Transmedia: Expresando la narrativa a través de universos paralelos.
El propósito del curso es situar al alumno en el entorno de innovación transmedia y proporcionarle lo necesario para que pueda encuadrarse en un marco que el Guilds of America ha calificado como el nuevo rol de Productor Transmedia.
Se suministrará información extensiva a todo lo relacionado con el curso y el tema en cuestión. Enlaces a temas de interés, eventos, etc.
En la última clase se planteará un trabajo de equipo sobre un proyecto Transmedia propuesto entre los participantes.
Clase online con clases en directo que quedarán grabadas para poder ser seguidas después de la sesión. Se dispondrá además de una clase virtual dónde se irá añadiendo documentación, enlaces de interés, y ejercicios para sus discusión/resolución.
El curso transcurre a lo largo de 3 semanas. Las clases en directo serán los Martes y jueves de 19 a 20:30. El único requisito es disponer de ordenador, conexión a Internet y altavoces. El curso consta de 12 horas en total.
Estudiarás casos prácticos que puedes aplicar a tus propios proyectos:
El universo Transmedia como eje sobre el cual giran infinitas historias basadas en una misma idea, transcurriendo en paralelo sobre todas las plataformas de comunicación disponibles.
-Lo último en los avances mas increíbles de la nueva industria, con elementos proporcionados por los monstruos sagrados de DIY days, Power to the Pixel y otros, mas todo lo que necesitas conocer del ESIndie, el ecosistema del cine independiente en españo, a tu alcance en un curso único.
Presentado por Roberto Ponieman, fundador del ESIndie, el ecosistema del cine independiente en español; partner de promoción de contenidos del OpenIndie de Arin Crumley y fundador del Iberminuto Made For Mobile, productora del primer festival de cine para móvil del mundo; partner de promoción de contenidos transversales made for mobile de la iniciativa del Sundance Institute de Robert Redford.
Roberto Ponieman
-Diplomado por New School Parsons New York (Sede de DIY Days del workbook project de Lance Weiler) en imagen y producción de contenidos audiovisuales.
-Licenciado en Empresariales por la UB de Buenos Aires.
-Diplomado por la AAP en creatividad lateral. Psicología de la comunicación.
-Profesor y conferencista en seminarios de creatividad empresarial y nueva sociedad móvil en UCM, Carlos Tercero, Cádiz Digital, MMB y muchas otras.
-Keynote speaker sobre nuevos modelos de negocio basados en contenidos de realización transversal en FICOD, Festival de Málaga, UMB y otros exclusivos foros de relevancia internacional.
Importante Latinoamerica! Consulten a info@seirenfilms.com por el costo de la capacitación. Hay importantes descuentos para los interesados que accedan al curso a través de SeirenFilms. No se pierdan el Bono Seiren!
Vean el artículo en Kinematrix
Note: Special Thanks to Gabriele for his talent, passion and commitment to his work. It’s a beautiful thing to be able to make new friends through our work.
A big THANK YOU to Gabriele and the Kinematrix Team. Grazie!
Fare surf sulle onde di un destino poco comune:Il cinema di M.Laura Ruggiero
By Gabriele Francioni
By Gabriele Francioni
Come introduzione alla Berlinale del 2009, Kinematrix decide di partire dal “Talent Campus“, un’iniziativa straordinaria che non ha eguali nell’universo dei festival di cinema.
Da anni TC organizza clinic e scholarship su come sviluppare il processo produttivo di un film seguendo canali alternativi a quelli imposti dal sistema delle grandi case di produzione, aiutando concretamente gruppi di giovani selezionati in base ai progetti presentati.
Talent Campus non si limita a fornire un supporto economico a chi intende passare dal corto al lungometraggio, lasciandolo peraltro privo di reali connessioni con l’universo nemico della produzione.
I seminari che vi si svolgono sono, a detta di chi vi ha partecipato, un tour de force serrato dove l’ analisi delle potenzialità di una sceneggiatura originale viene subito seguita dal confronto con produttori e registi.
