Education & Training

Educational sessions for schools

General Information

Dates: 25-29/11
Time: 11:00–13:30
Venue: CIC El Almacén

Description of the programme

Over the last few decades it has become increasingly more evident that audiovisual culture is leaving behind oral culture and written text, when not completely transcending them. People read and write less and less all the time, as one can see in recent years with the slow but steady displacement of blogs and digital platforms like Facebook towards Twitter, Snapchat or Instagram. We are living at a time when images make up, define and structure everyday reality and life: photographs, selfies, shared videos and emoticons are much more important when it comes to creating bonds and outlining positions than intellectual discourses or long discussions.

And, nevertheless, however much it might seem to the contrary, images do indeed have an intention, a goal, a purpose or a particular interest. Every image regulates, delimits and enables certain truths and possibilities. The expansion of emoticons as a way of conveying affects, for instance, ends up actually defining human relationships; videos created to sway voters or to channel public opinion in one direction or another are a radical example of different ways of understanding power.

Consequently, it is of pressing urgency for school education to ensure that, as a basic element in the exercise of freedom, students have a profound knowledge of images and their meanings, their forms and their intentions. In other words, a kind of literacy in images for a new generation. With this goal in mind, Muestra de Cine de Lanzarote is collaborating again this year with the film director Nayra Sanz Fuentes to help various groups of secondary school students in Lanzarote and in Fuerteventura to understand the complexity intrinsic to the whole world of the image. These groups will visit the El Almacén Cultural Research Centre, watch one of the films from the festival and analyse it in a collective debate, a basic skill in a time like ours.

Responsible for the Sessions

Nayra Sanz Fuentes is a film director, scriptwriter, editor and producer who graduated with a degree in Spanish Philology, majoring in contemporary literature. She went on to take a Master in Advanced Studies at the Humboldt University of Berlin thanks to a scholarship from DAAD, the German Academic Exchange Service. Her field of study focused on the national-socialist body through the work of the filmmaker Leni Riefenstahl. Afterwards she took a Master in Film Directing in New York, where she lived for two years and started to work on film productions.

On returning to Spain she set up a production company called Rinoceronte Films, whose mission is to produce films and develop cultural projects. At the moment, her filmography contains seven fiction and non-fiction shorts: Selfie (2019), In Those Lands (2018), Sub Terrae (2017), Just Another Day (2014), Things in Common (2011), Encounter (2010) and Anniversary (2009). Overall, they have been screened at more than 200 film festivals worldwide and have won several awards including the Caracola Alcances prize at the Cadiz Documentary Film Festival, the Edward Snowden prize and the Miradas Doc Award, among others.

Her first feature-length film, As Old as the World (2012), won the Círculo Precolombino de Oro at the 29th International Film Festival of Bogotá and has also been screened at many other festivals and in cultural centres and universities.

She has also worked as unit production manager and editor for the documentary film Edificio España (2014), nominated for the Goya Awards in 2015, and as co-producer and co-scriptwriter for The Hidden City (2018), both directed by Víctor Moreno. At once, she is a former programmer for Ciclo Docma at Matadero Madrid and has also lectured at the Master in Documentary Film at the LENS School of Visual Arts in Madrid.

“Introduction to Film Production” Workshop

Rodaje de «La viajante». Fotografía: Jonay Armas

General Information

Dates: 11, 12, 13/11
Time: 16:00–20:00
Place: Escuela de Arte Pancho Lasso
Places: 25

Contents and Structure of the Workshop

The Workshop will address the following topics:

  • ¿Cuál es la situación de la producción de cine en Canarias?
  • ¿Cuáles son las fases de una producción?
  • ¿Qué funciones corresponden a un productor/a ejecutivo/a?
  • ¿Cuántos tipos de productores hay?
  • ¿Cómo desarrollar un proyecto de cine?
  • ¿Cómo empezar a hacer cine desde Canarias?

Día 1: La producción

¿Cuál es la situación de la producción de cine en Canarias?

  • Recorrido histórico
  • Talento e innovación: en los creadores y en los productores.
  • Instituciones y asociaciones

¿Cuáles son las fases de una producción?

  • Desarrollo
  • Preproducción
  • Rodaje
  • Posproducción
  • Distribución

Día 2: El productor ejecutivo

¿Qué funciones corresponden a un productor ejecutivo?

  • Presupuesto
  • Plan de financiación
  • Plan de distribución
  • Contratos
  • Localizaciones, seguros y permisos

¿Cuántos tipos de productores hay?

  • Diferencias entre productor, productor ejecutivo, productor delegado, productor asociado, director de producción, coordinador de producción, line producer y jefe de producción.

Día 3: El proyecto

¿Cómo desarrollar un proyecto de cine?

  • El origen
  • Laboratorios de desarrollo
  • Talento y criterio
  • Elaboración de un dosier general
  • El trabajo con el director/autor
  • Diferencia entre documental y ficción

¿Cómo empezar a hacer cine desde Canarias?

  • Líneas editoriales y diferentes modelos de negocio en las productoras
    Estudio de casos de éxito

Description of the Workshop

This introductory executive production course is organized with the goal of providing students at the Pancho Lasso Art school, students in different business and administration training courses, as well as entrepreneurs interested in the audiovisual and film industry access to new skills and knowledge.

