration fees: 440 NIS.
Cancellation of application:
Candidates who will cancel his/hers application will not be entitled to any registration fees refund.
Dates of registration:
Registration to the school has started in November and ends in June. After registration and filling out the forms (detailed in a separate article hereto), the applicant must write a home exam (until application exams date 14.2.2012).
First Application Period: 30.10.11-2.2.12
Application exams: 14.2.12
Interviews: 14.3.12
Second Application period: 4.3.12-14.6.12
Application exams: 26.6.12
Interviews: 25.7.12
Registration stages:
Stage 1 - Home exams
The applicant must fill in the registration form completly and ensuring that the form has reached at the school's administration with the registration fee of 440 NIS. The applicant will receive home exams that he/she must prepare as per the administration's instructions and deliver them to the school no later than the date mentioned above. The school estimates the duration of time it takes to prepare the home exams as 3 weeks. Thus, it is highly recommended to deliver the registration form as soon as possible.
Prior works – prior works attesting to the story telling abilities in the different writing fields can be submitted. They must be delivered with the home exams to the school administration no later than the date mentioned above. A copy of the works and not the original should be submitted. The school has no obligation to return any prior works.
The school holds a registration open day on three dates.
During this day a guided tour of school will be held, student films shown, a meeting with a graduate and school management.
Open day will also be held on the following three dates:
Thursday 5.1.2012
Thursday 29.3.2012
Thursday 24.5.2012
Please confirm arrival by phone a week prior to the date with the school’s administration office.
Registration can be done by anyone with a Matriculation certificate*, that views him/herself fitting for the screenwriting program studies and is not over 35 years old at the start of the school year. Prior knowledge or experience in cinema and/or television is not necessary. Certain preference will be given to people with background in writing and creating.
*The acceptance committee is able to accept students with a proven academic history that did not complete the full Matriculation certificate.
Registration fees: 440 NIS.
Cancellation of application:
Candidates who will cancel his/hers application will not be entitled to any registration fees refund.
Dates of registration:
Registration to the school has started in November and ends in June. After registration and filling out the forms (detailed in a separate article hereto), the applicant must write a home exam (until application exams date 14.2.2012).
First Application Period: 30.10.11-2.2.12
Application exams: 14.2.12
Interviews: 14.3.12
Second Application period: 4.3.12-14.6.12
Application exams: 26.6.12
Interviews: 25.7.12
Registration stages:
Stage 1 - Home exams
The applicant must fill in the registration form completly and ensuring that the form has reached at the school's administration with the registration fee of 440 NIS. The applicant will receive home exams that he/she must prepare as per the administration's instructions and deliver them to the school no later than the date mentioned above. The school estimates the duration of time it takes to prepare the home exams as 3 weeks. Thus, it is highly recommended to deliver the registration form as soon as possible.
Prior works – prior works attesting to the story telling abilities in the different writing fields can be submitted. They must be delivered with the home exams to the school administration no later than the date mentioned above. A copy of the works and not the original should be submitted. The school has no obligation to return any prior works.
Stage 2 – Selection Examinations in the School
The examinations take place in the school and do not require early preparation. The examinations change from year to year and from date to date. Following the results of the home exams and school exams the selection committee decides which candidates will be invited for the personal interview stage.
Stage 3 – personal interview
Applicants who passed stage 1 will be invited for an interview with the committee on dates that will be published later on. The committee will determine the admission/exclusion of applicants.
Tuition
The administrative board of the school decides each year the annual tuition. The tuition for 2012/13 school year will be 16,000 NIS. An additional fee must also be paid at the amount of 950 NIS during the first year for a subscription to the Cinematheque, books, prints and enrichment activities costs and 400 NIS for the second year.
Independence and changes
The school has the full and sole consideration to change the curriculum and productions. The students will be subject to the schools regulations book.
Curriculum
First year
The school year is divided into two semesters with an intermediate holiday 4 weeks long. Each semester is 14 weeks long. The opening week is dedicated to professional workshops at school. During the second week a movies and lectures marathon takes place intended for all the students and starting with the third week the semester schedule begins.
During the 12 weeks of regular studies, there are about 40 weekly hours in four days (Sun-Wed 09:30-19:00) and on the weekends the students go on productions. In addition, some Thursdays are used to screen works and critique. The students who keep the "Sabbath" are given the option to produce their films during the week and holidays subject to the curriculum.
The first year curriculum is mandatory for all students and is comprised of workshops and courses:
Introductions and workshops
Writing the short story
theoretical writing
introduction to screenwriting
location film screenplay
feature direction
"Mezizim" exercise, feature direction
"object" exercise, feature direction
Instructing the actors, documentary direction, basics of cinematography, cinematography by film and video, introduction to still photography, still photography, sketching and composition, Avid editing, editing, sound and sound design.
Theoretical studies
Introduction to modern art, visual art, Israeli culture, introduction to screenwriting, the classical plot cinema, the classical documentary cinema, cinematic expression – Hitchcock and others, the short Israeli cinema, the short foreign cinema, editing expression, communication map.
The students also participate in guest lectures by Israeli and foreign film personas and marathons on various subjects.
Focus towards Specializing
During the first year, the students are required to participate substantially in productions and promote artistic and professional abilities in one of the following subjects (in addition to directing): cinematography, including lighting, assistant cameraman and grip; editing, including recording and designing a soundtrack. At the end of the year each student submits his request for internship at his chosen subject and his assignation is decided according to averaging his accomplishments in this subject (production participation, passing exams and teachers evaluations). Substantial participation in production and excelling in two artistic professional subjects are criteria for continuing on to the second year.
Theoretical classes
History of the classical cinema 4 hours, annually
History of the classical documentary cinema 3 hours, semester B
Cinematic expression – Hitchcock and others 2 hours, semester A
Cinematic expression in editing 2 hours, semester B
The short foreign cinema 2 hours, semester A
The short Israeli cinema 2 hours, semester B
Introduction to modern art 3 hours, semester A
Visual art – gymnastics 1 hour, annually
Issues in Israeli culture 2 hours, semester A
Workshops
Writing – the short story 2 hours, 2 groups, annually
Theoretical writing 2 hours, 2 groups, semester B
Introduction workshop to screenwriting 2 hours, semester A
Introduction workshop to screenwriting
Thinking process 2 hours, 2 groups, semester A
Location film screenplay 2 hours, 2 groups, semester A
Fiction direction ("Mezizim") 3 hours, 3 groups, semester A
Fiction direction ("object") 3 hours, 2 groups, semester B
Instructing actors 2 hours, 2 groups, semester B
Documentary direction 3 hours, 2 groups, annually
Introduction to video cinematography 1 hour, 3 groups, semester A
Basic cinematography for film and television 3 hours, 2 groups. semester A
Cinematography in film and video 3 hours, 2 groups, semester B
Introduction to still photography 2 hours, 2 groups, semester A
Still photography 2 hours, 2 groups, semester B
Editing 1 hour, 3 groups, semester A
Editing 3 hours, 2 groups, annually
Introduction to Sound recording 1 hour, 3 groups, semester A
Sound recording 2 hours, 2 groups, semester A
Sound Recording for cinema and sound design, 2 hours, 2 groups, semester B
Sketching, 2 hours, 2 groups, semester B
Cinematheque marathons 4 hours, annually
Sponsorships 2 hours, annually
Screening works and critique 2 hours, annually
Total hours semester A: 48
Total hours semester B: 46
Total annual hours: 47
Theoretical classes
History of the classical cinema
Nachman Ingbar, 4 hours, annually
The course will follow the development of the cinema and will focus on silent films. We will discuss the relationship between cinema and art forms that preceded it and between cinema and the history and the society in which it was created. While watching movies and exerts for mainstream movies, we will debate the theoretical thought they are based on, watch leading directors works and analyze the development of the means of expression. Amongst the milestones discussed will be: reality cinema by the brother Lumier and Edison in comparison to fictional cinema by Georges Meileis; the growth of the American cinema; D.W Griffiths revolution, the cinematic comedy: Chaplin, Keaton, Harold Loyd; the Swedish and German silent films; the German expressionism; Soviet cinema, Dziga Vertov and Pudovkin, Eisenstein and Dovzhenko; American cinema during the 1920's'; French cinema during the 1920's; experimental cinema and the transfer to talking films.
