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EUROPA CINEMAS
AUDIENCE DEVELOPMENT &
INNOVATION LAB
27th June – 1st July 2015
Cineteca di Bologna
"Creating the demand for a diverse cinema"
Name: …………………………………………………………………………………………......................................
FOREWORD
In the words of the late Peter von Bagh, former artistic director of “Il Cinema Ritrovato is pure heaven
for cinephiles!” It’s also a hugely popular festival for audiences here in Bologna with a remarkable track
record in engaging the next generation of filmgoers in the big screen experience. Cinema Ritrovato is
evidence that our rich cinema heritage is very much alive, right here, right now. We would be hard
pressed to dream up a better place for cinema practitioners from across Europe and beyond to come
together with audiences to reflect on the past, present and future of cinema.
No wonder then that we are back in Bologna for the 11th edition of Europa Cinemas’ annual gathering
of cinema exhibitors. Our network – now spanning 2,100 screens in 30 countries, has an important
impact on the circulation and life of European films, with some 35 million admissions for European
films in 2014.
Creating the demand for diverse films is a big challenge in an increasingly homogenised market driven
by large marketing budgets and global brands.
Our focus this year, within a festival devoted to the history of film, is on the role that cinemas can play
locally in engaging audiences of all ages in the rich and diverse range of films from the ground up.
We take our cue from Buster Keaton as he gets his big appearance on the Piazza Maggiore; drawing
from his adventurous disposition, penchant for innovation, DIY stunts and deadpan humour, de rigueur
in challenging times. As screenwriter William Goldman famously stated, “nobody knows anything” but
this much we know. Building a 21st-century approach to cinema exhibition means not being afraid to
take risks, to innovate and to remember to some fun with it all. The disruption brought about by the
digital context and the ensuing necessity for re-invention has become a central pre-occupation and
driving force for re-imagining our role in today’s multi-platform connected world.
In an environment where films can be accessed on a proliferating range of platform from
anywhere, how can we keep on generating a buzz around that collective cinema experience - where
the full meaning of film has the potential to be revealed? The lab provides a vital research and
development space for cinemas to share experiments – successes and failures - and collectively evolve
www.europa-cinemas.org | @europacinemas | #ECBoLab2015 | storify.com/europacinema | Instagram: europa_cinemas
responsive and practical strategies for dealing with an increasingly dynamic environment. We draw on
practical case studies from within and beyond the cinema sector across a range of national contexts to
rethink and re-energise our approaches, and expand our networks.
For instance, what can we learn from guerrilla style initiatives such as Cinema America Occupato who
are bringing cinema to the streets of Rome with their hugely popular free pop-ups. How can we tap
into social networks more strategically to generate a buzz on a budget with a little help from social
media experts such as Patrick Möller? We’ll explore questions such as how can we reach those that
we don't (yet) engage in a diverse range of world cinema and why should we do it. There will be
practical examples of how cinemas - from Glasgow to Riga- are consulting with young people to cocreate brands, offers and experiences that are in tune with a generation of digital natives. We’ll hear
from successful partnerships with schools and teachers from cinemas in countries such as Slovenia and
Italy.
One of the challenges for the lab will be to dream and scheme an audience development strategy fit
for purpose in the 21st century for Cinema Modernissimo, a real-life heritage cinema project at the
heart of Bologna championed by Gian Luca Farinelli. Case studies from Sweden’s Folkets Hus och
Parker and the UK’s brand new five screen cinema within Home arts complex in Manchester will
provide some practice-based inspiration of what can be done.
We are also delighted to welcome Professor Ian Christie, one of the architects behind Europa Cinemas’
Bologna labs, for some insights into the evolution of cinema buildings and audiences’ expectations.
These are both exciting and demanding times for us cinemas that are at the forefront of a live debate
with local (and increasingly global) audiences. We can only hope to come anywhere near Keaton in
finding ways of engaging audiences across generations.
Madeleine Probst (Vice-President of Europa Cinemas & Watershed Cinema Programme Producer.)
www.europa-cinemas.org | @europacinemas | #ECBoLab2015 | storify.com/europacinema | Instagram: europa_cinemas
EUROPA CINEMAS AUDIENCE DEVELOPMENT & INNOVATION LAB
CREATING THE DEMAND FOR A DIVERSE CINEMA
CINETECA DI BOLOGNA
SATURDAY 27 JUNE – WEDNESDAY 1 JULY 2015
WORKSHOP LEADERS
MADELEINE PROBST is the Cinema Programme Producer at Watershed in Bristol, a leading
cross art form venue and producer, sharing and developing and showcasing exemplary cultural
ideas and talent. She manages the Watershed led Film Hub South West and West Midlands as
part of British Film Institute Film’s Film Audience Network (FAN) and produces a portfolio of
projects including DepicT! short 90 second short film competition part of Encounters Short Film
& Animation Festival and Conversations About Cinema, a BFI FAN initiative. She has directed
several international Europa Cinemas Audience Development Innovation Labs and for the past
year, has been the Vice-President of Europa Cinemas.
Contact: @MaddyProbst watershed.co.uk / watershed.co.uk/FilmHubSWWM /
conversationsaboutcinema.co.uk / depict.org
MATHIAS HOLTZ is a programmer for Swedish exhibitor Folkets Hus och Parker, a position he has
held for 8 years. His responsibility includes programming inner city art houses in Stockholm,
Gothenburg, Malmö and Helsingborg, as well as rural commercial cinemas and community center
art houses. He also manages international contacts with the likes of Europa Cinemas and works
with development projects regarding digital transition, live screenings and alternative content.
His eclectic and incomplete academic career includes university studies in cultural history, drama
and film. After a short and unsuccessful creative career, crowned by a job as an editor for a
feature film, where in six months’ time not one second of edited material emerged, he turned to
the cinema business and has never looked back.
Contact: [email protected] / www.fhp.nu
PETRA SLATINŠEK has been actively contributing to the shaping of film education for children
and youth in Slovenia since 2004. She founded two major film education projects, in 2005 the
education programme of animated film Elephant (Slon) and in 2008 the film education
programme Kinobalon at the Kinodvor cinema. Her work includes the selection of suitable films
for children and youth, the presentation of films to audiences, editorial work, the organization
of film and other creative workshops, the coordination of discussions with experts etc. Slatinšek
regularly presents the Kinobalon programme and film education at educational events. In 2013
she was elected to the board of directors of the European Children's Film Association. In 2014
she organized international film education seminar, Film Education in Cinemas.
Contact: [email protected] / www.kinodvor.org/kinobalon / www.ecfaweb.org
© Europa Cinemas 2015
CINETECA DI BOLOGNA
SPEAKERS
Professor IAN CHRISTIE is a film historian, broadcaster and curator, currently Professor of Film
and Media History, at Birkbeck College, University of London, and a former President of Europa
Cinemas. Previously head of exhibition and distribution at the British Film Institute, he is a
fellow of the British Academy and regular contributor to Sight and Sound and BBC radio. His
books include Arrows of Desire: the Films of Powell and Pressburger, Scorsese on Scorsese,
Gilliam on Gilliam, Eisenstein Rediscovered, John Box and Production Design, Audiences and
Doctor Zhivago. He contributed to two UKFC/BFI studies, Stories We Tell Ourselves (2009) and
Opening our Eyes (2011), and is currently working on space and place on screen, Russian
cinema and local film. www.ianchristie.org.
PATRICK MÖLLER is a social media expert and experience designer at imaginary friends, a
Berlin (Germany) based agency for storytelling and user experiences in social media. He is
working in the field of social media and viral strategies for more than ten years and he was
recently involved in the social media campaign for the German movie Gespensterjaeger based
on the book series by Cornelia Funke. He is also one of the founders of Transmedia Storytelling
Berlin, a community of creatives of various competences to exchange their skills and knowhow
by networking. Find him at Patmo.de and on Twitter @Patmo. http://imaginary-friends.de /
http://tmsb.de
JASON WOOD has over 20 years of experience in independent film. He is the Artistic Director
of Film at HOME and a Visiting Professor of Film at MMU. He is also the author of 10 published
works on cinema, the most recent being Last Words from Wallflower Press.
VALERIO CAROCCI (left) and FEDERICO CROCE (right), 23 and 20 years
old respectively, are both Communication students at La Sapienza
University in Rome. For around four years now, they’ve been engaged
in revitalizing unused film theatres in Italy. They coordinate the
communication and promote the relationship with local actors for the
Cinema America located in the Trastavere area.
CINETECA DI BOLOGNA
FLORINE WIEBENGA is is head of education at EYE Filmmuseum Amsterdam (NL). She studied
Theatre, Film and Television Science at the University of Utrecht (1996 – 2002) and Stockholm
University (2000). After her Master in Film she started working in film education. On the side
she studied Educational Sciences at the University of Utrecht (2005-2008) and University of
Amsterdam (2008-2009). Since 2005 Wiebenga participates in a number of national projects
around media literacy (2005) initiated by Mediawijzer.net. Currently she’s involved in several
European projects (ABCinema, Wrap!). Her focus is: peer education, innovative learning
strategies, formal and informal learning.
https://www.linkedin.com/pub/florine-wiebenga/a/721/80
SARAH CALDERON is the director of the Film Agency. The Film Agency is a marketing
consultancy service specialized in the film industry. Clients include Arts Alliance, Avalon
Productions, Biennale di Venezia, Entre Chien et Loup, Films Distribution, Karma Films, Morena
Films, Neueroad Movies, Ridley Scott Associates and The Match Factory. The Film Agency is
also the marketing partner of the innovation projects The TIDE Experiment, Walk This Way and
Brandstorm. Sarah Calderón has more than ten years of work experience in the audiovisual
sector in different positions including: Head of International Sales at Coproduction Office –
Paris, and distributor coordinator at Karma Films – Madrid. In parallel to The Film Agency she
works as marketing tutor and consultant for EAVE, Europa Distribution and several Media
Desks. http://thefilmagency.eu
NICK VARLEY is Chief Operating Officer of Arts Alliance Limited and Park Circus Ltd (UK). He
has twenty years of experience in cinema exhibition, distribution and sales. In 2003 along with
John Letham, Nick founded Park Circus films. A leading worldwide theatrical distributor and
sales agent of classic and heritage cinema, Park Circus represents over 20,000 feature films
from major Hollywood and British studios. The company has offices in London, Glasgow, Paris
and Los Angeles. Park Circus was the first company to utilise digital cinema for the distribution
of classic films focusing especially on widening the audience to commercial theatres as well as
traditional cultural institutions. In 2014 Park Circus was sold to Arts Alliance Limited, the world
leading distributor of event cinema content including live and recorded opera, ballet, concert
and documentary films.
CINETECA DI BOLOGNA
LECTURERS
THIERRY FRÉMAUX was born in 1960. He has a degree in Contemporary History (For a Social
History of Cinema). He began his career in 1990 as programmer at the Lumière Institute in Lyon
where he was also appointed Director in 1995. He organised the centenary of cinema and began
restoring films of the Lumière brothers. In 2000, he joined the Festival de Cannes as Artistic
Director. He became its General Delegate in 2007. He organises the Festival Lumière in Lyon since
2009.
JÉRÔME SEYDOUX acquired the cinema company Pathé in 1990 after a career in the banking,
industrial and media sectors. He is now Co-Chairman at Pathé SAS, Chairman at Pathé Distribution
SAS, Chairman at Pathé Renn Production SAS. In 2006, Jérôme Seydoux-Pathé Foundation is
created. This new place is dedicated to the conservation and enhancement of the historical
heritage of Pathé. It offers screenings of silent films, exhibitions, children's workshops and a
resource center. Across the street from the Jerome-Seydoux-Pathé Foundation lies the new fivescreen complex, Cinéma les Fauvettes, due to open in 2015 and which will be exclusively
dedicated to screening classic films.
