ABSTRACT
This chapter examines three critical points at which relations of marginality are articulated: between students and teachers, between film school and film industry, and between film as a popular medium and the cultural precinct of "art." The marginal relationship of school to industry may change, moreover, if an increasing number of successful, school-trained producers and directors reinvest in their alma maters. If a film school can continue to produce successful filmmakers, it hardly matters whether there is consensus about its curriculum or any established route from film school to film industry. In the commercial marketplace of popular cinema, film schools are only as good as their most recent famous graduates. The marginal relationship of school to industry may change, moreover, if an increasing number of successful, school-trained producers and directors reinvest in their alma maters.