History of the classical documentary cinema
Yair Lev, 3 hours, Semester B
The course will examine the different developmental stages of the documentary cinema beginning with Robert Flaherty to the 1960's. ethical positions towards the heroes of the films and their subjects will also be examined, truth and the presentation of reality issue, propaganda, esthetic strategies and poetics as well as documentary directing techniques and their association to plot direction. The course will be accompanied by watching a cluster of documentaries from various periods: Flaherty, John Grierson, Leni Riefenstahl, cinema verite in France, the free cinema in England and more.
Cinematic expression – Hitchcock and others
Yair Lev, 2 hours, semester A
The course will explore the cinematic language in a wide variety of genres and direction styles. Through scene analysis from different movies we will explore the use of cinematic language tools (camera movement' "framing", use of lighting, editing, angle of camera) and how the film director creates the required effect with the viewer through them. Samples of: "Vertigo", "Rear window" by Hitchcock, "Bonnie and Clyde" (Arthur Penn), "Journey to Cythera" (Angelopoulos), "Balthazar" (Bresson), "High hopes" (Mike Leigh), "Il deserto rosso" (Antonioni), "down by law" (Jarmusch) and more.
Cinematic Editing Expression
Halil Efrat, 2 hours, semester B
The course will explore cinema for the post production angle and deal with the theoretical side of editing: its contribution to solidifying the cinematic language and the final design of the film and how it allows for scriptural solutions. The course will examine the different ways of dealing with narratives and structures and with the development of editing through cinematic history. We will watch dozens of films from the beginning of silent films to the digital cinema today. Amongst others we will watch the works of Griffiths, Eisenstein, Orson Wells, Hitchcock, Kubrick, Karel Reisz, Kurosawa, Godard, Fred Zinnemann, Sam Peckinpah, Ridley Scott, Copula, Lynch, Wonders, Jonathan Demmi, Anonioni, De-Palma, Tarkovsky, Joseph Pitchhadza, Ari Pulman and others.
The Short Foreign Cinema
Noam Kaplan, 2 hours, semester A
During the course we will watch a selection of short films and get to know the nature of this genre as an independent genre in the film industry around the world. Analysis of the films will focus on the directors choices beginning with theme, script continuum, style, relation between form and content, photography, in music and editing. We will be introduced to a wide variety of styles from different periods and places that reveal the complexity of the genre and are used as milestones in film history: the European method versus the American, Adolescent films, Swedish critique cinema, Polish cinema, leading European student films, French cinema and the new wave, Reflexive cinema and alternative cinema.
The short Israeli cinema
Noam Kaplan, 2 hours, semester B
The short film offers a fascinating variety of creative directions and expressions which make him a fresh messenger for the renaissance of Israeli cinema. During the course we will try to analyze the "code" for making a good short film. Watch a variety of short Israeli films differing in styles and themes from various periods and focus on the films that deal with the national and personal, adolescence, death and remembrance. Amongst others we will discuss the works of Avraham Heffner, Dina Zvi Riklis, Amot Guttman, Keren Yedaya, David Ofek, Dover Koshashvili and Tawfic Abu-Wael.
Introduction To Modern Art
Ron Havilio, 3 hours, semester A
The course focuses on representation ways and interpretation ways of art works in their cultural and contemplative contexts. The course will reveal modernistic styles and movements which enhanced to autonomy of art and the budding of post modernism, that brought art to life and expanded its boundaries to cultural review. Visits to exhibitions will expand the discussion to the questions of art language, medium and display strategies.
Visual Art
Michael Lev-Tov, 1 hour, annual
Observation, a morning class for looking within before the school day, by watching the works of artists, painters, sculptures and photographers from Israel and from aborad. The works of Vermier (Holland), Pierre Bonnard (France), Mordechai Ardon, Yosef Zarizki, Moshe Gershoni, Arie Aroch and Avigdor Arikha (Israel) and others will be presented.
Israeli Culture Issues
Roy Greenwald, first year, 3 hours, semester A
The course will deal with issues in the Israeli culture through their representation in literature, television and film. Amongst other we will deal with the Zionistic Historiography, emigration, nativity, representation of the army and grief, the Palestinian identity, gender identity and the relationships between the texts. Amongst the texts discussed will be: the documentary series: "Pillar of fire", "Ressurection", the films "he walked through the fields (Yosef Milo), "A hole in the moon" (Uri Zohar), "Kikar Ha-Halomot" (Benni Torati) and texts of prose, poetry ad the writings of Moshe Shamir, S. Izhar, Nathan Altermann, Dalia Rabikovitz, Yona Wallach and Hezzi Laskeli.
Workshops
Jewish Philosophy
Hagai Dagan, 2 hours, 2 groups, semester A
Writing – The Short Story
Ofir Tosha Gaffla, 2 hours, 2 groups, annual
The course will deal with different aspects pertaining to the art of creative writing and is rich with surprises that will be revealed in various types of exercises. A special emphasis will be placed on the importance of inspiration resources absorption (in literature and other art fields like music, film/television). We will also work on tools to develop the imagination. Among the topics discussed; the difference between a muse and sources of inspiration, the wealth of the situation, number awareness, inspired story type texts, how to translate reality into story, the works structure and development, the various genres, the semantic, cultural and associative field of the written word, focusing on a selected sentiment while using sensory memory and more. The students will be required to do weekly exercises at home and in class.
Introduction To Screenwriting Workshop
Tzvika Kerzner, 2 hours, semester A
The course focuses on defining and analyzing basic terms of screenwriting in format, style and content. Discussed and practiced: presentation of narrative models, characters and conflict types, comparison between the film story and prose, introduction to the writing process beginning with the idea to the script stage and analyzing scenes and dialogues from movies and scripts.
Introduction To Screenwriting Thinking process
Shemi Zarchin, 2 hours, 2 groups, semester A
Practicing basics of screenwriting language as a story, concrete and detailed language. The nature of the film story, concretization of time, place and emotion, story observation point, plot structure and human world structure, the plot as a personality test for the hero, a realistic dialogue versus film dialogue, all these will be practiced in order to give the students the skills to write a short feature script.
Location film script
Shemi zarchin, 2 hours, 2 groups, semester B
At the center of this writing workshop is the screenwriting essence that binds between the hero, story and existential space (location of occurrence). Through a series of writing exercises and mainly developing "location scripts" (intended for production during the second year), this main screenwriting issue will be resolved as well as these other issues: the one-time hero, the one-time location, relationships between characters, the dialogue as a film action, comic writing and more.
