With reference to the use of part-time professional in the teaching
of film production (vide previous message re: UCLA and studio
professors), it should be noted that the pattern of rotating
teaching professionals is the norm at major European film and tv
schools such as National Film and Television School in the U.K.,
Danish Film School, Australian Film, TV and Radio School, FAMU-
Prague, et al. The rationale is that working professionals are
closer to the pragmatic reality of production, leading-edge
technology, etc. than are full-time academics. The typical trade-
off is one of professional skill and reputation (the studio
professor) for continuity and theoretical context (the tenured
academic.) Whether a professional who teaches from time to time
relies on cliches, war stories and industry gossip or brings a fresh
and up-to-date view of production depends on the professional and
on the skill and good sense of the people who hire him to teach.
Istvan Szabo ran the Hungarian Film School as a studio professor,
Gyulla Gazdag, also a working director, is the current school head.
UCLA seems to be moving to a posture and philosophy closer to the
European conservatory-style film schools.
Rest assured that there is no reason to believe that any of this
will affect film studies, which in Los Angeles as in the rest of
the world is a traditional academic discipline, for better or