EUROPA CINEMAS
Claude-Eric Poiroux
(General Director)
Fatima Djoumer
(International
Relations & Events)
CINETECA DI BOLOGNA
Gian Luca Farinelli
(General Director)
Elisa Giovannelli
(Schermi e Lavagne)
Claudia Droc
(Young Audiences
Activities)
Jérôme Tyl
(Project
coordinator)
CINETECA DI BOLOGNA
PARTICIPANTS
First name
Last name
Cinema
City
Country
Barbara
Gerald
Pierre-Emmanuel
Olga
Maja
Slobodanka
Jan
Kris
Sophie
Marianna
Helen
Cinzia
Monica
Paolo
Edgars
Justin
Bettina
Sharon
Jan
Aleksandra
Ewa
Ewa
Justyna
Raul
Elena Andreea
Sergei
Iñaki
Jason Luas
Mats
Cenk
Paul
Flora
Charlie
Russ
Barbara
Barak
Brunner
Knell
Finzi
Nadolskaya
Balas
Miskovic
Karl
Kelp
Lemoine
Toth
Hutton
Lagioia
Galloni
De Paolis
Arnitis
Camilleri
Azzopardi
Montebello
De Vries
Starmach
Kujawinska
Jaskolska
Kociszewska
Bodea
Bikfalvi Zoltan
Dyoshin
Elorza Echeverria
Heras Garceau
Gillmor
Sezgin
Gallagher
Menzies
Bligh
Collins
Twist
Epstein
KIZ Royal Kino
Cinema Filmcasino
Stadtkino
Raketa
Kino Urania
Art Kino
Cinema Scala
Kino Kannel
Mégarama (France-Maroc)
Corvin, Müvesz, Puskin, Taban, Toldi
Lighthouse Cinema
Agis - Cinema ABC
Greenwich d'Essai
Cinema Sala degli Artisti
Splendid Palace
Cineteca Malta
Embassy Cinemas
Embassy Cinemas
Kino Rotterdam
Kino Pod Baranami
Nowe Kino Palacowe
Kinokawiarnia Stacja Falenica
Kino Lab
Cinema Victoria
Cinema Arta
Pioner Cinema
Cine Principe, Cines Trueba
Cines Broadway
Palladium
Cinemarine
Glasgow Film Theatre
Mini-network Film London
BFI Southbank
Michigan Theatre
Michigan Theatre
Texas Theatre
Graz
Vienna
Vienna
Minsk
Osijek
Rijeka
Brno
Voru
Bray/Seine
Budapest
Dublin
Bari
Cagliari
Fermo
Riga
Hamrun
Valletta
Valletta
Rotterdam
Krakow
Poznan
Warsaw
Warsaw
Cluj
Târgu-Mures
Moscow
San Sebastian
Valladolid
Växjö
Mugla
Glasgow
London
London
Ann Arbor
Ann Arbor
Dallas
Austria
Austria
Austria
Belarus
Croatia
Croatia
Czech Republic
Estonia
France
Hungary
Ireland
Italy
Italy
Italy
Latvia
Malta
Malta
Malta
Netherlands
Poland
Poland
Poland
Poland
Romania
Romania
Russia
Spain
Spain
Swden
Turkey
United Kingdom
United Kingdom
United Kingdom
USA
USA
USA
CINETECA DI BOLOGNA
Simultaneous translation in two languages (English and Italian) will be provided during the five days of the
seminar.
Venue: Cineteca di Bologna, Sala Cervi – Via Riva di Reno 72
In an environment where films can be accessed on a proliferating range of platforms from anywhere, what
are the challenges and opportunities for cinemas and audiences on and offline? In amongst all the noise
and choice, how can we consult with young people and collaborate with partners in our local communities
to co-create brands, offers and experiences that are in tune with a generation of digital natives. Our focus
in Bologna, within Il Cinema Ritrovato film festival that is dedicated to ‘rediscovering’ lost or forgotten
cinema, is on the vital role that cinemas can play in providing a local context to renew the demand for the
rich and diversified range of European and world cinema. We draw on practical case studies from within
and beyond the exhibition sector across a range of national contexts to inspire participants to share good
practice, rethink and re-energise their approaches, and expand their networks.
The lab will be directed by Madeleine Probst (Programme Producer, Watershed, Bristol, Great-Britain and
Vice-President of Europa Cinemas), Mathias Holtz (Programming Manager, Folkets Hus och Parker,
Sweden) and Petra Slatinšek (Film Education & Kinobalon Programme Manager, Kinodvor, Ljubljana,
Slovenia).
Europa Cinemas 2015
SATURDAY 27 JUNE 2015
3:00 pm
Meeting in the entrance hall of the Zanhotel Europa (walk together to Sala Cervi)
3:30 – 3:45pm OPENING WELCOME
Claude-Eric Poiroux (General Director, Europa Cinemas)
Gian Luca Farinelli (General Director, Cineteca di Bologna)
3:45 – 4:00pm INTRODUCTION & MEET THE LAB LEADERS
Madeleine Probst (Programme Producer, Watershed in Bristol and Vice-President of Europa Cinemas)
Petra Slatinšek (Film Education & Kinobalon Programme Manager, Kinodvor, Slovenia)
Mathias Holtz (Programming Manager, Folkets Hus och Parker, Sweden)
4:00pm – 5:15pm SETTING OUT THE CHALLENGES & GETTING TO KNOW EACH OTHER
One strength/one weakness
5:15pm – 5:30pm SOCIAL MEDIA TOOLKIT I
Brief introduction to the Lab Storify/ The Bologna group as a real/virtual community - Patrick Möller
(Social Media Expert, Germany)
5:30pm – 5:40pm Q&A SESSION
7:00pm
Meeting in the entrance hall of the Zanhotel Europa (walk together to the welcoming diner)
7:30pm WELCOMING DINNER
Venue: Molo 3, Piazza di San Martino 3/b
9:15pm
Departure from the restaurant for Piazza Maggiore
9:45pm OPENING SCREENING of Il Cinema Ritrovato
Venue: Piazza Maggiore
Ascenseur pour l’échafaud / Elevator to the Gallows (France, 1957), by Louis Malle (93’)
Europa Cinemas 2015
SUNDAY 28 JUNE 2015
8:30am
Meeting in the entrance hall of the Zanhotel Europa (walk together to the location of the Modernissimo
cinema in Piazza Maggiore)
SESSION 1: NEW SPACES / NEW AUDIENCES
9.00 – 10:00am VISIT OF THE MODERNISSIMO SITE
GROUP TASK: Breathing new life into cinemas (filling in the questionnaire & taking pictures of one thing
you love/hate/ summarise your impression in one Tweet).
Walk together to Sala Cervi
10:15 – 10:30am Tea / Coffee Break
10:30am – 11:15pm KEYNOTE
Shifts in cinema spaces and audiences’ expectations – Professor Ian Christie (Birkbeck College, University
of London, United Kingdom)
Starting from scratch – Jason Wood (HOME, Manchester, United Kingdom)
There & Back Again: returning a modern cinema in an historical building – Jan De Vries (Kino Rotterdam,
Rotterdam, The Netherlands)
11:15 – 11:30pm Q&A SESSION
SESSION 2: TELLING THE STORY OF YOUR VENUE
11:30 – 11:50am SOCIAL MEDIA TOOLKIT II
How to tell the story of a place? How to involve your community in telling that story? – Patrick Möller
11:50am – 12:30pm GROUP TASK: TELLING & SELLING THE STORY OF MODERNISSIMO
What was your „experience“ of the space? What elements of the space’s story would you focus on to
generate interest in the project? How will you involve your community in telling the story? What tools will
you use to communicate your story?
Directed by Patrick Möller
12:30 – 2:00pm LUNCH
Venue: Via Con Me, Via San Gervasio 5
2:00 – 2:30pm GROUP TASK DEBRIEFING
SESSION 3: TAPPING INTO COMMUNITIES
2:30 – 3:00pm
Introduction by Madeleine Probst
Multi-programming for your community – Mathias Holtz
Community building – Petra Slatinšek
Il Cinema Ritrovato: a young person’s perspective – Elisa Giovannelli / Francesca Bernardi (Cineteca Di
Bologna, Italy)
3.00 – 3.15pm Q&A session
Partnerships: what works? What doesn’t? What are the returns? How do you measure success?
Europa Cinemas 2015
3.15 – 3.30pm SOCIAL MEDIA TOOLKIT III
Partnership-driven strategies through social networks – Patrick Möller
3.30 – 4.00pm GROUP TASK
Dream & Scheme an on/offline opening for Modernissimo with a focus on engaging audiences that wouldn’t
necessarily go to the cinema, through partnerships.
4.00 – 4.30pm
Pitch to Patrick Möller
Europa Cinemas 2015
MONDAY 29 JUNE 2015
9.00am
SESSION 4: GUERILLA CINEMA
9:30 – 09:50am KEYNOTE
Valerio Carocci and Federico Croce (Cinema America Occupato, Rome, Italy)
9:50 – 10.00am Q&A session
10:00 – 10:15am
Guerilla campaign. Promoting cinema events – Ola Starmach (Kino Pod Baranami, Krakow, Poland)
10:30 – 10:45am SOCIAL MEDIA TOOLKIT IV
Guerilla Marketing: what’s hot, how to create a vine, vlogs, Instagram, hashtags, influencers, etc. – Patrick
Möller
10:45 – 11:30am GROUP TASK
Plan an actual guerilla intervetion to raise the awareness around one of the Il Cinema Ritrovato films, events
and/or an aspect of the festival with a focus on young people.
11:30am – 12:30pm GROUP TASK DEBRIEFING
12:30 – 2:00pm LUNCH
Venue: Da Bertino, Via Lame 55
SESSION 5: FILM AS A CONVERSATION
2:00 – 2:15pm
Film as a conversation: opening up issues, debates and discussion through film – Madeleine Probst
2:15 – 2:45pm GROUP TASK
Writing about films for people who don’t know anything about cinema
2:45 – 3:00pm GROUP TASK DEBRIEFING
3:00 – 3:15pm Tea / Coffee Break
3:15 – 4:30pm OPEN SESSION
Innovation pitch
OPEN SUGGESTION
4:30 – 5:30pm
Film archives, between successes and threats – conversation with Thierry Frémaux (Institut Lumière, Lyon
& Festival de Cannes, France)
Venue: Auditorium DMS
Europa Cinemas 2015
TUESDAY 30 JUNE 2015
9:00am
SESSION 6: ENGAGING THE NEXT GENERATION IN THE DIVERSITY OF CINEMA
9:30 – 10:15am
Introduction by Madeleine Probst
MovieZone/Exposed – Florine Wiebenga (ABCinema project, EYE Film Institute, The Netherlands)
Working with schools and teachers to engage new audiences - Petra Slatinšek
Audience development at ArtHouse Convergence – Russ Collins (Michigan Theatre, Ann Arbor / ArtHouse
Convergence, USA)
10:30 – 11:15am GROUP TASK
Engaging teachers and school children: how can this feed into your cinema’s audience development
strategy?
11:15 – 11:45am GROUP TASK DEBRIEFING
11:45am Walk together from Sala Cervi to Auditorium DMS
12:00 – 1:00pm New cinema theatres for heritage films, new archives and museums
Jérôme Seydoux (project Les Fauvettes cinema, Paris, France), Sophie Seydoux (Fondation Pathé, Paris,
France), Nikolaus Wostry (Filmarchiv Austria) (Venue: Auditorium DMS)
1.00 – 2:00pm LUNCH
SESSION 7: REACHING THOSE WHO DON’T ENGAGE
2.00 – 3:00pm
Consulting young people to build an audience development strategy / RIFE Magazine – Madeleine Probst
Glasgow Youth Film Festival – Paul Gallagher (Glasgow Film Theatre, Scotland)
OPEN SESSION: disasters and successes.
