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DYTIATKO International Children's Media Festival

1.1. DYTIATKO International Children's Media Festival (hereinafter the Festival) was founded according to the resolution of Kharkiv Regional Council dated June 25 2009 No. 1262-V “On introduction of DYTIATKO Children's Television Festival”.

1.2. The Festival founder is Kharkiv Regional Council.

1.3. The Festival co-organizer is NGO "Kharkiv Association of Children’s Screen Arts “DYTIATKO”".

1.4. The organizing committee ensures conduction of the Festival.

2. Mission and objectives

2.1. The Festival mission is to find and support children's/youth studios and clubs, which are engaged in cinema and television creativity, talented children; the revival of the children's/youth cinema and television in Ukraine.

2.2. The Festival objectives are:

- the establishment and development of contacts between children's/youth studios, experience exchange and further professional development of the participants;

- communication to the general public of interesting, outstanding works and projects from different countries, presentation of the best global practices in the development of children's/youth cinema and television industry;

- the setup of creative and communication platforms to exchange experience and present new projects during the Festival and between the Festival times;

- creative personal development, education of moral values and social activism;

- drawing attention of governmental, non-governmental organizations and commercial entities to the issues of the development of screen children's/youth creativity, to the processes of personality forming via receiving information broadcast by electronic mass media, to the needs of children's/youth creative clubs, the development of talented children and their future.

3. Participants and Terms of holding the Festival

3.1. The Festival is held among children’s/youth television, animation, cinema- and radio studios, clubs, groups and individual authors, television and radio broadcasters and creative production entities, directors and producers’ centres, which produce programmes and films for children and youth.

3.2. The Festival is held annually and includes two stages. The first stage is qualifying. At this stage the organizing committee of the Festival screens the works received and selects those which will take part in the second stage. The second stage is final, and it includes Festival programme events: screenings, presentations, workshops, trainings, meet-the-artist events, conferences, round tables etc.

3.3. The Festival stages are carried out in the following periods: the first stage – November-August; the second stage – September the same year.

3.4. The works eligible for the Festival must be created within the Festival year, and during the year, preceding the Festival one, but only those that due to certain reasons have not been sent in previous year to participate in the Festival.

3.5. The deadline for applications to participation in the Festival is May 31 of the current year.

3.6. The Festival competition programme includes nominations below:

І. International competition programme:
 
– The Best Fiction Film by a Children’s Studio;
 
– The Best Documentary by a Children’s Studio
 
– The Best Television Programme by a Children’s Studio;
 
– The Best Animation Film by a Children’s Studio;
 
– The Best Social Advertisement by a Children’s Studio;
 
– The Best Radio Programme by a Children’s Studio;
 
– The Best Television Programme for Children;
 
– The Best Series for Children;
 
– The Best Feature Film for Children;
 
– The Best Short Film for Children;
 
– The Best Animation Film for Children;
 
– CIFEJ Prize (the prize of the International Centre of Films for Children and Youth);
 
– The Prize for creative approach and originality of creative task performance (competition works are created during the Festival, the task is given out at the Festival).
 
ІІ. National competition programme:
 
«We are Local Self-Government!» (special nomination, under support of the Council of Europe);
 
«Ecology of Wildlife: conservation and preservation»;
 
«Our peaceful sky» (jointly with Kharkiv aerospace club named after Hryzodubova of Defence Strengthening Society of Ukraine);
 
contest of video bloggers «DYTIATKO.Like».

3.7. After reviewing the works, selected under the competition programme of the Festival, the jury also awards prizes in the following nominations:

- Special Jury Prize;

- Best Director;

- Best Cameraman;

- Best TV host(ess);

- Best TV journalist;

- Best Actor(ess).

3.8. The President of the Festival is entitled during the awarding ceremony to give an encouraging award – President’s Cup.

3.9. The Festival participants may participate in one or more nominations of the Festival. The Festival participant may be presented in the nomination with up to three works.

3.10. In nomination "We are Local Self-Government!" the preference is given to the works, which reflect on the role and specifics of the local self-government in teens’ understanding, and also tell about the youth’s participation in solving local scale issues and the development of communities, about achievements and challenges, about the things young people and authorities can do together to develop their native land.

