Friday June 8th | 11:30-18:30 h
Saturday June 9th | 14:30-18:30 h

at Festival Center, Lampenlager / Café

Auch in diesem Jahr bietet das Internationale KurzFilmFestival im Rahmen der Hamburg Short Film Sessions eine Auswahl an Fachveranstaltungen, die sich mit aktuellen Fragestellungen und Themen der Kurzfilmwelt beschäftigen.

Inhaltlich konzentrieren sich die Hamburg Short Film Sessions auf die Filmschaffenden und behandeln im Panel ›Getting Personal‹ autobiografische Filme, geben im Rahmen unseres Filmrechtworkshops praktische Tipps für den wiederkehrend aktuellen Bereich ›juristischen Fragestellungen‹ und überlassen in den zwei ›Talk over Coffee‹-Veranstaltungen die Bühne Filmschaffenden, um von ihren ganz persönlichen Erfahrungen, die sie im Rahmen ihrer Arbeit gemacht haben, zu erzählen. Zum einen sind dies am Freitag Zhong Su und Sun Xun, die im Gespräch mit Zhou Fei über die Eigenarten und Schwierigkeiten des Filmemachens in China berichten, zum anderen am Samstag Monika Treut und Jennifer Reeder, die zusammenkommen, um über feministisches Filmemachen zu sprechen.

Am Freitagnachmittag wird bei ›Do we need competition(s)?‹ über das Für und Wider von Wettbewerben bei Festivals aus den unterschiedlichsten Blickwinkeln debattiert und am Samstag treffen sich Vertreter und Vertreterinnen der internationalen Festivalszene, um darüber zu sprechen, wie genau heutzutage internationale Kooperationen zwischen Festivals in der Praxis aussehen können.

Für spannende Gespräche ist also gesorgt!

Die Hamburg Short Film Sessions finden (mit Ausnahme des Filmrechtworkshops) in englischer Sprache statt.

Biography and Living Environment as Cinematic Subject Matters

Friday June 8th | 11:30-13.30 h | Festival Center

People have always turned their personal experiences into the subject of artistic productions. Focusing on the self, one’s family and the immediate environment hasn’t lost any of its fascination or immediacy, while stylistic devices and narratives have been constantly developing and evolving.
These days, openly autobiographic works exist alongside works that either consciously or unintentionally encode, alienate or reinterpret personal motifs and subjective views in all artistic genres and media. There is and always has been a focus on very personal subject matters in short films as well, not least because fictionalized and non-fictional (self-)examinations can be realised with a small budget and little technical effort.
The aesthetic and narrative scope of biographical and decidedly personal works in short films is as multifaceted as the biographies, attitudes and the productive as well as private contexts of their creators. In our panel, we want to illuminate artistic strategies of dealing with the personal. We want to examine the relationship between cinematic subject matter and the film maker, discuss possible audience expectations towards personal film narratives and talk about potential political impulses behind the preoccupation with the supposedly intimately personal.

Moderation David Kleingers, German Film Institute

Teilnehmerinnen und Teilnehmer
Alex Gerbaulet film maker
Alexandre Larose film maker
Per Fikse Festival Director Minimalen Kortfilmfestival, Trondheim

In cooperation with the German Film Institute

Friday, June 8th | 14:15-15:15 h | Festival Center, Café

The curator of this year’s national focus, Zhou Fei, is herself a video and media artist and has been concerning herself with the Chinese film art scene for a long time. With her guests, the filmmakers Zhong Su and Sun Xun, she will be talking about the special challenges of producing films in China, the short film scene’s difficulties in gaining national and international recognition and about contemporary aesthetic trends in a country which is increasingly opening up to Western pop culture, consumerist behaviour and economic effects.

Fridy, 9. Juni | 15:30-17:30 h | Festival Center, Konferenzraum 1. Stock

This workshop deals with the important questions which arise with the use of music in shortfilms. It focuses on where to obtain the rights, the role of GEMA, and on what to consider when clearing the rights for the use of music in short films. Furthermore, it will show when it’s not necessary to clear the rights, for example when it comes to music in the public domain or the use of music as a negligible accessory or as a quotation.
Christian Füllgraf has been working as a lawyer with the focus on film and TV law, giving legalgui dance for numerous fictional and documentary productions, since 1999. He is one of the contract attorneys of the Arbeitsgemeinschaft Dokumentarfilm and frequently teaches film law, music law and related fields of law at art and media academies and similar institutions.

