Education of the Filmmaker in Europe, Australia, and Asia

Moinak Biswas, Jadavpur University, IndiaYomi Braester, University of Washington, USABarton Byg, University of Massachusetts-Amherst, USACharlie Cauchi, Queen Mary University of London, UKBen Goldsmith, Queensland University of Technology, Australia Tom O'Regan, University of Queensland, AustraliaDuncan Petrie, University of York, UKAnna Westerståhl Stenport, University of Illinois Urbana-Champaign, USARenata ukaityt?, Lithuanian Academy of Music and Theatre, LithuaniaYoshiharu Tezuka, Komazawa University, JapanEvan Torner, University of Massachusetts-Amherst, USAMarijke de Valck, University of Amsterdam, the Netherlands

• Introduction: More than Film School: Why the Full Spectrum of Practice-based Film Education Warrants Attention; Mette Hjort PART I: EUROPE 1. Practice-based Film Education in Lithuania: Main Actors and Sites of Struggle; Renata Šukaityte 2. Mapping Film Education and Training on the Island of Malta; Charlie Cauchi 3. The Struggle for a Scottish National Film School; Duncan Petrie 4. 'We Train Auteurs': Education, De-centralization, Regional Funding, and Niche Marketing in the New Swedish Cinema; Anna Stenport 5. Divided Dirigisme: Nationalism, Regionalism, and Reform in the German Film Academies; Barton Byg and Evan Torner 6. Sites of Initiation: Film Training Programs at Film Festivals; Marijke de Valck PART II: AUSTRALIA AND ASIA 7. Beyond the Modular Film School: Australian Film and Television Schools and their Digital Transitions; Ben Goldsmith and Tom O'Regan 8. Dynamics of the Cultures of Discontent: How is Globalization Transforming the Training of Filmmakers in Japan?; Yoshiharu Tezuka 9. Learning with Images in the Digital Age; Moinak Biswas 10. Film Schools in the PRC: Professionalization and Its Discontents; Yomi Braester 11. Film Education in Hong Kong: New Challenges and Opportunities; Stephen Chan

"Mette Hjort opens up an entirely new area of study in film and media studies by considering not only how film practice is taught in different parts of the world but why film practice is taught - giving light to social/cultural aesthetics and the political value of practice-based media education. The collection sets up a rich comparative structure that allows us to discover a whole new picture of youth activism and media training in different parts of the world." - Janine Marchessault, Canada Research Chair in Art and Digital Media, York University, Canada