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Open Day
The school holds an open day for registrants on three dates.
The open day includes a guided tour of the school, screening of student films, a meeting with a graduate and a meeting with the school administration.
Open day will also be held on the following three dates at 16:00:
Thursday 5.1.2012
Thursday 29.3.2012
Thursday 24.5.2012
Arrival to open day should be confirmed by telephone about a week before the date (school office)
Anyone with a matriculation certificate who thinks he/she is suitable for production promoter course and who will be 21-35 years old on the opening day of the school year can register for the course*. No knowledge or previous experience in the area of film-making and/or television is required. Some preference will be given to those with initiatory background / post high school education / a lot of adventurous experience.
*The acceptance committee is allowed to accept students who did not complete a full matriculation certificate but with proven history of studies. Cost of registration: NIS 250
Cancellation:
Anyone who cancels registration will not be entitled for any sort of refund of his registration fee.
Dates
Registration started in October and will conclude in June. After fulfilling the preliminary requirements (detailed in a separate paragraph below), examinations in the school have to be passed. The first registration date has already been held. Following are the dates of the other two:
First Application Period
With the establishment of production course in 2003 with the support of Braha Foundation, Telad and Sam Spiegel Foundation who pay the three courses of the school - training of producer-screenplay writer-director have resulted in some of the important quality revolutions in the history of film-making and television. The course for production promoter is the first of its kind in Israel and its goal is to train producers with a broad and moral strategic thinking, with a creative certificate to be leaders in the field of media.
We see in a producer the motivating strength and initiative, the first and most important link in the cinematic "food chain", responsible for the start-up that is called the "movie" or the "television series" or "initiative in the field of media".
His duty is defined by wide vision, embracing and being embraced, which places the quality and goodness of the production above anything else.
The classes in the course are combined with studies of the full course in order to provide the producers with the wide education necessary for a production promoter: theoretical and practical, cinematic and television. In the first year the students participate in lessons in direction, writing screenplays, photography and editing and production of feature and documentary exercises as their colleagues in the full course. In the second year the classes split into groups that include lessons on the subject of production: building a business plan, editing screenplays, casting, financing, legal aspects, marketing, distribution and more. The students learn to recognize original ideas and how to realize them opposite local and international factors and the work is done in all formats: feature films, documentary films, television and internet.
The graduation project of the student in the course is based on narrative initiative that is built on joint work with screenplay writer and director in one of the following genres: short feature film, 50 minute drama, full-length feature film, television series, documentary film, documentary series, full-length documentary film, video contents for the internet or any cultural project in film-making, television or in a field that brings them together. The student receives support from the school tutors, Israelis or foreign, in order to realize the project inside the school or alternatively after completion of the studies. The student is required to take responsibility for his achievements from the interview stage and up to the screening of the project on a big or small screen. The graduation project gives the student the opportunity for trial and error, to succeed and fail or in other words – to learn.
During 2008, the school will establish a television station in the internet which will be run by the students. Their work will include programming of the station and movie acquisitions and most important promotion of original productions of the school together with students from the full course and screenplay writing course.
In the international arena of the course, the students will meet teachers and top professionals from across the world. Chosen students are sent to festivals, markets and continued education in Israel and the world.
The aim of the study program of the course and the international connection is to lead the graduates to intensive roles that build and design culture: as directors, content editors, managers of television stations, screening managers, school principals, festival managers, ad distributors and more.
We believe that the course graduates will change the cultural agenda in Israel.
Study Program-First Year
Most of the classes of the production promotion course are with the students of the full course, including professional workshops and theoretical lessons. In addition, courses that are related to the study program are held as detailed below:
The study program is divided into two semesters of 14 weeks each with 4 weeks intermediate holidays. The opening week is dedicated to professional workshops in the school. In the second week a marathon of movies and lectures are held for all students of the school and from the third week all the lessons of the semester begin.
The 12 continuous weeks consist of 38 weekly hours of classes in 4 days (Sunday-Wednesday 09:30-19:00). On weekends the students go out to productions and in addition on some Thursdays there are screening of projects and criticism.
It is possible for Shomri Shabat students to produce the movies on weekdays, subject to the study program. The study program is a requirement for all the students and is composed of workshops and courses:
Workshops related to Production
The producer as promoter, production/assistance director, casting workshop, financing, analyzing screenplay for producers
Introductions and Workshops with the Full Course
Writing, introduction to screenplay writing, screenplay of location film, feature direction-"Mazizim", feature direction-"Hefetz", documentary direction, basis of photography, photography in film and in video, computerized editing, editing, voice and design, soundtrack.
Theoretical Studies related to Production
The promoters come – course for hosting promoters and pioneers in Israeli culture.
Theoretical Studies with the Full Course
Visual art, Israeli culture, introduction to screenplay thinking, the classic feature film, the classic documentary film, cinematic expression, the short Israeli film, the short foreign film, expression in editing, media map
As well, the students take part in lectures of guest lectures of people in film-making and in marathons on a variety of topics.
The school holds an open day for registrants on three dates.
The open day includes a guided tour of the school, screening of student films, a meeting with a graduate and a meeting with the school administration.
Open day will also be held on the following three dates at 16:00:
Thursday 5.1.2012
Thursday 29.3.2012
Thursday 24.5.2012
Arrival to open day should be confirmed by telephone about a week before the date (school office)
Anyone with a matriculation certificate who thinks he/she is suitable for production promoter course and who will be 21-35 years old on the opening day of the school year can register for the course*. No knowledge or previous experience in the area of film-making and/or television is required. Some preference will be given to those with initiatory background / post high school education / a lot of adventurous experience.
*The acceptance committee is allowed to accept students who did not complete a full matriculation certificate but with proven history of studies. Cost of registration: NIS 250
Cancellation:
Anyone who cancels registration will not be entitled for any sort of refund of his registration fee.
Dates
Registration started in October and will conclude in June. After fulfilling the preliminary requirements (detailed in a separate paragraph below), examinations in the school have to be passed. The first registration date has already been held. Following are the dates of the other two:
First Application Period
30.10.11-2.2.2012
Application exams
16.2.12
Interviews
15.3.12
Second Application period
4.3.2012-14.6.2012
Aplication exame
28.6.12
Interviews
27.07.12
Stages of Acceptance
Stage 'A' – House Exams
The applicant has to complete the registration form in its entirety and to make sure that the form is handed into the school office. Afterwards the applicant will receive house exams which he has to prepare according to instructions from the office and to bring them to the school not later than the completion date circled on top. The school estimates that about 3 weeks are required to complete the exams and it therefore recommends that the registration form be handed in as early as possible.
Stage 'B' – 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 house exams and school exams the selection committee decides which candidates will be invited for the personal interview stage and about incorrect answers of the rest of the candidates.
Stage 'C' - Personal Interview
Candidates that passed the first two stages will be invited for an interview before the committee on the dates noted above and this will determine their acceptance or not.
Previous Work
If a candidate has a paper/project that can show that he has promotion-creative ability it should be brought to the school on the day of the exam. The paper should show initiative in the following fields: personal, artistic, business, production, communication, organizational, social or other. The paper will not be accepted instead of the exams but in addition to them and it is therefore not necessary. The candidates are asked to bring copies and not originals as the school is not responsible for loss of papers that the candidates submit.
Tuition
The administration committee of the school decides each year what the annual tuition will be. The tuition for the year 2012/13 will be NIS 16,000. A student will pay full tuition in the first three years and half tuition in the fourth year. In addition a fee in the amount of NIS 950 has to be paid every year for cinematheque, study books, reading materials, printouts, school shirts and cost of enriching activities.
Scholarships
Each year the school grants scholarships to needy students and exceptional students donated by: Channel 10 Foundation, Carol Polakof, Drako Company, David Shapira Family, Breen Foundation, Ostrovsky Foundation, Amir Elstein, Bank Leumi, and others.
Psychological Treatment for Students of the School
Since 2004 the school cooperates with student consultation services of the Hebrew University in Jerusalem. This service offers the students private or group psychological treatment by professional people: psychologists, social workers and psychiatrists. The treatment is subsidized by the school.
Independence and Changes
The school has the full discretion and the exclusive right to change the study plan and productions. The students will be subject to school regulations.
Production Promoter Course
Duration of Studies: Three and Half YearsWith the establishment of production course in 2003 with the support of Braha Foundation, Telad and Sam Spiegel Foundation who pay the three courses of the school - training of producer-screenplay writer-director have resulted in some of the important quality revolutions in the history of film-making and television. The course for production promoter is the first of its kind in Israel and its goal is to train producers with a broad and moral strategic thinking, with a creative certificate to be leaders in the field of media.
We see in a producer the motivating strength and initiative, the first and most important link in the cinematic "food chain", responsible for the start-up that is called the "movie" or the "television series" or "initiative in the field of media".
His duty is defined by wide vision, embracing and being embraced, which places the quality and goodness of the production above anything else.
The classes in the course are combined with studies of the full course in order to provide the producers with the wide education necessary for a production promoter: theoretical and practical, cinematic and television. In the first year the students participate in lessons in direction, writing screenplays, photography and editing and production of feature and documentary exercises as their colleagues in the full course. In the second year the classes split into groups that include lessons on the subject of production: building a business plan, editing screenplays, casting, financing, legal aspects, marketing, distribution and more. The students learn to recognize original ideas and how to realize them opposite local and international factors and the work is done in all formats: feature films, documentary films, television and internet.
The graduation project of the student in the course is based on narrative initiative that is built on joint work with screenplay writer and director in one of the following genres: short feature film, 50 minute drama, full-length feature film, television series, documentary film, documentary series, full-length documentary film, video contents for the internet or any cultural project in film-making, television or in a field that brings them together. The student receives support from the school tutors, Israelis or foreign, in order to realize the project inside the school or alternatively after completion of the studies. The student is required to take responsibility for his achievements from the interview stage and up to the screening of the project on a big or small screen. The graduation project gives the student the opportunity for trial and error, to succeed and fail or in other words – to learn.
During 2008, the school will establish a television station in the internet which will be run by the students. Their work will include programming of the station and movie acquisitions and most important promotion of original productions of the school together with students from the full course and screenplay writing course.
In the international arena of the course, the students will meet teachers and top professionals from across the world. Chosen students are sent to festivals, markets and continued education in Israel and the world.
The aim of the study program of the course and the international connection is to lead the graduates to intensive roles that build and design culture: as directors, content editors, managers of television stations, screening managers, school principals, festival managers, ad distributors and more.
We believe that the course graduates will change the cultural agenda in Israel.
Study Program-First Year
Most of the classes of the production promotion course are with the students of the full course, including professional workshops and theoretical lessons. In addition, courses that are related to the study program are held as detailed below:
The study program is divided into two semesters of 14 weeks each with 4 weeks intermediate holidays. The opening week is dedicated to professional workshops in the school. In the second week a marathon of movies and lectures are held for all students of the school and from the third week all the lessons of the semester begin.
The 12 continuous weeks consist of 38 weekly hours of classes in 4 days (Sunday-Wednesday 09:30-19:00). On weekends the students go out to productions and in addition on some Thursdays there are screening of projects and criticism.
It is possible for Shomri Shabat students to produce the movies on weekdays, subject to the study program. The study program is a requirement for all the students and is composed of workshops and courses:
Workshops related to Production
The producer as promoter, production/assistance director, casting workshop, financing, analyzing screenplay for producers
Introductions and Workshops with the Full Course
Writing, introduction to screenplay writing, screenplay of location film, feature direction-"Mazizim", feature direction-"Hefetz", documentary direction, basis of photography, photography in film and in video, computerized editing, editing, voice and design, soundtrack.
Theoretical Studies related to Production
The promoters come – course for hosting promoters and pioneers in Israeli culture.
Theoretical Studies with the Full Course
Visual art, Israeli culture, introduction to screenplay thinking, the classic feature film, the classic documentary film, cinematic expression, the short Israeli film, the short foreign film, expression in editing, media map
As well, the students take part in lectures of guest lectures of people in film-making and in marathons on a variety of topics.
