Furthermore, it is likely that the diﬀerent creator communities that are formed during educational years will later organise creative networks both physically and virtually to get their films produced. is could result in the emergence of professional creative collectives that are ready for lifelong learning as they are already used to constantly changing technical devices – hardware, software – from their school years. Having considered the size of each project they could change the number of co-operators to suit. They could take account of economic or cultural diﬀerences more easily and keep their expenses much lower than a classic studio.
In order for all of this to really happen, the educational institutes, universities, film schools, and visual academies need to find an appropriate new teaching model instead of the old, 20th century one. An example of a model like this could be the above-mentioned project-based education. The other essential element is that students need to be fully aware of the environment that awaits them after school. By this I mean not only knowing the given regional specifics and traditions but also being able to perceive the convergence of technology, business and art – and even the social significance of these factors. Because if they are not handled together, the opportunities mentioned above will be missed out on.
World of Shorts (WOSH), the magazine published by Daazo.