{"id":9903,"date":"2026-08-13T22:24:47","date_gmt":"2026-08-14T01:24:47","guid":{"rendered":"https:\/\/ecu.edu.uy\/sitioweb\/?p=9903"},"modified":"2026-08-14T22:04:06","modified_gmt":"2026-08-15T01:04:06","slug":"actividades-paralelas-parallel-activities","status":"publish","type":"post","link":"https:\/\/ecu.edu.uy\/sitioweb\/actividades-paralelas-parallel-activities\/","title":{"rendered":"ACTIVIDADES PARALELAS \/ PARALLEL ACTIVITIES"},"content":{"rendered":"

La Escuela de Cine del Uruguay (ECU) <\/strong>y Cinemateca Uruguaya<\/strong> tienen mucho gusto en invitar a las actividades paralelas en el marco del 26 Festival Internacional de Escuelas de Cine (FIEC)<\/strong>, que tendr\u00e1 lugar del 18 al 21 de agosto de 2026 en Cinemateca y Sala Zitarrosa.<\/p>\n

Esta edici\u00f3n del festival contar\u00e1 con dos clases magistrales, a cargo de los cineastas Clarisa Navas (Argentina)<\/strong> y Marcus Vetter (Alemania)<\/strong> y una mesa redonda sobre inteligencia artificial y su impacto en la industria audiovisual, con participaci\u00f3n de Javier Mazza<\/strong> (Director del Departamento de Humanidades y Comunicaci\u00f3n de la Universidad Cat\u00f3lica del Uruguay), Diego Fern\u00e1ndez Pujol<\/strong> (director, guionista, productor y docente en la Universidad ORT) y Daff Schneydher<\/strong> (postproductor, colorista y docente, co-fundador de ColoUr).<\/p>\n

Todas las Actividades Paralelas del Festival se realizan en Cinemateca Uruguaya (Bartolom\u00e9 Mitre 1236) con entrada libre y gratuita hasta completar la capacidad de la sala.<\/p>\n

The Uruguayan Film School (ECU) and Cinemateca Uruguaya are pleased to invite you to the parallel events taking place as part of the 26 International Film Schools Festival (FIEC), held from August 18 to 21, 2026, at Cinemateca and Sala Zitarrosa.<\/em><\/p>\n

This edition of the festival will feature two masterclasses led by filmmakers Clarisa Navas (Argentina) and Marcus Vetter (Germany), as well as a roundtable discussion on artificial intelligence and its impact on the audiovisual industry. Participants will include Javier Mazza (Director of the Department of Humanities and Communication at the Catholic University of Uruguay), Diego Fern\u00e1ndez Pujol (director, screenwriter, producer, and lecturer at ORT University), and Daff Schneydher (post-production specialist, colorist, lecturer, and co-founder of ColoUr).<\/em><\/p>\n

All of the Festival’s parallel activities take place at Cinemateca Uruguaya (Bartolom\u00e9 Mitre 1236), with free admission on a first-come, first-served basis until the venue reaches capacity.<\/em><\/p>\n

\n

Martes \/ Tuesday 18\/8 – 17 hs.<\/strong><\/p>\n

Master Class: Marcus Vetter (Alemania) – Encontrar la historia <\/strong><\/p>\n

Masterclass: Marcus Vetter (Germany) \u2013 Finding the Story<\/strong><\/em><\/p>\n

\"\"<\/p>\n

En esta masterclass, el director alem\u00e1n Marcus Vetter comparte su experiencia sobre el paso m\u00e1s decisivo en la creaci\u00f3n de un documental: encontrar un tema que realmente merezca una pel\u00edcula. A trav\u00e9s de ejemplos de sus documentales premiados, analizar\u00e1 c\u00f3mo identificar historias que reflejen el esp\u00edritu de nuestro tiempo, despierten inter\u00e9s universal y cuenten con protagonistas capaces de sostener una narraci\u00f3n cinematogr\u00e1fica.<\/p>\n