SESSION 8: CREATING THE DEMAND FOR A DIVERSE CINEMA
3:00 – 3:30pm
Digital promotion for multi-platform audiences: The TIDE Experiment new releases – Sarah Calderón (The
Film Agency, Madrid, Spain)
Cinema and VOD partnership to bring audiences from one platform to another – Mathias Holtz
3:30 – 4:00pm OPEN SESSION
Innovation pitch
4:00 – 4:15pm
Putting great classics back on the Big Screen – Nick Varley (Park Circus, Glasgow, Scotland)
4:15 – 4:30pm
Introduction to the workshop debriefing – Madeleine Probst
Europa Cinemas 2015
WEDNESDAY 1 JULY 2015
9:30am
Meeting in the entrance hall of the Zanhotel Europa (walk together to Auditorium DMS)
WORKSHOP DEBRIEF & RETURN STRATEGY
10:00am– 12:00pm
Actions you plan to take back to your venue, identify obstacles and potential solutions and partners? How
might the Europa Cinemas network help you develop your ambitions?
Share key learning & obstacles with the rest of the group.
Directed by Madeleine Probst
12:30 – 2:30pm CLOSING LUNCH
Europa Cinemas 2015
KIZ RoyalKino [3 screens]
Graz [Austria]
Barbara Brunner
CINEMA’S POLICY
Founded in 1973, KIZ RoyalKino is a powerful independent arthouse cinema. It stands for diversity,
high quality, an ambitious selection of films and a considerate face-to-face contact with the audience.
In more than 4,200 screenings per year, we present about 200 films in their original subtitled versions,
mostly in English, French, Italian or Spanish. Our programming of classics grants the audience access
to film history. Cinematographic works are accompanied by specialised texts, which we publish
ourselves.
We have more than 50 presentations/premieres per year with lectures and debates with directors and
relevant stakeholders of the film industry, allowing the audience is able to establish contacts.
We cooperate extensively with local and regional partners like theatres, museums, NGOs and
authorities
We use up-to-date electronic and social media.
Our film distribution (ABC-Films) is specialised in classics and selected arthouse fims.
BARBARA BRUNNER [YOUNG AUDIENCES MANAGER]
I was born in 1964 and grew up in Klagenfurt. After my high school exams, I studied
Economics, Latin/History and German at the Karl-Franzens University of Graz. Besides my
studies, I started working at the counter at KIZ RoyalKino (Augartenkino KIZ until 2009). I
also completed several trainings, like projection techniques and management at the
Economic Chamber.
Since 2000 I am responsible for school activities, young audiences and management,
including accounting and finance.
[e-mail] Barbara Brunner - [email protected]
[address] KIZ RoyalKino - Conrad von Hötzendorfstraße 10, 8010 Graz – Austria
[website] www.kinoinfo.at
Filmcasino [1 screen]
Vienna [Austria]
Gerald Knell
CINEMA’S POLICY
Filmcasino is one of the most
established arthouse cinemas in
Austria. The original 50s-atmosphere
makes it also to one of Viennas most
beautiful cinemas focussing on
independet film making from Europe,
Asia and the US. All films are shown in
original languages (with German
subtitles). Filmcasino is also an
important fesitval venue (i.e.
identities Queer Filmfestival, /slash Festival of Fantatstic Films, CineLatino Festival of Latin American
Cinema) attracting young audiences. Special offers like Cinemama with free child care, ArchFilm
Matinee with films and discussions about architecture, Kino & Kuchen in afternoons with free coffee
& cake try to cater for different audiences.
Our aim is to reach a mixed cineast audience. This works very well within the festival context, but could
be improved during regular programme. Here it is harder to compete against other festivals (cinema
as event) and Multiplexes – especially for kids.
My aim as a General Manager, responsible for both
marketing as co-programming (with Hans König,
head of polyfilm distribution which is part of our
company) is to address young audiences
moreoften outside the institutional context
(Kindergarten or school – which work OK, i.e. our
special offer www.cineclass.at).
GERALD KNELL [GENERAL MANAGER]
I have been working for various cinemas, distributors and film festivals since 1999. I am
currently the general manager of Filmcasino Vienna, one of the most renowned and
successful arthouse cinemas in Austria. Before that I helped to make concepts and open
two new arthouse cinemas under the name of Cinema Paradiso, which received a
Europa Cinemas Award in 2006. I studied Film, Television and Cultural Studies in Vienna
and Glasgow, Scotland. I also worked for film production companies in both countries
and organised many open air cinemas and cultural events in cinemas.
[e-mail] Gerald Knell - [email protected]
[address] Filmcasino - Margaretenstrasse 78, 1050 Wien – Austria
[website] www.filmcasino.at
Stadtkino [1 screen]
Filmhauskino [1 screen]
Vienna [Austria]
Pierre-Emmanuel Finzi
CINEMA’S POLICY
In the Stadtkino we program films that we
distribute since we are a distribution company
too. Historically we have the special
assignment to promote cinematographies
which wouldn't have a chance in the sheer
rules of the market. We have 15 to 25 films
per year exclusively in our theatres which
sometimes play up to 12 weeks in a row. We
also host and/or run festivals during the year.
I'm especially in charge of the acquisitions of
new films for the distribution, accounting,
programming, new strategies and fundraising.
We run a young audience program called Schule@Stadtkinowien, which aims to attract pupils from 12
to 18 years old to watch the classics we have in our catalogue, educational/civic/political
documentaries as well as contemporary arthouse films. We write to teachers in Vienna and
surrounding cities, send them our printed program and invite them to free “teacher screenings”. We
also have cooperation with the Academy of Applied Arts, the “Film Class” professor of which gives his
lectures on films in our theatre.
PIERRE-EMMANUEL FINZI [PROGRAMME MANAGER]
Since 2009, I have been working at the Stadtkino (single-screen cinema with 285
seats) and Filmhaus Kino (single-screen cinema with 100 seats), two strongly
auteur-driven cinemas in Vienna. In addition, I take care of purchasing for the
company’s distribution arm, “Stadtkino Filmverleih”. I am an editor for the
Tausend Augen magazine and publishing house and I have also worked in
production and international sales (The Coproduction Office, Essential).
[e-mail] Pierre-Emmanuel Finzi - [email protected]
[address] Stadtkino Filmverleih und
Kinobetriebsgesellschaft.m.b.H - Spittelberggasse 3/3, 1070 Wien - Austria
[website] www.stadtkinowien.at
Raketa [2 screens]
Minsk [Belarus]
Olga Nadolskaya
CINEMA’S POLICY
Our main strategy at the moment is to
maintain and to continue the tradition of
screening both classic and contemporary films
that do not fit into standard multiplex format.
We organize and conduct programming,
courses and thematic exhibitions of various
genders (film noir, documentaries dedicated
to specific areas, authors’ retrospectives,
silent film & live music sessions). In order to
guarantee an interesting, attractive and
alternative program and to run premieres, we
also distributes films ourselves (under the
‘Cinemascope’ label).
As an artistic director I’m responsible for conceiving,
developing, budgeting, and implementing the
artistic and programmatic focus of venue. Member
of CICAE, ‘Raketa’ pays special attention to art
cinema and presents the whole spectrum of its
genres and forms – from low-budget features and
festival hits to documentaries, shorts and animation.
It’s a place with an attitude, where conditions of film
experience, such as high-quality projection, priority
of subtitles over dubbing as well as general antipopcorn policy, are as much important as films
themselves.
OLGA NADOLSKAYA [ARTISTIC DIRECTOR]
Studied journalism at Belarusian State University and film history and theory at
Belarusian State Academy of Arts. Worked as a film critic and journalist for a range of
Belarusian and Russian media. One of the founders of and current contributor to
‘Cinemascope’, a Minsk-based project dedicated to the exhibition and promotion of
world cinema classics, art and experimental film works. An artistic director of the
‘Raketa’ arthouse cinema in Minsk since 2012.
[e-mail] Olga Nadolskaya - [email protected]
[address] Cinemascope - Slobodskaya str, 75-146, 220051 Minsk – Belarus
[website] http://cinemascope.by
Kino Urania [1 screen]
Osijek [Croatia]
Maja Balaš, Marijana Bošnjak
CINEMAS’ POLICY
As a private owned film screening
company, with over then 100 years of
tradition, our general mission is to
ensure
innovative,
diverse
film
programming, in the area where there
are few alternatives mostly oriented to
the mainstream.
The concept of audience development
has redefined in past two years and
related to the applicable aspects of
marketing and education from keeping
the exsiting audience providing value
added
programms
to
develop
knowledge and better understanding of
film and making them attend more often to bringing and to the programme/venue people who have
not attended before through the cultural diversity and social inclusion.
In our programme policy we do cooperate with schools and institutions, teachers, professors and
students, NGO's and Instututes at all levels to provide a film education as a positive, rewarding and
vital element of ensuring independent film culture for younger audiences and develops further
interest in film in audiences of all ages.
Thematic programming, value added programmes (pop-rock concerts, festivals, tourism routes,
gastronomy etc.) and projects we create, are all about to start a conversation within an audience
through placing specific films in the context of other titles or different art feature dealing with similar
ideas but in different and more modern ways which are of equal importance or enjoyment which a
casual filmgoer is simply not aware of.
MAJA BALAŠ [PROGRAMME MANAGER]
After graduating in information
sciences
and
in
museum
documentation, I started working
at Kinematografi Osijek d.d. in
December 2014. The field of
cinematography is new for me
and I'm looking forward to learning new skills.
I'm looking forward to learning new skills,
while continuing my professional training
through work challenges, thus enhancing my
career with new accomplishments.
MARIJANA BOŠNJAK [CINEMA DIRECTOR]
Always prepared to take on a
challenge, implement changes
and accept a risk, Marijana
Bosnjak
dedicates
her
professional career to consulting
and her biggest challenges are
companies which are "on the edge". Being a
passionate lover of art house cinema, she is
also programme creator, project manager,
head of strategic and marketing planning at
Kino Urania.
[e-mail] [email protected]
[address] Kino Urania - Setaliste Vjekoslava Hengla 1, 310 00 Osijek - Croatia
[website] http://kinematografi-osijek.hr
Art-kino Croatia [1 screen]
Rijeka [Croatia]
Slobodanka Miskovic
CINEMA’S POLICY
Art-kino is a public institution which operates in the field of
film art and culture, founded by the City of Rijeka with an
intention of introducing the community with valuable film,
educating about film culture, and encouraging filmmaking.
The main programme activity of the Institution takes place
at Art-kino, cinema hall at the very center of Rijeka at which
the first screenings took place in 1926.
Art-kino is a place of not only screening and watching films,
but also of film discussion, education, communication and
exploring the art of moving pictures, film reflection and
reflecting on film. It promotes understanding, discovering
and studying films, as well as connecting and strengthening
community and creating a unique meeting point of
creator's view and viewer's view.
Art-kino aims to develop film culture in all aspects. In
particular, we strive to develop programmes for children and youth and encourage them to watch,
understand and create films. These programs are conducted through several activities and projects:
regular children and youth programme with accompanying workshops, film workshops in primary
schools, 'School in Cinema' project, Art-kino Lab.
As a notable example we would like to point out 'School in cinema' project which we conduct together
with City of Rijeka's Department of Education and Schooling and Croatian Film Association since 2009.
