SAUVE QUI PEUT LE COURT MÉTRAGE
Christian DENIER / Sébastien DUCLOCHER / Jérôme TERS
6, Place Michel de l’Hospital
63058 Clermont Ferrand Cedex 1
T. : + 33 (0)4 73 14 73 17 (Christian) – 73 13 (Jérôme) / Fax : + 33 (0)4 73 92 11 93
email@example.com / firstname.lastname@example.org / email@example.com
The association Sauve qui peut le court métrage (“Run for short films”) organises the Short Film Festival and Market in Clermont-Ferrand.
All around the year, it also intervenes in a number of fields involving film and audio-visual theory, in particular related to Image Literacy : cultural partnership with three sections, “audio-visual-films” of the Academy, joint committee for Lycéens au cinema (“Highschoolers at the movies”), co-organisation of the Young Film Critics Contest and of the forum "Ciné en herbe" (“Movies in the Blade”) in Montluçon ... Since 2000, the association acts as “Regional Centre for Image Literacy".
The resource centre La Jetée offers in free consultation a vast number of books and magazines on films as well as the entire archives from the festival (a list of more than 70,000 short film titles with technical data sheets, iconography, screenplays…) and almost 45,000 digitalised short films to be watched on the premises.
Finally, the film commission in Auvergne, initiated and coordinated by the association, has become nowadays an acknowledged resource centre due to the number and the quality of shootings that the region hosted.
Since 1993, Sauve qui peut le court métrage acts as regional joint committee for Passeurs d’images.
PASSEURS D’IMAGES IN AUVERGNE > BACKGROUND
When in 1993, impelled by the DRAC (Regional Bureau for Cultural Affairs) and Sauve qui peut le court-métrage, the first actions called "Un été au ciné" (“Summer at the movies”) (N.B. : currently called "Passeurs d’images") have been implemented in Auvergne, there was a lot of questioning concerning this young operation, in particular regarding its sustainability prospects and local allegiance. This new proposition was therefore greeted with both benevolence and scepticism.
Not only does the operation still exist (in 12 regional towns) but a solid network has woven around it, in which partners, lecturers, publics and field players bring it legitimacy, and a capacity to renew itself.
Over the years, both offer and demand have mutually grown : savoir-faire and expectations have refined. The operation itself has evolved in its implementation and in its consideration of a larger public, even of a different public. Undoubtedly, Passeurs d’images’ main strength is to be a simple idea, which nonetheless, through its variety of constituents, offers unlimited choices.
Directing workshops particularly constitute strong collective experiences in themselves where choices are commonly made and carried out until the closing credit ; they are also a way to realise that films are not the product of an improvisation, that the discourse they create is carried by a point of view meant to travel.
In the end, by pointing their camera at the world around them, young people learn how to better understand it, to explain it, to find their way in this complex and many-sided society.