La sesi\u00f3n abordar\u00e1 preguntas esenciales: \u00bfQu\u00e9 convierte un tema en una buena pel\u00edcula? \u00bfC\u00f3mo reconocer un conflicto fuerte? \u00bfQu\u00e9 hace que un personaje sea inolvidable? \u00bfY c\u00f3mo saber si una historia tiene el potencial de emocionar a un p\u00fablico internacional?<\/p>\n

La clase est\u00e1 dirigida a estudiantes de cine, documentalistas y creadores que buscan desarrollar proyectos con una mirada personal y una relevancia contempor\u00e1nea. A partir de casos pr\u00e1cticos y del intercambio con los participantes, se ofrecer\u00e1n herramientas para evaluar el potencial cinematogr\u00e1fico de una idea antes de iniciar el largo proceso de producci\u00f3n.<\/p>\n

Marcus Vetter<\/strong> es uno de los documentalistas m\u00e1s reconocidos de Alemania. A lo largo de m\u00e1s de dos d\u00e9cadas ha dirigido y producido pel\u00edculas premiadas internacionalmente, centradas en temas de derechos humanos, justicia, conflictos, econom\u00eda y reconciliaci\u00f3n. Ha recibido el Premio Alem\u00e1n de Cine (Lola) por Das Herz von Jenin, varios Premios Grimme y el Premio Alem\u00e1n de Televisi\u00f3n por Der Tunnel. Sus documentales han sido seleccionados y galardonados en algunos de los festivales m\u00e1s prestigiosos del mundo, entre ellos IDFA, Hot Docs, Locarno, Toronto, DOK Leipzig y Movies That Matter. Entre sus obras m\u00e1s destacadas figuran Das Forum (2019), primer largometraje con acceso exclusivo al Foro Econ\u00f3mico Mundial de Davos; War and Justice (2022), sobre la justicia penal internacional; Das Versprechen (2016); The Forecaster (2015); Cinema Jenin (2012); y Das Herz von Jenin (2008). Actualmente desarrolla un largometraje documental sobre los avances cient\u00edficos en la investigaci\u00f3n del Alzheimer y la b\u00fasqueda de una posible cura.<\/p>\n

In this masterclass, German director Marcus Vetter shares his experience regarding the most decisive step in creating a documentary: finding a subject that truly merits a film. Drawing on examples from his award-winning documentaries, he will analyze how to identify stories that reflect the spirit of the times, spark universal interest, and feature protagonists capable of sustaining a cinematic narrative.<\/em><\/p>\n

The session will address essential questions: What makes a subject matter suitable for a good film? How do you recognize a strong conflict? What makes a character unforgettable? And how can you tell if a story has the potential to move an international audience?<\/em><\/p>\n

The class is aimed at film students, documentary filmmakers, and creators looking to develop projects with a personal vision and contemporary relevance. Through case studies and participant interaction, the session will provide tools to evaluate an idea’s cinematic potential before embarking on the long production process.<\/em><\/p>\n

Marcus Vetter<\/strong> is one of Germany’s most renowned documentary filmmakers. Over the course of more than two decades, he has directed and produced internationally award-winning films focusing on human rights, justice, conflict, economics, and reconciliation. He has received the German Film Award (Lola) for Das Herz von Jenin, multiple Grimme Awards, and the German Television Award for Der Tunnel. His documentaries have been selected for and honored at some of the world’s most prestigious festivals, including IDFA, Hot Docs, Locarno, Toronto, DOK Leipzig, and Movies That Matter. His notable works include Das Forum (2019), the first feature-length film with exclusive access to the World Economic Forum in Davos; War and Justice (2022), about international criminal justice; Das Versprechen (2016); The Forecaster (2015); Cinema Jenin (2012); and Das Herz von Jenin (2008). He is currently developing a feature-length documentary about scientific advances in Alzheimer’s research and the search for a potential cure.<\/em><\/p>\n

\n

Mi\u00e9rcoles \/ Wednesday 19\/8 \u2013 17 hs.<\/strong><\/p>\n

Master Class: Clarisa Navas (Argentina)<\/strong><\/p>\n

\"\"<\/p>\n

En esta charla abierta al p\u00fablico, la directora de El Pr\u00edncipe de Nanawa compartir\u00e1 sus procesos creativos y su abordaje del cine, en conversaci\u00f3n con la realizadora, periodista y docente Soledad Castro Lazaroff.<\/p>\n

