Prof. Ciro Cappellari

Professors

Prof. Ciro Cappellari

Professor Cinematic Storytelling In A Social Context

Professors

Professor Directing

Professors

Author, Director, DoP a. o. ABDULLA IBRAHIM: A STRUGGLE FOR LOVE (Adolf Grimme Award), SCHWARZFAHRER (Oscar®)

Phone: +49 221 920188-0
E-Mail: Email

Vita

Since his studies at the German Film and Television Academy Berlin (DFFB), he has worked internationally as a writer, director and cinematographer of feature films and documentaries. In his films, he deals with topics such as social stigmatisation or racism. For his work, he has been awarded the Sundance Cinema 100 Award and the Adolf Grimme Award, among others. Since 2007, Ciro Cappellari has been a member of the European Film Academy. He can also look back on two decades of international teaching experience – for example, at the DFFB and most recently as a professor at the CalArts – California Institute of the Arts.

Filmography

2012 The Street and the Rag Ball

Documentary | Writer, Director, Producer and DoP

2011 Francesco und der Papst

Documentary | Writer, Director and DoP

2009 In Berlin

Documentary | Director / co-director Michael Ballhaus; Writer, Producer and DoP

2007 Bridging the Gap

Documentary | Writer, Director and DoP

2006 Sleeping Beauties

Feature Film | DoP, Director: Vadim Glowna

2005 Abdullah Ibrahim: A Struggle for Love

Documentary | Adolf-Grimme-Preis | Writer, Director, Producer and DoP

2003 MY NAME IS BACH

Feature Film | DoP, Director: Dominique de Rivaz

2002 Tatort: Endspiel

Feature Film | Director

1997 Sin Querer – Time of the Flamingos

Feature Film | Sundance Cinema 100 Award for best screenplay | Writer and Director

1995 Hijo del Rio – Der Sohn des Flusses

Feature Film | Premio Opera Prima auf dem lateinamerikanischen Filmfestival Triest | Writer, Director, Producer

1992 Schwarzfahrer

Kurzfilm | Academy Award „Oscar“ for Live Action Short Film | DoP, Director: Pepe Danquart

1989 Amor América

Documentary | Writer, Director, Producer and DoP

»Experimenting openly with content and materials to achieve artistic goals – this is the attitude I want to pass on to students. The heart of my teaching lies in the grammar of the audiovisual language for moving images. This involves, for example, relating questions of narrative, composition, the ‘rhythm’ of a particular scene to the demands of our time. The intensive examination of these aspects should enable students to analyse how different techniques create a characteristic aesthetic – and help them to find their own film language.«

Ciro Cappellari

Professor Cinematic Storytelling In A Social Context

MA Film Study at ifs