La poetica di un potenziale “autore” viene immediatamente passata al vaglio di una pratica “bassa” (o alta), atta a verificare la realizzabilità di un’idea.
Maria Laura Ruggiero, regista argentina appena trentenne, ha partecipato per ben due volte al BTC, nel 2004 e nel 2008, evento più unico che raro nella storia del festival tedesco.
Arrivata a Berlino grazie a uno splendido cortissimo d’animazione (WONDERFUL WOMAN), già segnato da un’ intensità espressiva nel contempo potente e surreale, delicata e decisa nel dominare il mezzo espressivo, Maria Laura è riuscita a sviluppare nel breve periodo del clinic un altro progetto affascinante, SURFING FAVELA, grazie anche alla collaborazione di Tomas Crowder.
La straordinarietà dell’esperienza di MLR sta proprio nell’ essere stata in grado di vivere i giorni del Campus come una palestra unica nel suo genere e, come accade nella maggior parte dei casi, irripetibile.
Unica ad essere stata selezionata tra i candidati dell’ America del Sud, la Ruggiero è riuscita a conquistare l’attenzione di Fuel Tv e ad assicurarsi i fondi per la produzione del suo lavoro, allora ancora sulla carta.
Quello che doveva essere un contest dedicato a corto-medio-lungometraggi sugli sport estremi, ha visto prevalere un lavoro di grande sensibilità espressiva e profondità tematica.
SURFING FAVELA – poi prodotto e regolarmente trasmesso dal canale “Nat Geo” negli anni successivi – non si ostina a definire l’estetica di una prevedibile cinesi dell’immagine messa al servizio delle evoluzioni sull’ acqua di una tavola in resina.
Alla moltiplicazione dei tagli di montaggio preferisce uno stile di scrittura che segue con naturalezza il sogno dei ragazzi delle favelas carioca di Cantagalo e Rocinha: riuscire a fare surf sul mare di una vita che non scorre piatta, ma che va costruita giorno dopo giorno superando ostacoli, affrontando le onde potenti di un destino spesso tragico.
SURFING FAVELA ha una scrittura segnata da un ritmo e da un tempo bossanovisti e meditativi, piuttosto che da un ipercinetico samba di felicità.
Fare surf, per i ragazzi di Rocinha, significa conquistare zone di libertà, andarle a trovare sulla superficie del mare dopo essere scesi dalla favela, siglare con questo movimento quotidiano (un saliscendi continuo, inarrestabile) la volontà di crescita intesa come uscita da quel mondo.
Portare il mare verso la terra, l’Oceano verso la Favela e viceversa, senza credere di essere in un girone di dannati senza speranza.
La purezza e l’essenzialità del Viaggio e del Movimento sono anche alla base di ARCOS (ARCHES), il lungometraggio in fieri di Maria Laura Ruggiero.
Nel suo testo (vedi qui, NdR), la regista argentina racconta cosa sarà ARCOS una volta diventato lungometraggio.
Esseri umani apparentemente “limitati” dal non poter sostenere il confronto con la dimensione, la scala di una Natura che li sovrasta – la resa espressiva di un orizzonte spazialmente infinito e forse inconoscibile rientra tra le tematiche ricorrenti nella grande letteratura e nel grande cinema sud e nordamericano – trovano riscatto nel Movimento come atto di crescita, sfida lanciata verso quella grandezza spesso muta o silenziosa.
ARCOS, come anticipano le parole della regista, sarà un film di vento e cemento, acqua e terra, impostato su contrasti che diventano dialogo e derive che prendono la forma di crescite, maturazioni, avanzamenti dentro la vita.
Il film è figlio di Maria Laura Ruggiero: una creatura totalmente sua, dal soggetto, alla sceneggiatura (premiati in diverse manifestazioni a partire dal 2003), alla produzione, alla regia.
Un destino poco comune come quello della scrittrice e filmaker argentina, può essere da esempio ai giovani che si avvicinano al cinema con le Idee e con l’anima.
Building Arches in Potsdamer Platz.
A Journey through the Berlinale Talent Campus
(see original Kinematrix post here )
You’ve Got Mail!