Clarisa Navas<\/strong> naci\u00f3 en Corrientes, Argentina, en 1989. Es directora y guionista, Licenciada en Artes Audiovisuales por la Universidad Nacional de las Artes (UNA). Dirigi\u00f3 El Pr\u00edncipe de Nanawa (Grand Prix, Visions du R\u00e9el 2025), Las Mil y una (Berlinale 2020) y Hoy partido a las 3 (BAFICI 2017); todas sus pel\u00edculas han sido exhibidas y premiadas internacionalmente. Es instructora en la Escuela Nacional de Experimentaci\u00f3n y Realizaci\u00f3n Cinematogr\u00e1fica (ENERC) y asesora en diversos espacios de formaci\u00f3n y laboratorios de proyectos. Forma parte del colectivo Yagua Pir\u00fa, dedicado a crear desde el Nordeste argentino.<\/p>\n

In this talk open to the public, the director of El Pr\u00edncipe de Nanawa (The prince of Nanawa) will share her creative processes and her approach to filmmaking, in conversation with filmmaker, journalist, and educator Soledad Castro Lazaroff.<\/em><\/p>\n

Clarisa Navas<\/strong> was born in Corrientes, Argentina, in 1989. She is a director and screenwriter who holds a degree in Audiovisual Arts from the National University of the Arts (UNA). She directed El Pr\u00edncipe de Nanawa (Grand Prix, Visions du R\u00e9el 2025), Las Mil y una (Berlinale 2020), and Hoy partido a las 3 (BAFICI 2017); all her films have been screened and awarded internationally. She is an instructor at the National School of Film Experimentation and Production (ENERC) and an advisor for various training programs and project labs. She is a member of the Yagua Pir\u00fa collective, which is dedicated to creative work based in northeastern Argentina.<\/em><\/p>\n

\n

Jueves \/ Thursday 20\/8 \u2013 17 hs.<\/strong><\/p>\n

Mesa redonda: IA y su impacto en la industria audiovisual<\/strong><\/p>\n

\"\"<\/p>\n

La irrupci\u00f3n de la inteligencia artificial en diferentes aspectos de nuestras vidas viene generando su impacto tambi\u00e9n en la industria audiovisual, que no es ajena a los cambios tecnol\u00f3gicos pero que, en este contexto global tan acelerado, enfrenta desaf\u00edos y dilemas \u00e9ticos, legales, profesionales y art\u00edsticos. \u00bfSe trata de una moda pasajera o efectivamente estamos a las puertas de un cambio de paradigma?<\/p>\n

Para poder entender qu\u00e9 est\u00e1 pasando en el cine y en la industria audiovisual, y sobre todo qu\u00e9 puede pasar (o qu\u00e9 queremos que pase) en los pr\u00f3ximos a\u00f1os, reunimos a tres expertos con diferentes abordajes y experiencia sobre el tema.<\/p>\n

Roundtable: AI and Its Impact on the Audiovisual Industry<\/em><\/strong><\/p>\n

The emergence of artificial intelligence across various aspects of our lives is also making its mark on the audiovisual industry. While the sector is no stranger to technological change, in today\u2019s rapidly evolving global landscape, it faces ethical, legal, professional, and artistic challenges and dilemmas. Is this merely a passing trend, or are we truly on the verge of a paradigm shift?<\/em><\/p>\n

To understand what is happening in cinema and the audiovisual industry\u2014and, above all, what might happen (or what we want to happen) in the coming years\u2014we have brought together three experts with diverse approaches to and experience with the subject.<\/em><\/p>\n

Daff Schneydher<\/strong> se dedica desde hace m\u00e1s de 15 a\u00f1os a la supervisi\u00f3n de postproducci\u00f3n y correcci\u00f3n de color de pel\u00edculas, series de televisi\u00f3n y comerciales. Ha trabajado para varias productoras y postproductoras de Uruguay y Argentina como Oriental Films, Paristexas, Aparato Post, Sastre, Barraca Post, Remo Animation Studios, Taxi Films entre otras, donde ha desarrollado proyectos publicitarios para los mercados de Argentina, Brasil, Colombia, M\u00e9xico, Guatemala, Per\u00fa, Ecuador, Paraguay, Estados Unidos (anglo e hispano), Espa\u00f1a, Alemania y Vietnam para marcas como HBO Latinoam\u00e9rica, MTV, Mattel, Coca Cola, P&G, Telef\u00f3nica, Verizon, Unilever, Pepsico, Sab Miller, entre otras.<\/p>\n