This workshop will be held in German and focus on the legal situation in Germany.

Friday, June 8th • 15:30-17:30 h • Festival Center, Lampenlager

Most festivals make the competitions the key focus of the programmes. Winning a competition is an artistic and often economic windfall for a film. For many, a film is only truly participating in a festival if its competing for an award in a competition. In many cases, the press and the audience focus on the ›big‹ competitions and the award-winning films. But is the model of competitions still relevant? How important are competitions for film makers and festivals, and what are the arguments for and against competitions?
In the light of current considerations of turning the Deframed Competition into a curated programme, there are many questions, arguments and scenarios for the panel to debate. These include the fundamental implications of artistically evaluating and assessing films, as it is necessarily done by a competition and its jury and the economic aspects relevant to film makers and festival organizers. To which degree do festivals define themselves by their competitions? Do festivals need ample prize moneys and qualification opportunities (as for example for the Academy Awards) for theira ward winners in order to convince film makers to submit their films, or can you achieve a highstanding within the short film scene without these incentives? And then there is the question whetherfilm makers even want to compete against each other.

Moderation Jing Haase, Swedish Film Institute

Participants
Carmen Gray Freelance Film Critic, and programmer for International Short Film Festival Winterthur
Hemant Sharda Head of Distribution, National Film and Television School London
Christoffer Oloffson Programming Director, Uppsala International Short Film Festival
Frédéric Moffet Film maker, Chair and Associate Professor of Film, Video, New Media, Animation at The School of the Art Institute of Chicago

Following this event, Creative Europe Desk Hamburg cordially invites
to an after-work drink at the festival café at 5:30PM.

Saturday, June 9th | 14:30-15:30 h | Festival Center, Café

Monika Treut and Jennifer Reeder. One is a pioneer and avant-gardist of the German queer cinema. A cinema in which images of lust and resistance are female and gender primarily a socio-cultural category. From a feminist standpoint, you could always rely on Monika Treut. Her films and her courage caused the necessary hubbub at premiers and in the arts sections.
The other one transports girls’ and women’s pictorial worlds, soundscapes and strategies of self-confidence to the screen, for which she is celebrated at German festivals and others. Between locker room talk and Joan Didion’s books, Reeder rearranges the high school film genre, talks about female generation-spanning gang formation and deforestates the German woods of fairy tales while searching for feminist-anarchist potentials.

Saturday, June 9th| 15:30-17:30 h | Festival Center, Konferenzraum 1. Stock

Open discussion and workshop event for festival creators and other interested parties

Every year, representatives from many international festivals gather at the Hamburg International Short Film Festival. One issue that comes up again and again is how collaborating in matters relevant to festivals is becoming more and more important. But in which fields do festivals cooperate at all? Exchanging programmes and mutually extending invitations has become the norm by now. But which subjects and which projects offer opportunities for further collaboration?
In a deliberately open mix of debate and workshop, and without a fixed programme or designated speakers, we will talk about subjects and projects in which not just European festivals will be able to collaborate in the future. These may include technical or infrastructural projects which could be conducted together, a mutual transfer of information achieved by further integration, the sustainable provision of results from the different festivals’ workshops and panels, new approaches towards collaborations regarding content, and much more. The only important thing is to work on it together.

Hosted in cooperation with Creative Europe Desk Hamburg

Saturday, June 9th | 15:30-16:30 h | Festival Center, Halle 2

As part of the ›Space Travel‹ installations in Hall 2, we will show Alexandre Larose’s recent work ›Saint Bathans Repetitions‹. The franco-canadian artist is known for his layered analogue multi-exposuretechnique which not only represents multiple objectives and times but also refers to analogue material and equipment. Larose’s works have been shown, exhibited and awarded all over the world. He won the Hamburg Short Film Award in 2015 with his work ›Brouillard – Passage #14‹. As
part of this year’s Hamburg Short Film Sessions, he will talk about his work and his perception of film along the example of ›Saint Bathans Repetitions‹.

Meeting point: Hall 2 ( at the video installation)

To close the Hamburg Short Film Sessions, the Filmförderung Hamburg Schleswig-Holstein cordially invites to after-work drinks at the festival bar at ca. 5PM.