Torsten C. Fischer
Professor Nico Hofmann
Professor Lutz Konermann
Gloria Burkert
Felix Eisele
Andrea Kuhn
Angelika Niermann
Michaela Rosen
Thorsten Schütte, Program Coordinator
The Language of Others
In the beginning was the paradigm shift: In the early 1960s, the Oberhausen Manifesto read: “Dad’s cinema is dead” –
These words were meant to mark the end of the commercial producer-dominated films of the post-war era, shallow entertainment for a whole generation traumatized by war and crisis. Thus followed the era of the Author’s Film – ambitious, committed and risky. Many of these Author’s Films produced in these decades were true highlights of German film culture that gained international reputation and led to outstanding individual performances and, not to forget, they led to the founding of a continuously increasing number of German film schools. Yet more than once, the limitations showed, when narrative skills, audience appeal and profitability had to be consolidated.
Then came the 1980s that brought changes to the German public film funding landscape. Private TV stations became stronger and subsequently, the number of different formats increased. And now, the time was right for an institution that would prepare a young generation of film professionals for the new reality of film and television production.
As immediate response to this challenge, the “Ludwigsburg Model“ was born. Prof. Albrecht Ade, founding father of the Filmakademie, summoned a group of enthusiasts, and together they developed a modern, interdisciplinary training concept and put it into practice. Central to this model was the lively interaction with the constantly changing reality of production which should not be impaired by a rigid curriculum. On the contrary – these realities were to be integrated by professionals who were willing to share their first-hand experiences and knowledge with the students. But above all, the Directing classes should no longer highlight the role of the “Auteur”, the dominant super director, but rather produce creative and responsible conductors of a creative ensemble – visionaries and also multi-faceted partners with social and technical skills who are willing to cooperate with writers and producers.
The at other film schools widespread notion of the universal filmmaker genius which requires room to unfold itself and which cannot be taught but is inherent fundamentally collided with the philosophy of the Filmakademie Baden-Wuerttemberg. Here, the conviction prevailed that the art of directing can be learned and thus also be taught. We also believe that a director’s training based on a structured curriculum with teaching units that build on another can be integrated into a holistic interdisciplinary training concept combining different courses and programs. From the first semester on, students of the Fiction Film directing course also work in other filmmaking disciplines such as screenwriting, cinematography and animation and thereby acquire fundamental knowledge and the technical jargon which will later help them communicate with their team colleagues in their own projects.
This model has proved successful and has been confirmed by the careers of so many of our graduates in recent years. Creative teams that came and worked together in Ludwigsburg have now become renowned professionals of the industry. Our former students contribute to the film and TV landscape with fresh ideas, while in turn, schools in Germany and abroad turn towards the Filmakademie Baden-Wuerttemberg and are being inspired by its successful concept.
by Professor Lutz Konermann
