No.

2 / 2009 Girls in the Blender - Report Seminar

After the success of the Media Literacy Seminar last year at the Kristian-
May sand International Children’s Film Festival, ECFA, Film & Kino and KICFF
collaborated once again to present another seminar entitled ‘Girls in the
Blender - gender, identity and diversity in children’s films’. Being a pas-
Editorial sionate subject for professionals working within this field the seminar
was well attended by over 60 industry delegates ranging from festival
Tougher times ahead? programmers to film buyers and casting agents.
The financial crisis has struck the ECFA Board member Eva Schwarwzald: “Girls are interesting for the consumer market
big festivals this year. So far the place which can ultimately result in exploitation, stress by the media and the develop-
cinemas and video sales stores ment of a multi-cultural society not helped by television and media. This seminar is a
have been little affected. Tradi- reflection on what can be done. Addressing the problem, encouraging better films for
tionally in harder financial times girls and presenting new and different heroines, strong but not violent.”
people will spend the same amount
of money, and sometimes even
more, on movie entertainment while
cutting back on more extravagant
activities. But the industry as a
whole has not been spared: getting
private investors for production is
difficult and most companies cut
back on expenses to be on the safe
side. Volkswagen dropped their
sponsorship of the Berlinale earlier
this year, while the festival director
of Cannes, Thierry Frémaux, com-
ments that the lack of mega stars
and parties might attract more focus
on the actual films being screened.