'School in Cinema' programme and consists of organized film screenings (approximately 80 per year)
and introductory lectures about individual elements of film language. Through this programme
approximately 7000 students visit Art-kino yearly.
SLOBODANKA MISKOVIC [DIRECTOR]
After graduating in sociology from the University of Zagreb and working for 10 years in
several associations as a producer and a coordinator of cultural programs, I started
working as a leading Associate for Publishing, Library and Film for the City of Rijeka. In
2008 I initiated and coordinated the establishment of Art-kino Croatia. Between 2010
and 2014, I was Head of the Film Department of the City of Rijeka and in 2014 I became
the Director of Art-Kino. I'm also member of the Steering Committee of the Croatian
Independent Cinema Network.
[e-mail] Slobodanka Miskovic - [email protected]
[address] Art-Kino - Kresimirova 2, 51000 Rijeka – Croatia
[website] www.art-kino.org
Scala [1 screen]
Brno [Czech Republic]
Jan Kárl
CINEMA’S POLICY
Our main strategy for reaching out to our
audience is dramaturgy. Brno is mainly offering
commercial dramaturgy in corporate chains.
Besides us, there is only one cinema offering
alternative dramaturgy. So that is the key.
We have regular film blocks for mothers with
little childrens (Babybio) and projections for
parents with children, followed by creative
workshops for children. Furthermore we offer
“Student's cinema” screenings in cooperation
with Masaryk's university. This “Student's
cinema” is carried out by students of film theory and history. They always get some budget at the
beginning of the semester and the rest is their work.
Moreover we are doing film festivals. In the past two years we had the French film festival, the
Mezipatra (Queer film festival), La Película (Spanish-language films), One world (film festival about
human rights), the Day of european film, the Brno film summer (our selection from movies from the
past year – with fares about one third of the original price), official echoes of IFF Karlovy Vary and Das
Filmfest (German-language films).
We propose this very successful activity called Studio Scala, which are organised on a regular basis. It
consists in workshops for children where they can animate their own film. Then they can watch it on
the big screen with their parents. Children are taught about animation by professional tutors.
In September, for the second year, we'll propose weekly animation city camps in our cinema. The
important thing is for us is to offer a pleasant environment where parents are willing to leave their
children – you must build confidence here.
JAN KÁRL [MAIN TECHNICIAN & COMMUNICATION]
I was born in 1992, in Boskovice, Czech Republic. Boskovice is located in the South
Moravian region.
I was studying high school in Boskovice with focus on hotel industry and tourism. I
moved to Brno to study film history and theory in Masaryk's university, then started
to work in our cinema My main focus is cinema technology and alternative
dramaturgy. I started my career as a projectionist, but my position evolved quickly.
Besides normal projections, we organize many university lectures and conferences.
This is why I began to work on human resources management, on the preparation of the conferences
and on external communication. I also deal with digital content management and I oversee the entire
DCI chain in our cinema.
[e-mail] Jan Kárl - [email protected]
[address] Aeropolis s.r.o. - Mladkov 21, 679 01, Boskovice - Czech Republic
[website] http://zlatnavrata.hr/
Kino Kannel [1 screen]
Võru [Estonia]
Kris Kelp
CINEMA’S POLICY
The main goal for our
cinema is to significantly
increase the attendance of
the cinema by offering
quality films from a wide
variety of cinema genres.
We need to develop the
habit of our audience to
visit the cinema. Once we
have achieved a high
enough
level
of
attendance, we can focus
more on programming in
the 2nd phase.
As head of the cinema, my duties include programming, logistics of the DCP’s, creating commercials,
distributing them and finding technical solutions for them, negotiations with film distributors and other
cinema-related organisations, collecting statistics concerning the cinema, analysing it, managing the
cinema’s web page, modernizing it and linking it with other cinema web solutions, customer service,
filling applications for cinema related projects, as well as technical tasks related to the cinema. The job
also includes a part-time projectionist job.
Since the young audience makes up a large part of the viewers, we can focus on new paths to reach
out to them. We have planned to hold a festival named “The youth and today’s world”, during which
we want to screen films focusing on the youth from all over the world.
KRIS KELP [CINEMA MANAGER]
I have been working for the cinema for 9 months, since it re-opened in October 2014
after it got a new 3D projector. I’ve started using the possibilities offered by this new
technology right away.
Before I started working for the cinema, I studied he studied geology and was granted a
master’s degree in 2014. I’ve made several student films and I still like to film a scene or
two every now and then.
[e-mail] Kris Kelp - [email protected]
[address] SA Võru Kannel - Liiva 13, 65609 Võru - Estonia
[website] http://www.vorukannel.ee/
Mégarama [22 cinemas]
[France, Spain, Morocco]
Sophie Lemoine
CINEMA’S POLICY
Megarama is the brand that has built and created a variety
of properties ranging from winter sport location cinemas in
the French Alps, during the early years and culminating into
some of the biggest screens in multiplexes in Europe
(excluding IMAX formats) by investing, purchasing,
developing, rehabilitation and refurbishment of existing
cinema properties in central urban areas and also the
creation of new establishments in developing communities.
In each instance we cultivated a new dynamic on a local level
by creating a high level cinema experience contributing to the quality of life for each respective
neighbourhood. This family business had an international growth with successful debuts in Morocco
and Spain, which encourage us to continue seeking opportunities to prosper through creating local
partnerships.
The company has always been on the cutting edge of new technologies, with the unwavering interest
in bringing our audience the best possible cinematic experience. It was the first in France to use THX
in 1987 (Horizon Forum), or the sound format 2014 Atmos (Pian Medoc) and double projections for
the giant screens of 28m base in 1000+ seat halls in multiplex scenario.
We primarily offer family oriented programming in our cinemas via flexible pricing policy according to
the locations and viewing schedules. In urban areas we have more specialized offers such as, Classics
of the Silver Screen (Bordeaux), Film Juniors for 12 and under (Ile-de-France) and cinema meet-ups are
offered each month. In 2009, with the introduction of digital technology in cinemas we began co-ops
with film camps in ski resorts, basically an A to Z in filmmaking for teens in partnership with youth
hostels during vacations. Participants get to present their films in our cinemas free of charge as a
community service with the benefit of attracting a new public to our brand in these locations.
SOPHIE LEMOINE [DEVELOPMENT & PARTNERSHIPS COORDINATOR]
Born into the universe of cinema with a family of pioneers of ski resort cinemas,
founding partners of UGC, and pioneer of multiplexes in France and in the Maghreb. I
was always fascinated by the glamour of cinema. After obtaining a law degree from
Sorbonne in Paris and international business training, I was instrumental in legally
retaking and protecting the ski resorts cinema/properties through numerous court
procedures and negotiations. This then led us to strategically further our presence in
foreign territories in particular on Euro/Mediterranean territories by seeking out innovative
development, via partnerships with youth hostels to develop cinema training courses, Cinema nights.
DJ/Music concerts have also been tested recently.
[e-mail] Sophie Lemoine - [email protected]
[address] S.A LES IMAGES - 23 rue des filoirs, 77480 Bray Sur Seine – France
[website] http://www.megarama.fr/
Művész, Puskin, Toldi, Tabán
[14 screens]
Budapest [Hungary]
Marianna Toth
CINEMA’S POLICY
Each of our cinemas has a
specific profile, an own
image that we take into
consideration while doing
the weekly programming.
Corvin is the popular choice
for, quality blockbusters and
commercial movies. Művész
plays mainly arthouse films
and has a loyal and regular
audience. Puskin focuses on
classical film sin any sense of
the word. Toldi focuses on
youngsters and intellectuals,
screenings of particular and new alternative premieres. Tabán and Kino café are mostly for social
events, film clubs, school-screenings and special screenings.
We organise and host festivals and events which have always been our priority besides running films.
In cooperation with embassies, foreign cultural centres and institutes, Hungarian art colleges and
universities we try to diversify our programming.
Művész, however is more than just a screening venue, it’s also a meeting place and a hub of cultural
life in Budapest. Művész offers the widest choice of films.
MARIANNA TOTH [CINEMA MANAGER]
I am a cinema manager and projectionist. I’ve been working at Budapest Film Zrt. since
2006 and at the Művész cinema since April 2014. In 2009, I passed the exam as a movie
distributor and cinema machine operator.
My main responsibilities include managing the renovation of the cinemas, cooperating
with the film distributors and with the organisers of the events taking place in the
cinema. I also had an active role in the reopening of the Tabán KinoTéka as a technical
operator.
[e-mail] Marianna Toth - [email protected]
[address] Budapest Film Zrt. - Bajcsy-Zsilinszky út 36-38., 1054 Budapest - Hungary
[website] www.muveszmozi.hu
Light House Cinema [4 screens]
Dublin [Ireland]
Helen Hutton
CINEMA’S POLICY
Light House Cinema is now three years old, and over the
years we have expanded and developed our programming.
Seasons are very much part of who we are now, with many
successes such as the Ennio Morricone Season, the Stanley
Kubrick Season, and more recently the Bill Murray Season.
Our next season launches on July 2nd and it’s our children
summer season, Films You’d Love Your Kids To See.
Our schools programme began without a Young Audiences
Policy as such. We wanted it to be accessible price wise, and
fun. Our Primary School programme has grown very slowly
with end of term treat screenings being all we seem able to
sell. We have a lot of work to do in this area. However our
Secondary School programme has been a real success, with
schools eager to book our Shakespeare screenings, our foreign
language screenings and our civil rights films, etc. Now we
want to move to the next level and make the Secondary School
programme challenging and give added value where possible.
From the focus group we carried out with the secondary schools, we have built up a greater awareness
of what they would like to see and hear, and we are developing a programme to deliver that. Our
schools audience is unexpected, as we really didn’t know if it would work. Now we know it does, we
are very excited about how we can develop it.
Light House Cinema is owned by Element Pictures, a company which operates across film production,
distribution and exhibition. It handles the Studio canal slate in Ireland as well as its own acquisitions.
Element also operates an online video on demand platform, Volta.ie, which focuses on the finest of
Irish and International films.
HELEN HUTTON [GENERAL MANAGER]
With a background firmly in the arts, I joined Element Pictures in 2013 as General
Manager of Light House Cinema. Having studied Irish Studies and Sociology in St
Mary’s University Twickenham, I went on to complete a Post Graduate Diploma in
Tourism Management in University of Ulster. My previous experience was in
Operations Management in Arts and Tourism centres, with a strong focus on
attendance and ticketing. My first ‘real job’ in the arts was at The Ark, a Cultural
Centre for Children, it was very much a box office and audience development training ground, with a
huge schools audience. The Ark were the only venue, at that time, offering any arts programme for
children.
[e-mail] Helen Hutton - [email protected]
[address] Light House Cinema - Smithfield Market, 7 Dublin – Ireland
[website] www.lighthousecinema.ie
Cinema ABC [1 screen]
Bari [Italy]
Cinzia Lagioia
CINEMA’S POLICY
ABC is a cinema d’assai and Culture Film Center
which includes a film, tape and poster library other
than a bookshop. It has been managed by A.G.I.S.
Unione interregional di Puglia e Basilicata, an
organization that plays a prominent role to link
educational institutions with cinema exhibitors,
providing basic and innovative tools for decoding
artistic languages to a large audience.
Among our main activities:
- Agiscuola is a project that AGIS has carried out
for over 15 years, the aim is to promote and develop the relations between film literacy and school,
support and encourage the education of students in the field of cinema and performing arts through
lessons, in depth workshops, didactic materials for teachers and students, screenings and
performances
- David Giovani Award – is a National Agiscuola’s project that receives the support of the Italian
Ministry of Cultural Heritage established since 1997. The students are selected from secondary
schools. They attend, as jurors, the screening of Italian films chosen by a committee. The students
vote for their favourite film. The young jurors write a review of one or more films viewed and the
winner participates as member of Golden Lion Cub Award Jury during the Venice International Film
Festival.