En 2014 establece la primera boutique de intermedios y acabados digitales en Uruguay (Colour Studio) especializada en etalonaje para cine, contenidos, publicidad y restauraci\u00f3n de material audiovisual, largometrajes y documentales, donde ha desarrollado proyectos para Amazon Primevideo Latinamerica, Amazon Primevideo Brasil, Disney, Netflix, HBO Brasil y HBO Latinamerica, Discovery Networks, Univision, RTS (Radio T\u00e9l\u00e9vision Suisse), Canal 10, Teledoce en Uruguay y Telef\u00e9 en Argentina. Imparte talleres de flujo de trabajo digital y correcci\u00f3n de color para la Escuela Internacional de Cine y Televisi\u00f3n (San Antonio de los Ba\u00f1os, Cuba), la Escuela de Cine del Uruguay, UTU (Consejo de Educaci\u00f3n T\u00e9cnica Profesional de Uruguay) y Universidad Cat\u00f3lica de Uruguay.<\/p>\n

For over 15 years, Daff Schneydher<\/strong> has specialized in post-production supervision and color grading for films, television series, and commercials. He has worked with various production and post-production companies in Uruguay and Argentina\u2014such as Oriental Films, Paristexas, Aparato Post, Sastre, Barraca Post, Remo Animation Studios, and Taxi Films\u2014developing advertising projects for markets including Argentina, Brazil, Colombia, Mexico, Guatemala, Peru, Ecuador, Paraguay, the United States (both English and Spanish-speaking), Spain, Germany, and Vietnam. His client list includes brands such as HBO Latin America, MTV, Mattel, Coca-Cola, P&G, Telef\u00f3nica, Verizon, Unilever, PepsiCo, and SABMiller.<\/em><\/p>\n

In 2014, he founded Uruguay\u2019s first boutique digital intermediate and finishing studio (Colour Studio), specializing in color grading for cinema, content, and advertising, as well as the restoration of audiovisual material, feature films, and documentaries. There, he has developed projects for Amazon Prime Video (Latin America and Brazil), Disney, Netflix, HBO (Brazil and Latin America), Discovery Networks, Univision, RTS (Radio T\u00e9l\u00e9vision Suisse), Canal 10 and Teledoce (Uruguay), and Telef\u00e9 (Argentina). He also conducts workshops on digital workflows and color grading for the International Film and Television School (San Antonio de los Ba\u00f1os, Cuba), the Uruguayan Film School, UTU (Uruguay’s Council of Technical-Professional Education), and the Catholic University of Uruguay.<\/em><\/p>\n

Diego \u201cParker\u201d Fern\u00e1ndez Pujol <\/strong>es director, guionista y productor de los largometrajes de ficci\u00f3n Buscando a Clara (en post), La teor\u00eda de los vidrios rotos (2021), Rinc\u00f3n de Darwin (2013) y el largo documental As\u00ed pasamos (2021), as\u00ed como varios cortometrajes de ficci\u00f3n, como Nico & Parker (2000), Mandado hacer (2002) y F\u00e1brica de enanos (2004). Creador de la serie de animaci\u00f3n educativa Ana la rana y productor de la serie web El \u00faltimo youtuber. Fue coproductor del largometraje Mulher do pai (2016) y dirigi\u00f3 videoclips para bandas como Buenos Muchachos (Premio Graffiti), La Vela Puerca, Claudio Taddei, Franny Glass y Chicas Japonesas. Fue Jefe de Producci\u00f3n en el largometraje Whisky (2004) y Asesor Audiovisual para Canal M de Montevideo Comm.<\/p>\n