Children’s film festivals in Europe,

so far, had little problems with mega
stars and glamorous parties over- First speaker Cecilia Von Feilitzen is be desirable. This is lowering the self
shadowing their films, but neither an expert in media for children and esteem of women during adolescence.
they are unaffected with the finan- researcher of children and media. Here 4 - Lack of Identification Possibilities
cial crisis. We hear reports about we are presented with six reminders of It is extremely important for the develop-
sponsors withdrawing their sup- gender and media: ment of young women to identify with
port, but so far it seems that public 1 - Women in Film Production and have recognition of a person, rela-
funding still is at the same level. Of A study in Sweden showed that women tionship or situation - or wanting to be
course, it is a real threat that this are under represented in most areas of that person or situation. This happens
funding can decrease if the global film production, except in the make up through same sex identification which is
crisis continues. It is therefore and costumes departments. Women are not properly represented throughout the
urgent to stress how important the shown generally to make documentaries, media.
work of the children’s film festival children’s films and short films. 5 - The Fourfold Male Gaze
is. This is where the future cinema 2 - Representation of Girls and You are all aware of classic Hollywood
and festival audience is created, Women films as we see men looking at women
and if lost at an early age they could Within the commercial television sta- and women look at men looking at wo-
be lost forever. Now is the time for tions in Sweden a study of animated men. This is no longer the case but the
festivals to work together, to com- programs; 50% are populated by male dominance of men in the film industry
bine their creativity to get the most characters and the other 50% male and tells us that we might not be so far from
out of their budget, and to get the female characters. There are only 2 ca- the fourfold male gaze even today.
public’s support that their funding of ses of just females. One was a ‘chicken 6 - Gender is a Power Discourse
children’s film festivals should not girl’ of pre-school age who did everything Gender is a power discourse, a con-
be decreased but rather increased wrong and the other was a disabled girl. struction seemingly but falsely based on
in financial difficult times! There are exceptions but they were all sexual differences. The gender dis-
from the male perspective. course is a struggle about the meaning
Tonje Hardersen
3- Sexualisation of Girls and Women of gender, in which girls and women
President
Women being the object of desire, crea- often fall short.
ting the essence of being a woman to
ECFA Journal No. 2 - 2009 -1-
The News Section: main character is 32% female and 68%
male, the female characters speak less,
Films, Festivals, Awards lead less, overact emotionally, act more
as part of a team, are subject to con-
Internat. Filmfestival Berlin, sumerism and are stereotyped. As for
Generation Kplus and 14plus, the look of the characters they represent
Berlin, Germany. unreachable waist sizes for girls, even
Kplus, Children’s Jury, Crystal Bear less than a supermodels waist size. An
for the Best Feature Film: „It’s Not example of research showed that boys
Me, I swear“ by Philippe Falardeau, encompass all that they are presented
Canada 2008; Special Mention: „Max with when creating their own fantasies
Embarrassing“ by Lotte Svendsen, and girls take elements of what they can
Denmark 2008; Lisbeth Juhl Sibbesen - DFI use. But what makes a character attrac-
Crystal Bear for the Best Short Film: tive for girls? A character that mirrors
„Ulybka Buddy“ by Bair Dyshenov, “I am the only male speaker here oneself, showing typical problems and
Russia 2008; Special Mention: „Oh, today so enjoy it while you can!” Jacob enjoyment of everyday social situations
My God!“ by Anne Sewitsky, Norway Breuning and Lisbeth Juhl Sibbesen with the space to recognize oneself and
2008. from the Danish Film Institute present feel reassured. Ultimately characters
International Jury, Grand Prix for an historical perspective. The audience they can use, while working on their own
the best feature film: „It’s Not Me, I was taken on a detailed journey with an identity - reliable characters, mirroring
swear“; Special Mention: „Flickan“ by enthusiastic and visual representation the typical and presenting the idea of
Fredrik Edfeldt, Sweden 2008. of girls on film. Ranging from the idea being unique and different.
Generation 14plus: that girls identified more with animals in
Special Prize for the best short film: children’s films due to the lack of leading
„Oh, My God!“, Special Mention: female characters, children’s crime films
„Jerrycan“ by Julius Avery, Australia (‘Catch That Girl’) and the impact of the
2008. ‘Girl Power’ movement of the 1990s with
14plus, Youth Jury, Crystal Bear for strong female lead characters (‘Bend It
the Best Feature Film: „My Suicide“ Like Beckham’, ‘Fighter’). There is the
by David Lee Miller, USA 2008; issue of going too far to represent girls
Special Mention: „Mary and Max“ by as tough and just as wild as their male
Adam Elliot, Australia 2008; counterparts with harsh gang represen-
Crystal Bear for the Best Short Film: tations in the Danish feature ‘Råzone’
„Aphrodite’s Farm“ by Adam Strange, (‘Life Hits’) and the American ‘Thirteen’.
New Zealand 2008; Special Men- Girls breaking boundaries (‘Osama’, Norwegian project in Capetown, South Africa
tion: „Slaves“ by David Aronowitsch ‘Buddha Collapsed Out of Shame’), girls
& Hanna Heilborn, Sweden, Norway, Closing the seminars’ presentations
and sexuality (‘Water lilies’) and magic
Denmark, 2008. was Elisabeth Aalmo presenting an
realism (‘Through a Glass, Darkly’) were
www.berlinale.de exchange project between South Africa
represented and explored.
and Norway to create documentary films
Europees Jeugdfilmfestival After screening the short film ‘Frog’ about their lives and experiences. This
Vlaanderen, Antwerp & Brugge, producer Annika Hellstrom introduced resulted in 25 short films over 5 topics
Belgium. us to a working format named The Doris covering the everyday life of girls and
Professionals’ Jury, best feature film: Manifesto. Created by frustration from boys working together. If the film was
„Karla’s World“ by Charlotte Sachs female film workers over 10 years ago about the girls in the group then the