3.11. Nomination “Our peaceful sky” was introduced to improve the awareness of the growing generation of the aviation industry in Ukraine and globally, to promote aviation professions and sports, and also to promote peace and agreement in society. For the works, submitted in nomination “Our peaceful sky”, it is not a must to use aircraft while shooting.

3.12. The compulsory precondition for a work in nominations “We are Local Self-Government!”, “Ecology of Wildlife: conservation and preservation” and “Our peaceful sky” is the production of the competition work by a children's studio (club, school-age author) or jointly with a children's studio.

3.13. The Festival participants provide authors’ works of various genres and creative solutions.

 
The duration of works in nominations: “The Best Fiction Film by a Children’s Studio”; “The Best Documentary by a Children’s Studio”; “The Best Television Programme by a Children’s Studio”; “The Best Animation Film by a Children’s Studio”; “The Best Radio Programme by a Children’s Studio”; “The Best Television Programme for Children” and “The Best Short Film for Children” is up to 30 minutes.
 
The duration of works in the contest of video bloggers «DYTIATKO.Like» is up to 60 minutes.
 
The duration of works in nominations “We are Local Self-Government!”, “Ecology of Wildlife: conservation and preservation” and “Our peaceful sky” is up to 15 minutes.
 
The duration of works in nominations “The Best Social Advertisement by a Children’s Studio” is up to 2 minutes.
 
The duration of works in nominations “The Best Feature Film for children” and “The Best Animation Film for children” is up to 120 minutes.
 
The duration of works in nominations “The Best Series for children” is not limited.
 
The duration of works in nomination “The Creative Task” is up to 3 minutes.

3.14. Multimedia materials and applications are submitted to the organizing committee as follows:

  • online;
  • by mail or courier, to the address: 64 Sumska Str., of. 96, Kharkiv, 61002, Ukraine – ”DYTIATKO Festival”.

3.15. The works, submitted to participate in the Festival International competition programme nominations, must provide subtitles kin English (except for the works in English and the works, which have voice-over or dubbing in English).

3.16. To participate in the Festival it is necessary to provide:

  • application for participation in the Festival competition programmes, filled out separately for each work;
  • competition work (video work in .mp4 format (frame size: 1920/1080, codec: H.264, stream (bitrate) video: 12000 kb/s; audio work – in .mp3 format);
  • the materials for the catalogue: a brief about the work; information about authors; authors’ photos and 3 frames from the competition work (format: .JPG, .JPEG; image resolution: 300 dpi).

3.17. The works selected to be in the second round of the Festival may be presented by up to four persons from the group of authors or their representatives (one adult and three children).

3.18. The organizing committee selects, forms and shows in the Festival special programmes feature, documentary, animation and other films, television programmes, series, retrospective shows, created in any country of the world.

3.19. The participation in the Festival competition programmes is free. However, all the costs of sending materials and also transport costs to the venue of the Festival and back are to be covered by Festival participants.

3.20. The organizers are not liable for errors and inaccuracies, contained in the application submitted. Compiled fragments or episodes from several programmes are not allowed.

3.21. Provided violation of any of the above provisions, the application for the participation in the Festival will not be considered.

3.22. The works submitted to the Festival are not reviewed. After the Festival events the materials are not returned to the authors, but they become a part of the Festival database.

3.23. The organizing committee is entitled to show competition and out-of-competition works of the Festival at the events, held by the organizing committee of the Festival (at the Festival sites; At the Festival days, held in other towns and cities of Ukraine; in special programmes and at other Festivals), and also to show them in television programmes about the Festival and during information and educational events, show on television channels to highlight and promote the Festival.

3.24. Festival participants presenting the work are liable for its copyright compliance.

3.25. The organizing committee is not liable for the violations of third persons’ copyright by the Participants.

3.26. The Festival programme and events as well as other issues of organizing and holding the Festival are in the competence of the organizing committee.

3.27. Participation in the Festival provides for consent to the requirements, contained herein.

4. Jury

4.1. To assess the works selected to participate in the competition programmes of the Festival second stage, the organizing committee sets up a professional jury that includes domestic and foreign cinema and television experts, television, cinema and radio celebrities.

4.2. Children's jury is established to assess the works in nomination “The Best television programme for children”.

5. Pitching

5.1. Pitching is the presentation and defence of the projects of Ukrainian children's studios (school-age authors) or co-production with them.