Fiction direction ("Mezizim")
Tom Shoval, 3 hours, 2 groups, semester A
The workshop instills a fundamental infrastructure for film making as an art in space and time and a basis for the cinematic narrative. In small work groups, using the "trial and error" method the students solidify their initial cinematic language through the different stages of film making: idea, script, pre production, direction preparations, shooting, criticizing the shot material, initial editing, initial editing criticism, advanced editing, final picture editing, soundtrack and music. In the framework of the workshop every student will experience a directing exercise by video, final length will be 3 minutes. The student will also work as a cameraman, editor and producer in his colleague's films. The school provides the student with all the necessary equipment and raw material for this exercise.
Feature direction ("object")
Arik Kaplon, 3 hours, 2 groups, semester B
The students will direct a 3 minute exercise without dialogue. The central line of the exercise is based on an object in different directions: as a defining a character, as plot promoter and as a means to understand the process the characters go through. The emphasis of this exercise is on directing the camera and the mise-en-scene, while searching for the personal language of the student and creating a personal cinematic world. The school provides the student with all the necessary equipment and raw material.
Insructing Actors
Sassy Samucha, 2 hours, 2 groups, semester B
The first part of the course will be based on experiential meetings in which every student undergoes a process similar to a performing actor. In the second part, the students will deal with scenes and work with fellow classmate actors. Through improvisation and a wide variety of exercises, the students will be exposed to the acting language, the different techniques of the actors work and the question pertaining to the directors work with the actor. Among others the students will be required to write monologues and present them in class, improvise working on different types according to pictures and dealing with a dramatic scene. We will be discussing the place of creative imagination in the actors work and the place of the "true self".
Documentary direction
Michael Lev-Tov, 3 hours, 2 groups, annual
The workshop will deal with grammar and documentary narratives. We will focus on research and the script as milestones in performance, identifying heroes and photogenic subjects, the true moment of the documentary interview and the ethical boundaries of the genre. Each student will perform 3 documentary exercises: the documentary image (slides), a video moment ( video, 3 minutes), and a character film (video, 10 minutes). The school provides all the necessary equipment and raw material to produce and edit the films.
Introduction to video cinematography
Tommy Hamer, 1 hour, 3 groups, semester A
In this workshop we will be introduced to the video equipment and the lighting equipment that comes with it, with which the students will be working during semester A. we will study the attributes of camera parts – the lens, recording system and menus. The students will also practice work with a tripod, monitor calibration, and set work with the lighting equipment found at the exercise filming locations. We will emphasize instilling work habits and proper and safe use of equipment. At the end of the workshop each student will undergo a certification test as a condition to work with the equipment.
Basics of cinematography for television and cinema
Itay Vinograd, 3 hours, 2 groups, semester A
The workshop will be dedicated to the cameramen's' role in turning the script uniquely visual. In addition to the technical studies and field experience we will learn to disseminate a scene into different camera angles. We will focus the visual decision which strengthen the dramatic motifs in the script and work on creating a unique style for the movie. We will discuss the light as a primary factor in filming, the angles and camera movements. Towards the plot documentary exercises we will also work on a floor plan and story board, shooting plan, choosing a location, team work and dealing with field decisions. Every class is dedicated to studying a breakthrough cinematographer while watching exerts from his films. The school provides the student with all the necessary equipment and raw material.
Cinematography in video and film
Roni Katzanelson, 3 hours, 2 groups, semester B
Continuation to video filming and transferring to film photography. This workshop will discuss and exercise the following subject: raw materials, camera tests and lenses, color temperature, light measuring, formats in cinema and television, photography in film versus in video, filming under limiting conditions – dealing with locations and lighting conditions, as well as production and equipment constraints. In addition to the filming assignments of this workshop, we will analyze the photographed material from the directors workshops. The school provides the students with all the necessary equipment and raw material.
Introduction to still photography
Ram Bracha, 2 hours, 2 groups, semester A
Studying basic still photography techniques
(the camera, exposure, speeds and shutters, field depth, lenses etc. ). Delving into the issues of criticism and evaluation through the scanning of photographers works, watching movie exerts and reading texts. During the course the students will submit a number of exercises, emphasizing the responsibility and accuracy of the photographer towards the different work components, reducing the gap between plan and execution, presenting the work for viewing and more. The school provides the students with all the necessary equipment and raw material.
Still photography
Judy Orgal Lester, 2 hours, 2 groups, semester B
A continuation course for the course in semester A. we will examine the relationship between photographed content and the language components: frame, time, light, scale, point of view and more. Aside from the theoretical discussion, photographs presentations will be shown and discussed by subject. We will also discuss and criticize works while watching and class debates on assignment the student's film every two weeks. The school provides the students with all the necessary equipment and raw material.
Avid editing
Mickey Cohen, 1 hour, 3 groups, semester A
Basic editing skills for the non-linear software the Avid express pro and instilling editing techniques according to the type of project: dramatic, documentary, article or other. In addition to the classes the students will receive weekly assignments to practice. At the end of the workshop the student's will pass a certification test as a condition to start editing plot and documentary projects for the semester.
Editing
Liora Katziri, 3 hours, 2 groups, annual
"direction is the body of the film, editing is the heart beat" (Goddard). This workshop deals with the history and theory of editing, developing a cinematic narrative, video editing techniques, assignments, analyzing and sorting photographed material and designing a soundtrack. The other half of the workshop will be dedicated to sponsorship of the plot and documentary exercises of the direction workshops.
Introduction to sound recording on set
Hezi Davidian, 1 hour, 3 groups, semester A
This workshop teaches the students the use of sound equipments for field recordings: types of microphones, working with mixers and attachment and calibration of the equipment. The class will be accompanied with theoretical account of the structure and characteristics of voice. The practical assignments will focus on instill proper work procedures and maintaining the equipment. At the end of the workshop each student will take a certification test as a condition to using the equipment.
Sound recording
Uri Reshef, 2 hours, 2 groups, semester A
The course will deal with issues of general acoustics, sound behavior within a structure, microphones and accessories, positioning microphones, recording techniques on video and film, transferring sound and mix in films and on television. This subjects will be examined in an initial recording exercise and an assignment. We will also refer to designing a soundtrack in selected movies, analyze their recordings as well as the recordings for the assignments filmed in the direction workshop.
Cinematic recording and sound design
Uri Reshef, 2 hours, 2 groups, semester B
The workshop will give new ideas and a different perspective to editing a soundtrack for television drama or for movies. During the semester we will study the work of the sound editor with the script, talking in voice editing, sound effects as a narrative basis for the soundtrack, music and its contribution to the cinematic tale, ambience as a basis for soundtrack and more.
Drawing
Meni Salama, 2 hours, 2 groups, semester B
Instilling a basic ability for classical sketching: composition, proportions, perspective, light and shadow and more. During the class we will practice making a story board and basic exercises to hone the look at designing and planning the cinematic frame. The school provides a sketching kit for every student.
Cinematheque marathons
4 days, opening of the year: Antonio Saura; obsess.
In honor of the film director, David Lynch's visit the film critique and lecturer Nachman Ingbar will dedicate two days to his creations and screen the best of his movies in full as well as exerts. Among the films shown fully: "Blue velvet" 1966; "Wild at heart" 1990; "A simple story" 1999; "Mulholland Drive" 2001. Two additional days will be dedicated to the works of two of the great European spirit directors who passed away this year. From the films of Ingmar Bergman "The seventh seal" 1957; "Wild strawberries" 1957; from the films of Michelangelo Antonioni: "The adventure" 1960; "The red desert" 1964.