- E.Showcard is an innovative project funded by EU-ERDF to create a smart ICT platform mainly
addressed to university students. The platform will present itself as a portal containing: calendar
events, information on shows and events, offers and promotions, information on cinemas and
theaters, information on facilities that will propose.
- Il Cinema è il tuo film (Cinema is your film) is a laboratory to train young experts to promote cinema
as cultural place for young people. The idea is to turn the cinema into a place that you can enjoy
before, during and after the screening trough new cultural and learning experiences.
CINZIA LAGIOIA [SENIOR CONSULTANT]
I am a senior consultant and project manager in projects financing with European
Founds (Creative Europe, Interreg, Tempus, ERDF, ESF, Life) above all in cultural and
creative, environment, local development fields. As consultant for ABC cinema and Agis,
I try to promote and develop new forms and tools of film literacy through the direct
engagement of young audiences, with a bottom up approach and peer learning
experiences involving young peoples as direct protagonists of the literacy programs.
[e-mail] Cinzia Lagioia - [email protected]
[address] Cinema ABC - Via Marconi, 41, 70123 Bari – Italy
[website] http://www.agisbari.it/
Greenwich d'Essai [2 screens]
Cagliari [Italy]
Monica Galloni
CINEMA’S POLICY
The “Cinema Greenwich D’Essai” is a private film club and cultural centre, dedicated to art films and
curated by the “Associazione Culturale Settima Arte”.
“Greenwich D’Essai” is located in Cagliari and began its activity 14 years ago. It has two large
comfortable air-conditioned rooms called East (Red) and West (Blue).
Access to our space is guaranteed by the exhibition of the membership card that costs 2 Euros. It’s
really easy to become a member: you just have to fill out the card. All of our members get a free ticket
for every 10 purchased.
The project "The Greenwich for Schools" is designed for students from middle schools and high
schools. We propose to the teaching staff of the schools a series of screenings of films to give young
viewers film culture, teach them how to make criticisms, develop their skills in listening, observing and
analysing, and raise their awareness regarding today’s issues.
This space is open to reservation. Teachers get in free while each student pays a fee of 4 Euros.
MONICA GALLONI [FILM PROJECTIONIST]
I’m 33 years old and I live in Cagliari. I started years ago as a voluntary during various
film festivals as a coordinator. Moreover I worked at the “Cineteca Umanitaria Sarda”.
I began writing about cinema, doing reviews, interviews, technical evalutations, for a
web magazine called “Cinemecum”. Then I became a professional organizer and
artistic director.
Thanks to these experiences I joined the Greenwich D’Essai staff as a Film Projectionist
and Communication Manager. I consider our Greenwich D’Essai cinema as a 13 yearold-child and I’m looking forward to know how to take care of him and do always the best I can.
I dedicate my free time to my biggest passion, filmmaking and post production.
Lumière brothers said that cinema was a useless invention with no future, I’m happy that they were
wrong, and I’m a proof of it.
[e-mail] Monica Galloni - [email protected]
[address] Greenwich d'Essai - Via Sassari 65-67, 09123 Cagliari - Italy
[website] www.greenwichdessai.org
Cinema Sala degli Artisti
[1 screen]
Fermo [Italy]
Paolo de Paolis, Gina De Paolis
CINEMAS’ POLICY
The MAXMAN COOP is the exhibition
company of the cinema Sala degli
Artisti in Fermo since 2009. The
MAXMAN COOP was founded in
January 1998 by film industry
professionals. The purpose of the
working group is to increase
professional interactions aimed at
achieving high quality products and
promote new skills (directors, set
designers, directors of photography,
etc ...). Among the technical equipment
available to the cooperative is an Avid
digital editing room. In 1998 the
cooperative operates as an executive producer for several important production houses national and
produces commercials, short films and documentaries.
PAOLO DE PAOLIS [CINEMA DIRECTOR]
I was born in 1960. In 1986, I participated in a course of vocational training as an
organizer of production within the project "Research and identification of artistic
and cultural heritage of an area of Marche, recovery, re-evaluation and use" made
by the Consortium of Ceres Ancona and sponsored by the Ministry of Culture.
Since then, I’ve been working in production for a large number of films, including
“Declarations of Love" directed by Pupi Avati in 1993.
Since 2009 I manage the Cinema Degli Artisti in Fermo on behalf of Coop Maxman.
GINA DE PAOLIS [COMMUNICATION OFFICER]
[e-mail] [email protected]
[address] Sala degli Artisti - Via Goffredo Mameli, 2, 63900 Fermo - Italy
[website] www.saladegliartisti.it
Splendid Palace [3 screens]
Riga [Latvia]
Edgars Arnitis
CINEMA’S POLICY
We see ourselves as an eco/traditional alternative to fast-food multiplex cinemas. Pure and qualitative
cinema experience, without additional preservatives as popcorn and other Hollywood entertainment
attributes. We like to think that our filmgoers are more intelligent and more literate in film arts. For
them going to cinema is a well-spent evening, and they are interested in film as an art and a message.
Therefore, we select films that can deliver upon those qualities, mostly ending up with some awardwinning American indie movies and a list of more or less known European films. Besides that, Splendid
Palace is the premiere screen for almost every national film and most prominent local film festivals.
Being the leading screen for uncommercial repertoire, we feel responsible for local public’s education
in European cinema and art-house films in general.
Apart from the general strategy, we are running a couple of micromarketing programs that target
special publics, like seniors, schools and teachers. One of these initiatives is our work with students –
offering them special deal sessions and film-lectures with prominent speakers. It goes well together
with our focus on film as an educating experience that enriches with the new ideas and findings.
EDGARS ARNITIS [HEAD OF COMMUNICATION AND SALES]
I’m a newbie in the film industry, but fluent in marketing and advertising. I have worked
for seven years as a strategic planner for advertising agencies. I recently joined Latvia’s
most prominent film theatre Splendid Palace to rebuild its marketing strategy and find
new up-to-date solutions to attract contemporary film-lovers.
[e-mail] Edgars Arnitis - [email protected]
[address] Splendid Palace - Elizabetes 61, 1050 Riga - Latvia
[website] www.splendidpalace.lv
Cineteca Malta [5 screens]
Valletta [Malta]
Justin Camilleri
CINEMA’S POLICY
CineTeca Malta c/o Euro Media Forum seeks to put film at the heart of the general public, contributing
to cultural, creative and personal development through the medium of film. We give the general public
an opportunity to watch, discuss and review a huge range of films from short films, classic cinema and
the latest mainstream cinema.
CineTeca Malta also offers schools and colleges the opportunity to use film as a powerful tool for
learning in the classroom. In 2012 we launched our most successful young audiences project where
we assist educators and parents through cineforums for young audiences in schools and cinemas
through Superhero film adaptations of comic book heroes for e.g. The Avengers are discussed.
Youngsters have the opportunity to review these films and discuss various themes belonging to these
characters for e.g. Stopping Bullying, Saving the environment; film literacy skills, self-empowerment
and basic science. This is a great launch pad for introducing young people to film, as well as boosting
literacy, critical thinking and filmmaking skills.
JUSTIN CAMILLERI [CHAIRMAN]
I work as a Public Relations and Media Consultant. I am very passionate about film and
very enthusiastic about marketing film. Following a Masters in Magazine Journalism
from the University of Central Lancashire I specialised in the production of film
magazines. I have written articles about films for both local/international media and
organised a number of film screenings/discussions. I am now mainly responsible for
marketing and public relations of all film events with the Euro Media Forum.
[e-mail] Justin Camilleri - [email protected]
[address] Euro Media Forum - 8, Mountbatten Street, HMR 1576 Il-Hamrun - Malta
Embassy Cinemas [6 screens]
Valletta [Malta]
Bettina Azzopardi, Sharon Montebello
CINEMAS’ POLICY
The cinema industry was one of the only
forms of entertainment in Malta between
the early 60’s and early 80’s, with hundreds
of cinemas on the island, including 4 cinema
complexes in the capital city. With the
introduction of home options, most
cinemas on the island closed down. Our
site, in the centre of capital city, was
redeveloped into a shopping and
entertainment complex, opening its doors
in 2000. The cinema aspect was retained
with Embassy now being the only cinema in
Valletta showing first-run movies.
Today our strengths include family movies, particularly animated ones, as well as the leading
blockbusters available to us. Embassy Cinemas enjoy a good market share in spite of our relatively low
seating capacity.
We are working constantly to try to attract new audiences across the age brackets to our cinemas to
experience film as it was set out to be experienced. Focus is also made on giving our clients the best
possible service in the most comfortable and clean environment.
With Valletta set for a multitude of changes over the coming years including restoration of various
sites, the transformation of certain areas and more pedestrianised streets in the city core, Valletta is
leading up to 2018 which will see it as the European Capital of Culture. The Embassy cinemas consider
its social responsibility to play an integral part in such a strong modernization process.
BETTINA AZZOPARDI [MANAGING DIRECTOR]
Born in 1972 in Malta, I joined the
Embassy Group in 2002 as
Managing Director, responsible
for the complex and cinemas in
Valletta. In 2008 the company
purchased a second shopping
complex which also fell under our managing
team. My knowledge of cinema prior to 2002
was purely that of a regular client, however I
soon discovered the world behind the
exhibitors’ role, playing a major part in the
cinema
operations,
human
resources,
marketing and relationship with distributors.
SHARON MONTEBELLO [CINEMA MANAGER]
Born in the year 1975 in Australia,
I moved to Malta at a very young
age. I joined Embassy Cinemas as
a part-time Duty Manager since it
opened its doors in 2000 and
proceeded to join the Embassy
Cinemas on a full-time basis in 2002 as Cinema
Manager. I am currently responsible for the
cinema operations including customer care
relations, recruitment, weekly film programming,
sourcing new business including distributor and
supplier relations.
[e-mail] [email protected] / [email protected]
[address] Embassy CInemas - Embassy Shopping Complex St. Lucia Street, Valletta, VLT1185 – Malta
[website] http://embassycomplex.com.mt/
Kino Rotterdam
Rotterdam [The Netherlands]
Jan de Vries
CINEMA’S POLICY
We have not yet opened but have some
strong ideas about reaching a young
audience. We believe that showing a
wide variety of matinee and specials,
besides the barrage of studio animated
features instills variety and a broader
taste in cinema in the audience that will
hopefully visit the cinema at a later age.
We would also strive to work with local
schools and neighborhood initiatives to
attract young people for screenings to
our cinema. Mandatory school
viewings might ignite a love for
independent filmhouse visits on their own account. Reaching the parents (by programming films they
saw as a child) creates a nostalgic incentive to let their kids experience the same movie in a theatre. In
short: children and young people need a supervised first introduction these days, and we'll work hard
in trying to accommodate with the aforementioned parental methods.
On July 1st of this year we will receive the keys to the building we plan to renovate and turn in to the
cinema we envision.
JAN DE VRIES [CREATIVE DIRECTOR]
I started programming small venues at first. Then I programmed special screenings at
Filmtheater Kriterion in Amsterdam. I have also worked for Sales Department for the
largest independent distributor in the country, A-Film Benelux, for a year. Then I set up
a project in Rotterdam: Kino. A 4 cinema, 420 seat movie theater in an historic building
with a large café-restaurant. We start renovating this July and plan to open around
Christmas.
