That's what one thought when one came across this acronym for the first time. Last year! one attended some of the interactive sessions with some of the leading directors and film professionals like, Sudhir Mishra, Vinod Verma, Anil Mehta and Mani Kaul. The students participating were absolutely charged up by the exposure to their ideas. One saw the participating with such vigour and interest that one lamented about the fact that why this kind of an ambience was not available when one was a student.
Since 2005, Osian has hosted IBM2 or Infrastructure Building for Minds and Markets, first as a parallel event to the screenings, but now increasingly as a force on its own and as an integral part of the festival. More than ever before, they bring in wider circles of artistic forms and creative personalities connected with the cinematic arts from the world over and above all audiences in what will be hopefully a seamless flow of images, bodies and words to create an atmosphere of creativity and excitement.
This year, IBM2 includes: Talent Campus India – a six-day workshop for aspiring filmmakers from South Asia; ABC Series IV, an Art, Book & Film Memorabilia Auction; Osian’s Asian II Exhibition that brings together the world’s largest collection of Japanese Samurai armour and Kabuto helmets alongside a focus on Asian erotica, Lectures and Panel Discussions; and a continuous focus on the relationship between Writing and Cinema in the form of debates and dialogues between writers and filmmakers that will be complemented by a curated section of films relevant to the topic.
A prime focus of IBM2-2008 will be a build-up towards The Osianama – Osian’s flagship arts and culture complex due to open sometime in mid 2009. The Osianama, with a world class Debating Chamber at its heart to set the discursive agenda for their events, will bring together exhibitions from our archival collection, travelling exhibitions from the world over, World Cinema shows everyday of the year and live artistic events of all kinds to create a new attitude towards infrastructure building for the arts that will entertain and generate wealth targeted to be a part of India’s development framework all at once.
Towards this end this year’s IBM˛ events will more than ever before focus primarily on the relationship between artistic processes and their relationship with the cinematic product and the infrastructure that is required to sustain the continuous production of meaningful art. Thus, this year at the sessions, world class costume designers will brush shoulders with legendary screenplay writers, directors, actors, film financiers and film critics to entertain the audiences and emphasize the importance of the film festival as a site where all kinds of points of view – artistic or economic come together with the practicalities of setting up the framework within which good art can be produced to end up in actual creative decisions and relationships to be taken for the future.
Osian's hopes that IBM˛ -2008 will add a new dimension to the Osian’s philosophy of providing the infrastructure for the arts as well as facilitating the most creative channels of artistry to flow in all possible senses.
Osian’s-Cinefan is proud to host the fifth edition of Talent Campus India which is organized in collaboration with Max Mueller Bhavan, the Berlin International Film Festival and the Berlinale Talent Campus.
Talent Campus India this year is going to be a six-day workshop (13-18th July) where 31 young filmmakers will be invited to New Delhi to interact with renowned filmmakers and film professionals from India and abroad. The aim of the workshop is to provide Indian and South Asian youth a forum for coming together and learning and sharing the process of filmmaking. Participants will benefit not only from the calibre and experience of the professionals involved but also from an exchange of ideas amongst themselves. Topics of discussion will range from screenplay writing, new media, narrative in films, cinematography and editing as a craft of mapping time in films.
This unique endeavor began with Berlinale Talent Campus 2002, which was initiated by Berlin International Film Festival and which has since then, traveled abroad to select international film festivals: the Molodist Film Festival in Kiev, the Sithengi Festival in South Africa, the Buenos Aires Festival of Independent Cinema, Osian’s-Cinefan in New Delhi and Sarajevo at Sarajevo Film Festival. Joining the Campus Abroad framework this year is South Africa which will hold a Talent Campus at the Durban Film Festival. Talent Campus India in its earlier years has included discussions on cinematography, the making of first features, funding for films, directing actors, production design, sound design, and independent filmmaking. The participants have gone on to excel in their particular fields.
This year as a part of IBM2, we have some very special guests coming in including Paul Schrader, one of the world’s most famous screenplay writers known for writing the screenplay of Taxi Driver (1976). He will address Master classes on Screenplay writing and New Media. There will be an interactive session with first feature directors, and an interactive session with Jaydeep Sarkar a Talent Campus India alumnus who has made a name for himself as a scriptwriter with films like Khoya Khoya Chand, Drona, and Shaurya. We also have Mentor sessions where the participants get personalized time with established filmmakers to discuss their work and take feedback from them. Apart from comprehensive sessions on narrative in films, cinematography and editing, the larger focus of the festival this year is scripting and screenplay writing where along with the Master class with Paul Schrader we have a Film Craft session with Mani Kaul.
We believe that 2008 will be another exciting year for the participants who have an appetizing mix of sessions and films on their plates. We hope that they continue the good work and come back to the festival with their own films.
This discussion in the IBM˛ session will coincide with the unveiling of the model of The Osianama, Osian's flagship cultural complex to be inaugurated in 2009.