Opening two days of semester B: Israeli documentary cinema
The evolution and narrative of the Israeli documentary cinema. Films and exerts will be screened. Full length films which will be shown: "Diary" (David Perlov 1988); "have you ever shot someone" (Michal Aviad 1996); "The inner tour" (Raanan Alexandrowicz 2001); "The cemetery clum" (Tali Shemesh, 2005); exerts will be shown from the following films: "Field diary" (Amos Gitai 1982);"Checkpoint" (Yoav Shamir 2004); "9 star hotel" (Ido Haar 2006); "Balin Habibti" (shai Carmeli-Pollack 2006); "The women next door" (Michal Aviad 1992); " Detained (Anat Even and Ada Ushpiz 2001); "Beyond the veil of exile" (David ben Shitrit 1991); "In Jerusalem" (David Perlov 1963); "Biba" (David Perlov 1977); "Choice and destiney" (Tzipi Reibenbach 1993); "Love inventory" (David Fisher 2000); "Hugo" (Yair Lev 1989); "Because of that war" (Orna Ben Dor 1988); "The last transfer" (Ilana Tsur 1997); "Underdos: a war story" (Rino Tzror and Doron Tzabari 1996).
Second year
The school year is divided into two semesters with a 4 weeks long break. Semester A is 14 weeks long and semester B is 13 weeks long. The opening week is dedicated to professional workshops at school. During the second week a movies and lectures marathon takes place intended for all the students. The second years curriculum is comprised of theoretical classes, workshops and internships. In the first semester studying will be done 4 days a week (Sun-Wed) and in semester B – 3 days. The location in film making is at the center of the second year studies; location in a concrete geographical physical sense and also metaphorically. At the center of the curriculum, the direction workshops are positioned: a documentary films workshop – workmen and factories in Jerusalem and a feature location workshop.
Semester A and semester break
The studies focus on the documentary films workshop (up to 15 minutes, video) and in the preliminary workshops for filming the feature movie in semester B. in the feature field in the mise-en-scene workshop the students practice directing mise-en-scene in the field according to given scripts. They expand the world between director and actor in a casting workshop, in actor instruction workshop and director-actor-camera workshop which is a pre production workshop to location films. Simultaneously the students advance with their location scripts on which they worked in semester B of the first year. The assignment is writing a script inspired by an exterior location – a day in Jerusalem (or around Jerusalem) that used as a pivot point to the story. Beginning with the first weeks of semester A, while working in workshops, the scripts are submitted to the committee that convenes for several debates until confirmation of filming. During semester break the student perform the mise-en-scene exercises and the documentary workshop films into completion and screening them for the class and the administrative board of the school. At the same time the class is preparing to produce the first location films.
Semester B
After having accumulated experience in the first year and in semester A of the second year in directing film and video assignments, the students advance in semester B of the second year to a wide performance model (
Editing second year films
During the summer (July-Oct.) the students focus on location films to a fine cut with the assistance of top of the line editing sponsors, when the schools education board watches the progression of the films at editing crossroads. Editing the films, including completion outings and critical debate on the movies, is an inseparable part of the curriculum and productions and is mandatory for all students. Writing the music, editing the soundtrack and the mixing process of the films are done in semester A of the third year. The movies that excel that year (documentary and feature) are sent for mixing process and final copy and represent the school in television screenings, contests and festivals.
specializing
Alongside the theoretical studies and class joint workshops, the students are divided starting with the second year into intensive internships studies in filming and editing, studying photography including lighting, cameraman assistant and grip. The editing internship includes editing soundtracks and music. These workshops are performed in small groups, using advance equipment, the interns, each in their own field, become the pool of class cameramen and editors.
Experimental filmmaking
Parallel to the main production course, exist a course in which second, third or forth year students can submit specific and limited projects on a production level, without the reading of the committee. Projects can be submitted in the following fields: experimental cinema, video clips, song video, art video or any other project with the potential to advance the student. The main conditions for submission are: simple and limited production range, meeting all the curriculum requirements on class schedule including work and production assignments. The parallel course production are done on video and backed up by raw materials with school equipment and editing shifts. Productions excelling at this course represent the school similarly to the main course productions.
Theoretical classes
History of modern cinema 4 hours, annually
History of the modern documentary cinema 3 hours, semester B
The melodrama 4 hours, semester A
The comedy 3 hours, semester B
Cinematic expression in editing 2 hours, semester A
The short story expression 2 hours, semester A
Hosting documentary creators 3 hours, semester A
Workshops
Documentary direction; Workmen & factories in Jerusalem: 3 hours, semester A
Location script 2 hours, 2 groups, semester A
Feature direction – mise-en-scene workshop 4 hours, semester B
Actor-director-camera workshop 3 hours, semester A
Casting 2 hours, 2 groups, semester A
Acting and actors instruction 2 hours, 2 groups, semester A
From script to production: assistant director And producer 2 hours, annually
Location directing workshop 4 hours, semester B
specializing
Still photography – location 3 hours, semester A
Cinematography for interns 3 hours, semester A
cinematography for interns 3 hours, semester B
Editing workshop: emotional continuity 3 hours, semester B
Soundtrack design: background noiseOr symphony 3 hours, 2 groups, semester B
Editing for interns (optional) 2 hours, semester B
Cinematheque marathons 4 hours, annually
Projects sponsorships
Feature direction 1 hour, semester B
Cinematography 1 hour, semester B
Editing 2 hour, semester B
Casting 1 hour, semester B
Screenwriting 1 hour, annually
Producing 1 hour, semester B
Assistant director 1 hour, semester B
Documentary direction and editing 1 hour, semester B
Total hours semester A: 38
Total hours semester B: 34
Total annual hours: 36
Theoretical classes
History of modern cinema
Nachman Ingbar, 4 hours, annually
The course will deal with the content and formative changes that modern cinema has undergone in Europe and the US, while referring to central milestones: the pre 1933 German cinema, the soviet cinema in Stalin's time; world war II and Hollywood cinema; Italian neo-realism; collapse of the "studio system" in Hollywood; the 1950's; the French new wave; English realist cinema; the growth of new cinematic cultures in the third world; the relationship between the European cinema, the third world and American cinema from the 1960's and on. We will explore aspects of theme, narrative, esthetics and production. As an inseparable part of the lectures films and exerts will be shown by Fellini, Antonioni, Bergman, Kurosawa, Scorsese, Copula, Woody Allen, Ivan Passer, Goddard, Faziolini, Bertolucci, the Taviani brothers and others.
History of modern documentary cinema
Yair Lev, 3 hours, semester B
The course will deal with a wide variety of styles and central creators in documentary cinema today. We will explore the theme, formative and ideological aspects of the films representing typical genres: a camera as a weapon, the research as a script, portrayal in a documentary as opposed to television article, the personal diary, hybrid documentary-feature cinema, mass films and more. Among the films shown: "Diary" (David Perlov); "notebook on cities and clothes" (Wim wenders); "Little Dieter needs to fly" (Werner Herzog); "Sunless" (Chris Marker), "Roger and I" (Michael Moore); "26 bathtubs" (Peter Greenaway); "November days" (Marcel Ophuls); "The whirlpool" (Peter Forgacs) and others.
