studio

interview with András Muhi

principal contributors

Inforg stúdió 2000-2010

Gerencsér Anita, Rózsa Éva, Ferenczi Tímea, Politzer Péter, Pál Rebeka, Stalter Judit, Gulya Pál, Keresztes Felícián, Völler Ágnes, Mógor Ágnes, Thomas Ernst, Nagy Ildikó Noémi, Várhegyi Rudolf, Peter Ogi, Czira Sára, Nedeczky Dóra, Fodor Judit, Muhi András Pires, Simon Ádám, Horváth Szabó Ágnes, Takács Gábor, Szemenyei Bálint Zsolt, Ilovszky Péter, Molnár Gergely, Berényi Betti, Eischtaedt András

short Summary of the History of Inforg Studio

the key to heaven from the short film god@heaven.hu

peaching arm chairs from the producer's office

Inforg studio label from Bali

Inforg studio 2000-2010

From 2000-2010, Inforg Studio has had a consistent identity. From the early years, the studio was a recognisable brand in the film industry. The Inforg logo, the reimagining of the Pong game intro before the films, the festival material and posters accompanying most Inforg films, the annual Inforg catalogue, the design of the former inforgstudio.hu pages, the structuring of the content with the help of the Pentacom digital agency are the work of Rebeka Pál. For the former Inforg website, a database site was developed, which was considered to be highly innovative in the 2000s. The films produced at the Inforg studio were presented by the Inforg catalogue which grew year by year. It arrived by post to the cream of film professionals before the annual Inforg Evening at the Toldi cinema, which always preceded the Hungarian Film Festival screenings. As András Muhi used to say: the Inforg catalogue made the studio.

Inforg studio 2000-2010

Inforg studio 2000-2010

Film culture cannot be reduced to filmmaking and film distribution can not only be just festival distribution. Despite the fact that the film industry itself often seems to ignore this. Film culture is an integral part of film thinking, criticism, film studies and education. And when we talk about education, we are not only talking about film studies in universities, or in the humanities or social sciences, but about the much-desired turn towards film/media education in public education as a whole, in the context of the revaluation and revaluation of the importance of cinematic communication over the last half century. For us, this was clear from the outset when we created the role of Inforg Studio in the film ecosystems.

Inforg Studio has taken the initiative and supported film education by organising conferences, producing the first textbooks focusing on the language of form and cinematic literacy, or a dictionary of film and media terms, and innovative teaching aids to expand the methodological repertoire of film teacher training, with books like the Film Lessons, Media Lessons series, the acknowledged Hungarian director Miklós Jancsó’s multimedia CD and the film language videos produced with director János Herskó, or the collections of film exercises.

László Hartai, director, film education consultant

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