I just got that special email that says, CONGRATULATIONS, You’ve been selected. It’s my second time attending the Berlinale Talent Campus. I’m overwhelmed. These things rarely occur. Going to Berlin TWICE! . BTC is a great Program hosted by the Berlinale Film Festival that chooses young filmmakers from all over the world to give them training and inspiration in ten days of FILM-Making-Madness.
My first time in Wim Wenders’ land was magical. I was a kid right out college,(2004) obsessed with Wings of Desire, trying out 3D animation because it seemed the cheaper way to make movies and getting picked by one of the best Film Festivals in the world with a one-minute submission. Surreal.
I’m like WOW…Going there again!? Back in those days, I met Mr. Wenders, who was presenting “The Soul of a Man”. He had pneumonia and was making a huge effort to be there with us: the Young vibrant Talents, he was coughing, I was smiling. I felt like a filmmaker for the first time. I was on the right path, I knew.
That trip was filled with inspiration. Having a conversation with Walter Murch and hearing him talk about “Stevie” and “George” it was like a rollercoaster of motivation. There he was, this monumental Genius, referring to George Lucas and Steven Spielberg by their nicknames. I felt like I could do it. Twenty years from now, my friends and I will be hosting those inspirations sessions. Yeah.
My Bear
Then I remember I have to go there again. Why again? What did I do? Man, I can barely remember what I sent as an application this time around.
I get anxious. My world starts spinning. Literally.
My first feature screenplay ever, won the BAFILM award in Argentina and proved me that writing didn’t seem so difficult. It started out as “Can I write a movie in 21 days?-type of challenge” and got me to Berlin. I was selected for a very special program within the BTC that is called Script Clinic. The BTC team commanded by Mara, had a wonderful sense of humor and, of course the Script Clinic was actually hosted in an improvised hospital in the middle of our Cinematic War Zone. I was appointed a tutor that turned out to be Tom Schlesinger, award winning Script Doctor, teacher, writer and one of the most generous men I’ve ever met. With a rough translation (done in 24 hours straight) of my 120 pages screenplay, I got to Berlin to discuss the dramatic appeal of my baby, my first feature: “Arches”. During my first session I realized I wasn’t going to be talking Plot Points and Character Arc, and all those boring names used in screenwriting, Tom had a different approach. With detailed notes in every page of my screenplay, we talked about every single aspect of my story. Personal aspects. Poetry. Myths. Inner journeys. I remember he even mentioned the way the dog of the movie was presented. I could barely remember the dog in the screenplay. It was Benny, by the way, and it proved to me how in depth his script doctoring work was.
I felt a bit like Alice in Wonderland. The world seemed surreal: you write things about your hometown, people read it, people like it, people get inspired. WOW, Again. I’m loving this.
Back then; you could be brave enough to sign up for as many special programs as you wanted. I signed up for everything I could. From Speed Dating (a non romantic approach to meet your perfect producer/director..etc) to Doc Docs. I pitched an idea for a documentary to a Planet TV representative. I talked and talked and talked about a Surfing Documentary that was going to be shot in every location I wanted to visit. Everywhere from Malvinas to California, stopping in Brazil and Cuba chasing the Surfer’s dream. That day I learnt that Pitching a movie is not about talking non stop, but I’ve also discovered two principles of my line of filmmaking:
A- Passion pays.
B- Anyone can recognize a good story.
What got to be Fuel TV’s award winning documentary was created there, Surfing Favela was about to be born.
Surfing Favela’s Poster
Back to 2008. I’m invited to go to Berlin again, now to the Talent Project Market, where “us:, the young talents” get to experience a real Film Market with our own projects in Development. “Arches” was ready to go out there.
I’m nervous. I’ve just burnt a mug in my microwave and a storm destroyed part of my location for “Arches”. I guess all journeys start with a bit of fear and confusion.
Mistakes
Mistakes
Getting there
I’m in Berlin. British Airways lost my entire luggage. Well, it’s not really lost– they say. It’s in London.
-Do you have everything you need with you?-says the BA representative smiling kindly.
