ROUND TABLE
May 8-10, 2000 at Literaturhaus, Salvatorplatz 1, Munich

During the 15th International Documentary Film Festival a round table discussion will be held about the subject "The position of Central and Eastern European festivals as regards to the European Union. Relationship between these festivals and the festivals of the European Union countries." It will be organized by the Internationales Dokumentarfilmfestival München and the European Coordination of Film Festivals.

The Munich international Documentary Film Festival offers an exclusive documentary programme. Therefore the central issue of the discussion will be documentary film. Especially Central and Eastern European countries look back on a strong documentary tradition that has grown over decades.

Chairperson and presenter: Tamara Trampe

Representatives of some Western European festivals (Florence, Leipzig, Neubrandenburg, Graz, Tampere), will participate as well as several of Eastern European festivals (St. Petersburg, Bratislava, Vilnius). Likewise some film experts and film makers from Eastern (Moskow, Krakow, Sarajevo) and Western Europe plus a representative of the European Coordination of the Film Festivals will be present.

The Round Table discussion is public. Interested visitors to the festival are welcome to join.

The discussion will take place from May 8-10, 10.00-12.30 h, at the Literaturhaus, library, Salvatorplatz 1.

Conference Programme

Monday, May 8, 2000, 10.00-12.30 h
A.Review of the festival landscape in Western, Central and Eastern Europe. Rendering of the festivals by the delegates present.
1. History of origins
2. Structure and profile of the festival programmes
3. Central issues
4. Personal and financial provisions
5. Public financial backers and sponsors
6. Perspective of the festival
7. Relationship to the European Coordination of Film Festival (ECFF)
Brief report about the special situation of Eastern European and Russian Festivals:
a. Are contacts among Eastern European festivals marked by solidarity or competition?
b.Are there any endeavors of the festivals to reactivate contacts to the former Soviet republics? Or do the festivals follow the nationalist policy of Russian authorities?
c. How is the relation of the festival to up-and-coming filmmakers, especially to small private studios (so-called master classes in Georgia, Armenia and the Ukraine?)
d. Presentation by Vitalij Manskij: Report about the (also in Internet) monthly published Vertov-Journal which provides a precise overview about the current situation of documentary film production in Russia.
e. Presentation by Vitalij Manskij: Promotion of documentary films in private and state television. What is the budget for productions upon commission and according to which selection criteria and modes subjects for filmmakers are defined?
f. Experience of the festivals with the programming of video productions
g. Cooperation with national filmmakers' association?
h. From the documentary film festival to the feature film festival with a documentary part. Reasons for the development of mixed types (example: "Message to Man" in St. Petersburg).

Tuesday, May 9, 2000, 10.00-12.30 h
B. Possibilities of cooperation between Western and Eastern European festivals
1. Exchange of experiences about technical and organizational know-how
2. Exchange of staff.
Experience with the staff exchange of ECFF
3. Mutual assistance to find and acquire films
4. Mutual assistance to discover new talents
5. Exchange of parts of the festival programmes. Criteria for the exchange of retrospectives, tributes and work shows.
6. Interest and experiences related to the programme offer of ECFF ("Europe in shorts" etc.)

Wednesday, May 10, 2000, 10.00-12.30 h
C. Discussion about different development tendencies and future perspectives of festivals in East and West
1.The role of festivals in the exploitation of films in cinema, television and video with special regard to the documentary film.
2. What are the interests of state and private TV-channels?
3. Which interests are pursued by marketing and distribution companies and cinema theatres?
4. What are the interests of the public?
5. What is the role of the festivals in shaping public opinion? How can festivals contribute to form a critical anti-public (particular examples: Balkan, Russia, Chechnya etc.)?

Gudrun Geyer
Festival Director

Tamara Trampe
Conference Director