CILECT as the Project of a World Film School: Origins, Specifics, Development

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The continuing introduction of digital technologies into the production of meaningful and engaging audiovisual images accentuates the necessity of international cooperation in the sphere of the professional education of those young people who are planning to work in film, television and other screen arts. All over the world film schools are challenged by problems the solution of which requires consolidated participation of worldfamous masters. This has been recently confirmed at the Congress of the International Association of Film and Television Schools (CILECT) Congress held in October 2019 in Moscow in connection with the 100th anniversary of the All-Russian State Institute of Cinematography (VGIK). This essay analyzes
VGIK's contribution to the process of perfecting programs in the field of screen arts at different stages of their development.

The essay explores issues of CILECT development since its foundation in 1954. Initially, CILECT was supported by nations with developed film cultures, such as Brazil, Chile, Czechoslovakia, France, Italy, Poland, the Soviet Union, Spain, the United Kingdom, and the United States. Today, the Association unites 180 film schools from 65 nations. The essay analyzes VGIK's role in the development of film education and, more generally, the development of screen arts; and emphasizes the importance of international cooperation in this technological, digital age.


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Modern cinematography is now at the stage of digital modernization, living through the phase of reforming and radical transformations. The advent of computer technologies and other material innovations in cinema and video production brought changes that are connected with a plethora of problems arising in the process of making screen works, and whose main task is to preserve the values and cognitive traces in mass conscience. Questions regarding the training and development of a creative personality capable of making attractive screen products that can influence individual sensual–emotional perception are still of the utmost importance. The new forming field of film production and education requires an interdisciplinary approach to creative work from directors, cameramen, animators, multimedia experts, and other professionals from the sphere of the screen arts—those who currently possess amplified possibilities of applying visual effects and artistically expressive means in audiovisual production. It is important, however, that they should use this set of instruments so that the spectator is involved in both the plot’s peripeteia and in the underlying moral motives of the screen work. These aspects are attended to by a developing creative personality, whose future lies in the sphere of the screen arts.

In this field, the questions of applying innovative methods in the education of young film creators belonging to the new generation still dominate; in particular, we need to investigate the creative traditions in national cinematography and how they may be applied to the new circumstances. A redundancy of picturesque effects often happens when the task is to disclose a screen image to demonstrate its unnatural and unreal essence. By analyzing the history of the development of the International Association of Film and Television Schools (CILECT) 1, we see that national schools have accumulated wonderfully rich experience in developing the screen arts. This theoretical and practical aggregation may become the basis for searching the newest models in our interaction with the spectator, serving as a reference point for working out academically regulated creative decisions in future film and television.

The formation of CILECT: forms of consolidating interaction

The history of film development has gone through many stages, dictated by the intrusion of technologies in the production of audiovisual works—the transition from silent cinema to sound, from black-and-white images to color, the experiments with stereo images, and many other transformations. In an epoch when cinematography is viewed as an innovative art, the technical and technological possibilities in film production have been constantly expanding, requiring new approaches to training workers in the field. The search for effective results led governments of a number of countries with leading national film schools to the only right decision: in 1954 the International Association of Film and Television Schools was born. The initiative of consolidated interaction belonged to the Higher Institute of Cinematography in Paris. The decision reflected the pressing need for experience exchange among teaching masters of cinema and television on the difficulties of training in this complicated profession, and for understanding the extent that the screen influences society—the importance of national and world cinematography in the development of civilization.

The main aim of the new international organization was to coordinate the work of film and television schools to improve the knowledge and professional skills of workers within the industry 2. The Soviet Union, represented by the All-Union State Institute of Cinematography (VGIK—now Gerasimov Institute of Cinematography, named after Sergei Gerasimov), one of the world’s oldest film schools, immediately supported this initiative, becoming the founder of the center and one of its first members. Besides the USSR, among the first participant countries were the United Kingdom, Brazil, Chile, Spain, Italy, Poland, Czechoslovakia, the USA, and France 3. CILECT is currently represented by 180 film schools from 65 countries on six continents and unites more than 9000 professional teachers who train more than 55,000 students yearly.

