I’m currently attending the ‘European Screens Conference’ at the University of York. It feels kind of pleasantly weird to be back at this ‘young but big’ UK university (it was established in 1963). As a PhD student, I lived at the university campus (a few miles outside of York, which has nature and quietness as advantages, but a feeling of being-detached-from-real-life as a disadvantage) for a few months in the spring of 2013. I worked here on my PhD under the supervision of Andrew Higson, a leading scholar in British, heritage and national cinema.
Andrew is also the organizer of the ‘European Screens conference’, which focuses on various aspects of film and television industries in Europe. It is the end conference of the extremely interesting MeCETES (Mediating Cultural Encounters Through European Screens) research project. This big European-funded collaborative research project examined contemporary European film and television drama from a variety of angles. The University of York team focused mainly on cinema, the University of Copenhagen team on television drama, and the Free University of Brussels team on governmental policy aspects.
My own presentation, tomorrow morning, will also focus on the policy side of the film industry; together with Daniel Biltereyst, Philippe Meers and Roel Vande Winkel, I will focus on how ‘film policy’ in Flanders has evolved to ‘creative screens policies’ in recent years, with special attention to media convergence trends and the continuing centrality of (feature) film (production).