There will be a lecture and discussion about acting and specifically acting in films. How should we approach the creation of characters in the film!? Acting in film and theater, specifics. Knowledge of feature film and short film… In 2005, Ekrem Xhani graduated from the Faculty of Arts at the University of Pristina, field: Film and TV Directing. After completing his bachelor’s studies, he worked in Film and Theater in Kosovo and Macedonia (at the National Theater of Tetovo – Republic of Macedonia, where he was awarded for best director). In 2007, he finished his Master’s studies in Film Directing. He participated in many international film festivals, as: World Premiere Award (winner), West Nordic International Film Festival (Alesound-Norway), Short Film Festival (Lagos-Nigeria), Milan Film Festival (Milan-Italy), NYIFF (New York-USA), Los Angelos Cine Fest (USA), Skopje-Macedonia, Tetovo-Macedonia, TIFF – selector of films in the Oscar Qualifying competition and European Academy Awards (Tirana-Albania), 9/11 (Pristina-Kosovo). He has been engaged as a jury member in many national and international festivals and also as a leader of film workshops. After the successes with the films “Shkurta” & “University” he is currently in the pre-production phase for the feature film “Character” – (winner, KKK – Cinematography Center of Kosovo, Fund of Film in North Macedonia).

This masterclass will deal with the role played by music within audiovisual film dramaturgy. The first part will provide the theoretical tools for understanding how music interacts with other cinematic devices to produce an interconnected audiovisual system. The various functions performed by music within a movie will be discussed: depending on the situation, music can act both as one of the formal devices of cinematographic language, and as an element that actively influences audiovisual dramaturgy. In the second part, some significant case studies will be analysed, chosen from the works screened in the 2022 edition of the Festival. Giada Viviani is associate professor of Musicology at University of Genoa, Italy. She received her Ph.D in musicology from the Fribourg University in Switzerland and a second Ph.D in art history from Ca’ Foscari University, Venice. From 2012 to 2018 Viviani has been employed as a research fellow by the Cini Foundation (Venice), the University of Pavia and Roma Tre University. She has also been an adjunct lecturer at the Berlin University of Arts. The focus of Viviani’s research is in 17th-18th Century Italian Opera, music philology, film music and 20th Century classical Italian music. Her research has been supported by scholarships from the Swiss National Science Foundation, the Paul Sacher Foundation and the Richard Wagner Scholarship Foundation. She also received the Exellence Scholarship from the Swiss Government and the “Edith and Richard French Fellowship” from the Beinecke Library (Yale University). In 2015 she was awarded the “Premio alla Ricerca” from Ca’ Foscari University. As the scientific coordinator, Viviani supervises the research team «La drammaturgia musicale a Venezia (1678-1792)» (Levi Foundation, Venice). She is also co-investigator on Prin 2020 (National Relevance Research Project) «New Music Writing Processes for Cinema». Since 2021 she has been an editorial board member of “Studi vivaldiani” (Antonio Vivaldi Institute, Venice). Viviani’s academic writings have been published in six different languages to date. Her leading publications are a new translation of Arnold Schoenberg’s Theory of Harmony (Il Saggiatore 2014) and a book about the compositional process in Nino Rota’s La Dolce vita (Brepols 2018). She is currently working on the critical edition of Antonio Vivaldi’s Atenaide (Ricordi).