Bostrup, Denmark 2007; best short a network was set up to awake aware- boys would be behind the camera and
film: „Sooner or Later“ by Jadwiga ness and make these issues known and vice versa. An interesting representa-
Kowalska, Switzerland 2007; developed. Through exploration of the tion of issues close to the young people
Children’s Jury Antwerp, best feature stereotyping and asking why is funding showed that in South Africa the issues
film: „The Ten Lives of Titanic the and financing distributed 80% to men were around more serious (inequality,
Cat“ by Grethe Bøe, Norway 2007; and 20% to women, The Doris Mani- HIV, violence), whereas the Norwegian
best short film: „Our Wonderful festo was born to give women the time groups were concerned with hobbies,
Nature“ by Tomer Eshed, Germany and opportunity to craft their filmmaking schoolwork, shopping and friends. It
2008; skills for the future. seemed that there was more openness
Children’s Jury Brugge, best feature for boys to tell personal stories when
film: „Silly’s Sweet Summer“ by Jo- The Doris Manifesto: girls were behind the camera rather than
hannes Schmid, Germany 2007; best 1 - All scripts written by women if there were boys creating the film.
short film: „Our Wonderful Nature“; 2 - At least 1 female lead
3 - All positions filled by women The screening of short film ‘Oh, My
Audience Award Antwerp: „Storm-
4 - Original score by a woman God!’ with director Anne Sewitsky (ta-
heart“ by Kaisa Rastimo, Finland
king on the subject of girls discovering
2008; Audience Award Brugge: „The
Of course men will make good feminine the orgasm) was followed by the French
Ten Lives of Titanic the Cat“.
films but we are in danger of represen- film ‘Stella’. Both of these films repre-
www.jeugdfilmfestival.be
ting women through the harsh and tough sent subjects that were touched upon
world and creating only female soldiers. throughout the day’s presentations.
Montreal Int. Children’s Film Festi-
val (FIFEM), Montreal, Canada. Overall, another great success and I am
International Jury: Dr. Maya Gotz from the International
Central Institute for Youth and Educa- sure everyone will be looking forward to
Grand Prix du Montreal and Prix the next seminars organized by ECFA.
CIFEJ: „Heart of Fire“ by Luigi Fa- tional Television (Germany) presented
lorni, Germany 2008; research into everyday television pro-
Adam Graham
gramming. On average the sex of the Photo’s: Jerzy Moszkowicz
ECFA Journal No. 2 - 2009 -2-
 The complete version of both interviews can be found on
INTERVIEW www.ecfaweb.org/projects/filmmaking/dutch_actors.htm
The News Section:
Dutch child actors – FROGS AND TOADS and Films, Festivals, Awards
MORRISON GETS A BABYSISTER Special Prize: „King of Ping Pong“ by
“Usually you’re not allowed to jump around the set” Jens Jonsson, Sweden 2008.
Children’s Jury:
2 Dutch movies for the very young are currently travelling from festival Best feature film: „SOS – Summer of
to festival, addressing the audience in a particular tone. We meet with Suspense“ by Arne Lindtner Naess,
the main actors from both films. Norway 2008; Special Award: „No
Network“ by Ari Kristinsson, Iceland
FROGS AND TOADS is a musical MORRISON GETS A BABYSISTER 2008.
adventure about 6 year old Max going paints a truthful portrait of a family with Audience Award:
on a quest for frogspawn. With his friend all its good intentions and little failures. „Mia and the Migoo“ by Jacques-
he walks through forests and fields, Morrison’s dad is working on cars in Rémy Girerd, France 2008.
meeting so many animals: a wounded the garage and his mum is expecting a www.fifem.com
toad, a funny walking caterpillar, little baby, Morrison feels threatened by the
pigs, a fox... With childlike simplicity newcomer. Sometimes when getting Youngabout - Int. Film Festival for
FROGS AND TOADS shows a rather angry he turns into Bumper, his fright- Young People, Bologna, Italy.
cuddly view on wildlife. The children are ening alter ego. While tension is rising, Young People’s Jury:
more ‘real’, overcoming the common Morrison runs away, only coming back Best feature film: „Ben X“ by Nic
obstacles of every friendship: compro- to… Steal the baby. More grounded Balthazar, Belgium 2007.
mises, honesty and forgiveness. than FROGS AND TOADS, this movie is www.youngabout.com
firmly anchored with both feet in Dutch
Nino den Brave (7, Max) and Whitney polder-soil. And so is debuting actor BUFF – Int. Children & Young
Franker (8, Jesse) are a golden duo. Tobias Lamberts (8). People’s Film Festival, Malmö,
High energy bombs, impossible to cool Sweden.
down. Every single question is coun- Tobias: “The movie is about my aunt The City of Malmö’s Children Film
tered by 4 questions from their side. saying the car is green while my father Award: „Son of Rambow“ by Garth
says it’s blue.” Jennings, Great Britain, France,
Your film is screened in this festival Germany 2006; Young People’s Jury
(Kristiansand, Norway) with a voice And then you come and say it’s yel- Award: „Outta Control“ by Nicole
over. Someone is translating your low! Tobias: “Yes, I was supposed to Weegmann, Germany 2008; Swedish
dialogues into Norwegian. say so.” Church Award: „The Man Who Loved
Nino: “What a stupid idea. Norwegian is Ingve“ by Stian Kristiansen, Norway
such a strange language. Wasn’t it good Sometimes you turn into Bumper, an
2008; Short Film Award: „The Holiday
enough the way we did it?” angry little boy. Did you understand
Sister“ by Amanda Kernell, Sweden
why? Tobias: “No, I did as I was told.
2008.
Could you briefly say what the film is It’s only acting. I don’t even have to be
www.buff.se
about? Whitney: “About a boy meeting sad or angry to play it. I use my face. I
a girl and going on a trip to find frog- never knew I was a good actor until they
Augsburger Kinderfilmfest,
spawn.” picked me.”
Augsburg, Germany.
Nino: “Frogspawn is the medicine for
You drive a lot in this movie! Can you Both Children’s and Parents’ Jury
my brother who can’t talk. At the very
really drive a car? Tobias: “That wasn’t Awards: „My Very Best Friend“ by
last moment they told me it actually
real driving. They took out the seat and I Isabelle Doval, France 2007.
was all a joke. I found that so sad! All
sat on the driver’s lap. There was a little www.filmfest-augsburg.de
those months we worked hard to find the
frogspawn and make that film and then it camera so that he could see on a screen