Es docente de Lenguaje Audiovisual y Storytelling Multimedia en la Universidad ORT, donde tambi\u00e9n coordina el Taller de Producci\u00f3n Audiovisual con Inteligencia Artificial. Es socio fundador y actual presidente de DGU (Asociaci\u00f3n de Directoras, Directores y Guionistas de Cine del Uruguay) y Secretario General de la Academia de Cine del Uruguay.<\/p>\n

He is the director, screenwriter, and producer of the fiction feature films Buscando a Clara (in post-production), La teor\u00eda de los vidrios rotos (2021), and Rinc\u00f3n de Darwin (2013), as well as the feature-length documentary As\u00ed pasamos (2021) and several short fiction films, such as Nico & Parker (2000), Mandado hacer (2002), and F\u00e1brica de enanos (2004). He created the educational animated series Ana la rana and produced the web series El \u00faltimo youtuber. He co-produced the feature film Mulher do pai (2016) and directed music videos for bands such as Buenos Muchachos (Graffiti Award winner), La Vela Puerca, Claudio Taddei, Franny Glass, and Chicas Japonesas.<\/em><\/p>\n

He teaches Audiovisual Language and Multimedia Storytelling at ORT University, where he also coordinates the Audiovisual Production with Artificial Intelligence Workshop. He is a founding member and current president of DGU (Association of Film Directors and Screenwriters of Uruguay) and Secretary General of the Uruguayan Film Academy.<\/em><\/p>\n

Javier Mazza<\/strong> (Montevideo, 1980) es Director del Departamento de Humanidades y Comunicaci\u00f3n de la Universidad Cat\u00f3lica del Uruguay (UCU), donde se desempe\u00f1a como docente e investigador en filosof\u00eda de la tecnolog\u00eda y teor\u00eda del sentido. Es licenciado en Humanidades (opci\u00f3n Filosof\u00eda), mag\u00edster en Comunicaci\u00f3n y Cultura, y doctorando en Humanidades en la Universidad Carlos III de Madrid. Su investigaci\u00f3n se centra en la intersecci\u00f3n entre tecnolog\u00eda, experiencia cotidiana y sentido de la vida. Adem\u00e1s de su labor acad\u00e9mica, se desempe\u00f1a como asesor y consultor independiente en organizaciones p\u00fablicas y privadas, y como columnista en medios nacionales e internacionales. Es autor de Somos tecnolog\u00eda<\/em> (Taurus, 2025), una exploraci\u00f3n filos\u00f3fica del paisaje humano-t\u00e9cnico.<\/p>\n

Javier Mazza<\/em><\/strong> (Montevideo, 1980) is the Director of the Department of Humanities and Communication at the Catholic University of Uruguay (UCU), where he teaches and conducts research in the philosophy of technology and the theory of meaning. He holds a degree in Humanities (specializing in Philosophy) and a master\u2019s degree in Communication and Culture, and is currently a doctoral candidate in Humanities at Carlos III University of Madrid. His research focuses on the intersection of technology, everyday experience, and the meaning of life. In addition to his academic work, he serves as an independent advisor and consultant for public and private organizations and writes columns for national and international media outlets. He is the author of Somos tecnolog\u00eda (We are technology) (Taurus, 2025), a philosophical exploration of the human-technical landscape.<\/em><\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

La Escuela de Cine del Uruguay (ECU) y Cinemateca Uruguaya tienen mucho gusto en invitar a las actividades paralelas en el marco del 26 Festival Internacional de Escuelas de Cine (FIEC), que tendrá lugar del 18 al 21 de agosto de 2026 en Cinemateca y Sala Zitarrosa. Esta edición del festival contará con dos clases… <\/p>\n

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Leer mas<\/a><\/p>\n","protected":false},"author":2,"featured_media":9862,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[82,80],"tags":[],"_links":{"self":[{"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/posts\/9903"}],"collection":[{"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/comments?post=9903"}],"version-history":[{"count":3,"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/posts\/9903\/revisions"}],"predecessor-version":[{"id":9913,"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/posts\/9903\/revisions\/9913"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/media\/9862"}],"wp:attachment":[{"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/media?parent=9903"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/categories?post=9903"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ecu.edu.uy\/sitioweb\/wp-json\/wp\/v2\/tags?post=9903"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}