Industry of Prestige: SIECE IV Program
Pre-conference Lecture
(11:00 Friday 28
November)
András Bálint Kovács (Eötvös
Loránd University, Hungary)
The Making of the Modernist Canon
Welcome and Opening
Remarks
(13:45)
Festival Prestige
(14:00)
Chair: Šárka Gmiterková
Respondent: Constantin
Parvulescu
Oksana Bulgakowa (Johannes GutenbergUniversität
Mainz, Germany)
Winners and Losers: The Moscow Festival and Its Canon
Balázs Varga (Eötvös Loránd University,
Hungary)
Eyes on the Prize: Hungarian Films and the International Film
Festival Circuit
Marcin Adamczak (Adam Mickiewicz
University, Poland)
The National Film Festival as source of Illusion for Local
Cinema: The Case of the Gdynia Film Festival
Michał Pabiś-Orzeszyna (Łódź
Univrsity, Poland)
Fast Cars and High Art: The Camerimage Festival
and Peripheral Dialectics of Prestige
Keynote 1
(16:30)
Chair: Balázs Varga
András Bálint Kovács (Eötvös
Loránd University, Hungary)
The “East-European Touch” and International
Recognition in Hungarian Cinema: How to Make
an International Career in Hungarian Cinema?
Support and Branding
Schemes
(18:15)
Chair: Pavel Skopal
Respondent: Balázs
Varga
Jan Hanzlík (The University of
Economics, Prague, Czech
Republic)
Distinction and Authenticity in Film Tourism:
The Case of Three Exhibitions for Cinderella
Eva Križková (Slovak Academy
of Sciences, Slovakia)
Day-and-date Release in Slovakia: Creating a
Brand or Destroying Cinemas?
Mariana Ivanova (Miami
University, USA)
Financing Prestige Co-[productions: On the
Tension between Film as Transnational Product
and EU Film Funding Policies
Professional Prestige Jakub Mikurda (Film School Łodź, Models of Training in Contemporary Polish Film
(09:30 Saturday, 29
November)
Chair: Łukasz Biskupski
Respondent: Marcin
Adamczak
Poland) Schools
Jana Dudková (Slovak Academy
of Sciences, Slovakia)
From Director to Producer as the Author of
Slovak Cinema between 1989 and 2014
Eva Pjajčíková & Petr
Szczepanik (Masaryk University,
Czech Republic)
“We are not HBO, We are Television”: A Postsocialist
Writers’ Room
Juliane Scholz (University
Leipzig, Germany)
Screenwriters, Dramaturges and Production Units
in the Former GDR: A Historical Overview on a
Complex and Anxious Relationship
Keynote 2
(11:15)
Chair: Jakub Korda
(Palacký University,
Czech Republic)
Janet McCabe (Birkbeck,
University of London)
Conversations on Quality TV: A Transnational
Dialogue from HBO to Public Service
Broadcasting on Producing Culture
Canons, Cults, and
Awards (14:45)
Chair: Michał Pabiś-
Orzeszyna
Respondent: András
Bálint Kovács
Zorka Varga (Cineteca of
Bologna, Italy)
The Balázs Béla Studio and the Hungarian New
Wave: The Melting Pot of Art and Freedom
Grażyna Świętochowska
(University of Gdańsk, Poland)
Oscar’s Effect or Winner-Take-All? The Strategy
of Condescension as the Main Factor in Awarding
Czech and Slovak Cinema in the 1960s
Constantin Parvulescu (West
University of Timisoara,
Romania)
The Best Ever Made: How Film Critics
Established the High-brow Romanian Film Canon
Jonathan Owen (University of
Exeter / University of St
Andrews, UK)
Para-Prestige: The Receptions of Walerian
Borowczyk
Business Practices and
Transnational
Strategies (17:00,)
Chair: Jan Hanzlík
Pavel Skopal (Masaryk
University, Czech Republic)
… and They Lived Happily Ever After: Coproductions
and the Role of Partners´ Trust –
sDEFA-Barrandov Fairy-tales in the 1970s and
the 1980s, a Case Study)
Respondent: Juliane
Scholz
Šárka Gmiterková (Masaryk
University, Czech Republic)
In Need of Young Talent: Stars, Starlets, and the
Czechoslovak Film Industry in the 1930s
Łukasz Biskupski (University of
Social Sciences and Humanities
SWPS in Warsaw, Poland)
In the Shadow of Empires: Business Strategies of
Warsaw-based Film Company Sfinks before
World War I