“CALL FOR A STUDY ON        FILM LITERACY IN EUROPE”.        LA PRESENZA ITALIANA NEL   PROGETTO EUROPEO DI MONITORAGGIO  ...
1.1. Call for a study on film literacy in Europe(Open Call for tender EAC/14/2011 Study on film literacy in Europe - Annex...
1.1.1«Firstly, on the basis of the definition of film literacy provided in these terms of reference, it should provide the...
1.2. Film literacy status in MEDIA Programme Audience Building framework(Open Call for tender EAC/14/2011 Study on film li...
1.2.1«Media literacy, and film literacy in particular, is also extremely important         for European cinema and the aud...
2.1. UE for media literacy and film literacy: 2002, Cined@ys    1500                        200                        24E...
2.2. UE for media literacy and film literacy : 2003, Declarations of Thessaloniki                               Conference...
2.2.1. Cent films pour une culture alternative «les enfants et les jeunes d’aujourd’hui ont de moins en moins de chances  ...
2.3. UE for media literacy and film literacy : 2009, EFA   «The discussions have led the participants to call onto the mem...
2.3.1    «On 20 August 2009 the Commission adopted a Recommendation          on media literacy. The recommendation inter a...
3.1. A national strategy in formal education:           the new Audiovisivo e Multimedia curriculum                       ...
3.2. 1999: Piano Nazionale Cinema                            MIUR                                                  Centro ...
4.1. survey structure – European axes and criteria                              National strategy                  Heritag...
4.1.1.               − Film literacy and audiovisual national policy:             i.e. to what extent is film literacy imp...
4.2. survey structure – from the questionnaire to the inner national partners                                Questionnaire...
Conclusions: media literacy and 2014-2020 Creative Europe Programme
6.1.1.        «In its 20 years of existence MEDIA helped to significantly   change the European audiovisual landscape; mos...
6.1.2.«As part of the development of a media literacy policy and in the context         of the preparation of the MEDIA st...
Conclusions: media literacy and 2014-2020 Creative Europe Programme
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A call for a study on f

  1. 1. “CALL FOR A STUDY ON FILM LITERACY IN EUROPE”. LA PRESENZA ITALIANA NEL PROGETTO EUROPEO DI MONITORAGGIO SULLA FILM LITERACY *ITALIAN PRESENCE IN THE EUROPEAN SURVEY PROJECT ON FILM LITERACY _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  2. 2. 1.1. Call for a study on film literacy in Europe(Open Call for tender EAC/14/2011 Study on film literacy in Europe - Annex 1: Terms of Reference) SurveyEuropean-scale experts Recommendations List study film literacy identify and analyse the existing media literacy situation concerning Experts Group film literacy in Europe MEDIA Programme (Audience Building) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  3. 3. 1.1.1«Firstly, on the basis of the definition of film literacy provided in these terms of reference, it should provide the European Commission with a European-scale experts study which identifies and analyses the existing situation concerning film literacy in Europe. This willinclude initiatives in formal and informal education settings, covering all age groups. Secondly it should seek to compare the results and provide the Commission with recommendations on how to strengthen its work on film literacy in the wider context of the European policy on media literacy and to propose ways to better integrate film literacy in the audience building section of the MEDIA Programme». (Open Call for tender EAC/14/2011 Study on film literacy in Europe – Annex 1: Terms of Reference) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  4. 4. 1.2. Film literacy status in MEDIA Programme Audience Building framework(Open Call for tender EAC/14/2011 Study on film literacy in Europe – Annex 1: Terms of Reference) European Cultural identities models Digital Active Environment citizenship Media literacy Real Freedom/ access Critical curiosity Offer approach awareness Film literacyUnderstanding film Market awareness Value-chain critical Heritage transformations analytical Cultural film heritage Heterogeneity technical Industry film heritage of products _______________________________________ Multi-platforms Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  5. 5. 1.2.1«Media literacy, and film literacy in particular, is also extremely important for European cinema and the audiovisual sector in general. Media-literate people will be able to exercise more informed choices as regards to the audiovisual content market. Citizens would therefore hold a higher degree of freedom and curiosity as they will have the instruments to choose what they want to see and will be able to better evaluate the implications of their choices. Film literacy is meant to provide, notably to young European audiences, better awareness and knowledge about our film heritage and increasing interest in these films and in recent European films, the ultimate goal being to build a long term audience for European films». (Open Call for tender EAC/14/2011 Study on film literacy in Europe – Annex 1: Terms of Reference) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  6. 6. 2.1. UE for media literacy and film literacy: 2002, Cined@ys 1500 200 24European films cities countries Netd@ys Europe 30.000 European schools _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  7. 7. 2.2. UE for media literacy and film literacy : 2003, Declarations of Thessaloniki Conference "From Cultural Diversity to a European Identity“ (Thessaloniki 2003) Diffusion of European film (Torino 2002) Right to Educational system Balance the market keep and develop Heritage cultural rules bynational/regional/local an educative action identity History LanguageActive citizenship Moving Image Literature Aware consumption _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  8. 