Theoretical Lessons – Production only
Workshops – Productions only
Full Course
Total hours first semester: 44
Total hours second semester: 32
Total annual hours: 38
Theoretical Lessons – Production Only
Hosting Promoters
Arik Bernstein, 2 hours, first semester
As part of the course we will host guests who are central promoters in the field of media, amongst them:
Yossi Ozrat (owners of Jasmine TV, July August) – The Producer as a Promoter, opening lecture
Elinor Koberski (independent producer) – To Produce a Personal Documentary Film
Arik Cherniak (Metacaffe site) – Video and Internet, Promoters of International Standards
Yonathan Aroch (independent producer) – Loyalty to Yourself
Osnat Terbalsi (independent producer) – Production of Political and Social Documentary Film
Leora Nir (Viva channel, Dory Communications) – To Manage an International Company from a Soldier's Level
Yuval Sigler (publisher Time Out) – Initiative in the Field of Communications
Ron Kozer (chief producer channel 2 network) – From a Private Producer to a Chief Producer of a Station
Le Yardani (independent producer) – Future Generations of Producers (with every production course)
Promoters and Pioneers in Israeli Culture
Oded Kotler and Guests 2 hours, first semester
As part of the course we will host guest promoters who have changed the face of Israeli culture and will speak about their work. Following will be amongst the guests:
Yacov Agamon - Celebrations of 60 years for the State of Israel
Oded Kotler - Cultivation and Advancement of Original Play Writing
Orna Forat - Establishment of Theatre for Children and Teenagers
Yona Fisher - Israeli Treasures
Izthak Levni - Turning Israeli Army Station to an Alternative for Kol Israel
Yossi Frost - Establishment of the Festivals in Acre, in Arad
Liah Zen Lir - The Basis and Establishment of Jerusalem Cinematheque and Movie Festival
Nissan Nativ - Establishment of a Studio for Acting Carrying his Name
Ori Shenar – Commercial Television as "Tribal Bonfire" (will not be held in 2008/2009)
Theoretical Lessons – Full Course
History of Classic Film-Making
Nahman Ingber, 4 hours annually
The course will follow the development of film-making and will focus on silent movies. We will see the connection between film-making and the crafts that preceded it and between it and the history and the society where it was created. While watching movies and sections of mainstream movies we will discuss the theoretical thinking behind them, we will view the works of prominent directors and we will analyze the development of forms of expression. Among the milestones that will be discussed: reality movies of Lomier and Edison Brothers opposite the adventurous movies of George Malyas; the growth of American film-making; the revolution D.V. Griffith; the cinematic comedy: Chaplin, Keaton, Herald Lloyd; the silent Swedish and German movies; the German expressionism; the Soviet movie: Dejhiga and wet and Podovekin; the Soviet movie: Eisenstein and Dovzenko; the American movie of the 20's; the French movie of the 20's; experimental film-making and beyond talking movies.
History of Classic Documentary Film-Making
Yair Lev, 3 hours, second semester
In the course the different developmental stages of documentary film-making will be analyzed from Robert Pelharti up to the 60's. Ethical viewpoints towards the heroes of the movies and their themes will be examined as well as issues of truth and expression of reality, propaganda, aesthetic and poetic strategy as well as technique of directing documentaries and their relation to directing features. The course will be accompanied by viewing a collection of documentary movies from all periods: Pelharti, John Grearson, Lenny Ripenstahl, the cinema and ___ in France, the free movie in England and more.
Cinematic Expression – Hitchcock and Others
Yair Lev, 2 hours, first semester
The course will examine the language of film-making in a wide range of genres and director styles. By analyzing scenes from various movies, we will see the use of tools of film-making language (camera movement, "framing", use of lighting, editing, photographic angles) and how they help the director create the desired effect with the viewer. Examples from the following will be screened: Hitchcock's "Vertigo" and "Back Window", "Bonnie and Clyde" (Arthur Pen), "Journey to Kitera" (Anglofolos), "Beltazar Incident" (Barson), "Great Hope" (Mike Lee), "The Red Desert" (Antonioni), "The Law Chasers" (Germos) and more.
Cinematic Expression in Editing
Dov Stoyer, 2 hours, second semester
The course will examine film-making from the post production point of view and will deal with the theoretical side of editing: how editing contributes to consolidation of the language of film-making and the final design of the movie and how it offers screenplay solutions. The course will examine the different coping techniques with narratives and structures and will deal in the development of editing during the history of film-making. We will view segments from movies from the beginning of silent movies and up to the modern digital movies. Among others we will view the works of Griffith, Eisenstein, Orson Wells, Hitchcock, Kubric, Karl Reiz, Korasova, Godar, Fred Dinman, Sam Pakinfe, Ridley Scott, Copolla, Lynch, Wonders, Jonathan Demi, Antonioni, De Palma, Terkovski, Yosef Pitchhadze, Ari Pulman and others.
Short Foreign Film
Noam Kaplan, 2 hours, first semester
During the course we will view a selection of short films and we will become familiar with the characteristic of the genre as an independent type in the movie industry in the world. Analysis of the movies will focus on the choices of the director beginning with the selecting a topic, continue with screenplay, style, relation between form and content in the photography, music and in the editing. We will become familiar with wide range of movie styles from different times and places that expose the complexity of the genre and serve as milestones in the movie industry: the European method compared with the American, adolescent films, critical Swedish movies, Polish films, leading European student films, French movies and the new wave, reflexive and alternative movies.
Short Israeli Film
Noam Kaplan, 2 hours, second semester
The short movie offers a fascinating variety of work directions and ways of expression which turn it into refreshing proof and a turning point of renaissance of Israeli film-making. During the course we will try to analyze and crack the "code" of making a good short film. We will view a wide variety of styles of short Israeli movies from different periods and we will focus on movies that deal in national and personal, adolescence, death and memory. Among others we will discuss the works of Avraham Hefner, Rina Zvi Rickles, Amos Gutman, Karen Yediah, David Ofek, Dober Koseshvilly and Taufic Abu-Vayel.
Introduction to Modern Art
Zipi Weizman, 3 hours, first semester
The course focuses on the ways of expression and reading art work in their cultural and contemplative context. The course will expose modernistic styles and streams that emphasize the autonomy of art and the post-modern representatives that brought art back to life and broadened its limits to criticism of culture. Visits to exhibitions will broaden the discussion with questions in language of art, medium and exhibit strategies.
Visual Art – Artistic Exercises
Michael Lev Tov, 1 hour, annually
Observing. Morning lesson for internal meaning before start of classes by looking at works of artists, painters, sculptors and photographers from Israel and the world. Works that will be presented: Varmir (Holland), Pierre Bonet (France), Mordechai Arton, Yosef Zarichky, Moshe Gershoni, Arie Aroch and Avigdor Arica (Israel) and others.
Problems in Israeli Culture
Roey Greenfeld, first year, 3 hours, first semester
The course will deal with problems in Israeli culture through their representation in literature in television and movies. Among others we will deal with Zionist historiography, migration, nativity, representation of the military and bereavement, Palestinian identity, gender identity and reciprocal treatment between the texts.
Among the tests that will be discussed: documentary series "Pillar of Fire" and "Revival"; the movies "He Walked in the Fields" (Yosef Milo), "Hole in the Block" (Uri Zohar), "Dream Square" (Benny Torty); and texts of prose and poems from the writings of Moshe Shamir, S. Izahar, Natan Alterman, Dalia Rabikovitz, Yona Wolf and Hezi Laskali.
Communications System -From Vision to Contract
The Israeli communications system is composed of creators, public broadcasting stations, commercial, satellite and regulator. The course will deal with questions that arise in the middle of production from the time the idea is concieved up to its completion. How does multi-system communication work? How and to whom should the idea be sold to? How to recruit resources for production? How to market it and how to manage the project opposite the client? Rights are created, cooperation with broadcasting bodies abroad and more. The topics will be taught with the help of displays, analyzing events and practical training. (will not be held in 2008/2009)
Yariv Muzer, 1 hour, first semester
The course will present the basic concepts of production, contents in the visual media and on the production process from the concept point until implementing the finished product and marketing it. We will survey the process from the way the concept for a movie is presented for the selling purposes and promoting (submission of file, presentation, pilots and trailers), pre-filming planning and production including building a production file and budgetary planning, continue with management of the production, organizing a filming site, managing the budget, filming breakdown, coping with production problems and finally management of post stage until finished product as well as basic attitude to marketing, production and public relations. Different dimensional visual samples will be presented in the course.
Production in Practice – Assistant Director
Orit Zamir, 2 hours, first semester
We will deal with practical aspects of making a movie via the works of the assistant director and acting director. At the beginning we will teach how to translate a movie to an optimal filming program by means of the "board" by practicing on short screenplays of students of the school. We will learn to prepare a detailed filming program and to manage data in the magic movie scheduling. Afterwards we will deal in pre-production management: who does what, when and in what order. How the assistant director with the cooperation of the production department makes everything ready for filming. In conclusion, we will focus on production itself: the various departments of the movie team and division of work and how to manage this complex system in the most efficient, professional and pleasant manner. The course will include an instructional visit on a professional movie/series set.
Casting
Orit Azulay, 2 hours, second semester
How we translate the appearance and personality of an actor to the formal and emotional world that the movie wants to create? How children and 'non-actors' are cast? These and other topics will be discussed by analyzing examples from texts, movies, pictures and works of the students. The workshop is based on casting concept as commentary work, decoding the written screenplay and bringing it to direction. In the second half of the semester a workshop will be held in cooperation with acting students from "Nissan Nativ" school during which the material taught will be put into practice as preparation to screen exams and casting of a location film. The course will enable students to deal with casting short films during the studies and will prepare them for other work as associate directors in casting the main roles.
Analysis of Screenplays for Producers
Kobi Gal-Reday, 2 hours, second semester
Theoretical study and continuous practical training will be dedicated to fundamental concepts of the director's achievement in the area of contents: initiate project compared to link-up; measures for analyzing the screenplay; models of reading and analyzing screenplays in Europe, USA and Israel; first report of the screenplay; main criterion for selection of screenplays; the synopsis as an analysis tool; the narrative structure; personality and characterization of characters, heroes and supporting characters, viewer motivation, growth from conflict and building characters; language and style of dialogue, sub-text and other functions; film-making editing and internal pace; established concept and sub-themes and matching theme to the genre story; charting the market and summary of the foundations for evaluation of the screenplay.
Ophir Tusha Gafla, 2 hours, 2 groups, annually
The course will deal with the different aspects of creative writing and it holds many surprises that will be manifested in different kinds of exercises. Special emphasis will be put on the importance of absorption of sources of inspiration (in literature and in other forms of art such as music and film-making/television) and we will work on tools to develop the imagination. Among the topics that will be discussed: the difference between muse and sources of inspiration; wealth of the situation; awareness of the narrator; sung texts and stories; how to translate reality into a story; structure of work and its development; the different genres and how to select them; semantic, cultural and associative field of the written word; focusing on a chosen feeling by activating sensory memory and more. The students will be required to do exercises for two weeks at home and in class.
Workshop Introduction to Screenplay Writing
Zvika Kurzner, 2 hours, first semester
The course focuses on the definition and analysis of basic terms of screenplay writing in format, style and content levels. We will discuss and be trained in: presentation of narrative models, images and types of conflicts, comparison between the form of the cinematic story and prose, acquaintance with the writing process from the concept stage to the screenplay stage and analysis of scenes and dialogues from movies and screenplays.
Workshop Introduction to Screenplay Writing Thinking
Shimi Zarhin, 2 hours, 2 groups, first semester
Training - the foundations of screenplay writing as a concrete and reasoned narrative. In order to make the students skillful in writing a short feature film, they will be trained in the nature of the movie story, realization of time, place and feeling, narrative observation point, plot structure and structure of human world, the plot as a personality test for the hero, realistic dialogue opposite cinematic dialogue.
Screenplay for Location Film
Shimi Zarhin, 2 hours, 2 groups, second semester
In the centre of this writing workshop will be the screenplay writer who connects the hero, story and the space of his existence (the site of the event). By means of a series of writing exercises and mainly development of "location screenplays" (designated for production during the second year), this sort of central screenplay will be resolved as will other types: the one-time hero, the one-time location, relationships between characters, dialogue as a cinematic act, comical writing and more.
