The best film schools straddle the divide between imparting technical information and practical knowledge, and allowing the students the freedom to explore story and character according to their own imaginative faculties. Their fundamental orientation, however, is towards the production of specialists and the provision of ambitions, goals, and identities. The assumption of a “correct” identity — director, producer, editor, etc — is a prerequisite for entering “the market”, and the less wary are seduced and fattened up for the marketplace unaware of what they might be sacrificing in the act of defining themselves. “Who” you are becomes more important than “What” you are, and the sharp distinctions that are drawn, that compartmentalize the storytelling process so grievously, become like straightjackets that make escape and creative innovation progressively more difficult.
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