Its aim also predetermined the form of collective interaction of this international organization’s members: CILECT’s basic model of functioning has become holding regular congresses in the member countries. This approach allows local pedagogues and film workers follow the important questions their foreign colleagues face in the field of professional film education and get acquainted with film development in the member countries. In its 65 years, CILECT has gone through various stages in the development of world film and television, where preference has been given to professional academic education and training of talented students. Reports and addresses of representatives of national film schools at congresses have usually caused broad discussions, contributing to solving issues in the film and television industry.

 VGIK, as Russia’s oldest film school, possessing its traditions and innovative projects in professional training, has always participated in the events of CILECT. In 1955 Anatoli Golovnya, a prominent Soviet cameraman and VGIK professor, presented his report The role of montage as means of artistic expression of the film plan and experience of teaching montage in VGIK. Thanks to plans made by Lev Kuleshov, Vsevolod Pudovkin, and Sergei Eizenshtein, the Soviet montage school was regarded as one of the most effective in the world, and the Film Montage course became one of the institute’s priorities.

The peculiarity of this discipline was that it was included in the academic programs of students of different specialties—directors, cameramen, scriptwriters. This model of mastering montage lay the foundations for organizing a creative, coordinated future filmmaking team. Moreover, classwork done on the newest equipment in the VGIK studios ensured the students’ practical integration in film production and remained a part of the training process. According to archive data, directing students “did special practice at production studios corresponding to the chosen specialty—feature films, chronicles and documentary, television” 4. In 1955 Anatoli Golovnya named the most talented students who had succeeded in the art of montage; the speaker also mentioned Sergei Gerasimov, who had acknowledged the extreme importance of montage; years later the director’s name would be awarded to VGIK, the leading national school in the country. Gerasimov especially distinguished the forming of montage thinking and working out skills for making a shooting script. This understanding of the “science” of montage can be traced in the director’s best works: Seven Brave Men (1936), The New Teacher (1939), Masquerade (1941), The Young Guard (1948), And Quiet Flows the Don (1958). Sergei Gerasimov emphasized: “The montage structure of the film must be presupposed and worked out as early as in the shooting script. I believe [that] only in accordance with this script will the director make his film with the needed number of various aspects and points of view in one or the other scene” 5.

The high creative activeness of the teachers and students of VGIK could be seen at both official assemblies and in other events organized by CILECT. For instance, an exhibition by the art students of VGIK was held in Cannes in 1956. Professor Ivan Ivanov-Vano delivered a report, On preparing artists of animated cartoons in VGIK, according to which the exhibition of the works of young artists had turned into a creative discussion on the artistic methods and possibilities of animation. The year 1957 became especially memorable: the international seminar held by CILECT screened Soviet comedy films, and the Soviet delegation presented a report on them. The total number of delegates exceeded 80 persons, and more than 500 guests attended the event.

The key themes of the time were the image of a young man in modern cinema art and film education in various industries. The opportunity to speak at the seminars was offered to not only eminent pedagogues of film schools from different countries, but also to the students of those schools. Thus, student Armen Medvedev delivered the report Film education in the USSR and years later became one of the leading VGIK pedagogues. Special exhibitions were also held during CILECT events, such as the expositions Course and diploma works of VGIK’s art students, Work of young cameramen, and Exposition on life and creative works of prominent Soviet film directors Sergei Eizenshtein, Vsevolod Pudovkin, and Alexander Dovzhenko. Youth issues in film have always represented the fulcrum of the discussion center in the association; reports introduced elements of trustworthiness and were conductive to vivid discussions. Their themes touched the questions of film’s influence on society, the understanding of the role of truth in art, showing a trustworthy reality, the role of the cinema in the struggle for peace, and others. In 1958 VGIK presented in Paris a report on the methods for molding a film director, and in 1959, at the Congress of CILECT in Rome, Sergei Gerasimov delivered a report on preparing a film actor in a Soviet film school. The participation of professors and pedagogues of VGIK in international seminars and congresses held by CILECT played a rather important role in the complex political circumstances of that time, promoting the prestige of Soviet film and film education.

Priorities in film education: from the Soviet time to the digital epoch

The issue of interacting with a gifted youth continued to lead the speeches of participants at CILECT congresses. In 1960 the main subject was the mastery of the cameraman, with VGIK professor Anatoli Golovnya’s report being titled On the training method at the Camerawork Department of the All-Union State Institute of Cinematography. The report disclosed the singularities of preparing professional cameramen based on a multi-profile approach in professional training. Golovnya stressed: “[…] The Camerawork Department of VGIK prepares cameramen of wide profile, that is, those who can work in feature films, as journalists–cameramen at studios of chronicle and documentaries, [and those] who can make scientific films”6. It was worthy of notice that VGIK had begun to actively prepare cameramen for television studios.

