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ON-THE-JOB LEARNING LEADING TO AN
ADVANCED DIPLOMA IN SCREEN & MEDIA
There is no other film school in Australia like it, perhaps no other film school like it anywhere in the world. SIFA (short for Sydney Institute Film Academy) offers an inspiring year-long, full-time production studio experience where student filmmakers learns on-the-job, not in a classroom. "You learn film-making by making films, all the time," is one of SIFA's guiding principles.
Whether you're writing scripts, in pre-production, shooting a feature, cutting a documentary, or marketing the 'sleeper' hit feature of the year, it's all about giving you continuous hands-on experience, working with some of the most extraordinary mentors/programme makers you'll ever encounter.
At SIFA the learning is REAL and always relevant to the tasks at hand - and it's happening all the time. At SIFA everyone's a filmmaker/learner, working on dramatic stories for film, TV and digital media. At SIFA, the creative challenges are matched by a supportive and constructive team of experienced mentors, encouraging you to develop and refine your screen storytelling skills whilst working as part of an energetic production team making and marketing a slate that can include anything from long-form dramas, feature documentaries & television drama & comedy series to trailers & music video clips with tie-ins to the features on the production slate.
Why not join the Revolution?
WANNA TEST DRIVE YOUR STORY FOR FREE? WHY NOT TRY...
10 sessions over 10 weeks, AT NO COST !
Commences first week of September, 2016 - First come, first served.
An 8-minute MASTER CLASS in the grammar of dramatic storytelling
Courtesy of Chuck Jones
"If you have a leap of faith that is underpowered where you're questioning it as you leap, you don't get to the other side. You can't leap without complete and absolute willingness to die for your want."
~ Bruce Joel Rubin
In our story, we are invariably the leading character, the hero or anti-hero or heroine in the life-and-death narrative we play out emotionally and intellectually through our behaviours and languages. If there are problems, they aren't necessarily because we have erected ourselves as the central character in our story, as it is because we are unwilling to embrace the possibility that, at its source, our story is an inspired collaboration that has no meaning apart from our relationships.
To work as a medium, channeling characters and stories, is to immerse oneself in a "show" that appears as if it is being performed by some thing other than yourself. To assent to this metaphor of showing is to acknowledge that there's no better way of entering a story other than surrendering to it, and allowing it to enter you - a condition and quality of creative openness. When this happens, the usual demarcations that separate the dreamer from the dream are erased. In jettisoning the ego-centric "SELF that creates" - the grand puppeteer - we surrender our need to manipulate and judge, and allow ourselves to be audience and witnesses to the story told or enacted by the characters that are becoming present in us and through us.
The most relevant and enduring questions in the evolution and evaluation of screen-stories-that-matter are WHERE'S THE DRAMA? and WHY DO I CARE? Simple questions you say, and yet the creation of fresh, surprising and compelling screen narratives is uncommon. Why is this? And what can be done about it?
Industry and non-industry film and program makers, film audiences, students, reviewers and critics are invited to join Billy Marshall Stoneking and Stoneking Seminars in this unique, online investigation into the nature and character of dramatic, screen storytelling.
Discover and explore the world of the character-driven story, as channeled by the storyteller working as a medium. Share your opinions and ideas, your insights and 'imaginary solutions'. Spread the word!
Enter the Drama by selecting a topic from the MENU at the top of this page - or by using the search function provided BELOW to find exactly what you're looking for.
+ The Editor
CLICK ON MYSTERY LINK WHEREVER YOU SEE IT
Search "WHERE'S THE DRAMA?" & Stoneking's other site, "I HAVE NOTHING TO SAY & I'M SAYING IT"
THE MEANS IS FILM
THE MEDIUM IS
Change is almost always frightening because its outcomes are usually unpredictable, and because characters frequently equate change with loss. Dramatic characters navigate this human predilection of fearing change by actively and persuasively pursuing needs and goals with which an audience can readily identify. By virtue of emotional identification, an audience becomes a participant in the evolving story of change.
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