I smile looking at the complimentary shampoo and T-Shirt, thinking that the Film Market starts tomorrow and all I have fits in the pockets of my borrowed jacket. I feel Zen. But I also feel awfully scared.
Berlinale Talent Project Market is special program that chooses 11 projects worldwide to be presented at the Berlinale Co Production Market. BTC sponsors you, gives you VIP treatment, training and inspiration. A unique opportunity to meet potential producers from all over the world. After a few days of INTENSIVE training on the Art of Pitching, producing, finances, cocktail parties, special mentorship and interviews, you start to realize that as anything in life you have to make decisions. Tough decisions and better make them fast.
European projects selected for the TPM are there looking professionally ready to take over the world. Producers, Writers, Directors, even fans are there to support their dreams. Laptop, slides, fancy postcards.
On the other hand, Latin Talents (I assume this happens to everyone, but I was the only Latin talent chosen) are there trying to embody the spirit of Multitasking. I can only afford to be my own producer, writer, director at this time. It shouldn’t be this way, it’s not really sane to try to do everything on your own, but it is what is, and I’m there to show the only thing I have with me. Complimentary British Airways toiletries and Passion. Lots of Passion.
British Airways tries to save my life
Surviving the Ego Rollercoaster.
Being in a Film Market can be amazing, funny, inspiring, brutally overwhelming and fake.
If you are a filmmaker, you better have the natural charm to move around Industry Sharks in order to come out of it alive and glowing. If you don’t have that special talent, you either must have someone to do the hard job or you’re canned Tuna.
During Cannes, my dear friend Laurene, came up with the idea of a Spiritual Approach to a Film Market. I think the Decalogue goes something like this:
A)Don’t get anxious about collecting business cards. Just flow.
B) You’re what you are, and there’s beauty in it.
C) Don’t believe your own Ego-Pitch.
D) Be Responsible, study hard, be on time.
E) Enjoy the ride. Movies are not done in a day.
TPM interviews are great. Kathi and Steffi set up two whole days of interviews with potential producers. All day, 15 minutes to sell your idea. Then you start over again with another producer. The day goes by and you find yourself pitching to faces you can barely remember.
Then comes lunch break, a German TV reporter wants you for the Berlinale News. Of course!
You don’t eat, you go there trying to look presentable on camera.
Another set of 7 meetings. You pitch over and over and over again.
People from your own country come to meet you because Berlinale has just given you a “Talent Label”. If you are in a Film Market, you’re valuable, if you are back home chained behind a laptop writing a masterpiece, you’re just another wannabe. You won’t get that 15-minute meeting anywhere else. Even if that producer leaves your desk for just 10 minutes.
I’m glad Talent Campus exists.
“Arches” is labeled as a Talent Project
First few meetings, I end up pitching in auto mode. I repeat words trying to honor “Arches”. People seem excited, they like my patience and vision. Later on, words start to flow easily.
Most of the European filmmakers I meet seem interested (or overwhelmed?) by the natural south American ability to be immersed in different worlds, trying to master different skills. I’m a writer/director, sometimes I produce, I’m specialized in Animation and my latest work is a Documentary. Ok, they’re not overwhelmed, they’re confused. I understand. I try to keep my focus on just one tiny dot of this universe. But at the same time I feel so multiplatform! Specializing is good. It’s awesome. To be able to master a skill completely is a blessing. But I guess I was born with a Renaissance ambition.
Can’t you people see how multidimensional the world of images and film is? Television, Films, internet, cellphones, animation, internet based distribution, we’re just starting to ride this way, and there’s no right way to do it but doing it. You can be a Youtube sensation from your basement in the Arctic Circle. If you want to be able to reach out to bigger audiences, there’s the upload button waiting for you. I’m not saying Everything is Art, I’m not calling myself an artist, but the medium is expanding in scary proportions and there will be a moment where the platform won’t really matter and we’ll get back to basics. It’s storytelling, my friends. Learn to love the medium that lets you tell the story.