This decision was timely and productive. The early 1960s were a period of rapid acknowledgment of the influence of television on mass culture both locally and abroad. Regional television centers were actively forming in the USSR, and the need for professional television cameramen was growing exponentially. VGIK was implementing an innovative method in training students of this profile: classwork was being done in creative workshops, which ensured that young cameramen were fully immersed in the production process. In particular, Anatoli Golovnya noted that “[…] such training system ensures high level of professional and moral-creative preparation of young cameramen” 7. Among instructors of the workshops were outstanding professionals such as Boris Volchek, Leonid Kosmatov, Eduard Tisse, Alexander Galperin, and others. Moreover, students of camerawork were required to do their coursework, as a rule, together with students of film directing, which was an important aspect in the preparation of future professionals. The speaker noted that the “birth of production concord, the creative contact of film directors and cameramen is one of the main methodic features of preparation of creative specialists in VGIK. This guarantees a higher level of preparation and ensures conditions for mutual creative and moral enrichment” 8.

This theme was further discussed in Rome at the session of the Bureau CILECT (November 1960) under the presidency of Alexander Groshev, director of VGIK. A decision was made that the association would edit the magazine “World Cinema and Television Schools,” so that pedagogues of the member countries could publish information on the activity of their educational institutions and their exchange experience; the target audience of the magazine was the broad public. The issue of preparing cameramen for television also aroused wide response. In 1961 the director of VGIK A.N. Groshev, reporting on the work of the institute, marked its deep interest in the development of the television education system in world film schools reported by representatives of the USA.

A new theme for discussion was brought forward in 1964. The participants of the XI Congress of CILECT in Budapest discussed new trends in cinema and television connected with professional training, which was predetermined by time. France gave birth to a new trend in cinematography called the new wave; it brought a considerable renewal of cinematic language and the synthesis of the aesthetics of film and television. The communiqué of the congress marked: “[…] in the last years we have been witnessing fundamental changes in notions of the traditional cinema dramaturgy born from theater and now seeking liberation from the influence of theater” 9.

VGIK presented to the congress its report, New tendencies in modern cinema and problems of bringing up young cinematographers. It illustrated the methods for informing students about these new tendencies (new wave, direct cinema, antifilm, etc.) and disclosed the basic principles of the educational high school system, where the leading aspects were understanding life of the people and investigating urgent problems; humanism and loyalty to the idea of the humanist role of art; the realism that was to ensure “faithfulness to the best traditions of Russian and Soviet art…” 10. All faculties of the institute attached importance to both the development of professional horizon and forming the students’ active social position in analyzing films and social contradictions. The report also referred to the problem of rapidly developing television. It was noted that “[…] in the last period a number of changes have taken place. Taking into consideration the popularity of television and the interest in documentary and popular scientific films, we have been inviting students to the departments of television, popular scientific, documentary, and educational film for the past several years” 11. The report also mentioned the Film Studies Department of VGIK, whose graduates were professional film critics, worked as editors on film studios or in publishing houses and were engaged in research work—according to training experts in most professions related to film, VGIK provided a unique experience in education.

Such a thought over the approach to the issues of professional education could not help provoking the interest of foreign directors. In those years many prominent figures of modern cinema visited VGIK: William Wyler, Stanley Kramer, Frank Capra, D.G. Lawson, Claude Autant-Lara, Vojtěch Jasný, Andrzej Wajda, Jerzy Kawalerowicz, Branko Bauer, Zoltán Fábri, Annelie and Andrew Thorndike, Jon Popescu-Gopo, Todor Dinov, and others.