turned out one big joke! I hated it!” how to drive. Or they filmed us from
aside so nobody could see we were in
Still, it looks like you had a lot of fun tow of a car driving ahead of us.”
while making the film.
Whitney: “The most fun I had when we There were lots of animals on the set.
played in the rain and I got all wet.” Tobias: “We filmed on a farm. Behind
Nino: “The rain dance! And making ‘my room’ was a stable. Sometimes the
pancakes! And the caterpillar walk! cows walked over the set. We stopped
And playing with the fox. I cuddled him filming when a truck came to collect the
behind the ears. It was a bit scary too milk because it was so noisy.”
since he started growling.”
Whitney: “I was allowed to jump around The cat plays an important role too.
on the set with a real frog in front of me. Tobias: “She was all blue! But the paint
That was great! Usually you’re not al- was washable. In the closing scene I
Morrison gets a Babysister
lowed to jump around the set.” jump into my dad’s arms while holding
the cat on a leash. But the leash was too
You look cute in your pink dress, short. You can see the cat standing on
but sometimes you had to play very her hind-legs because the line is pulling
severe. Whitney: “I can be a catty girl. too hard. On the last day of the shooting
And I hate pink dresses. That’s why I I got a present. I opened the basket and
was happy when in one scene I fell into 2 little kittens came walking out: a black
the mud and was dirty all over. Except and white one for my sister and a black
my face – I’m not that stupid!” one for me. I named him Morrison.” (GH)
Frogs and Toads
ECFA Journal No. 2 - 2009 -3-
The News Section: Production News
Films, Festivals, Awards ECFA Journal wants to inform regularly about films still in production
Leeds Young People’s Film Festi- and highlight some titles. If you have information available about films
val, Leeds, Great Britain. in every possible phase of the production process, please send it to
Audience Award: „Dragon Hunters“ [email protected].
by G. Ivernel, A. Qwak, France, Ger-
many, Luxembourg 2008.
Younger Jury Award (up to 14 years): ZOOMERS
„Stormheart“; Special Mention:
„Dragon Hunters“. The new Zentropa film ZOOMERS (‘Zoomerne’; release: Summer 2009) is “tar-
Older Jury Award: „Home of the geting a non-mainstream family audience,” says producer Louise Vesth.
Dark Butterflies“ by Dome Karuko- ZOOMERS tells the story of two friends, Tim and Alexander. One is good at math,
ski, Finland 2008; Special Mention: the other is good with girls. The mother works in a spy-shop, selling surveillance
„Worlds Apart“ by Niels Arden Oplev, cameras and so when she leaves to go on holiday, the boys take their chance
Denmark 2008. to sneak into the shop and install hundreds of cameras in their school building.
www.leedsyoungfilm.com Tim is hoping this might improve his luck with the girls, while Alexander is aiming
for a better score in the math test. Spying on their schoolmates, the boys get to
Children’s Film Festival Berimora know more than they actually wanted, including information about themselves and
Kino („Berimor’s Cinema“), Riga/ about a love affair between a teacher and a father…While the tension rises, a split
Latvia. between the boys seems unavoidable.
Children’s Jury: „Stormheart“.
www.arsenals.lv Director is Christian E. Christiansen
(LIFE HITS). With a € 1,2 million
Sprockets - Toronto Int. Film Festi- budget, ZOOMERS could be considered
val for Children, Canada. a low budget production “although
Audience Awards, best feature film: working with all those different angles
„Finn On the Fly“ by Mark Jean, from surveillance cameras was rather
Canada 2008; best animated film: complex and hard to coordinate.”
„Jabbawaki“ by Sean B. Conly, Starring two 11 year old debuting actors
Canada 2008. the film refers to various Scandinavian
Young people’s juries: adventure movies for youngsters and the story’s atmosphere – children on the
8 to 10: „Stella and Star of the Orient“ edge of criminality – brings back memories of e.g. CATCH THAT GIRL.
by Erna Schmidt, Germany 2007;
Contact: Louise Vesth, [email protected].
honourable mention: „Spirit of the
Forest“ by David Rubín & Juan Car-
los Pena, Spain 2008. Big shots lining up for Vaclav Vorlicek’s LITTLE WITCH
11 to 12: „The Seven of Daran: The SUPERBROR ON A BROOMSTICK
Battle of Pareo Rock“ by Lourens
Blok, The Netherlands 2008; honour- With the names of director Birger Larsen When your mum is a witch, be careful
able mentions: „The Wild Chicks and (DANCE OF THE POLAR BEARS), what you play with! Almost 40 years
Life“ by Vivian Naefe, Germany 2008, scriptwriter Åke Sandgren (MIRACLE after Saxana’s appearance in THE GIRL
and „Hands Off Mississippi“ by Detlev IN VALBY, THE SLINGSHOT) and ON THE BROOMSTICK (1971), the
Buck, Germany 2006. producer Kim Magnusson, the Danish grandmaster of Czech fairy tale movies
www.sprockets.ca film SUPERBROTHER (Superbror) has comes out with a story about the next
found some solid shoulders to rely on. generation of witches.
Kristiansand Int. Children’s Film While setting his own needs aside for Saxana’s daughter, Saxanka, has to
Festival, Norway. the sake of his autistic brother Buller, pay a high price for her mother’s reck-
Film&Kino’s Children’s Film Award: Anton often dreams about having a ‘real’ less behaviour in the past. Returning to
„Stella“ by Sylvie Verheyde, France big brother, strong and daring, who can Fairyland she is mistaken for her mum
2008. Prix CIFEJ: „The Girl“ by defend him against the bullies at school. and forced to serve a 300 year deten-
Fredrik Edfeldt, Sweden 2009. One day when a ‘Super Trip Remote’ tion. Saxanka’s Aunt Irma comes to the
FICC’s Don Quijote Award: „Glowing from outer space lands nearby, Buller rescue, accidentally taking ‘Crackman’
Stars“ by Lisa Siwe, Sweden 2009. suddenly turns into a real Superbrother, in her wake, a villain from the land of
Audience Award: „Frogs & Toads“ by and powerful forces are unleashed. comic books.
Simone van Dusseldorp, The Nether-
lands 2009. To be released in December 2009. In his fairy tale movies Vaclav Vorlicek
www.kicff.no Contact: TrustNordisk (THREE GIFTS FOR CINDERELLA)
made fantasy characters meet with the
world of reality. Now he takes up the
thread of one of his classics. Combining
3D animated characters with live action,
LITTLE WITCH ON A BROOMSTICK
illustrates the evolution over 4 decades
in the art of Czech fairy tale telling. The
exact release date hasn’t been set yet.