[e-mail] Jan de Vries - [email protected]
[address] Kino Rotterdam - Gouvernestraat 129-133, Rotterdam - The Netherlands
[website] http://www.kinorotterdam.nl/
Kino Pod Baranami [3 screens]
Krakow [Poland]
Ola Starmach
CINEMA’S POLICY
We believed in an idea of the cinema as
a meeting place. And there should be a
space for everyone, at every age. We try
to program the repertoire in a way that
everyone
could
find
something
interesting – among first-run films, film
reviews, festivals and special events. In
order to reach potential viewers we use
targeted promotion.
We have a cycle of screenings for seniors
(with introduction and discussion; free
coffee, tea and biscuits) and mums/dads
with toddlers (specially prepared movie
theatre plus occasionally workshops and lectures).
We have various screening cycles for young audience: for students (with introduction and discussion
held by students); for high-school pupils (with introduction and discussion held by pupils) and the one
dedicated to children at age 2 - 6 (sets of animation with various workshops).
For many years we have taken part in the New Horizons of Film Education - an educational programme
dedicated to young audience (from primary school to high school).
We organize special educational screenings ordered by schools. And - as the only cinema in Krakow we screen new animated films in English without Polish dubbing – for English-speaking children.
Each of this screening cycle has a special lower price.
My duties include project coordination, programming (particularly kids & young audience), event
management, marketing and social media administration. I am a programmer and coordinator of 3
cycles dedicated to young audience: Baranki For Kids (age: 2-6), Taste - Young Cinema Lovers Club –
high school pupils) and Students' Night Film Club; and monthly special screenings for EngIish-speaking
kids.
OLA STARMACH [PROGRAMME MANAGER]
I was born in 1988. I used to be a student activists and the editor in chief of a student’s
film magazine. In 2013 I received a Master's degree in Film Studies at Jagiellonian
University. Since 2009 I have been working at Kino Pod Baranami as a project
coordinator, programmer (particularly kids & young audience), event manager and social
media administrator. I am a programmer and coordinator of Silent Film Festival in
Krakow – the oldest festival of this kind in Poland.
[e-mail] Ola Starmach - [email protected]
[address] Kino Pod Baranami - Rynek Glowny 27, 31010 Krakow – Poland
[website] www.kinopodbaranami.pl
New Pałacowe Cinema [3 screens]
Poznań [Poland]
Ewa Kujawińska
CINEMA’S POLICY
ZAMEK
Culture
Centre
is
an
interdisciplinary institution, presenting
the most interesting phenomena of
contemporary culture, in which the
interwoven threads of visual arts,
theatre, cinema, music and literature
penetrate and complement one
another. Our goal is to cater for the
diverse needs of the audience and to
develop the individual competence and
sensibilities of its members.
New Pałacowe Cinema has a repertoire which brings the best of contemporary cinema and the classics.
Special events, numerous reviews and one of the most important festivals of documentary films in
Poland – OFF CINEMA. The New Pałacowe Cinema is not only a cinema hall and numerous showings;
it also stands for educational activities relating to cinema and the new media.
One of my most successful and original young audiences project was: The Film Kitchen. How to cook
a good film? It was an educational project about the “cinematographic kitchen”. We invited
representatives of film-related professions to discuss the particular nature of their work. Young people
had the opportunity to meet a casting director, production manager, production designer, props
master, screenwriter, make-up artist, sound engineer, author of soundtrack, editor or director.
I also initated the Animated Film Studio, a new studio for young aficionados of animated film (October
2014). During the activities and classes children and adolescents learned how to create, record,
process, edit, add sound and present animated forms. The primary aim of the studio was to acquaint
the participants with the basic techniques of classic animation and computer animation. The new
studio was created thanks to co-financing obtained from the Ministry of Culture and National Heritage.
EWA KUJAWIŃSKA [MANAGER OF FILM DEPARTMENT]
I am 32 years old Polish citizen. After graduating from Film TV and Media Culture Studies
at University in Poznań (Poland), I started working in the ZAMEK Culture Centre. Now I
am a young manager of the Film Department and a new arthouse cinema - New
Pałacowe Cinema. I program and coordinate film events. Pałacowe Cinema is the place
for the world cinema classics, documentaries, animation, avant-garde, opera and
theatre shows; the place for the meetings and discussions with people who work in the
film business and the place to provoke reflection on film art. I also work as the organiser
of the International Documentary Film Festival I love documentaries and Italy.
[e-mail] Ewa Kujawińska - [email protected]
[address] Centrum Kultury Zamek - ul. Św. Marcin 80/82, 61-809 Poznań - Poland
[website] www.ckzamek.pl
Kinokawiarnia Stacja Falenica
[1 screen]
Warsaw [Poland]
Ewa Jaskolska
CINEMA’S POLICY
Kinokawiarnia Stacja Falenica is a
family owned business. I am
responsible for managing the cinema,
creating growth and creating policies.
We position our cinema as a local arthouse. We direct our activities
towards around 100 000 citizens of
the district, in a distance of 10 km.
Our primary audience is a local one.
There are three main groups: children
in schools, families with young
children
and
mature
and
accomplished audience over 35 years
old, often over 50. We mainly screen Polish and European films, and animations for kids. Our guests
come to us to see the film, they appreciate that the venue is small, close to the place of living, that the
audio is not to loud, and that you can sit at table and be served by a waiter.
Our young visitors policy includes film education programmes for schools, special cultural education
workshops for kids and families, as well as animations.
We approach our visitors through many different different media: newsletters, Facebook (6,200 fans),
our website, flyers distributed in our venue, posters (on our building), local press, daily newspapers
(info about repertoire), through partners – either local parners or big partners like large festivals.
EWA JASKOLSKA [GENERAL MANAGER]
I was born in 1978 in Wroclaw. I graduated in Management at the Wroclaw University
of Technology. Now I am the co-owner and the General Manager of Kinokawiarnia Stacja
Falenica in Warsaw. I am also the founder and the President of the Foundation Stacja
Kultury. Finally, I wrote and coordinated tens of projects directed towards young
audiences. I am also a graduate of the Leaders Programme of Polish-American Freedom
Foundation.
[e-mail] Ewa Jaskolska - [email protected]
[address] Kinokawiarnia Stacja Falenica - Patriotów 44a, 04-912 Warszawa – Poland
[website] www.stacjafalenica.pl
Kino.Lab [1 screen]
Warsaw [Poland]
Justyna Kociszewska
CINEMA’S POLICY
Kino.Lab – as a part of the Center for Contemporary Art –is dedicated to art house, experimental,
avantgarde, artistic cinema but, in the mean time, shows masterworks of worldwide cinema and tries
to be an educative institution for young and new audiences. We show the best recent arthouse films
every evening plus our own events. We also propose retrospectives, reviews of shorts/animation films,
and cinema from different. Besides we have a long tradition of showing experimental cinema. Finally
we run asmall programme for high school students with special lectures.
My role in the cinema is to control the everyday work of the cinema, take care of the promotion. I am
alos partially in charge of the programming, in collaboration with the team.
JUSTYNA KOCISZEWSKA [CINEMA COORDINATOR]
I was born 1986. I graduated in cultural studies with film specialization and a postdiploma in “School of cinema” led by Joanna Kos-Krauze and Krzysztof Kos-Krauze. I am
also a freelance-hobbyist film journalist. Professionaly dedicated to cinema (cinema
coordinator at Kino.Lab in Center for Contemporary Art Ujazdowski Castle) and
photography (former chief of Leica Gallery Warsaw, long term collaborator of
International Festival of Photography in Łódź – Fotofestiwal).
[e-mail] Justyna Kociszewska - [email protected]
[address] Kino Lab Centre For Contemporary Art - Zamek Ujazdowski, Jazdow 2, 00467 Warsaw – Poland
[website] http://kinolab.art.pl
Cinema Victoria [1 screen]
Cluj-Napoca [Romania]
Raul Bodea
CINEMA’S POLICY
Victoria Cinema is a cinema
with almost 100 years of
tradition in cinematography,
located in the downtown of
Cluj-Napoca, near the National
Theatre. Our mission is to bring
back to the cinema the public
of the Romanian and European
films, as well as to create a
relation with our viewers.
Victoria Cinema is a traditional cinema, member of Europa Cinemas. We programme art films, author
films, award-winning films from the main festivals around the world and Romanian films. We
programme 5 different films every day, in order to attract more viewers and to be as diverse as we
can. As an arthouse cinema with a diverse programming, our cinema is an exception in Cluj-Napoca. If
I had to use two words to describe my venue, it would be: European Cinema.
Victoria Cinema is the main partner of many film-related events that happen in our city, like the
Transilvania International Film Festival (TIFF), Cluj Comedy Film Festival, the Short Film Festival, the
Gay Film Festival etc, so we are very close to the public we want to target. We organize exhibitions in
our lobby for young photographers and artists.
Being a “niche” cinema, we are forced to adopt a direct communication with our viewers. We have our
own digital printers for printing all of our brochures and programmes in time and in enough quantities.
We advertise in schools, parks, pubs etc. We have a lot of young students giving flyers with our
programme in the streets or sharing it on Facebook and Twitter.
RAUL BODEA [PROGRAMME MANAGER]
I am 32 years old. I’ve been living and working around cinemas almost my entire life as
my mother was administrating the Romanian Cinema Network. I am a Political sciences
graduate, and I have had an advertising agency for 10 years.
As I’m working with my mother at Victoria Cinema, I’ve been doing jobs from
programming, advertising, ticketing, projectionist work. I love working in a cinema,
interacting with so many different people. We have lots of events that keep us “under
pressure”, like the many film festivals we host (TIFF, Comedy Cluj, Tres Court, Short Film Fest, Gay Film
Festival). I work better under pressure, this is why I love working in a place where new things happen
everyday.
[e-mail] Raul Bodea - [email protected]
[address] Cinema Victoria - Bulevardul Eroilor nr. 51, 400129 Cluj-Napoca - Romania
[website] www.cinemavictoria.ro
Cinema Arta [3 screens]
Târgu Mureș [Romania]
Elena Andreea Bikfalvi Zoltan
CINEMA’S POLICY
I act as a bridge between the Exhibition Company and the actual Cinema doing mostly marketing
related work such as flyers, brochures & other young audience related campaigns.
General Cinema policy is to promote at premieres date, to the extent possible, most of the awardwinning European films and the latest films appeared on the Romanian market.
Arta Cinema - broadcast premiere movies and general audience
Flora Cinema - public and young children - Romanian and European premieres
Club 30 Cinema - art films with a strong cultural character of the European Union
Young audience was and remains the target audience of this cinema, and our policy is attracting a large
number of young people through thematic debates about movies, actors, prizes awarded to the most
recent productions both national and international, presentations related to educational films for
school curricula.
Our purpose is the restoration of a cinema "dwarf" for our future spectators into a cinema "giant".
ELENA ANDREEA BIKFALVI ZOLTAN [MARKETING MANAGER]
I am from Bucharest Romania. I have a diploma in European Studies and have worked
as Customer Care Person in the Automotive Field for 4 years.
One day I decided to quit my job and move to another country. I taught myself how to
illustrate & took a photography course abroad. I have been working as a freelancer ever
since. Having passions like photography, design & illustration, it made all the sense in
the world to get involved in the cinema world. I try to learn something new every day
and to improve myself.
[e-mail] Elena Andreea Bikfalvi Zoltan - [email protected]
[address] Cinema Arta - Str. Trandafirilor nr. 35-37, Targu Mures - Romania
[website] www.cinemaarta.ro
Pioner Cinema [2 screens]
Moscow [Russia]
Sergei Dyoshin
CINEMA’S POLICY
Pioner reopened in October
2009 and shortly after became
one of the most significant
cultural venues of Moscow.