The melodrama
Nissim Dayan, 4 hours, semester A
The course will follow the melodrama as it evolved since the 1930's until today. We will explore several examples of the Victorian-Hollywood melodrama of the 1930's, 40's and 50's, and continue adversely into the modern cinema of the 60's and 70's (Scorsese, Copula) and the post modern wording in the 80's and 90's (Almodovar, David Lynch, Mike leigh) as well as examine the cinematic melodrama with American and Latin television series.
The comedy
Nissim Dayan, 3 hours, semester B
During the course we will define comedy as a whole and cinematic comedy especially, the genres suitable for it, its expression in different cultures and relation between it and the theatrical, literature and television comedy. During the class we will show movies that constitute a milestone in the history of Hollywood, the British, the French, the Italian and the Czech cinematic comedy, among them "Nanuchka" (Ernst Lubitsch); "The lady Eve" (Preston Sturges); "the ladykillers" (Alexander Mackendrick); "Le diner de cons" (Francis Veber) and more.
Israeli cinematic expression
Shmulik Duvdevani, 2 hours, semester B
While watching exerts, we will discuss issues of styles and esthetics in Israel cinema through its history: the socialistic realism (Helmar Larski)' The Zionistic being through foreign eyes ("Hill 24 does'nt answer"); modernism ("A Hole In The Moon", "Woman", "Siege"); surreal esthetics ("The Pil"l); localization and glorification ("Dizengoff 99", "Mezizim"); anti institutional (Bar 51); war movies esthetics ("Beaufort"); is there a mainstream in Israeli cinema ("Walk On Water", "Aviva My Love").
Cinematic expression in editing
Halil Efrat, 2 hours, semester A
A continuing course from the first year which will continue to explore cinema from the post production point of view and refer to the contribution of editing to solidifying cinematic language, the final design of the film and scriptural solutions it provides. We will examine the development of editing in terms of dealing with narratives and structure through cinema history. All issues will be debated as we watch and analyze exerts from main movies: editing as a tool to creating a personal style ("raging streets"); the influences ("blade runner"); dialogue in the American cinema and chopped or continuous dialogue ("North by northwest", "network", "Vivre sa vie");designing the soundtrack ("silence of the lambs", "the birds"); montage ("high noon"); uncut shot ("alien", Russian roulette); cut (an odyssey in space", "Lawrence of Arabia").
The short story expression
Iris La'al , 2 hours, Semester A
The class will combine reading and analyzing skills and studying basic writing principals. Each lesson will be dedicated to guided reading of one of the modern story classics, which demonstrates certain writing principals. These principals will be refined and taught through discussing the tale, analyzing it and examining the ways in which the principals are used to build meaning in the story and achieving artistic affect. Among the works we will read are: "Sandman"/Hoffman; "barn burning/Falkner, crossing of the dead/Joyce; Farenheim/Agnon; "for Esme with love and squalor"/Salinger, signs and symbols/Nabokov. During the workshop the students will write stories based on the principals learned.
Debates with documentary creators
Ran Tal, 3 hours, semester A
The course will host documentary creators whose films have stood out within the last two years in order to enrich the future documentary film making of the students. Every session will show a full length film and a discussion will take place with its creator. The subjects to be discussed: choice of topic, researching and making it into a script, production problems, between the personal and the "other", writing the "real script" in the editing room, dealing with unexpected events during production, the director-cameraman-editor connection and more. Among the guests filmmakers: David Ofek, Amos Gitai, Ari Folman, Nat Baratz, Avi Mograby and others.
Insights to the short story
Yael Shenkar, 2 hours, semester A
The goal of this course is to explore different ways to "tell a story" in literature and cinema. We will read Israeli and translated texts, documentary and fictional, realists and fantasies. Examine the various structures of stories and the different places of numbers and deal with "classic narratives" in post modern texts. Aside from discussing the "lone story", or the narratology context we will discuss the texts of creators working in both mediums and in literature which has an affiliation to film (Raymond Carver, Dorit Rabinian, Yoel Hoffman).
Workshops
Documentary direction – workmen and factories in Jerusalem
6-8 short films (up to 15 minutes) will be produced quickly during the course. The projects will be selected according to mission statements and initial synopsis and will be accompanied from the research stage to production. All the movies will be dedicated to one subject – workmen and factories in Jerusalem. The subject itself should encourage the students to divert from the personal and the private into social and political areas and express a social position. According to the subjects raised in class, we will watch short films and exerts. Each student is required to participate in the making of the films as director, producer, editor or cameraman. The films will be completed by the end of semester A. the school provides the students with the necessary equipment and raw materials required to produce and edit the films.
Location script
Sigalit Liphshitz, 2 hours, 2 groups, semester A
The course will assist in preparing a script for a location film intended for shooting, using analyzing tools which allow for a better understanding of the writer/director in the relationship between the main components of the script. The class and home work will be performed from the idea stage through treatment and script. Each lesson will discuss a number of treatments, while working on structure, procedures, relationships and characters. The end assignment will include a full script, synopsis and brief character description.
Feature direction – mise-en-scene workshop
Rony Ninio, 4 hours, semester A
The workshop will focus on the question how a cluster of details in space turn into a mise-en-scene that interprets text properly. The students will be required to deal with textual analysis and interpretation, while practicing directing a scene according to a short script from foreign and Israeli films screened. The emphasis will be put on direction as opposed to script data, casting, physicality and intimacy of the story and characters in space, the geography of the location and time passages, the principal of surprise for scripts and direction. The school provides the student with the necessary equipment and raw material needed to produce and edit the exercises.
Actor-director-camera workshop
Shemi Zarchin, 3 hours, semester A
A preparatory workshop for the location films workshop in semester B. using video simulation exercises we will test the direction as an ensemble of decision striving to build an effective story world. The students will direct in class short scenes out of their location films and film them, in order to allow for a live check of central directing issues; instructing actors on set, mise-en-scene structure, work time allocation, set and crew management, filming schedule, directing style and more.
Casting
Orit Azulay, 2 hours, 2 groups, semester A
How do you read an actors attributes by his looks and personality and how to you attribute these attributions to the formative emotional world the film tries to create? How do you cast children and non-actors? Discussion on these issues and others will be done on the basis of analyzing textual samples, movies, pictures and students works. The workshop is based on the casting concept of interpretation and deciphering the written script advancing it towards directing. During the second half of the semester a joint workshop with acting students from "Nissan Nativ" school will take place in which the studied material will be practiced as preparation for auditions and location film casting.
Acting and instructing actors
Shachar Rosen, 3 hours, 2 groups, semester A
The goal of this class is to instill theoretical and practical knowledge in the students in the work of directing actors. Most of the classes will be attended by professional actors and the students will practice different techniques in class. Among the methods practiced are : the 8 points of acting by Stanislavsky; the actors work from within himself according to the "method" by Lee Strasberg; actions, assignments, want and needs according to Stella Adler; body work by Michael Chekov and more. Following the practical exercise and towards the end of the semester each student will choose a scene from a current film and present an analysis of the acting and acting features the actors are using for scene to the class.