Feature Direction ("Mezizim")
Noam Kaplan, 3 hours, 3 groups, first semester
The workshop introduces cinematic work as art in space and time and a basis to cinematic narrative. In small work groups, in the method of trial and error, the students formulate the initial film-making language via the different levels of film-making: concept, screenplay story, pre-production, direction preparation, photography, inspection of the photographed material, initial editing, inspection of initial editing, advanced editing, editing of final picture, editing of soundtrack and music. As part of the workshop, each student will prepare a 3-minute video as an exercise in directing. The student will also act as a photographer, editor and production manager in movies of his colleagues. The school supplies the student with all the equipment and raw material required for the exercises.
Feature Direction ('Hefez')
Arik Kaplon, 3 hours, 2 groups, second semester
The students will direct a 3-minute exercise without dialogue. The central narrative point of the exercise is based on an object with different meanings: as one that defines character or advances the plot and as a means of understanding the process that the characters are going through. The emphasis is on direction, the camera and 'mise-en-scene', by searching for the personal language of the student and creating a personal cinematic world. The school provides the student with all the required equipment and raw material.
Documentary Direction
Michael Lev Tov, 3 hours, 2 groups, annually
The workshop will deal with syntax and documentary narratives. We will focus on investigation and screenplay as foundation stones in work, in identifying heroes and "photogenic" subjects, in moments of truth of the documentary concept and in the ethical limits of the genre. Each student will go out for 3 documentary exercises: the documentary image (slides), video moment (video, 3 minutes) and a character film (video, 10 minutes). The school will supply all the required equipment and raw materials to produce the movies and edit them.
Introduction to Video Filming
Tommy Hammer, 1 hour, 3 groups, first semester
As part of the workshop we will be familiarized with the equipment for video filming and the lighting equipment that accompanies it which the students will work with in the first semester. We will teach the features of the camera parts – lens, recording system and menu. The students will also practice work with tripod, monitor calibration and set work with the lighting equipment in the exercise filming sites. Emphasis will be put on instilling work habits and correct and safe use of the equipment. At the end of the workshop each student will pass an authorization exam as a condition to commencement of work with the equipment.
Foundations of Filming for Cinema and Television
Itay Vinograd, 3 hours, 2 groups, first semester
The workshop will be dedicated to the role of the photographer in turning the screenplay into a unique visual world. In addition to technical studies and field experience, we will learn to break up scenes into various camera angles. We will focus on the visual decisions that hold the dramatic motifs in a screenplay and go on to producing a unique style of movie. We will talk about light as the main component in photography, on camera angles and movement. In preparation for the feature and documentary exercises we will also go over the preparation of the floor plan and studio board, filming schedule, choosing location, team work and coping with decisions in the field. Every lesson will be devoted to the work of a cinema photographer who has made a breakthrough by viewing parts of his movies. The school supplies the student with all the required equipment and raw materials.
Video and Film Photography
Ronny Cazanelson, 3 hours, 2 groups, second semester
Continue studies of video photography and transfer to film photography. The following topics will be discussed and practiced in this workshop: raw materials, tests for cameras and lenses, color temperature, light measurement, formats in cinema and television, film photography as opposed to video photography, photography under limited conditions, coping with filming sites and lighting conditions and also restrictions of production and equipment. In addition to the designated filming exercises of the workshop we will analyze the photographed material from direction workshops. The school supplies the student with all the required equipment and raw materials.
Computerized Editing
Miki Cohen, 1 hour, 3 groups, first semester
Skills of comprehensive editing of non-liner avid pro express system and instilling editing techniques according to the type of project: dramatic, documentary, article or other. In addition to the lessons in class the students will receive weekly assignments for continuous practice. At the end of the workshop the students will have an authorization exam as a condition to start editing feature and documentary projects of the semester.
Editing
Leora Kaziri, 3 hours, 2 groups, annually
"The direction is the body of the movie, editing is the heart beats" (Godar). The workshop will deal in the history and theory of editing, development of cinematic narrative, video editing technique, assignment exercises, analysis and sorting photographed material (Rashas), assembling soundtrack. The second half of the workshop will be devoted to accompanying the coaches of the feature and documentary exercises of the directing workshops.
Introduction to Field Recording
Hezi Davidian, 1 hour, 3 groups, first semester
As part of the workshop the student will be instructed in the use of sound equipment of site recording: microphones, work with mixers and connection and calibration of the equipment. The lesson will be accompanied by theoretical explanations on the structure of sound and its features. The practical exercises will focus on instilling correct work habits and taking care of the equipment. At the end of the workshop each student will have an authorization exam as a condition to start using the equipment.
Sound
Ori Resheff, 2 hours, 2 groups, first semester
The course will deal with general acoustics, behavior of sound in a building, microphones and accessories, positioning microphones, recording techniques in film and video, transferring sound and mix in cinema and television. These topics will be examined in an exercise of initial recording and on an exercise that the students will be assigned. There will also be reference to the design of soundtrack in chosen cinema movies, their recordings will be analyzed and the recording in exercises that were photographed in directing workshops.
Recording for Cinema and Soundtrack Design
Ori Resheff, 2 hours, 2 groups, second semester
The workshop will provide new ideas and another way of looking at soundtrack editing for a television drama or cinema movie. During the semester we will learn about work of the sound editor versus screenplay, talking in sound editing, sound effects as a narrative basis of soundtrack, music and its contribution to the cinematic story, atmosphere as a basis to the soundtrack and more.
Cinematheque Marathons
4 days, opening of the year: David Lynch
In honor of the visit of the movie director, David Lynch, the movie critic and lecturer, Nahman Ingber, will devote two days to his work and will screen the best of his movies in full as well as segments. Among the movies that will be screened in full: "Blue Velvet", 1966; "Wild Heart", 1990; "Simple Story", 1999; "Mulholland Drive", 2001. Two additional days will be devoted to the works of two of the great European directors who passed away this year. The following movies of Ingemar Bergman will be screened in full: "Their Seventh Sister", 1957; "Tuti Bear", 1957. The following movies of Michaelangelo Antonioni will be screened in full: "Aventura", 1960; "The Red Desert", 1964.
Two days, opening of second semester: Israeli documentary film-making
The narrative and the evolution of documentary film-making in Israel, movies and segments of movies will be screened. Movies that will be screen in full length: "Journal" (David Parlov, 1988); "Did you ever Shoot at Anyone" (Michal Aviad, 1996); "The Internal Journey" (Ranan Alexandrovich, 2001); "The Graveyard Club" (Tali Shemesh, 2004); "9 Star Hotel" (Ido Her, 2006); "Belaayin Havivati" (Shay Carmeli Polak, 2006); "The People from Across the Way" (Michal Aviad, 1992); "Asurot" (Anat Even and Eda Oshpiz, 2001); "Meever Lra'alat Hagalot" (David Ben-Shitrit, 1991); "In Jerusalem" (David Parlov, 1963); "Biba" (David Parlov, 1977) ; "The Choice and Fate" (Zipi Reibenbach, 1993); "Love List" (David Fisher, 2000); "Hugo" (Yair Lev, 1989); "Because of that War" (Orna Ben-Dor, 1988); "Shnaiim Trufot" (Ilana Zur, 1997); "Beit Shan War Movie" (Rino Zror and Doron Zabari, 1996). (Will not be held in 2008/2009)
The study year is divided into two semesters with intermediate holidays of 4 weeks.
There are 14 weeks of study in the first semester and 13 weeks in the second semester. On the opening days of the semesters there are professional workshops of small groups in the school. In the second week there is a marathon of movies and lectures for students of the first and second year from all the courses.
The first semester consists of 4 study days in the week (Sunday-Wednesday) and three in the second semester.
The study program in the second year consists of theoretical lessons in cinema and television, practical workshops in core areas of production (legal aspects, business administration, financing, budgeting, advertising and branding, distribution), enlightenment workshops (hosting promoters and pioneers in Israeli culture, treasures) and workshops focused on various genres of the work (feature film-making, documentary film-making, television, internet).
In the first semester the students choose to deepen their work as directors and as team people in feature or documentary films. In the middle of the year the various workshops spread the method of operation of promoter production on its various genres in Israel and the world. The focused study enables them to develop their graduation project already in the second semester and to submit it for initial discussion of the school committee as preparation for the third year.
As part of the studies three weeks of international workshops will be held with lecturers from across the world, on Sundays-Thursdays, from morning until evening.
During the year, as part of productions of the school in Israel as well as international productions, the students continue to be tested in the fields of actual production, casting and as assistant directors. Also, beginning from the middle of 2008, the students will initiate production assignments to the school station in the internet which will work in the format of lecture broadcasting.
| Hosting promoters course | 2 hours first semester |
| Promoters and pioneers in Israeli culture With the full course |
3 hours, second semester |
| History of the classic film-making | 4 hours, annually |
| History of classical documentary film-making | 3 hours, second semester |
| Cinematic expression – Hitchcock and others | 2 hours, first semester |
| Cinematic expression in editing | 2 hours, second semester |
| Short foreign film | 2 hours, first semester |
| Short Israeli film | 2 hours, second semester |
| Visual art – artistic exercises | 1 hour, annually |
| Issues in Israeli culture | 2 hours, first semester |
Workshops – Productions only
| The producer as a promoter | 1 hour, annually |
| Production/assistant director | 2 hours, first semester |
| Casting | 2 hours, second semester |
| Analysis of screenplays for producers | 2 hours, second semester |
| ARTE-policy of broadcasting station | 5 days, second semester |
Full Course
| Creative writing | 2 hours, 2 groups, first semester |
| Workshop introduction to screenplay writing | 2 hours, 2 groups, first semester |
| Workshop introduction to screenplay thinking | 2 hours, 2 groups, first semester |
| Screenplay for location film | 2 hours, 2 groups, second semester |
| Feature direction ("Mezizim") | 3 hours, 2 groups, first semester |
| Feature direction ("Hefez") | 3 hours, 2 groups, second semester |
| Documentary direction | 3 hours, 2 groups, annually |
| Introduction to video photography | 1 hour, 3 groups, first semester |
| Basis of photography for movies and television | 3 hours, 2 groups, first semester |
| Video and film photography (prior to production) | 3 hours, 2 groups, first semester |
| Computerized editing | 1 hour, 3 groups, first semester |
| Editing | 3 hours, 2 groups, annually |
| Introduction to recording | 1 hour, 3 groups, first semester |
| Sound | 2 hours, 2 groups, first semester |
| Cinematic recording and soundtrack design | 2 hours, 2 groups, second semester |
| Marathon in cinematheque | 4 hours, annually |
Total hours first semester: 44
Total hours second semester: 32
Total annual hours: 38
Theoretical Lessons – Production Only
Hosting Promoters
Arik Bernstein, 2 hours, first semester
As part of the course we will host guests who are central promoters in the field of media, amongst them:
Yossi Ozrat (owners of Jasmine TV, July August) – The Producer as a Promoter, opening lecture
Elinor Koberski (independent producer) – To Produce a Personal Documentary Film
Arik Cherniak (Metacaffe site) – Video and Internet, Promoters of International Standards
Yonathan Aroch (independent producer) – Loyalty to Yourself
Osnat Terbalsi (independent producer) – Production of Political and Social Documentary Film
Leora Nir (Viva channel, Dory Communications) – To Manage an International Company from a Soldier's Level
Yuval Sigler (publisher Time Out) – Initiative in the Field of Communications
Ron Kozer (chief producer channel 2 network) – From a Private Producer to a Chief Producer of a Station
Le Yardani (independent producer) – Future Generations of Producers (with every production course)
Promoters and Pioneers in Israeli Culture
Oded Kotler and Guests 2 hours, first semester
As part of the course we will host guest promoters who have changed the face of Israeli culture and will speak about their work. Following will be amongst the guests:
Yacov Agamon - Celebrations of 60 years for the State of Israel
Oded Kotler - Cultivation and Advancement of Original Play Writing
Orna Forat - Establishment of Theatre for Children and Teenagers
Yona Fisher - Israeli Treasures
Izthak Levni - Turning Israeli Army Station to an Alternative for Kol Israel
Yossi Frost - Establishment of the Festivals in Acre, in Arad
Liah Zen Lir - The Basis and Establishment of Jerusalem Cinematheque and Movie Festival
Nissan Nativ - Establishment of a Studio for Acting Carrying his Name
Ori Shenar – Commercial Television as "Tribal Bonfire" (will not be held in 2008/2009)
Theoretical Lessons – Full Course
History of Classic Film-Making
Nahman Ingber, 4 hours annually
The course will follow the development of film-making and will focus on silent movies. We will see the connection between film-making and the crafts that preceded it and between it and the history and the society where it was created. While watching movies and sections of mainstream movies we will discuss the theoretical thinking behind them, we will view the works of prominent directors and we will analyze the development of forms of expression. Among the milestones that will be discussed: reality movies of Lomier and Edison Brothers opposite the adventurous movies of George Malyas; the growth of American film-making; the revolution D.V. Griffith; the cinematic comedy: Chaplin, Keaton, Herald Lloyd; the silent Swedish and German movies; the German expressionism; the Soviet movie: Dejhiga and wet and Podovekin; the Soviet movie: Eisenstein and Dovzenko; the American movie of the 20's; the French movie of the 20's; experimental film-making and beyond talking movies.