The XIII congress of CILECT (Paris, 1966) raised another pressing issue: the search for a pedagogic structure for higher education in film and television. VGIK also presented its view of the problem. R. Ilyin, head of the Department of Television at VGIK formulated, in his report Cinema and television: mutual influence and the problem of expressive means, the question that the film school was facing at that time. In connection with the rapid development of television and the growing demand for highly qualified specialists, the institute organized the department of television “to coordinate actions and work out methods of preparing television creative workers” 12. It was specially underlined that future TV professionals should have a wide array of special skills and duties to be fulfilled both in film and television: “Teaching film and television methods of creative work seems to us advisable also due to the fact that in our colossal country, inhabited by people of different nationalities, funding for TV films and programs fixed by methods of television is especially important” 13. Such an approach to the education of future professionals proved to be the most effective and productive; based on the synthesis of educational models, where production segments of film and TV were functioning in line with the common screen industry, VGIK managed to predict the development of audiovisual production in the future and, ahead of time, to build a system for training professional of the new generation.

 In the 1970s, further issues were raised in the developing film and television industry. In 1972 the House of Cinema in Moscow hosted the XVI Congress of CILECT, which saw the participation of 60 delegates from film and television schools of more than 20 countries. The main theme of the event was the system of creative education of young filmmakers and the pedagogical principles of building student filming. At the opening, the rector of VGIK, Vitaly Zhdan, spoke of young specialists who were only getting early professional experience. Despite the school’s character, noted the speaker, many student works were already worthy of attention and could be regarded as high artistic works (for example, the films by Artavazd Peleshyan, Otar Ioseliani, and others). The rector of VGIK connected the students’ creative successes with the film school itself, which traditionally favored the unity of theory and practice, studying a wide complex of general humanitarian disciplines; the organizational structure of VGIK also played a positive role.

In the early 1970s the Institute included faculties of: production (combining the Film Directing and Acting departments), camerawork, art (Film Artists), screenwriting and film studies (combining the departments of Screenwriting and Film studies) and economy (five in total). Special attention was paid to saving the traditions laid by the outstanding masters of Russian and Soviet cinema, namely Lev Kuleshov, Vsevolod Pudovkin, and Sergei Eizenshtein, who, teaching future film professionals, attached great importance to the prosaic works of the great classics of Russian literature. Many people are aware of the judgments of Sergei Eizenshtein, Mikhail Romm, and Sergei Gerasimov on the considerable extent to which prose influences the creative sight of future film directors, cameramen, actors, and film artists. The graduates of VGIK were to demonstrate in their diploma works their mastery in creating expressive screen images. Vitaly Zhdan stressed the following:


We require that our student should not only clearly imagine the work as a whole but also define role and place of each character or episode in the united image system of the film. I mean the feeling of ensemble as the way to a compositional harmony of the film, (its ideo-artistic integrity). As early as in the coursework students have to define their creative persons, their individual originality, and genre predilections 14.

The rapid development of television remained in the center of the attention of CILECT in the 1970s–1980s. The West was surviving technological upsurge, mass production of new TV receivers, appearance of the first home video recorders, and video cameras. The professional environment was also improving with technological: the TV industry obtained new equipment, expendable materials that required special professional skills. It was in those same years that television began to strengthen as a global means of communication: it was the dawn of the satellite broadcasting. The congresses of CILECT responded to the challenges of the time: questions of synthesis of film and television echo in discussions, and their influence on the modern culture grows. For instance, the XVII Congress of CILECT in Tokyo determined the use of technical means in creating feature television films as the main subject.

The development of the media industry was accompanied by certain negative phenomena, and specialists of mass media could not help reacting. In 1978 the CILECT congress was held in Washington, D.C., and its leading theme was the influence of the world cinema heritage on the education and upbringing of film and television directors and specialists in the media of mass communication. The delegates of the congress expressed concern about the sharp fall in the level of education of students in the humanitarian sphere, which affected forming the young generation’s axiological values. The delegates characterized such attitude of future professionals toward culture and historical memory as “ignorance, indifference, disappointment, antagonism, and cynicism, that is, such student moods counteracting education that for teachers are very difficult to overcome” 15. The rector of VGIK Vitaly Zhdan also presented a report 16 advising the audience to turn to the classical heritage that ought to lie in foundation of the modern screen arts and become a meaningful subject for the youth: “There is nothing absolutely new in art, nothing arises from nothing. The best of everything created in the past and stood the test of time, keeps its charm now as well” 17. At the same time the speaker noted that the film school’s main aim was to assist the free development of a creative personality: “There are no firm and inviolable borders between innovation and tradition in art. The boundaries between them are very blurry… A school must move forward all the time, seek, and try” 18.