Contact & international sales: Pragofilm,

Jaroslav Nietsch, jaroslav.nietsch@
Little Witch on a Broomstick Superbror pragofilm.cz, www.pragofilm.cz.
ECFA Journal No. 2 - 2009 -4-
Festivals The News Section:
Rose Chamberlain – Editor of ‘Films & Festivals’ Forthcoming Festivals
“Expelling the festivals would cause the death of independent cinema” Goldener Spatz, German Chil-
As editor of the Internet magazine ‘Films & Festivals’ Rose Chamberlain knows dren’s Media-Festival, Erfurt &
about festivals. But what does she think about the recently discovered circuit Gera, Germany,
of children’s film festivals? “They raise tomorrows’ festival audiences. I find May 24th to 30th 2009.
www.goldenerspatz.de
them so very inspiring.”
In 2001 Rose Chamberlain flew from There must be differences on the International Film Festival for Chil-
Brazil to London with a dream in her budgetary level too. dren and Youth Zlín, Zlín/ Czech
pocket: finishing her education as Chamberlain: “Usually festivals, chil- Republic,
a documentary film maker and start dren’s film festivals too, rely on public May 31st to June 7th 2009.
working for the BBC. “Soon I drew two funding. If at least 50 % of your budget www.zlinfest.cz
conclusions: I wasn’t a good director and is coming from the taxpayers, you must
the competition in London was huge.” realize your festival has no future. In Int. Shortfilmfestival Hamburg;
With the recent renaissance of the film times of global crisis these are the first Children’s Film Section „Mo &
industry in her homeland in the back branches in which will be cut. A festival Friese“, Hamburg/Germany,
of her head, she created a new job for aiming to survive on a longer term has to June 1st to 7th 2009.
herself: in 2005 she organised the first think economics. You can’t limit a festival www.moundfriese.de
Brazilian Film Festival in London. to a once-per-year event and then doze
off again. You have to organize activi- Animafest - World Festival of Ani-
ties to stabilize your work throughout the mation Films, Zagreb/Croatia,
whole year.” June 2nd to 6th 2009.
www.animafest.hr
What would be the first advice to a
children’s film festival knocking your Plein la bobine – Sancy Film Fes-
door for help in raising new funds? tival for Young People, Massif du
Chamberlain: “I would advice them to Sancy, La Bourboule & Le Mont-
do as I always do: look for contacts with Dore/France,
other organisations. Ask yourself if it’s June 11th to 17th 2009.
worth to start something new. Maybe www.pleinlabobine.com
Rose Chamberlain © photo: Fernando Barbera
a well organized event already exists
with whom you can establish a good Kids Festival, Sarajevo/Bosnia-
Chamberlain: “Expelling the festivals cooperation. I have a strong belief that Herzegowina,
would cause the death of independent cooperation makes us stronger, while June 12th to 17th 2009.
cinema. Moreover festivals are a part of fragmentation weakens us.” (GH) www.kidsfest.ba
the film economy. With 33 million visitors
The complete version of the interview can be
the 4.000 festivals worldwide are sub- found on www.ecfaweb.org/projects/festivals/ FEST – International Youth Film
stantially contributing to the box office. chamberlain.htm. Festival Santa Maria da Feira,
For those reasons I started a research Espinho, Portugal,
on the economical impact of festivals, I KIDS Regio Forum Confe- June 21st to 28th 2009.
lobby for more respect for festivals and www.fest.pt
I incite festival organisers to be more rence in Erfurt
business-orientated.” Showcomotion - The Filmfestival
The 1st KIDS Regio Forum, a con-
ference on ‘The Future of European for Children and Young People,
With the support of Film London (offe- Sheffield/Great Britain,
ring free training for people in the festival Children’s Film’ will take place on June
24 - 25 2009 in Erfurt, Germany. As June 25th to July 9th 2009.
industry) Rose Chamberlain studied the www.showcomotion.org.uk
festival world and found out that festivals a follow-up to the expert meeting in
and upcoming filmmakers didn’t have a Malmö’s BUFF festival (March 2008)
and in succession of a feasibility study Filmfest Munich / Children’s Film
platform to promote themselves. That’s Fest, Munich/Germany,
why she started ‘Film & Festivals’, a that was carried out for the Netherlands
Film Fund in 10 European countries, June 26th to July 4th 2009.
magazine dedicated to film festivals. www.filmfest-muenchen.de
Nowadays there is a new issue available now about 130 authors, directors,
on the Internet every 5 weeks (download producers, sales agents, distributors,
TV representatives and funders (from Cartoonclub – Festival Internazion-
at www.filmandfestivals.com). ale del Cinema d’ Animazione e del
17 European countries) will meet and
discuss possible synergies in order to Fumetto, Rimini, Italy,
What makes children’s film festivals July 1st to 31st 2009.
different from ‘regular’ festivals? improve the situation of the European
children’s film. www.cartoonclub.it
Chamberlain: “The programming has to
be done by a grown up with the sensiti- Facts & figures will be presented in
order to define the basic problems and Seoul International Youth Film
vity of a child. He must be aware of what Festival, Seoul, South Korea,
kids are attracted to in movies and add a needs. In 2 workshops participants will
discuss possible new strategies. July 9th to 15th 2009.
certain quality standard to that: pleasing www.siyff.com
the audience while aiming for a higher
goal. Educating without patronizing is a Please find the complete conference program
on www.kids-regio.org or contact Project
challenge. A youth film festival can cre-
Manager Dana Messerschmidt
ate a festive atmosphere without faking
([email protected]).
the glamour of the red carpet.”