History of Classic Documentary Film-Making
Yair Lev, 3 hours, second semester
In the course the different developmental stages of documentary film-making will be analyzed from Robert Pelharti up to the 60's. Ethical viewpoints towards the heroes of the movies and their themes will be examined as well as issues of truth and expression of reality, propaganda, aesthetic and poetic strategy as well as technique of directing documentaries and their relation to directing features. The course will be accompanied by viewing a collection of documentary movies from all periods: Pelharti, John Grearson, Lenny Ripenstahl, the cinema and ___ in France, the free movie in England and more.
Cinematic Expression – Hitchcock and Others
Yair Lev, 2 hours, first semester
The course will examine the language of film-making in a wide range of genres and director styles. By analyzing scenes from various movies, we will see the use of tools of film-making language (camera movement, "framing", use of lighting, editing, photographic angles) and how they help the director create the desired effect with the viewer. Examples from the following will be screened: Hitchcock's "Vertigo" and "Back Window", "Bonnie and Clyde" (Arthur Pen), "Journey to Kitera" (Anglofolos), "Beltazar Incident" (Barson), "Great Hope" (Mike Lee), "The Red Desert" (Antonioni), "The Law Chasers" (Germos) and more.
Cinematic Expression in Editing
Dov Stoyer, 2 hours, second semester
The course will examine film-making from the post production point of view and will deal with the theoretical side of editing: how editing contributes to consolidation of the language of film-making and the final design of the movie and how it offers screenplay solutions. The course will examine the different coping techniques with narratives and structures and will deal in the development of editing during the history of film-making. We will view segments from movies from the beginning of silent movies and up to the modern digital movies. Among others we will view the works of Griffith, Eisenstein, Orson Wells, Hitchcock, Kubric, Karl Reiz, Korasova, Godar, Fred Dinman, Sam Pakinfe, Ridley Scott, Copolla, Lynch, Wonders, Jonathan Demi, Antonioni, De Palma, Terkovski, Yosef Pitchhadze, Ari Pulman and others.
Short Foreign Film
Noam Kaplan, 2 hours, first semester
During the course we will view a selection of short films and we will become familiar with the characteristic of the genre as an independent type in the movie industry in the world. Analysis of the movies will focus on the choices of the director beginning with the selecting a topic, continue with screenplay, style, relation between form and content in the photography, music and in the editing. We will become familiar with wide range of movie styles from different times and places that expose the complexity of the genre and serve as milestones in the movie industry: the European method compared with the American, adolescent films, critical Swedish movies, Polish films, leading European student films, French movies and the new wave, reflexive and alternative movies.
Short Israeli Film
Noam Kaplan, 2 hours, second semester
The short movie offers a fascinating variety of work directions and ways of expression which turn it into refreshing proof and a turning point of renaissance of Israeli film-making. During the course we will try to analyze and crack the "code" of making a good short film. We will view a wide variety of styles of short Israeli movies from different periods and we will focus on movies that deal in national and personal, adolescence, death and memory. Among others we will discuss the works of Avraham Hefner, Rina Zvi Rickles, Amos Gutman, Karen Yediah, David Ofek, Dober Koseshvilly and Taufic Abu-Vayel.
Introduction to Modern Art
Zipi Weizman, 3 hours, first semester
The course focuses on the ways of expression and reading art work in their cultural and contemplative context. The course will expose modernistic styles and streams that emphasize the autonomy of art and the post-modern representatives that brought art back to life and broadened its limits to criticism of culture. Visits to exhibitions will broaden the discussion with questions in language of art, medium and exhibit strategies.
Visual Art – Artistic Exercises
Michael Lev Tov, 1 hour, annually
Observing. Morning lesson for internal meaning before start of classes by looking at works of artists, painters, sculptors and photographers from Israel and the world. Works that will be presented: Varmir (Holland), Pierre Bonet (France), Mordechai Arton, Yosef Zarichky, Moshe Gershoni, Arie Aroch and Avigdor Arica (Israel) and others.
Problems in Israeli Culture
Roey Greenfeld, first year, 3 hours, first semester
The course will deal with problems in Israeli culture through their representation in literature in television and movies. Among others we will deal with Zionist historiography, migration, nativity, representation of the military and bereavement, Palestinian identity, gender identity and reciprocal treatment between the texts.
Among the tests that will be discussed: documentary series "Pillar of Fire" and "Revival"; the movies "He Walked in the Fields" (Yosef Milo), "Hole in the Block" (Uri Zohar), "Dream Square" (Benny Torty); and texts of prose and poems from the writings of Moshe Shamir, S. Izahar, Natan Alterman, Dalia Rabikovitz, Yona Wolf and Hezi Laskali.
Communications System -From Vision to Contract
The Israeli communications system is composed of creators, public broadcasting stations, commercial, satellite and regulator. The course will deal with questions that arise in the middle of production from the time the idea is concieved up to its completion. How does multi-system communication work? How and to whom should the idea be sold to? How to recruit resources for production? How to market it and how to manage the project opposite the client? Rights are created, cooperation with broadcasting bodies abroad and more. The topics will be taught with the help of displays, analyzing events and practical training. (will not be held in 2008/2009)
Workshops – For Production Only
The Producer as Promoter – Basic ConceptsYariv Muzer, 1 hour, first semester
The course will present the basic concepts of production, contents in the visual media and on the production process from the concept point until implementing the finished product and marketing it. We will survey the process from the way the concept for a movie is presented for the selling purposes and promoting (submission of file, presentation, pilots and trailers), pre-filming planning and production including building a production file and budgetary planning, continue with management of the production, organizing a filming site, managing the budget, filming breakdown, coping with production problems and finally management of post stage until finished product as well as basic attitude to marketing, production and public relations. Different dimensional visual samples will be presented in the course.
Production in Practice – Assistant Director
Orit Zamir, 2 hours, first semester
We will deal with practical aspects of making a movie via the works of the assistant director and acting director. At the beginning we will teach how to translate a movie to an optimal filming program by means of the "board" by practicing on short screenplays of students of the school. We will learn to prepare a detailed filming program and to manage data in the magic movie scheduling. Afterwards we will deal in pre-production management: who does what, when and in what order. How the assistant director with the cooperation of the production department makes everything ready for filming. In conclusion, we will focus on production itself: the various departments of the movie team and division of work and how to manage this complex system in the most efficient, professional and pleasant manner. The course will include an instructional visit on a professional movie/series set.
Casting
Orit Azulay, 2 hours, second semester
How we translate the appearance and personality of an actor to the formal and emotional world that the movie wants to create? How children and 'non-actors' are cast? These and other topics will be discussed by analyzing examples from texts, movies, pictures and works of the students. The workshop is based on casting concept as commentary work, decoding the written screenplay and bringing it to direction. In the second half of the semester a workshop will be held in cooperation with acting students from "Nissan Nativ" school during which the material taught will be put into practice as preparation to screen exams and casting of a location film. The course will enable students to deal with casting short films during the studies and will prepare them for other work as associate directors in casting the main roles.
Analysis of Screenplays for Producers
Kobi Gal-Reday, 2 hours, second semester
Theoretical study and continuous practical training will be dedicated to fundamental concepts of the director's achievement in the area of contents: initiate project compared to link-up; measures for analyzing the screenplay; models of reading and analyzing screenplays in Europe, USA and Israel; first report of the screenplay; main criterion for selection of screenplays; the synopsis as an analysis tool; the narrative structure; personality and characterization of characters, heroes and supporting characters, viewer motivation, growth from conflict and building characters; language and style of dialogue, sub-text and other functions; film-making editing and internal pace; established concept and sub-themes and matching theme to the genre story; charting the market and summary of the foundations for evaluation of the screenplay.
Workshops – with the Full Course
Writing – The Short StoryOphir Tusha Gafla, 2 hours, 2 groups, annually
The course will deal with the different aspects of creative writing and it holds many surprises that will be manifested in different kinds of exercises. Special emphasis will be put on the importance of absorption of sources of inspiration (in literature and in other forms of art such as music and film-making/television) and we will work on tools to develop the imagination. Among the topics that will be discussed: the difference between muse and sources of inspiration; wealth of the situation; awareness of the narrator; sung texts and stories; how to translate reality into a story; structure of work and its development; the different genres and how to select them; semantic, cultural and associative field of the written word; focusing on a chosen feeling by activating sensory memory and more. The students will be required to do exercises for two weeks at home and in class.
Workshop Introduction to Screenplay Writing
Zvika Kurzner, 2 hours, first semester
The course focuses on the definition and analysis of basic terms of screenplay writing in format, style and content levels. We will discuss and be trained in: presentation of narrative models, images and types of conflicts, comparison between the form of the cinematic story and prose, acquaintance with the writing process from the concept stage to the screenplay stage and analysis of scenes and dialogues from movies and screenplays.
Workshop Introduction to Screenplay Writing Thinking
Shimi Zarhin, 2 hours, 2 groups, first semester
Training - the foundations of screenplay writing as a concrete and reasoned narrative. In order to make the students skillful in writing a short feature film, they will be trained in the nature of the movie story, realization of time, place and feeling, narrative observation point, plot structure and structure of human world, the plot as a personality test for the hero, realistic dialogue opposite cinematic dialogue.
Screenplay for Location Film
Shimi Zarhin, 2 hours, 2 groups, second semester
In the centre of this writing workshop will be the screenplay writer who connects the hero, story and the space of his existence (the site of the event). By means of a series of writing exercises and mainly development of "location screenplays" (designated for production during the second year), this sort of central screenplay will be resolved as will other types: the one-time hero, the one-time location, relationships between characters, dialogue as a cinematic act, comical writing and more.
Feature Direction ("Mezizim")
Noam Kaplan, 3 hours, 3 groups, first semester
The workshop introduces cinematic work as art in space and time and a basis to cinematic narrative. In small work groups, in the method of trial and error, the students formulate the initial film-making language via the different levels of film-making: concept, screenplay story, pre-production, direction preparation, photography, inspection of the photographed material, initial editing, inspection of initial editing, advanced editing, editing of final picture, editing of soundtrack and music. As part of the workshop, each student will prepare a 3-minute video as an exercise in directing. The student will also act as a photographer, editor and production manager in movies of his colleagues. The school supplies the student with all the equipment and raw material required for the exercises.
Feature Direction ('Hefez')
Arik Kaplon, 3 hours, 2 groups, second semester
The students will direct a 3-minute exercise without dialogue. The central narrative point of the exercise is based on an object with different meanings: as one that defines character or advances the plot and as a means of understanding the process that the characters are going through. The emphasis is on direction, the camera and 'mise-en-scene', by searching for the personal language of the student and creating a personal cinematic world. The school provides the student with all the required equipment and raw material.
