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Also, the aim, clearly, was to experiment with film genres and conventions. In this connection, a certain insistence on time, and on a kind of liquidity of being, became emblematic of the real in these films, all of which took a symbolic approach to the depiction of significant social, cultural, and political changes taking place in the country at the time. The key point to be made about Šar¯unas Bartas in the present context is that he developed his personal cinematic style, and the cinematic infrastructure that has served him and his colleagues so well, beyond the reach of the cinematic or artistic establishment and without support from a public framework.

19 In an effort to clarify the contributions made by independent film studios to practice-based film training in Lithuania, I discuss several case studies below. ” Before focusing on these production companies, it is helpful, however, to evoke a larger context for understanding the contributions of institutional arrangements that do not fit a conservatoire-style, or film school, model. , Julie MacLusky questions the 34 FILM EDUCATION IN LITHUANIA importance of what film schools have to offer in connection with success on the job market and with a future professional career.

Assurance [of entry, let alone success]. ”22 Seen through the kind of lens that MacLusky provides, training offered within the context of production companies, as well as amateur studios, has much to be said for it. Interestingly, in Lithuania, nationally and internationally acclaimed film directors—namely, Algimantas Puipa, Šar¯unas Bartas, and Valdas Navasaitis—can be seen as having benefited from at least two types of film training: before entering the sole film school to which they had access (VGIK), these figures learnt the craft of filmmaking in local amateur film studios, where they were able to experiment freely with the language of film in collaboration with others.

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