ECFA Journal No. 2 - 2009 -5-

 The News Section: Films on the Horizon
Forthcoming festivals New European films for children or young people which are ready to
Giffoni Film Festival, Giffoni Valle be discovered for your programmes. More information and more films
Piana, Salerno, Italy, can be found at www.ecfaweb.org. Obviously we can never guarantee
July 12th to 25th 2009. that we cover all important new films. Producers, distributors and sales
www.giffoniff.it agents are kindly invited to inform us of their new releases.
Sarajevo Film Festival, Children’s Brendan and the Secret of Kells The Girl
Films Section, Sarajevo, Bosnia- Animation, Ireland, France, Belgium Feature Film, Sweden 2008
Herzegowina, 2008 Director: Fredrik Edfeldt
August 12th to 20th 2009. Directors: Tomm Moore, Nora Twomey Production: Acne Film
www.sff.ba Production: The Cartoon Saloon Festival: Berlin Generation 2009
Festival: Berlin Generation 2009 World Sales: Delphis Films Inc.
Nueva Mirada – Internat. Film Fes- World Sales: Celluloid Dreams (address see Frogs and Toads)
tival for Children & Youth, Buenos 2, rue Turgot, F-75009 Paris
Aires, Argentina, phone: ++33-1-49700370 Glowing Stars
September 3rd to 9th 2009. fax: ++33-1-49700370 Feature Film, Sweden 2008
www.nuevamirada.com E-Mail: [email protected] Director: Lisa Siwe
www.celluloid-dreams.com Production: Filmlance
Lucas – Int. Children’s Film Festi- Festival: Berlin Generation 2009
val, Frankfurt/M., Germany Friends Forever World Sales: Delphis Films Inc.
September 6th to 13th 2009. Original Title: Mullewapp (address see Frogs and Toads)
www.lucasfilmfestival.de Animation, Germany 2008
Directors: Tony Loeser, Jesper Moller
Sleeping Beauty
MilanoFilmFestival, Milano, Italy World Sales: Kinowelt International
Feature Film, Germany 2008
September 11th to 20th 2009. Karl-Tauchnitz-Str. 16
Director: Arend Agthe
www.milanofilmfestival.it D-04107 Leipzig
Production: Moviepool, Provobis,
phone: ++49-341-35596300
SK-Film, ZDF
Buster - Copenhagen Int. Film Fes- E-Mail: [email protected]
World Sales: Telepool, Sonnenstr. 21
tival for Children & Youth, Copen- www.kinowelt-international.de
D-80331 München
hagen, Denmark see also: www.mullewapp.kinowelt.de
phone: ++49-89-558760
September 18th to 27th 2009.
fax: ++49-89-55876188
www.buster.dk
E-Mail: [email protected]
www.telepool.de
Prix Danube - Int. Television Fes-
tival of Programmes for Children
The Race
and Youth, Bratislava, Slovakia,
Feature Film, Ireland, Germany 2009
September 24th to 29th 2009.
Director: André F. Nebe
www.prixdanube.stv.sk
Production: Grand Pictures, Tucano
World Sales: High Point Films
Children’s Filmfest Hamburg „Mi-
25 Elizabeth Mews
chel“, Hamburg, Germany
GB-London NW3 4UH
September 11th to October 3rd 2009.
The Eagle Hunter’s Son phone: ++44-20-7586 3686
www.kinderfilmfest-hamburg.de
fax: ++44-20-7586 3117
The Eagle Hunter’s Son E-Mail: [email protected]
Feature Film, Sweden/Germany 2009 www.highpointfilms.co.uk
Director: Rene Bo Hansen
Production: Stromberg Productions Through a Glass, Darkly
World Sales: Bavaria Film International Feature Film, Norway 2008
Bavariafilmplatz 8 Director: Jesper W. Nielsen
D-82031 Geiselgasteig Production: Spillefilmkompaniet 4 1/2
Glowing Stars
phone: ++49-89-64992686 World Sales: TrustNordisk Film Int.
E-Mail: Bavaria.international@bavaria- Sales
film.de ilmbyen 12
www.bavaria-film-international.de DK-2650 Hvidovre
phone: ++45-3686 8788
Frogs and Toads fax: ++45-3677 4448
Feature Film, The Netherlands 2009 E-Mail: [email protected]
Director: Simone van Dusseldorp www.trustnordisk.com
Frogs and Toads Production: Lemming Film
Festival: Kristiansand 2009 Karla and Katrine
World Sales: Delphis Films Inc. Feature Film, Denmark 2009
225 Roy Street east Director: Charlotte Sachs Bostrup
Montreal, Quebec Production: Nordisk Film
H2W 1M5, Canada World Sales: TrustNordisk Film Int.
phone: ++1-514-843 3355 Sales
E-Mail: [email protected] (address see Through a Glass, Darkly)
Brendan and the Secret of Kells www.delphisfilms.com
ECFA Journal No. 2 - 2009 -6-
Films on the Horizon

Blood Brothers The Missing Lynx

Feature Film, The Netherlands 2008 Animation, Spain 2008
Director: Arno Dierickx Director: Raul Garcia & Manuel Sícilia
Production: Rinkel Film & TV Produc- Production: Kandor Graphics, Green
tions BV Moon Espana
World Sales: NonStop Sales AB World Sales: Six Sales
Döbelnsgatan 24 Alto de las Cabañas 5, Las Rozas
SE-11352 Stockholm 28231 Madrid, Spain
phone: ++46-8-6739999 phone: ++34 91 781 7301
fax: ++46-8-6739988 fax: ++34 91 781 7322
E-Mail: [email protected] E-Mail: [email protected] Friends Forever
www.nonstopsales.net www.6sales.es

Winnetoons
Animation, Germany, Belgium 2007
Director: Gert Ludewig
Production: ASL Animationsstudio
Ludewig GmbH & Co.
World Sales: Telepool
(address see Sleeping Beauty) Winnetoons The Missing Lynx

Charlotte Giese about the DFI

In an interview with Emilie Boucheteil for Europa Cinemas, ECFA board
member Charlotte Giese spoke about the origin and growth of the DFI
(Danish Film Institute) and how the children & youth film department is
orientated within Danish film industry. A quote:

(…) “In the 1990s, education in relation to images was a long way from being a
priority. A ‘Children and Youth Film Centre’ was therefore established in 1998 within
the DFI. The department, which originally comprised 3 people, now has a staff of 16,
6. The distribution of the films supported is largely based on the education system
(schools and libraries). We allow teachers to have cheap, or even free access to the
films so that they can be studied in class.”