In recent times the archive has begun to transform itself in the minds of users, creative personalities and cultural entrepreneurs from being a repository of dust-laden arcane knowledge into becoming a trove for new ideas and visions that promise to enchant our futures and bring about all round prosperity for everyone concerned. All kinds of research and creative thinking, from the sciences to the humanities, are increasingly turning towards the archive to rejuvenate design, content and presentation of ideas and objects that will do justice to the sensibilities of the coming times. Such times are imagined as being one of encounters between cultures through travel and increased inter-visibility of populations through technology. This has occasioned the need for new thinking about the ways in which human beings will live in a more diverse, complex and sensorially plural world.
The Osianama session on the archive will bring together some of the leading cultural thinkers and institution builders of the day to discuss and think through new ways in which the archive today is becoming a dynamic site where research, creativity and generation of wealth come together today in unexpected ways.
Only a 'screenplay' could be reduced to a three-line synopsis, an unfortunate and simplistic mantra known to spell acceptability for narrative films. It straightens asymmetric fictional irregularities for mass consumption. Does screenwriting articulate structure and treatment of narrative in cinema in order to set an industrial process rolling: raise financial resources for the production of a film (a commodity) and, later, enable marketing strategies to ensure its success at the box office? Is that a reason why films not based on screenplay often commercially fail? Or is it a culture specific fetish that has persisted as an appendage to the Western fascination for the realist novel? Is screenplay already a redundant craft when the art of the cinematograph has just begun to seriously confront 'time-image', to directly embrace temporal dimensions of cinematographic 'duration' that cannot be scripted?
The discussion on Co-production will be divided into two sessions:
The first session will speak about the co-production climate in Asia, the opportunities and prospects it presents, its advantages and constraints, the benefits that can be drawn from bilateral co-production treaties, as well as about different kinds of co-production that are possible between and among countries. This session is especially intended for those who are already in the business of co-producing films or those who would like or intend to step into this field.
The second session will discuss the actual experience in co-producing films that filmmakers present at the festival have had, and what this has meant to them in terms of production or financial support or the marketing and distribution of their films
Lecture on New Media
Masterclass on Screenwriting
At the first of the two IBM˛ sessions titled New Media and the Future of Cinema that Paul Schrader will conduct, he will bring to his audience his mastery of the history of cinema. He will speak about the fate of cinema at the edge of a New Media age that threatens to redefine the shape of the medium in ways that would render it unrecognizable to its past. As cinema begins to connect up with new technologies of production and dissemination as well with the imperatives of a consumerist micro-technology driven entertainment industry, filmmakers and audiences all over the world are divided as regards the evaluation of this new development. There are those who think that the death of cinema as we knew it would be a tragedy for the history of the arts while others feel that cinema like everything else must accept the challenge of history and move on in new directions. Theorists such as Lev Manovich have argued that right from the onset cinema was intimately related to neighbouring entertainment practices such as the circus and the popular theatres of the time. Therefore the frenetic dialogue between cinema and other media make our times as interesting and exciting for the history of optical entertainments as ever before. Digital therefore might be the new medium that is facilitating the cross-fertilization between contemporary performance practices with cinema still dominating the spectrum of such practices.
In the second session Masterclass on Screenwriting, Paul Schrader will speak about his experiences with the art of screenplay writing. He will speak of the manner in which his screen plays have developed as an intimate dialogue with his own biography which has time and again afforded metaphors that served to speak of a general as well as a historically specific human condition. In the process of this critical self-examination to reveal the rules of the game for his artistic practice, Paul Schrader will also discuss the screenplay and its importance for the filmmaking process. The session will be preceded by a screening of Mishima: A Life in Four Chapters.
Paul Schrader remains a unique personality of cinema, one who has written films, directed them and written about them in a historically and discursively critical manner. He is a teacher of cinema and participates enthusiastically in debates about cinema, its history and its fate – real and virtual. It is in his dual roles as a teacher and critical thinker about cinema and a seasoned and acclaimed practitioner of the art that he comes to this year’s IBM˛ sessions to deliver two masterclasses – one on the New Media and the Future of Cinema and the other on the Screenplay in film.
Schrader is known worldwide for his screenplay of Martin Scorsese 1976 classic Taxi Driver that simultaneously raised the careers of the director and actor Robert de Niro as well that of the writer to international fame. Subsequently the three came together for the Aacdemy Award winning Raging Bull in 1980 and Schrader wrote the script for Scorsese’s controversial adaptation of the
Nikos Kazantzakis novel, The Last Temptation of Christ (1988). Running through his legendary collaboration with Scorsese is Schrader’s creative obsession with examining the relationship between the Christian notions of sin, guilt and redemption, themes he would revisit time and again in the films he himself directed. These pre-occupations he refers back to his strict Calvinist upbringing at the hands of his mother who filled him with lasting images and notions of sin and eternal damnation.
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