Documentary Direction
Michael Lev Tov, 3 hours, 2 groups, annually
The workshop will deal with syntax and documentary narratives. We will focus on investigation and screenplay as foundation stones in work, in identifying heroes and "photogenic" subjects, in moments of truth of the documentary concept and in the ethical limits of the genre. Each student will go out for 3 documentary exercises: the documentary image (slides), video moment (video, 3 minutes) and a character film (video, 10 minutes). The school will supply all the required equipment and raw materials to produce the movies and edit them.
Introduction to Video Filming
Tommy Hammer, 1 hour, 3 groups, first semester
As part of the workshop we will be familiarized with the equipment for video filming and the lighting equipment that accompanies it which the students will work with in the first semester. We will teach the features of the camera parts – lens, recording system and menu. The students will also practice work with tripod, monitor calibration and set work with the lighting equipment in the exercise filming sites. Emphasis will be put on instilling work habits and correct and safe use of the equipment. At the end of the workshop each student will pass an authorization exam as a condition to commencement of work with the equipment.
Foundations of Filming for Cinema and Television
Itay Vinograd, 3 hours, 2 groups, first semester
The workshop will be dedicated to the role of the photographer in turning the screenplay into a unique visual world. In addition to technical studies and field experience, we will learn to break up scenes into various camera angles. We will focus on the visual decisions that hold the dramatic motifs in a screenplay and go on to producing a unique style of movie. We will talk about light as the main component in photography, on camera angles and movement. In preparation for the feature and documentary exercises we will also go over the preparation of the floor plan and studio board, filming schedule, choosing location, team work and coping with decisions in the field. Every lesson will be devoted to the work of a cinema photographer who has made a breakthrough by viewing parts of his movies. The school supplies the student with all the required equipment and raw materials.
Video and Film Photography
Ronny Cazanelson, 3 hours, 2 groups, second semester
Continue studies of video photography and transfer to film photography. The following topics will be discussed and practiced in this workshop: raw materials, tests for cameras and lenses, color temperature, light measurement, formats in cinema and television, film photography as opposed to video photography, photography under limited conditions, coping with filming sites and lighting conditions and also restrictions of production and equipment. In addition to the designated filming exercises of the workshop we will analyze the photographed material from direction workshops. The school supplies the student with all the required equipment and raw materials.
Computerized Editing
Miki Cohen, 1 hour, 3 groups, first semester
Skills of comprehensive editing of non-liner avid pro express system and instilling editing techniques according to the type of project: dramatic, documentary, article or other. In addition to the lessons in class the students will receive weekly assignments for continuous practice. At the end of the workshop the students will have an authorization exam as a condition to start editing feature and documentary projects of the semester.
Editing
Leora Kaziri, 3 hours, 2 groups, annually
"The direction is the body of the movie, editing is the heart beats" (Godar). The workshop will deal in the history and theory of editing, development of cinematic narrative, video editing technique, assignment exercises, analysis and sorting photographed material (Rashas), assembling soundtrack. The second half of the workshop will be devoted to accompanying the coaches of the feature and documentary exercises of the directing workshops.
Introduction to Field Recording
Hezi Davidian, 1 hour, 3 groups, first semester
As part of the workshop the student will be instructed in the use of sound equipment of site recording: microphones, work with mixers and connection and calibration of the equipment. The lesson will be accompanied by theoretical explanations on the structure of sound and its features. The practical exercises will focus on instilling correct work habits and taking care of the equipment. At the end of the workshop each student will have an authorization exam as a condition to start using the equipment.
Sound
Ori Resheff, 2 hours, 2 groups, first semester
The course will deal with general acoustics, behavior of sound in a building, microphones and accessories, positioning microphones, recording techniques in film and video, transferring sound and mix in cinema and television. These topics will be examined in an exercise of initial recording and on an exercise that the students will be assigned. There will also be reference to the design of soundtrack in chosen cinema movies, their recordings will be analyzed and the recording in exercises that were photographed in directing workshops.
Recording for Cinema and Soundtrack Design
Ori Resheff, 2 hours, 2 groups, second semester
The workshop will provide new ideas and another way of looking at soundtrack editing for a television drama or cinema movie. During the semester we will learn about work of the sound editor versus screenplay, talking in sound editing, sound effects as a narrative basis of soundtrack, music and its contribution to the cinematic story, atmosphere as a basis to the soundtrack and more.
Cinematheque Marathons
4 days, opening of the year: David Lynch
In honor of the visit of the movie director, David Lynch, the movie critic and lecturer, Nahman Ingber, will devote two days to his work and will screen the best of his movies in full as well as segments. Among the movies that will be screened in full: "Blue Velvet", 1966; "Wild Heart", 1990; "Simple Story", 1999; "Mulholland Drive", 2001. Two additional days will be devoted to the works of two of the great European directors who passed away this year. The following movies of Ingemar Bergman will be screened in full: "Their Seventh Sister", 1957; "Tuti Bear", 1957. The following movies of Michaelangelo Antonioni will be screened in full: "Aventura", 1960; "The Red Desert", 1964.
Two days, opening of second semester: Israeli documentary film-making
The narrative and the evolution of documentary film-making in Israel, movies and segments of movies will be screened. Movies that will be screen in full length: "Journal" (David Parlov, 1988); "Did you ever Shoot at Anyone" (Michal Aviad, 1996); "The Internal Journey" (Ranan Alexandrovich, 2001); "The Graveyard Club" (Tali Shemesh, 2004); "9 Star Hotel" (Ido Her, 2006); "Belaayin Havivati" (Shay Carmeli Polak, 2006); "The People from Across the Way" (Michal Aviad, 1992); "Asurot" (Anat Even and Eda Oshpiz, 2001); "Meever Lra'alat Hagalot" (David Ben-Shitrit, 1991); "In Jerusalem" (David Parlov, 1963); "Biba" (David Parlov, 1977) ; "The Choice and Fate" (Zipi Reibenbach, 1993); "Love List" (David Fisher, 2000); "Hugo" (Yair Lev, 1989); "Because of that War" (Orna Ben-Dor, 1988); "Shnaiim Trufot" (Ilana Zur, 1997); "Beit Shan War Movie" (Rino Zror and Doron Zabari, 1996). (Will not be held in 2008/2009)
The study year is divided into two semesters with intermediate holidays of 4 weeks.
There are 14 weeks of study in the first semester and 13 weeks in the second semester. On the opening days of the semesters there are professional workshops of small groups in the school. In the second week there is a marathon of movies and lectures for students of the first and second year from all the courses.
The first semester consists of 4 study days in the week (Sunday-Wednesday) and three in the second semester.
The study program in the second year consists of theoretical lessons in cinema and television, practical workshops in core areas of production (legal aspects, business administration, financing, budgeting, advertising and branding, distribution), enlightenment workshops (hosting promoters and pioneers in Israeli culture, treasures) and workshops focused on various genres of the work (feature film-making, documentary film-making, television, internet).
In the first semester the students choose to deepen their work as directors and as team people in feature or documentary films. In the middle of the year the various workshops spread the method of operation of promoter production on its various genres in Israel and the world. The focused study enables them to develop their graduation project already in the second semester and to submit it for initial discussion of the school committee as preparation for the third year.
As part of the studies three weeks of international workshops will be held with lecturers from across the world, on Sundays-Thursdays, from morning until evening.
During the year, as part of productions of the school in Israel as well as international productions, the students continue to be tested in the fields of actual production, casting and as assistant directors. Also, beginning from the middle of 2008, the students will initiate production assignments to the school station in the internet which will work in the format of lecture broadcasting.
Theoretical Lessons – Core
Production Workshops – Core
Feature Film-Making
Television
Documentary Film-Making
Internet
Inspiration Workshops
Total hours first semester: 38
Total hours second semester: 26
Total annual hours: 32
Nahman Ingber, 4 hours, annually
The course will deal with the technical and formative changes that modern film-making has gone through in Europe and the USA by relating to central milestones: the German cinema before 1933; The Soviet cinema during Stalin's time; the Second World War and Hollywood film-making; the Italian neo-realism; the breakdown of "the studio method" in Hollywood; the 50's; the new French wave, the English realistic cinema, development of new cinematic culture in the third world; reciprocal relation between the film-making of Europe, third world and American film-making of the 60's and onward. We will relate to aspects of theme, narrative, aesthetics and production. As an integral part of the lectures, movies and segments of movies will be screened of Fellini, Antonioni, Bergman, Korosava, Skorsaxa, Copolla, Woody Ellen, Ivan Passer, Godar, Pauzolini, Bertocelli, Tabiani Brothers and others.
History of Modern Documentary Film-Making
Yair Lev, 3 hours, second semester
The course will deal with a wide variety of styles and central producers of documentary film-making of our times. We will examine the thematic, formative and ideological aspect of movies that represent typical "genres": the camera as a weapon, the investigation as a screenplay; portrait in a documentary movie opposed to a television article, the personal journal, the confined documentary-feature cinema, travel films and more. Among the movies that will be screened: "Journal" (David Parlov), "Lists of Cities and Clothes" (Vim Wanders), "Little Dieter has to Fly" (Werner Herzog), "Without Sun" (Karim Marker), "Roger and I" (Michael Moore), "26 Baths" (Peter Greenway), "November Days" (Marcel Opolas), "The Tornado" (Peter Porgech) and others.
The Comedy
Nissim Dayan, 3 hours, second semester
As part of the course, we will define comedy in general and the cinematic comedy in particular, the genres that are typical to it, its expression in different cultures and the bond between it and theatrical comedy, the literary and television. During the lesson movies will be screened that are road marks in the history of Hollywood cinematic comedy, the British, the French, the Italians and Czech. Among the movies: "Ninocheka" (Ernest Lobitsh), "Lady Eve" (Preston Sturgess), "To Kill the Lady" (Alexander McEndrick), "Perfect Idiot" (Francis Weber) and more.
Dr. Gidi Koran, 2 hours, annually
We will deal with a variety of subjects related to the legal aspects of business transactions by reading examples and studying their basic principles. Among the subjects that will be discussed: general principles of contract law with emphasis on contents of production and cinematic agreements; legal limitations on production content (defamation, defense of minors, censorship, etc.); general principles of injustice of damages and commercial injustices laws; recognition of the principles of activity of various regulators; aspects of spiritual of the field – rights of producers, campaigns and transmissions; activity of various unions (such as producers union, directors union, campaigns); main legal aspects of productions and activity in the international market.
Hollywood Guide: Development, Production and Distribution of Independent Movies
Craig Emanuel, 5 days, first semester
The purpose of the workshop is to instill broad understanding of all the legal and business steps required of a producer of an independent feature film from the development stage of the movie, its production and up to its sale and distribution. We will analyze the variety of relevant agreements for this process with the writer, the director, sales agents, representatives of the producer and distributors. We will also deal in work opposite festivals. Attorney Craig Emanuel serves as the legal consultant for leading directors and screenplay writers in Hollywood.
Introduction to Business Administration – Initiating and Building a Business Plan
Gilad Noyman, 2 hours, first semester
The course will introduce basic tools required to prepare and present a business plan and the students will prepare their own business plan aspiring to implement a personal project. We will learn about the various areas of management: marketing, financing, production, human resources, information systems, performance research and general management. As well we will cover how to manage negotiations by providing basic tools for coping in the world of business and initiatory business. The students will work in groups to prepare the business plan which will be presented to a forum of investors which they have created and be prepared to answer their questions. (Will not be held in 2008/2009)
Financing and Production
Philip Kroizer, 1 hour, 5 days, second semester
Philip Kroizer, manager of investment division of Bavaria Films, Munich, will speak about the central legal characteristics in the method of business work of cinematic and television industry in Europe. By analyzing 2-3 examples, the following matters will be discussed: developing contracts and agreement wording; rights of producers in sales; legal matters which entail financing production of movies by means of screening European and co-production cinema; negotiations with sales agents and agreements; business plan of production in its various stages.
Budgeting and Set Management
Ricky Shelach, 2 hours, first semester
The course will deal in the production stages and budgeting of various cinematic genres: student movies, documentary film, commercial film, television drama-outside, studio television drama, soap operas, full-length feature film. As part of the course we will discuss the relationship of budgeting of pre-production, development and post-production and production. We will also learn about the contact of the producer who wants to stay within budget and navigates the various components of production methodically towards the objective – completion of the production and post-production by providing the director with space and value production.