5.2. Applications are accepted free of charge from February 01 till May 31 included.

5.3. The works in the categories below are eligible:

I. Film – scripts of feature, animation and documentary films.

II. Television programme – scripts of original television programmes, oriented on youth audience.

5.4. To submit the application it is necessary to fill in the online form, placed on the official website of the Festival, according to the application submission rules.

5.5. Each contestant may send in one project to Pitching.

5.6. Pitching participants must have a fully written script at hand or be able to write it by July 10.

5.7. By June 20 the extended Pitching list is made. It includes up to 15 applications in each nomination. The list with surnames is published on the official website of the Festival. The authors must submit their scripts for viewing.

5.8. The authors, whose projects are selected to the long Pitching list, by July 10 must send the scripts to script@dytiatko.org.ua. The participants that do not submit their script in time will not be accepted to the competition.

5.9. By August 1, the short list of the script applications is prepared for each nomination in Pitching. This short list includes up to 7 projects per nomination. Information on the final project list of the Pitching participants is published on the official website of the Festival.

5.10. The project presentation is given during the Festival. The organizing committee, provided funding, covers the costs of accommodation at the Festival for two authors per project maximum. Transport expenses are covered by Pitching participants.

5.11. The projects selected for pitching are assessed by the jury, consisting cinema and television experts.

5.12. The jury selects one winner per nomination in Pitching. The Pitching jury may additionally award the Special Jury Prize for any reason to any project.

5.13. The sequence of presentations during Pitching is identified by the moderator. The project presentation duration limit is 7 minutes. Questions and discussions of the project after its presentation may take up to 7 minutes too.

5.14. The brief profiles of the projects, selected for Pitching, are published in the Festival catalogues and on the official website of the DYTIATKO International Children's Media Festival.

6. Festival Winners Awarding

6.1. Professional jury determines one winner per Festival nomination within their competence. In nomination “The Prize for creative approach and originality of creative task performance” the professional jury identifies two best works.

All the participants of the second stage of the Festival receive Festival diplomas.

6.2. The Children's Jury identifies one winner in nomination “The Best Television Programme for Children”. The Children's Jury may introduce an additional special prize.

6.3. The Jury, partners and sponsors of the Festival may introduce special prizes in any Festival nomination.

 

We are open for submissions via FilmFreeway until the 31th of May. Send us your project now

Address of the Organization Committee: 64, Sumska str., off. 96, Kharkiv 61200, Ukraine

Information by telephones:  +38(057)700-53-05; +38050-401-36-02

E-mail: fest@dytiatko.org.ua

Official web-site of the Festival: http://fest.dytiatko.org.ua


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Natalia Guzeeva: Animation lesson should be compulsory just like Physical Education lesson

Interview with children's writer, scriptwriter, member of the jury of the International Children’s Television Festival “Dytiatko”

If it was up to me I would introduce animation lesson in every school at least for six months or a year just like a compulsory Physical Education lesson. Sport develops body, animation creates an individual. What does a child face while creating a one-minute film? A child faces creation of a whole world where a story takes place, analysis of its world and story. Isn’t it a Literature lesson? A child devises characters, their appearance, motivation, moods. It is, in its own, a Psychology lesson. A child CONTEMPLATES, reflects! A child is telling about himself/herself. How to express happiness, sadness? A child should visualize his/her thoughts-meanings for himself/herself and spectators. He/she is calling for us, he/she wants to be understood. A child shows not “what” he/she is thinking but “how” he/she does it. It is very valuable. A child does not know how to draw? There are playdough, threads, fabrics and buttons. Therefore, this is a Fine Arts or Labor lesson. A child should make voice-over, put music, song, make it into theme and rhythm. Music lessons? Yes. He or she should make a movie?  Exposure to technology. Does it take long to make a film? It builds a character, diligence, skills to accomplish something that he/she has started. Animation is a self-reflection, empathy, creativity, will and this cocktail makes a child into a Person who will definitely not destroy the world, if not save it.

1. What is the most important thing in a cartoon: storyline or picture?

Let’s think. There are 36 narrative collisions according to the dramatic historian Georges Polti. There are a countless number of worlds that can create a visual image - especially animation. A storyline created by us is developing in the created world. Visual images, so called "pictures" - sets, costumes, household items, appearance of characters should carry the information, meaning they should tell us the details of the storyline. That's an interrelation.