So, yes, Mr producer, I’m patient, I’ve got stories to tell and I’m patient. I’m a storyteller. I’m not falling under the First Feature trap because that’s the official path to take. I can play producer, I can play director, animator, webmaster, Passion Projects cheerleader, I can multitask and deal with it. Can you?
Question Everything
My personal BMW.
I’m always asked about my influences in filmmaking. I’m a girl. People assume that I’m into some sort of subtle film composition that seems to be “girlie”. Film is not nail polish, folks.
Of course my films are feminine, of course my films are Latin, of course my films are confusing. I’m all that. But that’s not all I am.
I want to be the Latin American-Tim-Burton, but without the exaggerated snow, that’s just his take on life. I want to be Julio Medem without the controversial sexual themes. I want to be Wim Wenders without being him, you know? That’s my holy trinity, my personal BMW. But I want to be more than that.
I’m still not sure what ties all my madness together. I’m not so obsessed about finding my own style. Like Castaneda used to say, I just follow paths that have a heart. It’s all about connecting with the story I’m telling. Could be about surfers in the Brazilian slums, or about a girl trying to escape an asphyxiating small town. It’s about learning to dialogue with immensity around us. It’s all about journeys, confronting dragons the best way we can. Movies with soul. Movies that inspire. Everything in this life can be seen as a journey and those journeys are what move me.
“Fairy Tales are more than true: not because they tell us that dragons exists, but because they tell us that dragons can be beaten”, (G.K Chesterton)
“Arches” is just a modern day fairy tale, a search for identity in a world that seems asphyxiating for those who have innocent eyes. It’s about defeating internal dragons; it’s about the possibility to be alive in a universe of never ending nonsense, where nature provides the only real answer to lost children. Growing up is never easy and I guess that’s one of my main themes. If were not growing, we’re dying. And growing up doesn’t meaning losing the beauty of childlike eyes. Growing is movement. Like a river towards the sea. Like water…flowing without fear.
Hypnotic? Edward Hoppersque? Feminine? I can’t really tell, that’s up to those who see my work to really try to define, label, love or hate my work.
Building Arches.
I’m all about Communication. Berlinale Talent Campus is all about communication, collaboration, a platform to jump beyond yourself, a wonderful tool to create long lasting liaisons, face to face networking, a pulsating Facebook ready to explode in wonderful films.
Many people come out of BTC with great movies in mind. They return to the red carpet with a sense of accomplishment. All of us leave Berlin with our pockets full of inspiration.
Inspiration is the fire that keeps us going. It’s the fire that keeps filmgoers going. It’s the secret ingredient.
How else can you deal with the fact that you’re a filmmaker?
ME—I’m a filmmaker
AUNT—yeah, yeah, but how do you pay your rent?
ME—I’m a FILM MAKER!
AUNT—Oh, you really mean it?
You got to be inspired. Inspired to learn, to help, to communicate, to embrace change even when you can’t pay the rent. Flow with the spiritual approach to the Film Business. It’s all about the journey. We should know that.
At the movies!
February again.
I’m letting a Journalist see my filmmaker diary/blog to be able to come up with an interview. I feel like some kind of Berlinale Talent Campus Ambassador now. I’m still working on “Arches” trying to find Producers with secret potions to make it real. Producers that believe in Passion, and magic paths. Producers that believe in movies. Producers that can still enjoy 120 minutes in a dark room being carried away by the power of storytelling without thinking of tax incentives. You may say I’m a dreamer, but I won’t care. And I’m not the only one.
I’ve been blessed with the amazing people I’ve met since my first time in Berlin. I’m in constant state of re-invention. I create. I write. I teach. I love what I do. I’m focused on creating films, I’m not here to shoot coproductions. I hear the voice as Kevin Costner in “Field of Dreams”, “If you build it, they will come”. And I’m building. Every day. All day. Arches made of passion. Bridges full of imagination. Channels made of hope.
Buenos Aires, February, 2009
To know more about Maria Laura Ruggiero, visit her website www.seirenfilms.com
Join SeirenFilms Facebook Group or site. You can also follow her work at www.seirenblog.com.ar
Maria Laura is currently writing animation series, two fiction features, and teaching screenwriting online.