Introduction to Marketing – Advertising and Branding
Raviv Izthaki, 2 hours, first semester
Marketing as a story (like the marketing of No Logo, Naomi Klein, General Motors, Virgin). The marketing pyramid; creation and strengthening demands; the branding theory of Acker; brand name architecture; creative thinking; choice of "hero" and cultivating him; public relations and use of media; the new media (internet, cellular, community and interactive); methods of evaluation and survey for future projects. During the course every student will choose and project of positioning, branding, packaging and advertisement of a real movie or television series and work on it from the presentation stage, building marketing strategies and up to the campaign. (third year of the production course)
Accompanying of Graduation Project
Yariv Mozar, 2 hours, second semester
In the beginning of the second year every student in the course works on a graduation project that he is supposed to present during the third year. All the stage of the project, the initial idea, preparation of submission files and experience in the presentation will be done during the regular class.
Arik Kaplon, 2 hours, annually
The courses will be dedicated to learning the language of screenplay writing and analysis of a screenplay in order to enable professional and productive cooperation between the producer and the screenplay writer. In the first semester the students will receive first drafts of screenplays for familiar movies like "Thelma and Louise", "Chinatown", and others. Every student will write his opinion on each of the movies by relying on the parameters that were taught and will present it in class for discussion and criticism. In the second semester the students will be asked to analyze screenplays of Israeli movies that were submitted for screening and are in the process of development or revision. After reading and writing the report we will hold a meeting between the students and the producers which will offer a rare dialogue opportunity. The students will be exposed to the production process and the producer will get the opinions of the class students.
Casting for Producers
Orit Azulay, 2 hours, second semester
How to take an actor's appearance and personality and apply them to the formative and emotional world that the movie wants to create? How to cast children and 'non-actors'? These issues and others will be discussed by analyzing examples from texts, movies, pictures and works of the students. The workshop is based on casting thought process as a commentary work, decoding the written screenplay and to advance it to the directing stage. In the second half of the semester a workshop will be held in cooperation with acting students from Nissan Nativ School where the taught material will be put into practice as preparation to screen exams. The course will enable the students to do the casting of short movies during their studies and will prepare them for other work as associate directors in casting the central roles.
Marketing and Distribution
Yonathan Chizak, 5 days, first semester
All the components of marketing and distribution of movies worldwide and in Israel: Hollywood versus independent producers; screening world (multiplex and megaplex); advertising material and presentation; division of revenues and calculation of movie rentals; distribution (structure of business transactions, sales, advance sales, studio deals, etc.). We will look at general aspects of marketing (when the marketing starts, headline sales, platforms, censorship and educational tools) and we will research its main parts: publicity, commercials and promoting sales in various ways. During the workshop a variety of campaigns will be screened for the same movies in different markets: USA, Europe and Far East.
Politics of International Festivals
Christian John, 5 days, second semester
Christian John who serves as deputy to the manager of Caan Festival, will examine closely the area of international festivals which includes about 500 annual festivals. John will provide a clear picture of the types of festivals: central, regional, national, niche festivals and more. From his vast experience he will teach the complex dialogue in this area and will speak about the competitions of the main festivals in the world (Caan, Berlin, Venice, Sundance, Toronto) and how the producer has to navigate between them. The arrival of Christian John to the school will be made possible by the support of the French Institute for Culture in Tel Aviv.
Marathon of Cinematic Features
4 days, opening of the year, details in first year program
Mirit Toby, 2 hours, first semester
The course will be dedicated to central issues in development of original productions in the updated television market. We will examine the market from the point of view of the broadcasting groups: features, differences and the different needs taking into consideration the different broadcasting platforms. We will also discuss how the producer copes with these needs: the economical thinking behind the processes of development of a drama series, ways of branding a production company and creating a well isolated "production house", processes of development of drama series which have sources for development materials and the road from an initial concept to an actual series. Additional issues: existing trends and identification of the next trend; ways to market and sell the development materials; preparation and training of pitching; building work teams; how to define the target audience; development of television stations under ideal conditions; how many originals are our own original productions and more. (third-fourth years)
Television Stations – Programming and Acquisitions
Yoav Zaavi, 2 hours, first semester
The world of television is composed of intense broadcasters (like the local channel 2) and from niche channels that deal with esoteric (like the horse channel in America). It seems that the possibilities today are indeed unlimited but how is this done? Who are the people who build and plan these channels and decide what will be broadcast and when? How does the television market operate? The course will be dedicated to the development and operation of a television station: we will host professionals of content and programming, we will become acquainted with the important newspapers and influential websites and we will peek into live broadcasts of American television. In addition we will examine in detail the local, American and European television markets and discuss main annual events and markets in the field. During the course we will develop imaginary television channels from the concept stage to the day of the first broadcast. (with third-fourth years)
Television Formats
Assaf Gil, 2 hours, first semester
What is the "compass" of the producer with regard to fundamental choices of content sketch? How to create success? Is it to aim to "the audience taste" and what is it? When do quality and success meet and are these contradictory concepts? What is the "backbone" of production? How to breakdown production content to and economically focused "bottom line"? How to remain loyal to the concept? These basic questions will be examined opposite successful television formats from the world. The students will be required to analyze creatively their suitability to local production in Israel according to parameters of casting, change of structure and content or screenplay. Later the students will bring ideas to be discussed by the group in order to develop to unique projects in different genres that will be saleable in Israel and abroad. (third year)
Yair Lev, 3 hours, first semester
6-8 short films (up to 15 minutes) will be produced quickly during the course. The projects will be chosen according to declaration of intentions and initial synopsis and will accompany from the research stage and up to production. All the movies will be dedicated to one topic: workers and factories in Jerusalem. The topic by nature will encourage the students to deviate from the personal and the private to social and political areas and to express a social viewpoint. According to matters that will be raised in class, we will view short films and segments of movies. Every student is required to participate in the making of the movies as a director, producer, editor or as a photographer. The movies will be completed by the beginning of the second semester.
The Single Documentary Story – Identification and Temptation
Danny Siton, 2 hours, first semester
The course will cover the production of the single documentary story designated for prime time of the international broadcasting authority. Among the issues that will be discussed: what do the big television stations in the world broadcast; differences between the USA, Europe and the Far East; what is a local story that became universal; advance purchases and acquisition of a finished movie for broadcasting; research and historical story with new revelations; broadcasting agendas – cash flows and variables. We will also refer to the writing stages, preparation of a trailer, correct pitching, approaches to funding in Israel and abroad; financial aspects during the production and afterwards; ownership and production rights, sales, recordings and repeat sales. We will also deal in the extent of the producer's involvement and his responsibility in the various stages.
Workshops for Development of Documentary Series
Erik Bernstein, 2 hours, first semester
Documentary series inasmuch as they are the very core of making a quality television are usually the fruit of the producer's initiative, development and creation ("Column of Fire", "Takuma", "In the Jewish State", "The American Civil War", "The Blues"). The workshop will follow the process of development of a series from the time the concept is conceived, initial proposal, budget, sales strategy, assembling the leading crew, research management, choice of heroes and up to final proposal and start of production. In the introductory lessons we will analyze the genre and various types, methods of development, initial budgeting, etc. Later on the class will be divided into pairs and each pair will develop the initial draft for the series.
ARTE – Documentary Policies of a Broadcasting Station
Terry Garal, 5 days, second semester
Terry Garal, head of the documentary department of ARTE and one of the leading people of the documentary field in Europe, will give an outline of the quality documentary broadcast. Garal will present the philosophy and the policies of the station and will enrich the students in international standards in their perception of the leading European broadcast. Terry Garal's arrival to the school is made possible with the support of the French institute for culture – Tel Aviv.
Conversations with Documentary Producers
Yair Lev, 3 hours, first semester
The course will host producers of prominent documentary films in the last two years. In each meeting a full-length movie will be screened and a discussion will be held with the producer. The topics that will be discussed: choice of topic, researching it and turning it into a movie, problems in the stages of products, between the personal and the "other", writing of the real screenplay in the editing room, coping with surprises during production, director-photographer-editor connection and more. Among others the following producers will be hosted: David Derry with "Say Amen"; Ido Har with "Nine-Star Hotel"; Avtisam Meraana with "Divorced Three Times"; Daniel Sivan and Oded Parber with "Giori's War"; Ron Tal with "Sun Children"' Hen Lesker with "Summer Seeds"; Nissim Musak with "The Citizen Navi" and others. (with students from the full course)
Cinematic Documentary Marathon
2 days, opening of second semester
Details in fist year program
Gal Raz, 2 hours, first semester
Basic concepts of video technology in the internet, acquaintance and experience of charting to the infinite world of video editing found today in the network. Where is the revolution of the internet video leading? Every lesson will include a lecture which will be accompanied by viewing examples from the internet space and work on the content of the video produced for the unique video project of the school. This work will be done in the format of a television station whereby the students will fill the roles of content and production and will cope with planning and performing of original productions, branding, programming, acquisition and marketing. (with third year)
Erik Bernstein, 2 hours, first semester
Erick Bernstein will host promoters for lectures and discussions. Among the course guests: Yossi Ozrad (owners of Jasmine TV – July/August) –The Producer as an Entrepreneur, opening lecture; Elinor Kobarsky (independent producer) –To Produce Personal Documentary Movie; Erik Cherniak (Metacafe Site) –Video and Internet, Promoters of International Levels; Yonathan Aroch (independent producer) – multi experienced independent movie producer; Osnat Terbalsi (independent producer) – production of documentary, political and social films; Leora Nir (Viva channel, Dory Communications) –To Manage and International Company from the Soldier's Level; Yuval Sigler (publisher of Time Out) –Iniative in the Communications Field: Ron Kozer (head producer of Channel 2 network) – From a Private Producer to a Station Producer and if there is Room Initiative from Within the Station; Lee Yardani (independent producer) – The Next Generation of Producers
Promoters and Pioneers of Israeli Culture
Oded Kotler and guests, 2 hours, first semester
The course will host promoters who changed the look of Israeli culture who will speak about their work. Among the guests: Yacov Agmon on the celebrations of 60 years of Israeli independence; Oded Kotler on cultivation and advancement of original plays; Orna Fort on establishment of theatre for children and teenagers' Yona Fisher on Israeli treasures; Itzhak Levni on turning the Israeli army radio station into an alternative for the Voice of Israel; Yossi Forst on establishment festivals in Acre, Arad; Nissan Nativ on developing the acting studion carrying his name; Leah Van Leer on the basics and establishment of Jerusalem cinematic and movie festival; Ori Shenar on commercial television as ""Medurat Hashabat". (will not be held in 2008/2009)
Treasure Course
Mayan Shalef, 2 hours, second semester
The course will accompany the students in the process of guarding in one of the school spaces chosen by them the collective art exhibitions of the participating artists and the idea derived from the works. We will examine different treasure models: individual exhibitions, collective exhibitions with a concept defined in advance compared with consolidation of a concept according to artists' existing materials, suitability to a specific space, creative and involved treasures and more.
The school supplies the student the equipment and raw materials required for production and editing of the movies .