In 1982 the congress of CILECT in Sydney, Australia, pinned the question of education of specialists in the area of film and television in developing countries as part of its main agenda. For many years, VGIK provided assistance in preparing highly qualified professionals for the progress of the film industry of developing countries. The experience proved extremely useful for the world professional communion of film schools. By that time, VGIK’s special course Foundations of Television was being delivered to all faculties. It was aimed at studying questions of organization and creative and aesthetic principles of modern television. Further, special courses were taught within its profile: Genres of Television Documentary, Writing a Report, Film Journalism. The USSR State Committee on Television and Radio Broadcasting assisted in launching the special programs Directing a Television Feature Film and Directing a Television Documentary. It would have been impossible to introduce such complicated courses in the system of education without highly technological equipment, and VGIK managed to solve this issue in full. An important role was also attributed to the practice that the students, future workers of the TV industry, had the opportunity to undertake at the Central Television for two to three months.

The congress of CILECT held in Stockholm, Sweden, in1984 referred to one more urgent problem that film schools were facing in search of new educational strategies—teaching against practice: conflict, compromise, or cooperation? In those years VGIK had joined in the discussion with the report Talent, world outlook, individuality: modern film school and training film directors 19. It was noted there that the twentieth century had become the age of synthesis in the areas of not only sciences and technologies, but also arts, “so modern life cannot be manifested within the past artistic boundaries of cinema. The modern film school should take it into consideration in the educational process” 20.

Besides, wide humanitarian education, knowledge of world literature, and philosophy are very important for a modern, young, creative specialist in the film and television field, and VGIK continues placing great emphasis on the study of general humanitarian disciplines. A weekly seminar of modern film makes young specialists acquainted with the latest products; students hold discussions on the artistic structure of the films and their interdisciplinary connections. The old schooling traditions allowed the Institute’s timely response to the challenges of the epoch, corresponding to the newest trends in education.

The 1990s were marked by the impetuous development of digital computer technologies, which changed the aesthetic outlook of a whole lot of cinema genres and television formats. These changes required that film schools all over the world considerably reconstruct the system of education, particularly by introducing new disciplines based on digital technologies. In a challenging period for Russian culture and education, VGIK began to build new strategies in various directions—including collaboration with new state institutions in the area of culture and enlightenment, never overlooking the development of new international connections, and keeping those established in the past. For instance, the 1992 congress of CILECT in München considered the training of producers. The participants discussed how to draw higher education closer to film production and how to sensitize the industry to the problems of film education. The congress of CILECT in Oaxaca, Mexico in 1995 discussed the issues of expedience, level, and methods of introducing digital technologies in film education with the participation of leading British computer companies and experts and developers from Hollywood.

This turned out to be an extremely difficult period for VGIK. However, it was precisely then that the Institute launched workshops with artists and directors of computer graphics and animation, as well as a specialized department dealing with the issues abovementioned. Having considered the special attention paid by CILECT in the 1990s to the realization of educational and practical projects, VGIK participated in the international program Producer, while the Institute’s representatives delivered reports at conferences in the Czech Republic, France, and the USA. At the same time, VGIK experts joined in the project VISION, which was developed 1994–1995 as a European workshop of documentary film, with 22 students from 13 European countries participating. No less interesting was the practicum of introducing new educational technologies, within which, a new educational scheme was introduced at the initiative of CILECT; it was aimed at preparing specialists—producers, scriptwriter, and directors—through seminars for pedagogues and students.

By participating in the events of CILECT, VGIK was able to showcase its students’ works at prestigious international festivals of film schools in München, Potsdam, Tel Aviv, Sopot, Varna, San Francisco, Karlovy Vary, and Mexico. Every year at least one work by VGIK students was nominated for an Oscar in the category Best Foreign Film CILECT. In 1992–1996 22 films from VGIK were awarded 30 prestigious international prizes. Events in Russia were not any less active. Therefore, despite the difficulties of the transition period in 1993, VGIK took part in the international festival AniGraph with invitations to delegations from 11 film schools CILECT and, in 1992, in the international conference “Fate of Culture: Fate of Humanity” along five leading academic pedagogues from a number of European universities.