Location films workshop
Shemi Zarchin, 4 hours, semester B
At the center of this workshop, is directional strategy and tactics through interpretation of the script, casting, locations, working with crew members and filming script. During the workshop, the students will produce 10 feature films (10 minutes each). in class the script, casting and style of direction will be examined and the filmed material arriving from the field will be analyzed after initial editing. The films are performed by a full crew from within the class and filmed on 16mm, sync sound or alternatively by video. The teach accompanies the directors by personal sponsorship alongside with additional sponsor for the casting, cameraman, production teams and later on for the editors and soundtrack designers.
Specializing
Cinematography
Still photography – the location
Judy Argel Lester, 3 hours, semester A
The course will be dedicated to the concept of "location" on all its concrete and metaphoric aspects. We will explore the documentary genre and the personal and directed genre in modern photography. We will learn about describing realistic places while watching and discussing the works of cinematographers like R. Frank, D. Arbus, G. Winongard, B. Davidson and more. We will also discuss the description of inner places of the soul and dream and of fictional places and observe the works of D. Michaels, G. Ulsman, Mitiard, Woodman, Rexrot and more. Aside from the class studies the students will practice the description and characterization of a location for all its aspects and taking an emotional position.
Cinematography for interns 1
Shay Goldman, 3 hours, semester A
Preparation for filming the location films on location in Jerusalem. We will discuss the filming style committed by the script and the directors perception of how to build the style through cinematic measures. We will deal with the single static frame as a part of 24 frames in a second. Explore a variety of means to create the visual content: choosing the location, using lighting to create the ambience, choosing the proper lens and building composition. We will also watch the footage material and analyze it towards the next filming.
Filming for interns 2
Ofer Yinov / Shai Goldman, 3 hours, semester B
The workshop will focus on preparation for filming the location films on location in Jerusalem. We will discuss the filming style committed by the script and the directors' perception and discuss the cinematic means building it. We will discuss the technical aspects of the lab process (contact, grading) as well as the director-cameraman relationship and the procedure on the set. With the return of the footage material we will analyze the rushes of each film and draw conclusions regarding the mise-en-scene, camera movements etc.
Editing
Editing workshop: emotional continuity
Halil Efrat, 2 hours, 2 groups, semester A
Developing the personal editing language of each student through the work on feature and documentary scenes. Each student will experience building a scene beginning with the filmed raw material analysis through the attempt to understand the emotional structure embodied in the process the characters are experiencing to choosing takes and building an editing script, the emphasis being on emotional work with the editing language and finding the editors unique way of telling the story of the scene. During the course we will watch exercises in different making stages and discuss the solution of problems arising. A significant part of the exercise will be done with raw materials of episodes from the series "Imale" directed by Ram Nahari.
Designing the soundtrack – between background noises and symphony
Ishay Adar, 3 hours, 2 groups, semester B
All the sound elements in the film, music to dialogues are a sub-musical creation. The soundtrack designer can harness the background noises and other components to playing a complex musical piece without using music. The students will experiment with basic principals of acoustics and sound in space, in composing and creating music, in changing and processing existing music, in digital processing of sound, in developing and creating sound textures and more. The first half of the course will be dedicated to a variety of examples and exercises and the other half will focus on personal projects. Among the samples we examine: Kong-Fu movies, Pornographic movies, David Lynch movies, Spaghetti westerns, science fiction, hyper realism and horror movies; as well as music by different composers: Bernard Herrmann, Ennio Moriccone, John Williams, Angelo Badalamenti and others.
Cinematheque marathons
4 opening days of the year: two days opening semester B
Details in curriculum of the first year.
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Third year
Theoretical classes – semester A
Film beyond reality 3 hours, semester A
Memory and space in the Palestinian cinema 3 hours, semester A (optional on year 4)
Video clip 2hours, semester A
Hosting documentary creators 3 hours, semester A (optional on year 2)
Workshops – semester A
Script and feature direction -"Emotion" directing workshop 3 hours
Research and documentary script 2 hours (optional*)
Low resources political cinema 2 hours (optional*)
Developing television genres 2 hours
From script to production: assistant director
and acting producer 2 hours
*each student will choose one of the two workshops
Specializing workshops – semester A
Documentary filming 3 hours
Feature filming 3 hours
Still photography – conflict 3 hours
Soundtrack design 3 hours
Workshops and seminars (Feb. – June)
New wave/film noir workshop 10 days
Instructing actors – advanced workshop 8 days
Advanced editing workshop 5 days
Experimental cinema workshop 5 days
Action movies filming workshop 5 days
Screening works 2 hours, annually
From script to production: assistant director and acting producer
Orit Zamir, 2 hours, semester A
The assistant directors job in planning and managing shooting a film. As preparation for the graduation films of the students and their integration into the industry, we will learn how a professional set operates; how to structure the best filming plan for each project; the differences between shooting an movie, series, drama and commercial. We will learn how to advance pre production: who does what, when and in which order, and how the assistant director brings about the array into a state of readiness for filming, while cooperating with the production department. We will study the work of the second assistant director, casting and managing stand ins, preparing a daily reading sheet and managing changes in the filming plan. In summation we will focus on production and learn to maximize the time resource. The students will undergo practical exercise and visit a professional set for a movie/series/commercial.
Experimental cinema workshop
Yael Bartena, 5 days, semester B
Video artist, Yael Bartena will guide this workshop in which every student will create a short exercise around the subject "my favorite film". The student chooses a sequence or scene from a movie correspond with them. The emphasis is on creating an observation post foreign to the love subject chosen through cinematic means of filming and editing. The workshop is funded by the Ostrovsky foundation, Paris.
Experimental cinema workshop
Jan Peters, 5 days, semester B
A theoretical and practical seminar of the history of experimental cinema. From the classic experimental movies of the 50's and 60's to the 80's and 90's. the seminar will explore various examples performed in the "other" cinema through different means like choosing an alternative narrative, defining an alternative hero and other means. In the second part of the workshop the students will work on personal projects inspired by the theme "memory". (the workshop is performed in English).
Theoretical classes
Cinema beyond reality
Nissim Dayan, 4 hours, semester A
From the beginning of cinema a tension exists between reality and what is beyond the perception of reality – the unconscious world and dream. The course will examine the manifestation of that tension in the traditional and post modern cinema. We will analyze representation ways of reality perceived by sensed in comparison to cinematic expressions of the conscious and unconscious reality "inside" our heads (imagination, memory, dream). The discussion will be performed while watching movies by creators from the beginning of cinema and until today: Griffith, Chaplin, Murnau & Pabst, Hitchcock, Bunuel, Antonioni and Fellini, Kishelovsky, the creators of the post modernism like Ridley Scott, Almodovar and others.
Memory and space in the Palestinian cinema
George Halifi, 3 hours, semester A (optional in year 4)
The course will discuss basic issues of memory and Palestinian cinema space and the connection between past and present. We will examine how this memory is built and what are his manifestations in cinematic treatment of space: nature of space, limitations, filming ways, its observation point, the imprints, etc. we will learn about the conditions under which the Palestinian cinema developed the creators which shaped it and its regard to the audience. Firstly we will review the "revolution" films of the 70's that re-enact the 1948 trauma, while reviving the past space of the country as a lost paradise ("they don’t exist", "return to Haifa" and others). By comparison we will analyze central films from the 80's and 90's which dismantle the homogeneousness of the Palestinian historic memory (fertile memories", "Galilee wedding", "heavenly intervention", "Atash (thirst)", "the children of Arena").