It’s a place with an attitude,
where conditions of film
experience, such as highquality projection, priority of
subtitles over dubbing as well
as
general
anti-popcorn
policy, are as much important
as films themselves. Pioner's
lineup always offers the best
of contemporary cinema:
from films of Michael Haneke
and Lars von Trier to
unconventional mainstream and innovative blockbusters. Each year Pioner hosts various film festivals
as well as weeks of French and Israeli cinema. One of its highlights is BRICK, the annual festival of British
cinema launched and programmed solely by Pioner. In the past few years Pioner has organised
retrospectives of Bela Tarr and Seijun Suzuki, Paul Verhoeven and Alfred Hitchcock, Alexei German and
Alexei Balabanov among others.
I work as a special programme director and also manage Pioner cinema's pages on Facebook,
Instagram and other social network platforms, write film synopsises, plan special projects and curate
festival programmes, I also look for right-holders of cinema and order prints for screenings in Pioner.
Pioner cinema doesn't have yet young audience policy that could be well-defined except for treating
younger audience as adult, but it is an important sphere to make improvements in.
SERGEI DYOSHIN [PROGRAMME MANAGER]
I am 29 years old. I got first degree in engineering. I have been writing as a film critic
since 2008. I cofounded the website about art cinema Cineticle.com. I also wrote
articles for Seance Magazine, Iskusstvo Kino, Kinote.info, Colta.ru, Openspace.ru and
others. I have been working in film theatres since 2012 as SMM, programmer and
special project manager. I joined the team of Pioner Cinema in July 2013. I organise
cinema screenings for cinema club, including Russian premieres of such films as Les
salauds (Clair Denis), Phoenix (Christian Petzold), Par exemple, Electre (Jeanne
Balibar, Pierre Léon).
[e-mail] Sergei Dyoshin - [email protected]
[address] Pioner Cinema - Kutuzovskiy prospect, h. 21, 121151 Moscow – Russia
[website] http://pioner-cinema.ru/
Cines Príncipe [10 screens]
Cines Trueba [2 screens]
San Sebastián [Spain]
Iñaki Elorza Echeverria
CINEMA’S POLICY
We have three cinemas in San Sebastian
and up to now, we had very well
targeted our audience because Príncipe
cinema was for auteur cinema, Antiguo
berry for commercial films and Trueba
for original version films.
Few weeks ago, one of the commercial
cinemas downtown San Sebastian
closed and we need to attract this young
audience for Príncipe cinema, which is
100 meters from the closed cinema, so
we are making an aggressive media
campaign in local papers and networks.
We have introduced a FRIENDS PACK with very
interesting fares and special ambigú prices as well,
which are really successful.
We are trying to introduce a new Loyalty Card for
teenagers but it is difficult to introduce this, because
teenagers are looking just for reduced price and not
points to get free tickets or popcorns.
IÑAKI ELORZA ECHEVERRIA [PROGRAMME MANAGER]
I have been working in the exhibition sector since 1997. In GrupoSade first, at the box
office, later as projectionist (with 35mm projectors), in 2000 and for eight years as
cinema manager in Warner Cinemas and since 2010 in Grupo Sade again as a film
programmer, with administrative and marketing tasks.
I have the experience working for both a small company interested in auteur cinema
and original versions like GRUPOSADE and a very big one like WARNER, specialized in
commercial films.
[e-mail] Iñaki Elorza Echeverria - [email protected]
[address] Sade - Plaza Pinares 1 6°, 20001 San Sebastián – Spain
[website] www.sadecine.com
Cines Broadway [14 screens]
Valladolid [Spain]
Jason Luas Heras Garceau
CINEMA’S POLICY
Back in 1982, when the Cines
Manhattan
first
opened,
arthouse films, original versions,
etc. were immensely popular.
Simply by offering a coherent
programming schedule, the
theatre was full every week-end
and reduced rate day with a more
than decent attendance during
the rest of the week. The masses
loved cinema and all efforts to
offer the best were rewarded on
a weekly basis. In 1996 the Cines
Broadway followed the same road to success. Times have changed. We still offer the best program, a
mixture of arthouse, independent and blockbusters. Our cinemas are equipped with the newest image
and sound systems and ergonomic seating. It is a family business and both of my parents spend hours
in the lobby, greeting, recommending, and discussing films. Special showings, group rates, schools,
university, are all contracted on a one-to one basis. But the audience is slowly and steadily declining.
Special prices for students and retired people, fidelity cards, Fiesta del Cine (admissions at 4€)
Wednesdays all help to attract audiences.
We are now living a new challenge and we have realized that we have to actively go out and get new
audiences. This is my job, as well as filling every other position in the cinema. I maintain the website
and the Twitter and Facebook accounts. There isn’t any concrete, ongoing policy towards young
audiences yet but I hope to learn new strategies in this respect.
JASON LUAS HERAS GARCEAU [ASSISTANT MANAGER]
I am 27 years old and I live in Valladolid, Spain, where I was born. I studied both
Business and Law, but I do not have a degree yet. Since I was born, I have been “living”
inside a cinema, because my parents are owners of them. I really love film and
everything involved in them it. I have been working full time at the cinema for the past
few years. At the beginning, I was only the doorman, but, year by year I have been
learning every aspect of the cinema: from selling tickets to running the projectors.
Now, my main responsibility is to improve everything related to audience: to get new
viewers, rescue old ones and to connect the film theater to all Valladolid´s population, via internet,
mailing and any way that I can: Facebook, Twitter, Web page…
[e-mail] Jason Luas Heras Garceau - [email protected]
[address] Cines Broadway - Garcia Morato 34, 47006 Valladolid – Spain
[website] http://cbroadway.net/
Palladium [1 screen]
Växjö [Sweden]
Mats Gillmor
CINEMA’S POLICY
Our cinema, which was built in 1935, is run by volunteers
and a non-profit administration. We show 5 films every
week and try to have at least 2 films for children per
month. The cinema is located in a cultural house in the
centre of the town and also proposes other activities:
theatre, concerts and lectures.
We want to offer more than just the experience of a film.
This includes not only screenings of films but also events
in connection to screenings such as visits from directors,
debates around the films and supporting local
filmmakers. In my work at Folkets Bio the main focus is
programming, marketing, work with the audience,
contacts with organisations and local authorities, longterm strategy.
We exist to propose an alternatve to the mainstream
films shown the big commercial chain in town. It is also
important for us to offer a cinema experience for
everyone in Växjö at an affordable price and without
popcorn or candy.
We have a policy to show films for young audiences but they are difficult to program because of the
structure of our organisation and due to the fact that the weekends are mostly booked with other
events. The paradox is that Folkets Bio as a national network has a lot of such films in distribution. An
example of this work is an up and coming Children’s Film Festival this October where we will have 6
films with 12 screenings over 3 days. Other examples are outdoor screenings for families in the summer
and visits to youth clubs to show the kids that there are cool films at our cinema. A dream is to be able
to have workshops for our young audience in filmmaking.
MATS GILLMOR [CINEMA MANAGER]
I work at the cinema Palladium in Växjö - a residential town in the middle of south
Sweden. I started working with film as a freelance filmmaker but ended up being more
interested in how the product met the audience. First as an assistant manager at SF
,which is the big chain of cinemas in Sweden and currently at Folkets Bio-an Art House
chain. In my work at Folkets Bio the main focus is programming, marketing, work with
the audience, contacts with organizations and local authorities, long-term strategies
and maintaining national networks with other colleges in the business. I am also a board member in
the Swedish Union for the Preforming Arts and Film.
[e-mail] Mats Gillmor - [email protected]
[address] Folkets Bio Växjö - Storgatan 12, 352 31 Växjö - Sweden
[website] http://www.folketsbiovaxjo.se/
Cinemarine Cinemas [108 screens]
Bodrum [Turkey]
Cenk Sezgin
CINEMA’S POLICY
At the beginning CINEMARINE
was a local family business,
established in 1994 in touristic
city Bodrum. But after 2004
the cinema chain decided to
grow by opening new cinemas
in different cities of Turkey.
Now there are 12 CINEMARINE
complexes in 11 different cities
with 108 screens and more
than 150 employees.
We are aiming to offer
homelike comfort to our guests. The ticket prices vary on each location according to social-economic
conditions. Besides blockbusters we also support art-house films and independent cinema, with some
screens in our complexes being dedicated to them alone. With yearly periodic events we support local
films also. Gala nights in Çorlu and Edirne, Koycegiz Film Festival, Golden Three Film Festival in Kayseri,
Street Film Days in Balıkesir, Open Air CINEMARINE in Turgutreis Bodrum are some of our efforts.
Every year, in the last week of September we are organizing Bodrum Turkish Film Week. There are
every day 2 gala screenings of 2 different local films. Producers, directors and the casts of these films
are invited during the week and also exhibitors from all over Turkey and press members.With the
media support the films will be promoted, while the exhibitors have the chance to discover them.
Concerning Young Audiences, Mondays and Thursdays each student can pay one ticket and get two
tickets. On National Children's Day (23 April) and National Youth Day (19 May) we make special
program for young visitors like sponsored free ticket screenings, gifts, picture with film stars, etc.The
children who bring (!) their parents to the CINEMARINE are earning a free ticket.We also publish a
monthly free film magazine called CINELIFE.
CENK SEZGIN [CEO]
Born in Ankara 1962, he graduated from the Instanbul Technical University in 1984, as
an Aircraft Engineer. Since 1994 he has been designing, financing, building and running
his chain of cinemas Cinemarine. He is the former Chairman of Bodrum Businessman
Association. He is also the chairman of SISAY (Turkish Cinema Owners Association) with
more than 80 members representing 1800 screens all over Turkey. He has been Turkish
Jet-Ski and Water-ski Champions several times.
[e-mail] Cenk Sezgin - [email protected]
[address] Cinemarine - Oasis AVM 87 B/74 Gümbet, 48400 Bodrum - Turkey
[website] www.cinemarine.com.tr
Glasgow Film Theatre [3 screens]
Glasgow [United Kingdom]
Paul Gallagher
CINEMA’S POLICY
Glasgow Film places our audience at the very heart of our
existence. Our audiences are all ages and come from across
Glasgow, Scotland and beyond.
- We work to be a vibrant social, creative and business hub
for the film industry, and for film lovers from the West of
Scotland and beyond.
- We ensure that our programming is accessible to
audiences of a wide range of ages, origins and interests.
- Every interaction with us is governed by our quality
assurance policy and our commitment to our service
principles: welcoming, professional, innovative and
exceptional.
- We engage with our community through our monthly GFT
brochure (277,000 per year) and our Festival brochures
(88,000 for GFF, GYFF and GSFF). We provide an open,
honest, two-way communication on Twitter. Our
combined followers on Twitter (@glasgowfilm,
@glasgowfilmfest, @glasgowyouth and @GlasgowSFF) total 57,500. And we connect through
GFT, GFF, Access and Learning e-newsletters to 29,179 subscribers.
The main way we engage year-round with young audiences is through our Take 2 programme of of
Saturday matinees for families. Screenings are free to Glasgow Young Scot and Kidz Card holders and
accompanying adults.
The annual Glasgow Youth Film Festival in early February, completely curated by 15–18 year olds, is
our major offering for youth audiences, and one that we are actively working on increasing in profile
and content for 2016.
In my role as Marketing Manager I lead the Marketing team, overseeing all of our print, advertising
and digital activities. It’s a small and dynamic team, and as part of the wider programme team we
contribute to the overall passionate championing of independent cinema that is a hallmark of GFT.
PAUL GALLAGHER [MARKETING MANAGER]
My background is in journalism and web editing; I worked as Senior Web Editor for
Scottish Book Trust for nearly 7 years before taking up my current role at Glasgow
Film. I began my journalism career as Film editor for The Skinny in 2005, and since
then have written on film for The List, The Big Issue, Sunday Herald, as well as
contributing to Radio Scotland’s film coverage. I’m 34, I live in Glasgow with my wife
and two lovely children (both under 5). I also love music and reading, and coffee.