The school has the discretion and the exclusive right to change the program. The student studies and productions will be subject to school regulations.
| History of modern cinema | 4 hours, annually |
| History of modern documentary film-making | 3 hours, second semester |
| Comedy | 3 hours, second semester |
Production Workshops – Core
| Legal aspects of business transactions | 2 hours, annually |
| Hollywood guide and independent movies (development, production and distribution) |
5 days, first semester |
| Advertisement and branding | 2 hours, first semester |
| Budgeting and set management | 2 hours, first semester |
| Financing | 5 days, second semester |
| Graduation project accompaniment | 2 hours, second semester |
Feature Film-Making
| Analysis of a screenplay for producers | 2 hours, annually |
| Casting for producers | 2 hours, second semester |
| Marketing and distribution | 5 days, first semester |
| Politics of international festivals | 5 days, second semester |
| David Lynch, Antonioni and Bergman marathons | 4 days, opening of first semester |
Television
| Programming | 2 hours, first semester |
| Cracking the television market-original productions | 2 hours, first semester |
| Television formatting | 2 hours, first semester |
Documentary Film-Making
| Documentary directing – workers and factories in Jerusalem | 3 hours, first semester |
| The only documentary story – identification and temptation | 2 hours, first semester |
| Workshop for development of documentary series | 2 hours, first semester |
| ARTE – documentary policy of a broadcasting channel | 5 days, second semester |
| Conversations with documents producers | 3 hours, first semester |
| The Israeli documentary film-making marathon | 2 days, opening of second semester |
Internet
| Production for internet | 2 hours, annually |
| School channel – production meeting | 1 hour, annually |
Inspiration Workshops
| Promoters and pioneers in culture | 2 hours, second semester |
| The promoters are coming – treasure hospitality | 2 hours, second semester |
Total hours first semester: 38
Total hours second semester: 26
Total annual hours: 32
Theoretical Lessons – Core
History of Modern Film-MakingNahman Ingber, 4 hours, annually
The course will deal with the technical and formative changes that modern film-making has gone through in Europe and the USA by relating to central milestones: the German cinema before 1933; The Soviet cinema during Stalin's time; the Second World War and Hollywood film-making; the Italian neo-realism; the breakdown of "the studio method" in Hollywood; the 50's; the new French wave, the English realistic cinema, development of new cinematic culture in the third world; reciprocal relation between the film-making of Europe, third world and American film-making of the 60's and onward. We will relate to aspects of theme, narrative, aesthetics and production. As an integral part of the lectures, movies and segments of movies will be screened of Fellini, Antonioni, Bergman, Korosava, Skorsaxa, Copolla, Woody Ellen, Ivan Passer, Godar, Pauzolini, Bertocelli, Tabiani Brothers and others.
History of Modern Documentary Film-Making
Yair Lev, 3 hours, second semester
The course will deal with a wide variety of styles and central producers of documentary film-making of our times. We will examine the thematic, formative and ideological aspect of movies that represent typical "genres": the camera as a weapon, the investigation as a screenplay; portrait in a documentary movie opposed to a television article, the personal journal, the confined documentary-feature cinema, travel films and more. Among the movies that will be screened: "Journal" (David Parlov), "Lists of Cities and Clothes" (Vim Wanders), "Little Dieter has to Fly" (Werner Herzog), "Without Sun" (Karim Marker), "Roger and I" (Michael Moore), "26 Baths" (Peter Greenway), "November Days" (Marcel Opolas), "The Tornado" (Peter Porgech) and others.
The Comedy
Nissim Dayan, 3 hours, second semester
As part of the course, we will define comedy in general and the cinematic comedy in particular, the genres that are typical to it, its expression in different cultures and the bond between it and theatrical comedy, the literary and television. During the lesson movies will be screened that are road marks in the history of Hollywood cinematic comedy, the British, the French, the Italians and Czech. Among the movies: "Ninocheka" (Ernest Lobitsh), "Lady Eve" (Preston Sturgess), "To Kill the Lady" (Alexander McEndrick), "Perfect Idiot" (Francis Weber) and more.
Production Workshops – Core
Legal Aspects of Business TransactionsDr. Gidi Koran, 2 hours, annually
We will deal with a variety of subjects related to the legal aspects of business transactions by reading examples and studying their basic principles. Among the subjects that will be discussed: general principles of contract law with emphasis on contents of production and cinematic agreements; legal limitations on production content (defamation, defense of minors, censorship, etc.); general principles of injustice of damages and commercial injustices laws; recognition of the principles of activity of various regulators; aspects of spiritual of the field – rights of producers, campaigns and transmissions; activity of various unions (such as producers union, directors union, campaigns); main legal aspects of productions and activity in the international market.
Hollywood Guide: Development, Production and Distribution of Independent Movies
Craig Emanuel, 5 days, first semester
The purpose of the workshop is to instill broad understanding of all the legal and business steps required of a producer of an independent feature film from the development stage of the movie, its production and up to its sale and distribution. We will analyze the variety of relevant agreements for this process with the writer, the director, sales agents, representatives of the producer and distributors. We will also deal in work opposite festivals. Attorney Craig Emanuel serves as the legal consultant for leading directors and screenplay writers in Hollywood.
Introduction to Business Administration – Initiating and Building a Business Plan
Gilad Noyman, 2 hours, first semester
The course will introduce basic tools required to prepare and present a business plan and the students will prepare their own business plan aspiring to implement a personal project. We will learn about the various areas of management: marketing, financing, production, human resources, information systems, performance research and general management. As well we will cover how to manage negotiations by providing basic tools for coping in the world of business and initiatory business. The students will work in groups to prepare the business plan which will be presented to a forum of investors which they have created and be prepared to answer their questions. (Will not be held in 2008/2009)
Financing and Production
Philip Kroizer, 1 hour, 5 days, second semester
Philip Kroizer, manager of investment division of Bavaria Films, Munich, will speak about the central legal characteristics in the method of business work of cinematic and television industry in Europe. By analyzing 2-3 examples, the following matters will be discussed: developing contracts and agreement wording; rights of producers in sales; legal matters which entail financing production of movies by means of screening European and co-production cinema; negotiations with sales agents and agreements; business plan of production in its various stages.
Budgeting and Set Management
Ricky Shelach, 2 hours, first semester
The course will deal in the production stages and budgeting of various cinematic genres: student movies, documentary film, commercial film, television drama-outside, studio television drama, soap operas, full-length feature film. As part of the course we will discuss the relationship of budgeting of pre-production, development and post-production and production. We will also learn about the contact of the producer who wants to stay within budget and navigates the various components of production methodically towards the objective – completion of the production and post-production by providing the director with space and value production.
Introduction to Marketing – Advertising and Branding
Raviv Izthaki, 2 hours, first semester
Marketing as a story (like the marketing of No Logo, Naomi Klein, General Motors, Virgin). The marketing pyramid; creation and strengthening demands; the branding theory of Acker; brand name architecture; creative thinking; choice of "hero" and cultivating him; public relations and use of media; the new media (internet, cellular, community and interactive); methods of evaluation and survey for future projects. During the course every student will choose and project of positioning, branding, packaging and advertisement of a real movie or television series and work on it from the presentation stage, building marketing strategies and up to the campaign. (third year of the production course)
Accompanying of Graduation Project
Yariv Mozar, 2 hours, second semester
In the beginning of the second year every student in the course works on a graduation project that he is supposed to present during the third year. All the stage of the project, the initial idea, preparation of submission files and experience in the presentation will be done during the regular class.
Feature Film-Making
Analysis of Screenplay for ProducersArik Kaplon, 2 hours, annually
The courses will be dedicated to learning the language of screenplay writing and analysis of a screenplay in order to enable professional and productive cooperation between the producer and the screenplay writer. In the first semester the students will receive first drafts of screenplays for familiar movies like "Thelma and Louise", "Chinatown", and others. Every student will write his opinion on each of the movies by relying on the parameters that were taught and will present it in class for discussion and criticism. In the second semester the students will be asked to analyze screenplays of Israeli movies that were submitted for screening and are in the process of development or revision. After reading and writing the report we will hold a meeting between the students and the producers which will offer a rare dialogue opportunity. The students will be exposed to the production process and the producer will get the opinions of the class students.
Casting for Producers
Orit Azulay, 2 hours, second semester
How to take an actor's appearance and personality and apply them to the formative and emotional world that the movie wants to create? How to cast children and 'non-actors'? These issues and others will be discussed by analyzing examples from texts, movies, pictures and works of the students. The workshop is based on casting thought process as a commentary work, decoding the written screenplay and to advance it to the directing stage. In the second half of the semester a workshop will be held in cooperation with acting students from Nissan Nativ School where the taught material will be put into practice as preparation to screen exams. The course will enable the students to do the casting of short movies during their studies and will prepare them for other work as associate directors in casting the central roles.
Marketing and Distribution
Yonathan Chizak, 5 days, first semester
All the components of marketing and distribution of movies worldwide and in Israel: Hollywood versus independent producers; screening world (multiplex and megaplex); advertising material and presentation; division of revenues and calculation of movie rentals; distribution (structure of business transactions, sales, advance sales, studio deals, etc.). We will look at general aspects of marketing (when the marketing starts, headline sales, platforms, censorship and educational tools) and we will research its main parts: publicity, commercials and promoting sales in various ways. During the workshop a variety of campaigns will be screened for the same movies in different markets: USA, Europe and Far East.
Politics of International Festivals
Christian John, 5 days, second semester
Christian John who serves as deputy to the manager of Caan Festival, will examine closely the area of international festivals which includes about 500 annual festivals. John will provide a clear picture of the types of festivals: central, regional, national, niche festivals and more. From his vast experience he will teach the complex dialogue in this area and will speak about the competitions of the main festivals in the world (Caan, Berlin, Venice, Sundance, Toronto) and how the producer has to navigate between them. The arrival of Christian John to the school will be made possible by the support of the French Institute for Culture in Tel Aviv.
Marathon of Cinematic Features
4 days, opening of the year, details in first year program
Television
Cracking the Television Market – Original ProductionsMirit Toby, 2 hours, first semester
The course will be dedicated to central issues in development of original productions in the updated television market. We will examine the market from the point of view of the broadcasting groups: features, differences and the different needs taking into consideration the different broadcasting platforms. We will also discuss how the producer copes with these needs: the economical thinking behind the processes of development of a drama series, ways of branding a production company and creating a well isolated "production house", processes of development of drama series which have sources for development materials and the road from an initial concept to an actual series. Additional issues: existing trends and identification of the next trend; ways to market and sell the development materials; preparation and training of pitching; building work teams; how to define the target audience; development of television stations under ideal conditions; how many originals are our own original productions and more. (third-fourth years)
Television Stations – Programming and Acquisitions
Yoav Zaavi, 2 hours, first semester
The world of television is composed of intense broadcasters (like the local channel 2) and from niche channels that deal with esoteric (like the horse channel in America). It seems that the possibilities today are indeed unlimited but how is this done? Who are the people who build and plan these channels and decide what will be broadcast and when? How does the television market operate? The course will be dedicated to the development and operation of a television station: we will host professionals of content and programming, we will become acquainted with the important newspapers and influential websites and we will peek into live broadcasts of American television. In addition we will examine in detail the local, American and European television markets and discuss main annual events and markets in the field. During the course we will develop imaginary television channels from the concept stage to the day of the first broadcast. (with third-fourth years)
Television Formats
Assaf Gil, 2 hours, first semester
What is the "compass" of the producer with regard to fundamental choices of content sketch? How to create success? Is it to aim to "the audience taste" and what is it? When do quality and success meet and are these contradictory concepts? What is the "backbone" of production? How to breakdown production content to and economically focused "bottom line"? How to remain loyal to the concept? These basic questions will be examined opposite successful television formats from the world. The students will be required to analyze creatively their suitability to local production in Israel according to parameters of casting, change of structure and content or screenplay. Later the students will bring ideas to be discussed by the group in order to develop to unique projects in different genres that will be saleable in Israel and abroad. (third year)
Documentary Film-Making
Documentary Directing – Workers and Factories in JerusalemYair Lev, 3 hours, first semester
6-8 short films (up to 15 minutes) will be produced quickly during the course. The projects will be chosen according to declaration of intentions and initial synopsis and will accompany from the research stage and up to production. All the movies will be dedicated to one topic: workers and factories in Jerusalem. The topic by nature will encourage the students to deviate from the personal and the private to social and political areas and to express a social viewpoint. According to matters that will be raised in class, we will view short films and segments of movies. Every student is required to participate in the making of the movies as a director, producer, editor or as a photographer. The movies will be completed by the beginning of the second semester.
The Single Documentary Story – Identification and Temptation
Danny Siton, 2 hours, first semester
The course will cover the production of the single documentary story designated for prime time of the international broadcasting authority. Among the issues that will be discussed: what do the big television stations in the world broadcast; differences between the USA, Europe and the Far East; what is a local story that became universal; advance purchases and acquisition of a finished movie for broadcasting; research and historical story with new revelations; broadcasting agendas – cash flows and variables. We will also refer to the writing stages, preparation of a trailer, correct pitching, approaches to funding in Israel and abroad; financial aspects during the production and afterwards; ownership and production rights, sales, recordings and repeat sales. We will also deal in the extent of the producer's involvement and his responsibility in the various stages.