8. 2.2.1. Cent films pour une culture alternative «les enfants et les jeunes d’aujourd’hui ont de moins en moins de chances de rencontrer dans leur vie sociale normale d’autres films que ceux du “mainstream” de la consommation courante. L’école (et les dispositifsqui lui sont liés) est le dernier lieu ou cette rencontre peut encore avoir lieu. Il est donc plus que jamais dans sa mission de faciliter l’accès – de façon simple et permanente – à une collection d’oeuvres donnant une haute idée, non démagogique, de ce qu’a pu produire de mieux le cinéma, et tout le cinéma» (Alain Bergala, 2005) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  9. 9. 2.3. UE for media literacy and film literacy : 2009, EFA «The discussions have led the participants to call onto the member state of the European Union to include film, like literature, in the school curricula and to teach students who live in a world dominated by images, from primary school on, about the grammarof the moving image just as they are taught the grammar of the written word» (EFA, 2009) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  10. 10. 2.3.1 «On 20 August 2009 the Commission adopted a Recommendation on media literacy. The recommendation inter alia invites Member States and the Media Industry to launch a debate on the inclusion of media literacy in compulsory education curriculum. The Council and the European Parliament endorsed the Commissions approach to media literacy as avery important factor for active citizenship in today’s information society». (Open Call for tender EAC/14/2011 Study on film literacy in Europe – Annex 1: Terms of Reference) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  11. 11. 3.1. A national strategy in formal education: the new Audiovisivo e Multimedia curriculum Film and audiovisual National strategy as core subject Liceo Artistico Curriculum Audiovisivo e MultimediaDiscipline Audiovisive e Laboratorio Audiovisivo e Multimediali Multimediale _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  12. 12. 3.2. 1999: Piano Nazionale Cinema MIUR Centro SperimentaleEx-IRRSAE DiCoSpe di Cinematografia Università Roma Tre Scuola Nazionale Di Cinema Piano Nazionale per la Promozione della Didattica del Linguaggio Cinematografico e Audiovisivo nella scuola (National programme for the Promotion of film and audiovisual language literacy) About About 1000 About 12.000 500 schools teachers students _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  13. 13. 4.1. survey structure – European axes and criteria National strategy Heritage Literacy Cultural goods Education system Local governments Audience building Audio-visual (public) sectorLocal relevance institutions Public (private) partnership Teachers training and Financement systems Systems of acknowledgement assessment system _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  14. 14. 4.1.1. − Film literacy and audiovisual national policy: i.e. to what extent is film literacy implemented in national audiovisual policy?What is the role of film institutes? What is the role of public broadcasters? - Film literacy in the educational systems: i.e. is it part of the school curriculum? Is it a specific subject or a cross cutting objective? What learning objectives are pursued? What is the role played by film institutes and other film organisations? − Film literacy in partnership with institutions outside the formal educational systems:film institutes, grass-root associations, non-governmental organisations etc. − The role of film industry and media professionals as partners in film literacy projects». (Open Call for tender EAC/14/2011 Study on film literacy in Europe – Annex 1: Terms of Reference) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  15. 15. 4.2. survey structure – from the questionnaire to the inner national partners Questionnaire Formal Non formal Audio-visual Cultural TeachersEducation education sector bodies training professional development Liceo Other schools Distribution FilmArtistico commissions Film museums Theatres University Festivals Local broadcasters High governments FIAF formation cinemathèques Mediatheques Associations Filmclubs _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  16. 16. Conclusions: media literacy and 2014-2020 Creative Europe Programme
  17. 17. 6.1.1. «In its 20 years of existence MEDIA helped to significantly change the European audiovisual landscape; most European filmswould not be seen outside their home territories without MEDIA support; the European animation industries now play a very important role on the world markets and MEDIA has a major impact on the development of European co productions.However, the sector is now facing important challenges and opportunities from digitisation and globalisation and support will be needed to enable the sector to develop new business models and to benefit from the changing market conditions. It will be very important to support projects acting across the value chain and to focus more on audience building, branding and film literacy». (Impact assessment Accompanying the document regulation of the European Parliament and of the Council establishing a Creative Europe framework programme) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  18. 18. 6.1.2.«As part of the development of a media literacy policy and in the context of the preparation of the MEDIA strand of the proposed Creative Europe framework programme (2014-2020) , the European Commission is currently looking at the situation of film literacy throughout Europe, and is therefore in need of assistance in the form of report mapping the current practices in film literacy in Europe». (http://ec.europa.eu/culture/media/literacy/studies/index_en.htm) _______________________________________ Torino, 11 maggio 2012 Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre) filmliteracy.dicospe@gmail.com
  19. 19. Conclusions: media literacy and 2014-2020 Creative Europe Programme

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