Keynote speakers

Peter Krämer

Auteurism, Adaptations and Beyond: Reflections on 40 Years of Studying Production Histories and Story Development

Peter Krämer is a Senior Research Fellow in Cinema & TV in the Leicester Media School at De Montfort University (Leicester, UK). He also is a Senior Fellow in the School of Art, Media and American Studies at the University of East Anglia (Norwich, UK) and a regular guest lecturer at several other universities in the UK, Germany and the Czech Republic.

He is the author or editor of twelve academic books and has published over ninety essays in academic journals and edited collections. Drawing on extensive archival research, much of his work – including short monographs on The General, Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb, 2001: A Space Odyssey, A Clockwork Orange and American Graffiti – deals, among other things, with production histories, in particular story development. 

Donat F. Keusch & Gabriele C. Sindler

PROCLAMATION ON BREAKING THE RULES! 
Insights into the skills and the practical art of story & script development.

Tribute to František Daniel – The “unknown” whiz of script analysis and writing.

Donat F. Keusch and Gabriele C. Sindler are CEO & COO of DFK FILMS | dfk script*service. The company has an expertise of more than 3,000 script evaluations. Based on the specific needs of film production, national and worldwide distribution, and financing, DFK FILMS offers the evaluation, in depth analysis, and improvement of screenplays. The basic tool is the newly developed and approved technique: the Story-Step-Outline (SSO) | *40-Steps-Method. The method is the fundamental step towards a psychoanalytical approach to the author’s intentions. 

Kamila Zlatušková

Education as a way to dialogue between new creators and major broadcasters

The path to quality TV content in the Central and Eastern European region depends on working with talent of all kinds. And education could become a natural bridge in developing a creative dialogue between new authors and major broadcasters. For new talent, future writers, producers, dramaturgs or showrunners, the development of skills and abilities to invent but also communicate quality content is key. They should learn to understand the market and target groups, but the ability to communicate their ideas and topics effectively is also essential.

Thanks to high-quality and practical educational programs, these creators are naturally inclined to innovation and experiments necessary in the search for new and original content. They are capable of critical thinking, self-reflection, but also the much-needed psychological hygiene standards.

 How can such talents open the door to decision-makers? The Television Institute and the CME Content Academy educational program can serve as a case study of the kind of dialogue that can ultimately benefit all involved.

And in the final, above all, the audience.