Organized in conjunction with the Canary Islands Audiovisual Cluster and the Pancho Lasso Art School, the course aspires to open up a possible entry into the profession by combining creative aspects with a good working knowledge of aspects of economic and administrative management.

Every audiovisual project is contingent on production work which requires professional skills and experience. For this reason, this workshop is a unique opportunity to garner a better insight into a professional field which will be useful for anyone who wishes to become involved in the film productions organised in the Canary Islands or the audiovisual projects being attracted here as a result of the incentive plans to entice mainland Spanish and international productions.

This course will be given by Jairo López, manager of the Canary Islands Audiovisual Cluster and founder of the Digital104 production company.

Responsible for the Workshop

El curso será impartido por Jairo López. Licenciado y DEA en Historia del arte por la Universidad de La Laguna, es el actual gerente del Clúster Audiovisual de Canarias. También es socio fundador de la productora cinematográfica Digital 104, desde la que ha sido productor ejecutivo y director de producción del largometraje de ficción ‘La viajante’ (seleccionado en el Málaga Spanish Work in progress y MECAS) y del largometraje documental ‘Las postales de Roberto’ (seleccionado en la Seminci de Valladolid y premio al Mejor documental internacional en FIC Gáldar). También ha producido numerosos cortometrajes, como ‘Las otras camas’ (seleccionado en el Festival des Films du Monde de Montreal y premio al mejor cortometraje canario en Tenerife shorts y Festival de Lanzarote), o ‘Algo que aprender’ (mejor película en el SPIFF de París y emitido por el canal ruso Egoist TV). Ha trabajado además en la distribución de numerosos títulos por festivales de cine a través del sello Digital 104 Film Distribution, obteniendo selecciones en certámenes tan importantes como Locarno (Suiza), Varsovia (Polonia), Cinemed (Francia), Tesalónica (Grecia) o Málaga (España).

“Super8 film. Amateur Home Movies” Workshop

General Information

Dates: 25-28/11
Time: 16:00–19:00
Place: Casa de la Juventud de Arrecife, Escuela de Arte Pancho Lasso, CIC El Almacén
Places: 12

Responsible for the Workshop

Salvi Vivancos es artista visual, historiador del arte y recuperador de cine de pequeño formato. Su proceso creativo se dirige hacia el cine experimental y expandido (8mm, Super-8 y 16mm) influenciado principalmente por la fotografía analógica, la memoria, el cine doméstico y el cine no narrativo. Como preservador de cine doméstico está al frente de los proyectos Memorias Celuloides y La Red del Cine Doméstico.

Ha impartido diversos talleres y charlas en lugares como los Festivales de Cartagena o Málaga, el Eye de Amsterdam, la Cineteca de México, la Cinemateca del MAM de Río de Janeiro o el Encuentro LEC de cine experimental en CDMX.

Description of the workshop

Bearing in mind the success and positive response to the course on Super8 held in 2016, this latest workshop, given by the visual artist Salvi Vivancos, consists in three three-hour practical sessions followed by a one-day presentation of the results of the workshop. The purpose of the course is to show people how Super8 works and to explain the history of this film format which was launched in 1965, targeted primarily at families, and which brought about a true revolution in domestic, amateur and experimental film production.

The participants in this workshop will be given an insight into the history of the Super8 format through practice exercises and will be given first-hand contact with basic cameras, they will learn to manually develop the films and to edit the resulting material to be viewed using original projectors from the time. The goal of the workshop is to enable an experience in which participants can get a hands-on knowledge of a film process that has remained constant from the invention of cinema in the nineteenth century until the recent generalization of digital formats.

This whole learning process will take place through the joint creation of a collective piece based on the concept of the (non-)language of home film.

“Exploring Analogue Cinema”. Workshop for children

General Information

Age: 6–9 (A), 10–12 (B)
Dates: 23/11
Time: 9:00–11:00 (A), 11:30–13:30 (B)
Place: Casa de la Juventud de Arrecife, Escuela de Arte Pancho Lasso
Places: 8 each group

Responsible for the Workshop

Salvi Vivancos es artista visual, historiador del arte y recuperador de cine de pequeño formato. Su proceso creativo se dirige hacia el cine experimental y expandido (8mm, Super-8 y 16mm) influenciado principalmente por la fotografía analógica, la memoria, el cine doméstico y el cine no narrativo. Como preservador de cine doméstico está al frente de los proyectos Memorias Celuloides y La Red del Cine Doméstico.

Ha impartido diversos talleres y charlas en lugares como los Festivales de Cartagena o Málaga, el Eye de Amsterdam, la Cineteca de México, la Cinemateca del MAM de Río de Janeiro o el Encuentro LEC de cine experimental en CDMX.

Description of the Workshop

These two two-hour courses were conceived to give little girls and boys their first introduction to film and cinema. During the two courses we will make 16mm or Super8 films without the need to actually use a camera; working directly with our hands and using various everyday materials like felt-tip markers, scrapers and ink.

Given by Salvi Vivancos, one of the founders of RED de Cine Doméstico, the association for the recovery and diffusion of home movies and videos, the course consists in working with existing films which have no archive or documentary value, using them as raw material to create a film especially for the occasion.

Before actually altering the existing film stills, and with the purpose of better explaining the way the film image works, the course will undertake a few practical exercises. These simple, fun and easy-to-grasp games will give the little children an understanding of the historical process from the static image of photography to the moving image of cinema, as well as showing them the function of light in the mechanical workings of cinematography.