Millennium: at the turn of centuries

The participation of VGIK in the largest international exhibition of student films under the patronage of the Beijing Film Academy, China, in 2001—where more than 60 films by 120 students from 15 countries were presented—largely resonated within the industry. In the same year, the collective of faculty members of VGIK won in the category Best School Programme at the European Festival of Film Schools.

2002 again brought positive results. The new CILECT congress held in Melbourne, Australia, was dedicated to the burning topic of technologies and educational programs. VGIK’s educational program, in which academic traditions of film education combined with special educational modules and connected with digital technologies, was acknowledged as successful and prospective. In 2004 the world professional community congratulated VGIK on its the 85th anniversary. In its salutatory word, CILECT emphasized that VGIK was the first film school to create the educational model that would become the model: “The idea to combine theory and practice, professional skills and humanitarian education, expressed here, in Moscow, 85 years ago, lay in foundation of the world model of film education and was highly evaluated by CILECT members” 21.

In the same year, the conference “Main Secrets Of Film Schools” was held in Bratislava under the aegis of CILECT by one of the divisions of the association, namely GEEST 22. Delivering the report Tradition and innovation in film education 23, the rector of VGIK Alexander Novikov noted that for many years the Institute of Cinematography had preserved its adherence to the tradition in creating workshops that unite students of different film professions under the guidance of a master, usually an outstanding expert in his area. The speaker underlined that one of the important advantages of such approach is the possibility to avoid unnecessary academism, as the work of such course depends mainly on the guiding role of the master who possesses bright individuality and considerable professional experience. At the same time free student cooperation allows them to find interesting common solutions to questionable creative problems. The speaker also noted that professional practice of future specialists is the most important educational aspect. The Educational Film Studio with an attending personnel comprising more than 100 workers, was created with that aim, making the full production cycle possible. At the same time, students were given possibility to practice at professional film studios. The rector of VGIK specially singled out, among other innovative directions, computer graphics, directing animation films, sound production, TV directing, and producing 24.

In 2011 in Praha, at CILECT’s congress on studying perspectives of cinema and media education, VGIK announced its innovative educational projects. The first was the International Summer School of VGIK, which is a system of intensive masterclasses with the participation of students from different countries divided into several creative groups. The basis of the project is the principle of participants’ competitiveness, where winners are awarded prizes. VGIK undertakes production expenses, accommodation, and trips of the school participants within the borders of the Russian Federation. The experience of such summer schools (11 have been held so far) has proved their effectiveness, along with the interest of future Russian and foreign specialists to the educational technologies of VGIK.

Besides the yearly International Summer School, VGIK realizes a number of innovatory projects connected with improving the modern film education in Russia and across the world. The creative life of VGIK is satiated with a lot of events that see the participation of students and teachers of the Institute: regular masterclasses held by eminent workers of Russian and foreign cinema, international scientific and practical conferences, and seminars. The yearly International Student Film Festival of VGIK has been notably contributing to strengthening the connections between film schools across the world; thus, it has obtained high acknowledgment in the cinematography community.

Undoubtedly, the most important proof of acknowledgment or VGIK’s educational methods was the congress of CILECT held in Moscow in 2019, during the celebration of the 100th anniversary of VGIK. Representatives of 106 film schools from 39 countries, 174 foreign participants in total, arrived in Moscow to take part in the congress. The leading theme of the congress was declared to be the analysis of the problems of teaching dramaturgy and media in film schools in the epoch of advancing digital technologies and the active differentiation of media platforms. After the introductions of leading VGIK pedagogues Vladimir Khotinenko and Yuri Arbatov, a broad discussion unfolded, yet again proving that, even in this difficult period in which the “technological” component has seemingly begun to prevail over the “creative” one in screen arts, the educational methods of VGIK are directed, as it used to be, to the best creative traditions, answering the strictest requirements of international film education. The delegates of CILECT joined in the belief that the artist’s creative individuality, imaginative thinking, and ethical position, appealing to the spectator’s moral principles and cognitive abilities, remain in demand.