Workshops for Development of Documentary Series
Erik Bernstein, 2 hours, first semester
Documentary series inasmuch as they are the very core of making a quality television are usually the fruit of the producer's initiative, development and creation ("Column of Fire", "Takuma", "In the Jewish State", "The American Civil War", "The Blues"). The workshop will follow the process of development of a series from the time the concept is conceived, initial proposal, budget, sales strategy, assembling the leading crew, research management, choice of heroes and up to final proposal and start of production. In the introductory lessons we will analyze the genre and various types, methods of development, initial budgeting, etc. Later on the class will be divided into pairs and each pair will develop the initial draft for the series.
ARTE – Documentary Policies of a Broadcasting Station
Terry Garal, 5 days, second semester
Terry Garal, head of the documentary department of ARTE and one of the leading people of the documentary field in Europe, will give an outline of the quality documentary broadcast. Garal will present the philosophy and the policies of the station and will enrich the students in international standards in their perception of the leading European broadcast. Terry Garal's arrival to the school is made possible with the support of the French institute for culture – Tel Aviv.
Conversations with Documentary Producers
Yair Lev, 3 hours, first semester
The course will host producers of prominent documentary films in the last two years. In each meeting a full-length movie will be screened and a discussion will be held with the producer. The topics that will be discussed: choice of topic, researching it and turning it into a movie, problems in the stages of products, between the personal and the "other", writing of the real screenplay in the editing room, coping with surprises during production, director-photographer-editor connection and more. Among others the following producers will be hosted: David Derry with "Say Amen"; Ido Har with "Nine-Star Hotel"; Avtisam Meraana with "Divorced Three Times"; Daniel Sivan and Oded Parber with "Giori's War"; Ron Tal with "Sun Children"' Hen Lesker with "Summer Seeds"; Nissim Musak with "The Citizen Navi" and others. (with students from the full course)
Cinematic Documentary Marathon
2 days, opening of second semester
Details in fist year program
Internet
Production for InternetGal Raz, 2 hours, first semester
Basic concepts of video technology in the internet, acquaintance and experience of charting to the infinite world of video editing found today in the network. Where is the revolution of the internet video leading? Every lesson will include a lecture which will be accompanied by viewing examples from the internet space and work on the content of the video produced for the unique video project of the school. This work will be done in the format of a television station whereby the students will fill the roles of content and production and will cope with planning and performing of original productions, branding, programming, acquisition and marketing. (with third year)
Enriching Workshops
Hosting PromotersErik Bernstein, 2 hours, first semester
Erick Bernstein will host promoters for lectures and discussions. Among the course guests: Yossi Ozrad (owners of Jasmine TV – July/August) –The Producer as an Entrepreneur, opening lecture; Elinor Kobarsky (independent producer) –To Produce Personal Documentary Movie; Erik Cherniak (Metacafe Site) –Video and Internet, Promoters of International Levels; Yonathan Aroch (independent producer) – multi experienced independent movie producer; Osnat Terbalsi (independent producer) – production of documentary, political and social films; Leora Nir (Viva channel, Dory Communications) –To Manage and International Company from the Soldier's Level; Yuval Sigler (publisher of Time Out) –Iniative in the Communications Field: Ron Kozer (head producer of Channel 2 network) – From a Private Producer to a Station Producer and if there is Room Initiative from Within the Station; Lee Yardani (independent producer) – The Next Generation of Producers
Promoters and Pioneers of Israeli Culture
Oded Kotler and guests, 2 hours, first semester
The course will host promoters who changed the look of Israeli culture who will speak about their work. Among the guests: Yacov Agmon on the celebrations of 60 years of Israeli independence; Oded Kotler on cultivation and advancement of original plays; Orna Fort on establishment of theatre for children and teenagers' Yona Fisher on Israeli treasures; Itzhak Levni on turning the Israeli army radio station into an alternative for the Voice of Israel; Yossi Forst on establishment festivals in Acre, Arad; Nissan Nativ on developing the acting studion carrying his name; Leah Van Leer on the basics and establishment of Jerusalem cinematic and movie festival; Ori Shenar on commercial television as ""Medurat Hashabat". (will not be held in 2008/2009)
Treasure Course
Mayan Shalef, 2 hours, second semester
The course will accompany the students in the process of guarding in one of the school spaces chosen by them the collective art exhibitions of the participating artists and the idea derived from the works. We will examine different treasure models: individual exhibitions, collective exhibitions with a concept defined in advance compared with consolidation of a concept according to artists' existing materials, suitability to a specific space, creative and involved treasures and more.
The school supplies the student the equipment and raw materials required for production and editing of the movies .
The school has the discretion and the exclusive right to change the program. The student studies and productions will be subject to school regulations.
The third year study program consists of practical workshops in the main areas of production (legal aspects, business administration, financing, budgeting, advertising and branding, distribution*), from enriching workshops (hosting promoters, hosting innovators in Israeli culture), from focused workshops in different genres of achievement (feature films, documentary films, television, internet*), and from networking lessons (low budget political films, Palestinian movies, video-clip series*).
The year is divided into two semesters with an intermediate holiday of 4 weeks. The first semester consists of 14 weeks of two and half days of studies per week. There are 2 international workshops as well as tutoring to assist the graduation project.
In the centre of the studies, the various workshops spread the operation methods of promotion productions on its various genres in Israel and in the world. The focused study allows the students to develop their graduation project and to submit it to the school committee.
Three weeks of international workshops with lecturers from across the world will be held during the year.
*Broader information on each course is detailed in the study program of the second year of the course besides the three networking lessons detailed in third year program of the full course.
The school will maintain full rights of the producers of the project.
The funding for the project will be not less than NIS 7,500 and up to NIS 15,000. Use of school equipment will be allowed. However, if the student will ask to produce the project outside the school walls, he will have to return to the school the amount of the financial investment of the school in the project and in return receive full rights of the producers of the project.
Outside of School Projects
Producer rights of the project fully belong to the student. The funding for the project will not be less than NIS 3,500 and up to NIS 5,000 (use of school equipment for the needs of preparing a trailer).
Submitting Stages
The synopsis of the project (up to 3 pages) will be submitted with the declaration of intentions of the person submitting it with emphasis on innovation or originality of the project and on feasibility of production.
The project will be presented to the committee which will include specialists from the fields of production, editing of movies and cultural initiatives together with sources in the school team. The discussion will be open to all students of the course. A project that received confirmation will pass to expansion and deepening of the production plan and the committee will define a schedule.
In the next stage the project will be presented as a production file which will include, in addition to the detailed synopsis, a work plan and schedule to promote the project, economic data (budget, strategies for recruiting funding, etc.), proposal to screenplay writer/director and business plan. The file will be submitted for examination by the committee who will determine the extent of its practicability, quality, originality, probability of being produced, schedule and such.
The school will support the development of the projects with instruction meetings that will be given by the best professional people and by creation of relationships with sources of finance but the recruitment itself will be done by the student.
The school will offer every project that will be selected a scholarship (production grant for the project and not to the producer). In addition the school will finance the marketing and distribution of the project.
Production Workshops
Feature Film-Making
Documentary Film-Making
Internet
Enriching Workshops
Networking Lessons
Total hours first semester: 27
Total hours second semester: 7
Total annual hours: 17
* Detail of courses in second year program
** Detail of courses in third year program of full course
The year is divided into two semesters with an intermediate holiday of 4 weeks. The first semester consists of 14 weeks of two and half days of studies per week. There are 2 international workshops as well as tutoring to assist the graduation project.
In the centre of the studies, the various workshops spread the operation methods of promotion productions on its various genres in Israel and in the world. The focused study allows the students to develop their graduation project and to submit it to the school committee.
Three weeks of international workshops with lecturers from across the world will be held during the year.
*Broader information on each course is detailed in the study program of the second year of the course besides the three networking lessons detailed in third year program of the full course.
Graduation Project – Essence, Uniqueness, Courses
From the beginning of the third year, the students submit advance proposals for the graduation project in the area of promoter productions: short feature film, 50 minute drama, full-length feature film, television series, documentary film, documentary series, full-length documentary film, video content for internet or any cultural promoter in the area of cinema and television and branches overlapping them. The graduation project is done during the fourth year. Additional specifications: the school does not accept production of graduation film (for a student from the full course), as a graduation project in the promoter production course. A project where the producer also fills the role of the director will not be accepted. On the other hand the producer can fill the role of screenplay writer and content editor. The central roles in the production will solely be done by the students and/or graduates of the school (up to two years after completion of studies).Tutors of the Graduation Project
Haggai Levy – dramatic series; Mirit Toby – dramatic series; Erick Bernstein – documentary series; Danny Siton – the isolated documentary story; Assaf Gil – television formats; Gilad Newman – business iniative; Ori Shnar – initiatives in media; Ealy Edry – interactiveCourses of Graduation Project
Interior Course of the SchoolThe school will maintain full rights of the producers of the project.
The funding for the project will be not less than NIS 7,500 and up to NIS 15,000. Use of school equipment will be allowed. However, if the student will ask to produce the project outside the school walls, he will have to return to the school the amount of the financial investment of the school in the project and in return receive full rights of the producers of the project.
Outside of School Projects
Producer rights of the project fully belong to the student. The funding for the project will not be less than NIS 3,500 and up to NIS 5,000 (use of school equipment for the needs of preparing a trailer).
Submitting Stages
The synopsis of the project (up to 3 pages) will be submitted with the declaration of intentions of the person submitting it with emphasis on innovation or originality of the project and on feasibility of production.
The project will be presented to the committee which will include specialists from the fields of production, editing of movies and cultural initiatives together with sources in the school team. The discussion will be open to all students of the course. A project that received confirmation will pass to expansion and deepening of the production plan and the committee will define a schedule.
In the next stage the project will be presented as a production file which will include, in addition to the detailed synopsis, a work plan and schedule to promote the project, economic data (budget, strategies for recruiting funding, etc.), proposal to screenplay writer/director and business plan. The file will be submitted for examination by the committee who will determine the extent of its practicability, quality, originality, probability of being produced, schedule and such.
The school will support the development of the projects with instruction meetings that will be given by the best professional people and by creation of relationships with sources of finance but the recruitment itself will be done by the student.
The school will offer every project that will be selected a scholarship (production grant for the project and not to the producer). In addition the school will finance the marketing and distribution of the project.
| Programming | 2 hours, first semester |
| Cracking the television market – original productions | 2 hours, first semester |
| Workshop developing television genres | 2 hours, first semester |
| Workshop of television formats | 2 hours, first semester |
Production Workshops
| Legal aspects of business transactions | 2 hours, first semester |
| Hollywood and independent movies: development, Production and distribution |
5 days, first semester |
| Advertisement and branding | 2 hours, first semester |
| 2 hours, first semestert | 1 hour, annually |
Feature Film-Making
| Marketing and distribution | 5 days, first semester |
| Politics of international festivals | 5 days, second semester |
| Marathon | 4 days, opening first semester |
Documentary Film-Making
| The isolated documentary story – identification and temptation | 2 hours, first semester |
| Workshop development of documentary series | 2 hours, first semester |
| ARTE – documentary policies of a broadcasting station | 5 days, second semester |
| Marathon of Israeli documentary film-making | 2 days, opening second semester |
| Documentary research and screenplay (networking) | 2 hours, first semester |
| Marathon Israeli documentary film-making | 2 days, opening second semester |
Internet
| Production for internet | 2 hours, first semester |
| School station – production meeting | 1 hour, first semester |
Enriching Workshops
| Initiators and pioneers in culture | 2 hours, second semester |
| Hosting promoters | 2 hours, first semester |
Networking Lessons
| Low budget political movies** | 3 hours, first semester |
| Palestinian movies – memory and space** | 3 hours, first semester |
| Video clip workshops** | 2 hours, first semester |
Total hours first semester: 27
Total hours second semester: 7
Total annual hours: 17
* Detail of courses in second year program
** Detail of courses in third year program of full course
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