Tell us about the films that you make available to teachers on the internet and
about the agreements you have reached with the distributors of these films.
“Originally our aim was to support the distribution of films supported by the National
Film Board and their prints on 16mm, 35mm, DVD, etc. However, we would like to
completely replace physical distribution with streaming: teachers are already able to
have access to short films and documentaries that the DFI have supported, as well Charlotte Giese © photo: Europa Cinemas
as a few feature films (mainly classics) on a platform called www.filmstriben.dk. This
represents a catalogue of more than 500 films that receive production assistance
from the Danish Film Institute.
When this assistance is granted, it is agreed with the producers that the DFI will be
able to benefit from non-commercial distribution rights for use within an educational
context. We acquire these rights for around fifty films a year. (…)”

The complete version of this interview can be found on: http://www.europa-cinemas.

org/en/questions/2009_DFI_CharlotteGiese.php

Your Advertising in ECFA-Journal and on www.ecfaweb.org!

ECFA-Journal is published and distributed both on paper and as pdf-file in almost 1000 copies and
reaches everybody involved in the production, distribution, broadcasting and exhibition of films for
children in Europe. The best way to inform the industry about your latest production, sales offers,
festival dates or distribution program. For more details please contact: [email protected].

Prices:
Full page (267 x 180 mm): € 200 Column (267 x 53 mm): € 70
Half page (133 x 180 mm): € 120 25 % reduction for ECFA-members

ECFA Journal No. 2 - 2009 -7-

ECFA in persons
Petr Koliha, Prague/Czech Republic
Artistic Director of the Zlin International Film Festival for Children and
Youth

Petr Koliha, born in Prague 1956, graduated at the famous FAMU-film school in
Prague in 1982 and later worked as a director for theatre and television. His first fea-
ture film TENDER BARBAR with star actor Jiri Menzel was released in 1990. Later
he worked as a producer and continued directing for TV. Since 1990 he has been
teaching at the Prague Film School (FAMU) in the directing department. In 1997 he
directed his second feature film BRINGING UP GIRLS IN BOHEMIA. From 1998 to
2000 he worked as Programme Director for TV Prima, and until 2002 he held the
same position in the Czech public Television. Since 2003 Petr has been the Artistic
Director of the International Film Festival for Children and Youth in Zlin. Petr is also a
voting member of the European Film Academy and co-owner of the Czech distribu-
tion company Kinofa. In February 2009 he was elected to the board of ECFA.

“Film is one the most amazing ways to overcome barriers between continents, cul-
tures or religions. We wish to provide our young viewers with all the necessary values
that are needed to live in today’s difficult world. Here in Zlin we keep trying to bring
the best of the latest films for children and youth to our audience,” Petr describes his
work for the International Film Festival for Children and Youth.

As Artistic Director, the Zlin Festival soon became a member of ECFA; the contacts
that a network like ECFA provides are essential for such a festival. Among ECFA’s
projects Koliha points out the meaning of the distributors’ grouping. Also the educa-
tional projects are very important in his opinion, while ECFA should become stronger
in the field of international public relations. He wants to draw the attention of political
representatives in European countries to the importance of film culture for children Petr Koliha
and young people: “We should stand up even stronger for the support of movie
making for children and the distribution of high quality films in the net of European
cinemas. Politicians should hear about us much more than they do now,” Petr Koliha
says.
www.zlinfest.cz

New ECFA Board

The ECFA Annual General Meeting 2009 in Berlin included a farewell to some of
ECFA’s loyal board members and the establishing of the new board, as voted upon
by approximately 30 members at present.

Leaving the board were: Debbie Maturi (Leeds Young People’s Film Festival, UK),
EAVE producers
Emmanuelle Chevalier (Les Films du Préau, FR) and Jerzy Moszkowicz (Ale Kino, workshop
Poznan, PL). ECFA would like to thank them for all those years of fine cooperation.
New board members were voted: Adam Graham (Leeds Young People’s Film Festi- ECFA board member Eva Schwarz-
val, UK), Petr Koliha (International Film Festival for Children and Youth, Zlin, CZ) and wald will address more than 50
Agnieszka Piechnik (Ale Kino, Poznan, PL). Together with remaining board members producers from 27 countries about
Tonje Hardersen (President), Eva Schwarzwald, Charlotte Giese, Dimitris Spyrou and the importance of films for a young
Eszter Voujala, we’re all hoping for an intensive and fruitful cooperation. audience in an EAVE workshop in
Milan (7 – 14 June).
The new board have already had a successful meeting in the Kristiansand Inter- EAVE, supported by MEDIA, provides
national Children’s Film Festival where (amongst other topics) the upcoming ECFA training for European producers and
conference at the Cinekid Festival (Amsterdam) was discussed. over the last decade have developed
a methodology of producers training
based on working on real projects.
The EAVE network includes produ-
cers, sales agents, commissioning
editors, film funds and distributors.
A local partner in the Milan workshop
is ‘Agenzia per il Cinema a Milano’,
an association promoting indepen-
dent cinema productions.

ECFA members are invited to send

useful brochures and information to
Former ECFA Board at the General Meeting in Berlin 2009. L. to r.: Dimitris Spyrou, Charlotte Giese, Felix
Vanginderhuysen, Tonje Hardersen, Jerzy Moszkowicz, Eszter Voujala and Eva Schwarzwald.
Eva Schwarzwald, c/o AIACE, Fab-
brica del Vapore, via Procaccini 4,
20154 Milano, Italy before June 4th.