I believe that the idea developed in the storyline is considered to be important being expressed in an image in order to create a viable symbiosis so that one cannot exist without the other.

2. What should necessarily be in a cartoon?

Character’s temper is very important. It can be fantasied, but should cause a response in us, the real audience. Music and songs are very important. I would even say, inserted song and dance performances and replica. It was once thought that the smaller the text, the better. Nowadays, there are a huge number of cartoons, built on dialogue. To write them is a great art.

3. How long does it take to write one script?

Most of my energy was expended into my first script “Kapitoshka”. And least of all my energy was expended into “How Petya Pyatochkin was counting elephants”, “Love and Death of the ordinary potato”, “What's this?”. I'm talking about the films that were completed. But in my desktop computer I have much more scripts that are not finished, not refined! I either did not have enough power, or a story came to deadlock, and so did I. Or I was distracted by something urgent, and after that I couldn’t catch a wave. Sometimes the path from idea to its implementation is measured by years.

Another thing, when a writer is hired, he is working as a team, and a goal and deadlines are set before him. This way you cannot get away with all sorts of excuses for example "caught / did not catch a wave" - ​​you have obligations.

4. You are writing fairy tales and musicals for children. Does it help you while working on scripts? 

It helps and hinders, destroys and creates. In the past, pre-script life, I was writing fairy tales with verbose beautiful descriptions, contemplations, comparisons ... It is easy to hide imperfections of dramaturgy and crudity of the characters’ tempers behind all these literary delights. When I got into the scriptwriting, I learned to get rid of the verbosity, to concentrate on the action. Literary work, the cornerstone of which is still a word, style of presentation, does interfere with my scriptwriting. Scriptwriting unnecessarily “dries” my literary texts. These are my two creative "Selves" - literary and script. They are often in conflict, but by solving the conflict, they produce a "third self". My texts depend on it.

5. Working on a new storyline or a script, do you think about how it will be apprehended by children?

Oh yeah! I try to imagine myself as a child, I myself giggle and jump on one leg, cry and get angry, and mutter aloud dialogues for a hundred of times. I close my eyes, falling into a rhythmic trance. I try to hear myself from the opposite corner of the room, as if out of the audience hall. I am very afraid that it will be boring, although I like to be bored from time to time myself. I feel like a clown in the arena which can be sad or funny, any, but the main thing is that the audience in the circus does not lose interest in my story. And if you think that I'm making this up, I should disappoint you. Scriptwriter is an actor, who is serving sentence in his/her own body.

6. What do you tell children during the master class, meet the artist events?

I tell mainly about the fact that work is not only unsteady inspiration. Creativity is a will. Without self-discipline, commitment, without overcoming routine, creative ideas will remain ideas only in the head. These qualities should be developed, they will be useful in any activity. I also tell them about the work of a scriptwriter, mostly about its disadvantages. I dispel the illusion. Scriptwriter should not love to write but rewrite: for a producer, editor, director and actor. Scriptwriter in the film is the beginning of all beginnings. But he is independent only in the creation of his plan. His plan should be causing that a certain group of talented people is willing to devote years of their lives to him. Besides, the writer’s  ambitions should not interfere with the director and the actors in bringing their own meanings.

7. You are a member of the jury of the International Children's Television Festival “Dytiatko”. What do you think about cartoons that are made by children? What is special about them and what they may lack?

I sometimes lack phases in the competition films - their quantity creates the impression of characters’ movement, it brings them to life. After all “revival” is the animation itself.

But in general, I am delighted with the films that I, as a member of the jury was able to watch. There are so much purity, sincerity in them! Love that is impossible not to feel! Touching of children's hands. I like films that are based on the ethnographic material. In these films children tell legends or history of their country. I like that in their short films children are trying to comprehend themselves, problems of the world, human relations. It compensates for the professional disadvantages. I would say that disadvantages become advantages.

Often it is not so easy to choose a winner, because a few films set the pace at the finish line. And what a fear it is to not see a talent. And what a joy when it is spotted and supported. And what a pride that the film finalist of the Festival "The Island" by Mykyta Tymoshchuk went to Cannes! And what a confidence that the festival "Dytiatko" has a great future.

gersbach.net