The creation of CILECT gave a strong, positive impulse for the appearance of new educational institutions in the sphere of film, forming new generations of screen arts virtuosos. Since the days of its foundation, CILECT has invariably supported new film schools, assuming its role of leading coordinating center of international film education, which allows it to maintain its value and prestige. Communications and information technologies have brought new perspectives for CILECT that are unique in many aspects; modern communicative technologies make it possible to strengthen and activate the connections of film schools as members of CILECT, to efficiently exchange experience, work out new educational concepts, methods, teaching programs, and recommend the brightest and most interesting student works for festivals and nominations. Thanks to new technologies and global communications, under the aegis of CILECT it is possible to organize international authors’ and creative groups, internet-conferences and webinars embracing wide international audiences, and make the unique experience of the best masters and young talents part of the public domain. Undoubtedly, it can be argued that the All-Russia State Institute of Cinematography named after Sergei Gerasimov has and will continue to contribute considerably to the activity of CILECT.






2 International Association of Film and Television Schools. Statutes. Moscow: VGIK, 1982. P. 1.

3 Organisation et Programme d'activites du Centre International de Liaison des Ecoles de Cinema et de Television. CANNES, 1955. P. 1-2.

4 Golovnya A. Role of montage as means of artistic expression of the film plan and experience of teaching montage in VGIK // VGIK: Cabinet of foreign cinema. P. 10.

5 Ibid, 11.

6 Cabinet of foreign cinema // Theses. News on method of training cameramen at the Camerawork Department of VGIK. P. 6.

7 Ibid, 6.

8 Ibid, 8.

9 Cabinet of foreign cinema // ХI Congress of cinema and television schools, Budapest. P. 1.

10 Cabinet of foreign cinema // Report. New tendencies in modern cinema and problems of bringing up young cinematographers. P. 3.

11 Ibid, 9.

12 Cabinet of foreign cinema // Ilyin R. Cinema and television. Mutual influence and the problem of expressive means. P.3.

13 Ibid, 10.

14 Zhdan V.N. Sistema tvorcheskogo vospitaniya molodykh kinematografistov i pedagogicheskiye printsipy postroyeniya studencheskikh syemochnykh rabot [The system of creative education of young filmmakers and pedagogical principles for building student filming] // Kabinet zarubezhnogo kino VGIK. 13 L. L.12.

15 Cabinet of foreign cinema // CILECT 1979. Correspondence. L.1.

16 Zhdan V. World Cinematographic Heritage: Impact on Education and Training of Film and TV Directors // World Cinematographic Heritage: Impact on Education and Training of Film and TV Directors. Papers of CILECT. Washington, DC. 11-18 September 1978. Рр. 20-23.

17 Cabinet of foreign cinema // CILECT 1979. Correspondence. L.2.

18 Ibid.

19 Zhdan V. “Talent”, “Outlook”, “Individuality” (The Contemporary Film School and the Training of Directors) // CILECT review. Teaching Versus Practice. Vol. 1. №2, June 1985 Pр. 61-67.

20 Ibid. P. 66.

21 CILECT News. November 2004. № 41. Р. 3.

22 The Groupement Européen des Ecoles de Cinéma et de Télévision (GEECT) / European Grouping of Film and Television Schools is grouping of European schools-members CILECT, and also film schools of Israel and Lebanon.

23 Novikov V. Tradition and innovation in film education // Cilect News. May 2005. No 42. Рр. 12-15.

24 Сomputer graphics, animation directing, sound design, TV directing, and producing.


About the authors

Vladimir Malyshev

S.A.Gerasimov Russian State Institute of Cinematography (VGIK)

Author for correspondence.
SPIN-code: 3204-3778

Doctor of Arts, Professor, PhD in Economics, Full Member of the Russian Academy of Education, President of the Association of Educational Institutions in Arts and Culture, Acting Rector of the Sergei Gerasimov All-Russian State Institute of Cinematography

Russian Federation, 3, Wilhelm Pik street, 129226 Moscow


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  9. Novikov V. (2005). Tradition and innovation in film education. Cilect News. May 2005. No. 42, pp. 12–15.
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  11. Zhdan V. (1978). World Cinematographic Heritage: Impact on Education and Training of Film and TV Directors. World Cinematographic Heritage: Impact on Education and Training of Film and TV Directors. Papers of CILECT. Washington, DC. 11–18 September 1978, pp. 20–23.
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  13. Zhdan V. (1984). “Talent”, “Outlook”, “Individuality” (The Contamporary Film School and the Training of Directors). CILECT review. Teaching Versus Practice. Vol. 1. No. 2, June 1985, pp. 61–67.

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