Low budget political cinema
Noam Kaplan, 2 hours, semester A (optional*)
The course will be dedicated to the political cinema in the broader sense including personal and universal creation committed and styled in place and time. We will deal with the Israeli and world cinema while watching short and full movies from various periods, among them: "first wheel" (Ilan Shaul, 1977); "the cage" (Amit Goren, 1989); "questions of a dead worker" (Aya Somech, 2002); "Misholim" (Hagar ben-Asher, 2007); "Tazlomai" (David Perlov, 2003); "Happy birthday Mr. Mugrabi" (Avi Mugrabi, 1999); "Salem cinema" (Muhsan Mahamalbaf, 1995); "weekend" (Goddard, 1967); "American movie" (Chris Smith, 1999). We will read articles by Ella Shohat, Sara Hinski, Itzhak Laor, Sami Shalom Shitrit and others. As we discuss the characteristics of the low budget work we will examine the tools and idea solutions for the students work on graduation films.
*each student must pick between this course or a research course and a documentary script.
Video clip
Yair Rave, 2 hours, semester A
We will watch dozens of clips from the world and Israel from the past and the present and examine them as cinematic creation. We will locate them on the axle between the commercial and the abstract video art and catalogue related cinematic phenomenon. We will discuss the history of various types of video clips, breakthrough creators and refer to the avant garde cinema and the connection between music and documentary cinema. 3-4 Israeli clip directors will be hosted and tell us about the work stages with the artist and record company. During the semester, each student will choose a video clip, present and analyze it in class, while attempting to decipher into words the alchemy of the connection between picture and soundtrack.
Experimental cinema
Avi Mugrabi, 2 hours, semester A
The course will be dedicated to a wide variety of styles and main creators in the experimental cinema. During the course we will watch a large number of movies and video works that constitute an alternative to the main stream in cinema. Among the international directors and artists we will meet: Stan Brakage, Unas Mikas, Vito Ecconecchi, Shirley Clark, Andy Worhall, Gary Hill, Pipilotti Rist. In addition to these, meetings with Israeli creators will take place in the field showing films and video works.
Debates with documentary creators
Yair Lev, 3 hours, semester A (optional to year 2)
The course will host documentary creators whose films have stood out within the last two years in order to enrich the future documentary film making of the students. Every session will show a full length film and a discussion will take place with its creator. The subjects to be discussed: choice of topic, researching and making it into a script, production problems, between the personal and the "other", writing the "real script" in the editing room, dealing with unexpected events during production, the director-cameraman-editor connection and more. Among the guests creators will be: David Deri with "Say Amen", Ido Haar with "nine star hotel"; Ebtisam Mara'ana with "three times divorced"; Daniel Sivan and Oder Ferber with "Monkey business"; Ran Tal with "Children of the sun"; Chen Lesker with "Seeds of summer"; Nissim Mosk with "Citizen Nawi" and others.
Internship workshops
Photography
Back to the single frame
Shai Goldman, 3 hours, semester A
Preparation for filming the director's workshop films where the students are required to position the emotion as a creator of meaning and connector between the scenes along the whole piece. We will discuss the filming style committed by the script and the directors' perception while dealing with the single static frame as a part of 24 frames in a second. Explore a variety of means to create the visual content: choosing the location, using lighting to create the ambience, choosing the proper lens and building composition. We will also watch the footage material and analyze it towards the next filming.
Documentary filming for interns – the documentary hunter
Dan Geva, 3 hours, semester A
The birth of the movie camera as a messenger of the technological revolution fulfilled the ancient yearning to animate and commemorate the movement of phenomenon in the world in general and mans' in particular. Since Lumier, Flahertti ,Gerirson, Reifenstahl , Marker, Eivans, Rene, Weizman, Meiselas, Pennybaker and Leecock to Kosokovsky, Bromfield, Morris, Blackwood and More, the documentary photographer received an established position in creating a documentary: hunt down the images and bring them to a state of immortality and absolute truthfulness. The classes will be performed on three axles: analyzing the language of the documentary film and discussing the visual philosophy of filming reality and the issue of esthetic taste and the question of objectivity of value judgment; analyzing rushes of exercises the students film from week to week; practical exercise of documentary situation and work techniques in various genres and work styles.
Still photography for interns – conflict
Judy Argel Lester, 2 hours, semester A
The course will focus on the conflict as the pinnacle point in a relationship that demands a unique visual treatment. We will deal with the formative and content aspects of filming a conflict and the relationship between them. The classes will include watching and analyzing works by newspaper photographers on the one hand and photographers whose works are shown in books and museums (Cappa, S. Meiselas, Nachtwey and more). We will also refer to the works dealing with social, ecological and other conflicts (G. Goldberg, D. Arbus, Davidson, Mizrahi, Mark Fahl, Waplington and more). In addition regular practical exercise will take place and be dedicated to describing and characterizing tense situations, inner and outer conflicts, while using the photographic language tools (light, time, angle, color etc.). the students will be required to take a position and translate it into visual language. The class studies and practical exercise will be accompanied by reading articles.
Action movies photography workshop
Yossi Vin, 5 days, semester B
The theoretical part of the workshop will deal with discussing the role of the cameraman as a creator and a central force in the team work, leading along with the director and producer. We will learn to harness the tools at his disposal; lighting, lens choices, angle choices in order to help the director position the scenes, so that the artistic character of the movie is reflective of the scripts spirit and the directors perception. We will also discuss the safety and the role of the cameraman as a leader of the technical crew. In the practical part we will construct lighting exercises, starting with a static exercise that will demonstrate the differences between the different attitudes of each student. Later on we will practice filming in motion and transfer to an exploration of different styles of filming of this kind, while adding dramatic elements. We will learn to work with props integral for each action scene and emphasize maximum use in leading actors (not doubles). We will be introduced to SFX and how to use them. In addition, we will watch a selection of exerts of car chases, submarines, plains and trains, analyze them and learn about the stunts involved in filming them.
Editing
Soundtrack Design for interns – between background noises and symphony
Ishay Adar, 3 hours, semester A
All the sound elements in the film, music to dialogues are a sub-musical creation. The soundtrack designer can harness the background noises and other components to playing a complex musical piece without using music. The students will experiment with basic principals of acoustics and sound in space, in composing and creating music, in changing and processing existing music, in digital processing of sound, in developing and creating sound textures and more. The first half of the course will be dedicated to a variety of examples and exercises and the other half will focus on personal projects. Among the samples we examine: Kong-Fu movies, Pornographic movies, David Lynch movies, Spaghetti westerns, science fiction, hyper realism and horror movies; as well as music by different composers: Bernard Herrmann, Ennio Moriccone, John Williams, Angelo Badalamenti and others.
Editing a Shakespearean character
Asher Tlalim, 5 days, semester B
An advanced editing workshop. Using raw materials from the film "Richard the third" the students will practice different editing ways for scenes at the center of which the multi faceted character of Richard the third. Every editing move within the scene builds a different character. We will watch the material in class and analyze them as a research exercise comparable by cinematic editing ways.
The fourth year
After finishing the second and third year projects and internships, the class is preparing for an accelerated writing process followed by pre production and filming period of the graduation films. Simultaneously to the intensive schedule, a concentrated school day takes place in semester A dealing with issues and contents, focusing the students towards the graduating productions.
