Prof. Ciro Cappellari

Prof. Ciro Cappellari
Cinematic Storytelling In A Social Context

Seine 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.

SELECTED FILMS:

2012 The Street and the Rag Ball – writer, director, producer and DoP (documentary) 2011 Francesco and the Pope – writer, director and DoP (documentary) 2009 In Berlin – director / co-director Michael Ballhaus; writer, producer and DoP (documentary) 2007 Bridging the Gap – writer, director, and DoP (documentary) 2006 Sleeping Beauties – DoP, Director: Vadim Glowna (Feature Film) 2005 Abdullah Ibrahim: A Struggle for Love (Adolf Grimme Award) – Writer, Director, Producer, and DoP (Documentary) 2003 My Name is Bach – DoP, Director: Dominique de Rivaz (Feature Film) 2002 Tatort: Endspiel – Director (TV Movie) 1997 Sin Querer – Time of the Flamingos (Sundance Cinema 100 Award for Best Screenplay) – Writer and Director (Feature Film)1995 Hijo del Rio – Son of the River (Premio Opera Prima at the Trieste Latin American Film Festival) 1992 Schwarzfahrer (Academy Award Oscar for Live Action Short Film) – DoP, Director: Pepe Danquart (short film) 1989 Amor América – writer, director, producer and DoP (documentary)

PERSONAL STATEMENT:

»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.«

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