ECFA Journal No. 2 - 2009 -9-

 FILM IN THE FOCUS
Ilmar Raag’s KLASS
“Revenge could never be a trump in promoting this film”

The Estonian film KLASS by Ilmar Raag surely asks for a broader ex-
ECFA Journal planation of the context. Shocked by the toughness of the story and its
violent ending, people come out of the cinema realizing that a relevant
Published by ECFA story was told, but with no answer to their many questions. That’s how
European Children’s Film Association Ilmar Raag wanted it: there is no answer to the problem of teenagers
Rue des Palais 112 trying to solve their situation by an outburst of mass violence. We can
B-1030 Bruxelles only question ourselves about such tragedies.
Phone: +32 (0)2 242 54 09
Fax: +32 (0)2 242 74 27 15 year old Joosep is bullied every day
E-mail: [email protected] by his classmates. Under the leadership
www.ecfaweb.org of the dominant Anders, his classmates
make him go through a series of violent
humiliations. Until one day Kaspar
Please send press releases, advertise-
stands up to defend him. For Kaspar this
ments, questions & information to
war becomes a matter of honour and
Jekino - Gert Hermans he’ll be punished cruelly for choosing the
See address above victim’s side. When the situation grows Ilmar Raag (Klass)
E-mail: [email protected] out of hand, the only way out seems to
be a violent revenge. give answers. I present a case study and
Contributors to this issue: hope the audience will discuss it in order
Gert Hermans (Editor) Raag: “In a school theatre festival in to find answers to their questions.”
Tonje Hardersen, Adam Graham, Eva Estonia I looked out for bright young ac-
tors with a story to tell. I gathered 15 of How did you use the camera as a tool
Schwarzwald, Jerzy Moszkowicz, to get under the skin of the actors?
them in a workshop where they told me
Petr Koliha, Charlotte Giese, Dana Raag: “My method is simple: the ac-
the stories on which later the script was
Messerschmidt, Reinhold Schöffel, based. The first day they told me stories tors play and the D.O.P should be able
Felix Vanginderhuysen about ‘the day I felt physical pain’. The to capture their emotions. The actors
Corrector: Adam Graham second session was about ‘the day I weren’t professionals; if you clock their
Design: Sam Geuens & Marc Henneco was ashamed’; the last one about ‘the scenes too much, they might act too
ECFA website: Udo Lange day I felt guilty’. Each day their stories mechanical. We always did a wide
became more personal. angle master-shot first to capture the
I tried to fit those stories into a script. whole scene. In the next take we used
ECFA’s goal is to support cinema
Every morning I presented 10 pages to a middle-shot for getting into details.
for children and youth in its cultural, Meanwhile I stood behind the camera-
which they added some personal de-
economical, aesthetic, social, political man to point him in the right direction.
tails: ‘we don’t talk like that’, ‘we would
and educational aspects. ECFA since handle things this way’,… We played the He learned very quickly how to read my
1988 brings together a wide range of scenes on stage, corrected each other thoughts and foresee my instructions.”
European film professionals and asso- and developed the characters. Finally
the script was written by a group of ac- It must have been hard for the actors.
ciations, producers, directors, distribu-
tors aged 15 – 17 whom offered me a Was there any form of psychological
tors. ECFA aims to set up a working
piece of their personality.” safety net? Raag: “We had a psycholo-
structure in every European country for gist on the set. That was probably the
films for children and young people, a wisest decision I took and often her
Were you prepared for some contro-
structure adapted to Europe’s multicul- services were of great use.”
versy? Raag: “From the very beginning
tural interests.
I realized KLASS would be controver-
KLASS is not an easy film to promote.
sial. That’s why I took precautions. On
For more information and memberships
Is there a way in which the film can
the iconographic level the shooting
make an international career?
(€ 200 per year): couldn’t be presented in a glamorous
Raag: “KLASS is making an niche
ECFA way. Shootings look cool as long as
career on the Internet. The pirate ver-
European Children’s Film Association the shooter looks cool, and these boys
sion is popular in China, Russia and
Phone: +32 (0)2 242 54 09 don’t.
Ukraine. But on the Internet the explana-
‘Revenge’ could never be a trump in
E-mail: [email protected] tive context is lacking. In that way the
promoting this film; KLASS is not a
www.ecfaweb.org film can easily gain the reputation we
payback drama. The campaign was
always tried to avoid: a cool movie about
completely based on the film’s content.
The European Children’s Film Distribu- revenge. And there’s no age control.
While shooting the film we didn’t allow
tion Network:
People under 15 could easily interpret
any press coverage. The names of the
some of the emotions in a way it was
www.ecfaweb.org/network.htm cast were never revealed; I didn’t want
never foreseen. Because the ideology of
Databases on children’s film festivals, ‘stardom’. The clips I posted on the
the film is based upon the perceptions of
sales agents, distributors and TV-pro- Internet looked like amateur movies. The
a 16 – 18 years old audience.” (GH)
grammers interested in European films film wasn’t important, only the subject
for children. mattered. Random violence for me is the The complete version of the interview can be found
most deranging phenomenon that I can on www.ecfaweb.org/projects/filmmaking/raag.htm.
undstand nor accept. That’s why I don’t
ECFA Journal No. 2 - 2009 - 10 -