Graduation productions
During the third year and the first part of the fourth year, the students write, in workshops and accompanied by sponsor, scripts for graduating productions at the center of which are feature films (15 minutes each) and documentary projects (26-50 minutes each). the school is flexible and allows varied graduation projects: feature or documentary films, a inter-genre hybrid, experimental films, pilots for television series, video clips and more.
The feature graduation films are filmed on film and video for eight days around the country. The school budgets each production 4,000 feet of film raw material or similarly on video. In addition the school covers the cost of developing the material in a lab and the cost of Telesina (transferring to video for editing). The movies are filmed on Arriflex SR film cameras or on SONY DCR 450 digital video camera with industrial range of lighting and grip equipment. The movies are edited on non-linear Avid 400 tables and the soundtrack edited on Protools kit. Following the editing process of the movie, in most cases the school allows and budgets an outing to complete the filming.
The documentary graduation films of the schools are filmed on video for 8-10 days around the country. The movies are filmed on SONY V1 cameras with an assignment lighting kits. The school provides the raw material necessary for production. Here to, the movies are edited on non-linear Avid 400 tables and the soundtrack on a Protools kit.
Productions in other genres are budgeted and equipped according to the film and its size.
Parallel to the main production course, exists a course in which second, third or forth year students can submit specific and limited projects on a production level, without the reading of the committee. Projects can be submitted in the following fields: experimental cinema, video clips, song video, art video or any other project with the potential to advance the student. The main conditions for submission are: simple and limited production range, meeting all the curriculum requirements on class schedule including work and production assignments. The parallel course production are done on video and backed up by raw materials with school equipment and editing shifts. Productions excelling at this course represent the school similarly to the main course productions.
School support of graduating productions
The school accompanies the graduation productions for a year and a half (year 4 and half of year 5) and invests time and energy into each of the positions: developing the scripts, pre production, productions, post production (including completion filming), revealing films at graduating nights at the school and marketing the films in Israel and abroad.
Choosing productions
The school does not ensure directors project for each student. The selected graduation projects and chosen through the open committees discussion, that includes a representative of the school administration and 2 teachers / industry personnel. The students are given at least 6 submission deadlines. Usually 12 graduation projects are done by then and sometimes even more, pursuant to the number of students in the class, the level of the projects and schedule of the class. The open committee members in 2007/8 are: Nachman Ingbar, David Gurfinkel, Yosef Grinfeld, Shemi Zarchin, Avi Cohen, Michael Lev-Tov, Keren Margalit, Roni Ninio and more. Usually the school allows its students to film projects that weren't approved in the framework of the committeess discussions after graduation using the schools equipment.
School sponsors
School sponsor in directing, producing, photography, editing, music and soundtrack accompany every project from the initial stage to the final actualization. The schools sponsors for 2007/8 are: Script - Sigalit Lipshitz, Shemi Zarchin, Avi Cohen, Dafna Levin, Noam Kaplan
Casting – Orit Azulai, Directing – Nir Bergman, Shemi Zarchin, Roni Ninio, Yosef Pitchhadza; editing - Einat Glazer Zarchin, Arik Leibovitch; music and soundtrack – Yishai Adar, Raffi Kadishzon; Production – Michal Engel, Orit Zamir; Photography – Shai Goldman, Ofer Yinov.
Scholarships and backup productions
In addition to supplying the production needs up to advanced editing the school grants every year a direct production scholarship for 4,000 NIS that reduce some of the production costs due by the student. The school also bears the costs of mixing, graphics, titles and copies of movies and excellent projects. The student covers, basically, all costs relating to mobilizing the production, provisions, accessories and costumes, music and music rights and any deviation from the schools budget. The approved scripts for production are submitted to receive additional support by outside foundations among them are: Snunit foundation of the second authority, Gelfand foundation for short movies, Diploma movies project for the Rabinovitch foundation of art – Tel Aviv, Gesher, the foundation for Aliza Shagrir and more.
School graduation nights and marketing the films
Every year, (after four and a half years of teaching and working intensively), the school is holding a series of festive graduating nights for the graduating students. Many industry personnel are invited to these nights which take place in Jerusalem and Tel Aviv to watch the work of the graduates. Later on the films are shown at the Haifa, Rosh Pina, Sderot and soon Herzeliya and Holon cinematheques. Later on the films are shipped to contests in Israel and around the world, to international festivals and a television screening in an annual broadcasting season of the school for Channel 10.
Memory and space in the Palestinian cinema
George Halifi, 3 hours, semester A (optional in year 3)
The course will discuss basic issues of memory and Palestinian cinema space and the connection between past and present. We will examine how this memory is built and what are his manifestations in cinematic treatment of space: nature of space, limitations, filming ways, its observation point, the imprints, etc. we will learn about the conditions under which the Palestinian cinema developed, the creators which shaped it and its regard to the audience. Firstly we will review the "revolution" films of the 70's that re-enact the 1948 trauma, while reviving the past space of the country as a lost paradise ("they don’t exist", "return to Haifa" and others). By comparison we will analyze central films from the 80's and 90's which dismantle the homogeneousness of the Palestinian historic memory (fertile memories", "Galilee wedding", "heavenly intervention" "Atash (thirst)", "the children of Arena").
Hosting documentary creators
Yair Lev, 3 hours, semester A(optional in year 2)
Details in the curriculum of the second year.
Workshops
Feature graduation script
Eitan green, 3 hours, semester A
The course will deal with developing scripts and completing them from the brief stage to the full script stage. The work will be done according to each students needs. Whether it’s a graduating script or a personal project we will focus on the components of the script – the tale, the characters and the dialogues.
Research and documentary script
Yair Lev, 2 hours, semester A (*optional)
The goal of the course is to begin a journey that will lead us eventually to filming a graduating documentary movie. The journey begins with discussing initial ideas and exploring their dramatic-cinematic potential and continuing on to choosing the subject for the movie. Later on the students perform in depth research into the subject chosen. At the end of the research an initial production case is filed comprising of the synopsis and statement of intentions for a documentary graduating film. There is the possibility to continue the project through personal sponsors until the full script stage as well as full production of the project. During the course we will watch exerts of documentary films relevant to the discussions in class and various directing technique of documentary cinema will also be discussed. *every student must choose between this course and a low budget political cinema.
Low budget political cinema
Noam Kaplan, 2 hours, semester A (optional*)
The course will be dedicated to the political cinema in the broader sense including personal and universal creation committed and styled in place and time. We will deal with the Israeli and world cinema while watching short and full movies from various periods, among them: "first wheel" (Ilan Shaul, 1977); "the cage" (Amit Goren, 1989); "questions of a dead worker" (Aya Somech, 2002); "Misholim" (Hagar ben-Asher, 2007); "Tazlomai" (David Perlov, 2003); "Happy birthday Mr. Mugrabi" (Avi Mugrabi, 1999); "Salem cinema" (Muhsan Mahamalbaf, 1995); "weekend" (Goddard, 1967); "American movie" (Chris Smith, 1999). We will read articles by Ella Shohat, Sara Hinski, Itzhak Laor, Sami Shalom Shitrit and others. As we discuss the characteristics of the low budget work we will examine the tools and idea solutions for the students work on graduation films.
*each student must pick between this course or a research course and a documentary script.
Editing for interns workshop
Asher Tlalim, 5 days, semester B
An advanced editing workshop for fourth year students and selected third year students. The workshop will focus on soundtrack and picture design.
*the school has the full consideration and exclusive right to change the curriculum and productions. The students will be subject to the schools regulation books.
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