Such differences are exactly what we hope to address and discuss. For example, there will be an event with the working title “Love International”, which isn’t just about love, but generally the cultural codification and perception of feelings. The most striking differences are found in comedy. But also in depictions of love, you quickly realise that despite globalization, the codification of the world’s different cultural groups functions very differently. You just have to compare the so-called “Berlin School” and the new emotionality of young couples in German films to cult and love films from Mexico, India or China – the differences become immediately apparent.
Today, individual emotional worlds are, on the one hand, increasingly subject to exploitative strategies and a certain logic of construction. On the other hand, many cinemagoers have an emotional longing for uniqueness, the unseen and incalculable. With the tagline of the 2008 motto, “Cinema’s finest asset”, you apparently want to take an in-depth look at the economic interests of the industry.
We deliberately chose the title to do justice to the not-to-be-underestimated market-driven elements of this theme. The term “asset” is very suitable, because, alongside its economic dimension, it contains many sub-meanings and possibilities for subtlety. For example, one event will deal with biopics. Biopics as a genre have enjoyed a lot of success recently. We want to take a look a several examples and consider together why audiences are so eager to see such “real” stories in the cinema, whether films that are based a real-life events, or those that deal with well-known personalities. With our new colleague Maike Mia Höhne in the Berlinale Shorts section and the Forum expanded, we also want to put on an event addressing the apparent renaissance of the short film and look at what the causes for this might be. Here, it’s also about new forms of presentation and distribution, for example in public spaces or in art galleries, which consequently affect the dramaturgy and creative aspect of films. For us these points belong to the reciprocal effects of emotionality, film production and commercialisation that we want to address.
On a very practical level, we also want to develop a programme for the Doc Station, where we bring interested producers to the Campus to create a unique opportunity for several talents to present their projects to professional representatives of the industry. Besides that, we will offer, as in previous years, special tours through the European Film Market (EFM) for the producers and documentary filmmakers at the Campus. In many different ways, we try to use the physical proximity of the EFM at the festival and to profit from possible synergies.
Many chances to examine ones own filmmaking.
Emotionality is for me – despite the technologies and strategies you can use in films to create certain feelings – still something abstract and difficult to grasp. Isn’t the conveyance of emotions, to a degree, about a capability of translation that one can’t quite put a finger on?
There are newer developments, especially amongst film academics who have studied this topic comprehensively. Sure, no one can be forced to look at these newer academic approaches to film, which analyse these phenomena in an insightful way. But to come into contact with these ideas in different ways and to acquire some of this knowledge for oneself, surely can’t hurt. We try to talk about these issues in a very user-friendly way at the various panel discussions and un-academic manner. By no means do you have to have the desire or need to be at the cutting edge of film studies. Basically I would be very happy about the two camps of film academia and filmmakers – which sometimes come across as enemies – coming a bit closer together. And perhaps the Campus is a suitable place for that.