Screen Dai­ly berich­tet über Seri­al Eyes und die DFFB

In einem Arti­kel auf der renom­mier­ten Bran­chen­sei­te SCREEN DAILY (einem Able­ger des bri­ti­schen SCREEN INTERNATIONAL) wer­den zwei Alum­ni unse­res Seri­en­pro­gramms SERIAL EYES als zwei von fünf auf­stre­ben­den Autoren­ta­len­ten aus Süd­ost­eu­ro­pa vor­ge­stellt: Judit Ban­ha­zi aus Ungarn und Ivan Kneže­vić aus Ser­bi­en.

Ben­ja­min Har­ris, Lei­ter von SERIAL EYES, erläu­tert im Gespräch die Beson­der­hei­ten ost­eu­ro­päi­scher Autor*innen:

Germany’s lea­ding film and TV school, Ber­lin DFFB, offers Seri­al Eyes, a post­gra­dua­te trai­ning pro­gram­me for tele­vi­si­on wri­ters and pro­du­cers that is wide­ly regard­ed as the most useful such plat­form in Euro­pe.

“We’ve been very lucky to have had gre­at young talents from the [Sou­the­ast Euro­pe] regi­on in almost every trai­ning cycle,” says Ben­ja­min Har­ris, head of pro­gram­me for Seri­al Eyes. “The­re are dif­fe­rent sen­si­bi­li­ties from the­se wri­ters than what we are used to from Wes­tern Euro­pean wri­ters. For exam­p­le, even though many of our wri­ters are too young to have expe­ri­en­ced Com­mu­nism per se, they were often the­re for the uphe­avals and immense chan­ge that were the 1990s, or are now expe­ri­en­cing the after­math of tho­se tran­si­tio­nal years.”

“In the wri­ting the­re is often an open­ness for chan­ge and tran­si­ti­on, but with a cer­tain playful­ness,” he con­ti­nues. “The wri­ters are more wil­ling to explo­re new things, new ide­as, and even old issues with a new set of eyes. The sto­ries show an awa­re­ness of the serious­ness of the social rea­li­ties of their own cul­tures – crime, poli­ti­cal cor­rup­ti­on, social ine­qua­li­ty – but the­se the­mes are often dealt with in unex­pec­ted ways. The­re is less inhi­bi­ti­on to mix gen­res and tones and stark, gris­ly dra­ma exists side by side with almost absur­dist come­dy.”

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