[e-mail] Paul Gallagher - [email protected]
[address] Glasgow Film Theatre - 12 Rose Street, G3 6RB Glasgow – United Kingdom
[website] www.glasgowfilm.org
Shortwave Cinema [1 screen]
The Lexi Cinema [1 screen]
London [United Kingdom]
Flora Menzies
CINEMA’S POLICY
Film London’s film culture team offer funding, training and support to a variety of initiatives aimed at
increasing young audiences throughout London via Film Hub London. The most large-scale example of
this is Cinemania, a collaborative, cross-London programme aiming to increase the engagement of
young audiences with a wide variety of film across the capital. The programme is delivered by a
consortium of 12 cinemas, led by Picturehouses, and features screenings, talks and the
implementation of young programmers groups. Through its other funding streams, Film Hub London
has supported many projects specifically aimed at, or accessible to, young audiences, and continues to
ensure this is priority area throughout all its work, both in London and on a national scale with the BFI
Film Audience Network.
Funded by Creative Skillset, Film London delivered the third edition of Cultivate: Inspiring Future
Audiences in January 2015. The three-day training programme covers everything aspiring film
educators from across the UK need to know to give them the confidence to develop education
programmes for cinemas, film festivals and rural cinema initiatives.
FLORA MENZIES [FILM CULTURE AND MARKETING OFFICER]
Flora is Film Culture and Marketing Officer at Film London, the capital’s screen
industries agency. She helps deliver Film London’s film culture activity including Film
Hub London, part of the BFI Film Audience Network and facilitates the delivery of
events and marketing across the organisation. Flora runs Film London’s EUROPA
Cinemas mini-network which currently comprises of two single-screen cinemas, the
Lexi Cinema and Bermondsey’s Shortwave Cinema. Before joining Film London, Flora
held marketing roles at Curzon Artificial Eye, Phoenix Cinema and Birds Eye View Film Festival.
[e-mail] Flora Menzies - [email protected]
[address] Film London - Suite 6.10, The Tea Building, 56 Shoreditch High Street, London E1 6JJ – UK
[website] www.filmlondon.org.uk
BFI Southbank [4 screens]
London [United Kingdom]
Charlie Bligh
CINEMA’S POLICY
BFI Southbank is a four-screen cinema venue
showing over 2,000 classic and contemporary
films each year, with film seasons, director and
actor retrospectives, and extended runs of
cinema classics. The main aim is to deliver our
cultural and education programmes, enabling
more people to access a rich and diverse choice
of film.
January 2015 marked the start of a new weekly
programme for our family audience to suit all
ages and tastes. Each month we showcase: an
animated tale; a classic that every child should
enjoy; and an international treat. To round it off, we present our popular centrepiece event the BFI
Funday, where we preview upcoming releases or ask a filmmaker or actor to present a true cinematic
great, accompanied by a lively workshop of activities. Future Film is the BFI’s monthly programme of
screenings, workshops, competitions and ticket offers for 15-25 year olds, this includes, Raw Shorts, a
new programme designed to help young people make short digital films on a miniscule budget. BFI
Education initiatives are to create a single unified programme for watching, making and learning about
film to safeguard and boost future film audiences through learning and appreciation of film and to
stimulate a new generation of filmmakers and film talent.
Working across programming at BFI Southbank, I am involved in co-ordinating forward scheduling,
negotiating and building relationships with distributors and overseeing technical delivery on the young
audience programme in order to deliver the best possible experience at the cinema whilst continuing
a legacy of future partnerships with distributors and industry contacts who can in turn support and
add to our programme.
CHARLIE BLIGH [CINEMAS COORDINATOR]
I have worked in the Cinemas department at BFI Southbank as a Programme and
Research Co-ordinator since 2010. As a Film Studies graduate, I originally joined the
BFI London Film Festival as a Programme and Guest Co-ordinator where I continued
to work for the festival for three years. I have also previously worked in the Film
Department of the British Council, co-ordinating international educational screening
initiatives alongside comprehensive British film retrospectives featured within
festivals.
[e-mail] Charlie Bligh - [email protected]
[address] BFI Southbank - Belvedere Road, SE1 8XT London - United Kingdom
[website] www.bfi.org.uk
Michigan Theater [4 screens]
Ann Arbor [USA]
Russ Collins, Barbara Twist
CINEMA’S POLICY
The Michigan Theater exists to preserve early 20th
century cinema architecture, promote quality
contemporary and classic Art House cinema in and
near our geographic home, engage and educate our
core communities about the art, craft and business
of cinema and to generally promote, support and
celebrate filmmakers and
the transcendent
potential of this most powerful form of art.
We preserve and restore or adaptively reuse
cinema architecture by owning, preserving and
maintaining the Michigan Theater, a 1920s movie
palace and the State Theatre, a 1940’s cinema-style
theater in Ann Arbor, Michigan, USA.
We promote for the benefit of our geographic community Art House cinema by programming
contemporary and classic cinema at the Michigan and State Theaters and annually creating in Detroit
and Ann Arbor the Cinetopia International Film Festival.
We engage and educate our two communities:
1. Our geographic community with youth outreach and film appreciation classes in Ann Arbor, as well
as programs created for the Cinetopia Festival in Detroit and Ann Arbor;
2. Our Art House colleagues that operate community-based, mission-driven cinemas in North America
by annually creating the Art House Convergence in Utah (in participation with the Sundance Film
Festival).
In all that we do we intend to promote, support and celebrate filmmakers and the transcendent
potential of cinema - a most powerful form of artistic expression.
RUSS COLLINS [EXECUTIVE DIRECTOR]
Russ Collins is the CEO of a
restored movie palace, the
Michigan Theater, in Ann
Arbor, USA and Founder and
Conference Director of the Art
House
Convergence,
a
conference presented in
association with the Sundance Film Festival.
He also directs the Cinetopia International Film
Festival in Detroit/Ann Arbor. Russ was
recently named an IndieWire “Influencer” of
North America’s independent film sector.
BARBARA TWIST [PROGRAMME MANAGER]
Barbara Twist is the Managing
Director of the Art House
Convergence. She is also a
film programmer for the
Cinetopia International Film
Festival. In addition to her
work in the cinema exhibition
field, she is a filmmaker, working on both
narrative feature-length films and short
experimental films.
[e-mail] Russ Collins - [email protected] / Barbara Twist - [email protected]
[address] Michigan Theatre - 603 E. Liberty Street, MI 48104 Ann Arbor - USA
[website] www.michtheater.org
The Texas Theatre [1 screen]
Dallas [USA]
Barak Epstein
CINEMA’S POLICY
The Texas Theatre has built a reputation in Dallas as the “cool” new movie
theater since re-opening the long-dormat venue in late 2010. (the theater
was first opened in 1931 and closed in 1989. It started and stopped
several times in the 90's before going into severe disrepair and then
reviatilation)
Since we are primarily a one-screen venue we have to adjust all the time
to figure out what movies to screen and what events to book. (We also
host live music on occasion) . Programming is usually geared to appeal
to movie buffs who are into 35mm prints of great films. Since adding 4K
DCP to our arsenal in 2014 we have now been able to screen DCP
restorations of new classic films. (the Grey Gardens restoration was
fantastic!)
Most of our audience is in the 25-45 age range. These are young
professionals in the neighborhood as well as outlaying areas. We do ok with
people aged 21-25 I would say but under 21 is often a no-mans land for us.
We do, on occasion screen a Hollywood Blockbuster film. For example,
Avengers Age of Ultron brings in young kids. When we showed Spiderman
in 2012 that probably brought in the most kids under 12 than we've had for
any film.
We are looking for ways to improve our younger people attraction beyond
the Hollywood machine. This summer we are doing a free family film series
from 1985 which will include films like FOLLOW THAT BIRD, EXPLORERS,
PEE.
BARAK EPSTEIN [OWNER]
Barak earned a degree in Radio, Television, and Film from the University of North
Texas and afterwards moved into independent film production, distribution and
Film/TV technology sales and consulting. As film producer, Barak has completed five
feature films, which have played at film festivals throughout the world and have
international distribution. Barak started Aviation Cinemas in 2010 as a cinema
exhibition firm that has revitalized the historic Texas Theatre in Oak Cliff as an
operating movie theatre and event space.
[e-mail] Barak Epstein - [email protected]
[address] The Texas Theatre - 231 W. Jefferson Blvd Oak Cliff, TX 75208 - USA
[website] http://www.thetexastheatre.com/
EUROPA CINEMAS AUDIENCE DEVELOPMENT INNOVATION LAB
Saturday, June 27th - Wednesday, July 1st 2015
HOW TO GET HERE
Europa Cinemas workshop participants will be accommodated at:
Zanhotel Europa ****
Via Boldrini, 11 - 40126 - Bologna
Tel. +39 051 4211348 / Fax +39 051 9914311
[email protected] / www.zanhotel.it/ita/hotels/europa.html
From Bologna BLQ Airport:
- Taxi (approx. 25 Euros – 25 minutes)
- Aerobus BLQ to town centre. Aerobus arrives just in front of the airport gate, tickets can be bought
directly on the bus (6 Euros).
If you take the bus from the airport please get off at Bologna Central Railway Station. The bus stop is situated
250m from your hotel: take the first on your right (viale Pietramellara), then the first on your left (via Amendola),
and finally the first on your right (via Boldrini). The Hotel is on your right.
The Seminar will start on Saturday, June 27th at 3.30pm at Sala Cervi, Cineteca di Bologna, via Riva di Reno 72
(from your hotel 10 minutes walk, follow the map you’ll receive at your arrival at the hotel).
We will meet you in the entrance hall of the Zanhotel Europa at 3.00pm and walk together to Sala Cervi, where
the seminar will be held in the following days. For those arriving later, you will find at the hotel all the necessary
information to find your way to us.
A welcome dinner will take place on Saturday, June 27th at 7.30pm at Ristorante Il Molo3, Piazza San Martino
3/b. EC staff will wait for you at the hall of the hotel at 7.00pm.
Departure for Piazza Maggiore at 9.15pm (less than 10 minutes walk) where Elevator to the Gallows / Ascenseur
pour l'échafaud (Louis Malle, France/1957, 93') will be screened.
On Sunday, June 29th at 8.30am we will meet in the Hotel Hall, and we will go together to an ex-cinema theater,
that will be restored and reopened by Cineteca di Bologna within 2016, located in Piazza Maggiore.
Sunday lunch will take place in the restaurant Via Con Me, Via San Gervasio 5.
Monday, Tuesday and Wednesday lunches will take place at Ristorante da Bertino, via Lame, 55, tel. +39 051
522230.
Festival locations:
1) Cineteca di Bologna offices - Via Riva Reno, 72 - tel. +39 051 2194820
Elisa Giovannelli: +39 051 2195329 - mob. +39 347 5223451 - [email protected]
Giuliana Valentini: mob. +39 346 6861357
Press office: Andrea Ravagnan - tel. +39 051 2194833 – [email protected]
Sala Cervi is on the ground floor.
2) Festival Secretariat - tel. +39 051 2194814 - [email protected]
Cinema Lumière - Via Azzo Gardino, 65 - tel. +39 051 2195311.
3) Cinema Arlecchino - Via Lame, 57 - tel. +39 051 522175.
4) Piazza Maggiore - Free evening screenings at 9.45pm. You can access for free the central ring of Piazza
Maggiore by showing your festival badge. If you arrive later than 9.30pm please note that the central ring will
be opened to the general public so you may not find a seat.

here - Europa Cinemas

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