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2015.01.29 nordicil giff
- 1. FROM ARTIST TO TEACHER developing a peer-based training programme for film school teachers Fredrik Graver Head of Studies The Norwegian Film School, Lillehammer
- 2. BACKGROUND background in journalism, radio, music, theatre, arts â all in Canada theatre - actor (30 productions) and director (5 productions) film school in Vancouver, 1996 worked in all departments except Art Department; mostly as a 1st AD Technical Manager - Vancouver Film School Production and Post Manager - Canadian Film Centre (Toronto) came to Norwegian Film School in 2009
- 4. CHALLENGES filmmakers, not teachers the needs of the discipline
- 5. CHALLENGES filmmakers, not teachers the needs of the discipline coordination
- 6. CHALLENGES filmmakers, not teachers the needs of the discipline coordination literature
- 7. CHALLENGES filmmakers, not teachers the needs of the discipline coordination literature geography
- 8. CHALLENGES filmmakers, not teachers the needs of the discipline coordination literature geography EQF - European Qualifications Frameworks
- 9. ASSETS (AT THE NORWEGIAN FILM SCHOOL) filmmakers, not teachers
- 10. ASSETS (AT THE NORWEGIAN FILM SCHOOL) filmmakers, not teachers prior training
- 11. ASSETS (AT THE NORWEGIAN FILM SCHOOL) filmmakers, not teachers prior training prior teaching
- 12. ASSETS (AT THE NORWEGIAN FILM SCHOOL) filmmakers, not teachers prior training prior teaching active filmmakers
- 13. APPROACH (AT THE NORWEGIAN FILM SCHOOL) unified approach
- 14. APPROACH (AT THE NORWEGIAN FILM SCHOOL) unified approach continuous development
- 15. APPROACH (AT THE NORWEGIAN FILM SCHOOL) unified approach continuous development «holistic» pedagogy
- 16. APPROACH (AT THE NORWEGIAN FILM SCHOOL) unified approach continuous development «holistic» pedagogy pedagogic dialogue
- 17. APPROACH (AT THE NORWEGIAN FILM SCHOOL) unified approach continuous development «holistic» pedagogy pedagogic dialogue experience
- 18. â John Dewey «learn to know by doing and to do by knowing»
- 19. PROPOSAL 1. pedagogy course for film school teachers
- 20. PROPOSAL 1. pedagogy course for film school teachers 2. «blended» classroom
- 21. PROPOSAL 1. pedagogy course for film school teachers 2. «blended» classroom 3. involve NORDICIL members
- 22. PROPOSAL 1. pedagogy course for film school teachers 2. «blended» classroom 3. involve NORDICIL members 4. make the course «distributed»
- 23. PROPOSAL 1. pedagogy course for film school teachers 2. «blended» classroom 3. involve NORDICIL members 4. make the course «distributed» 5. accreditation
- 24. PROPOSAL 1. pedagogy course for film school teachers 2. «blended» classroom 3. involve NORDICIL members 4. make the course «distributed» 5. accreditation 6. «peeragogy»
- 26. OVERVIEW 1. Overview of the course 2. Introduction of basic terminology 3. Skills/professional development vs. Academic study vs. Artistic education
- 27. METHODS 1. Teacher & mentor vs. Master/apprentice 2. The importance of learning from mistakes â «learning by doing» 3. The «zone of proximal development» & scaffolding âą sample theoryâ: Vygotsky, Dewey
- 28. INSTRUCTIONAL DESIGN 1. Defining a learning outcome 2. Determining content 3. Choosing a structure and form 4. Feedback and ways of monitoring the success of learning outcomes âą sample theoryâ: Introduction to Blooms Taxonomy and Introduction to the nomenclature of the European Qualifications Framework: knowledge, skills and general competence.
- 29. PROGRESSION 1. Where are the students today and where should they be at the end of their study 2. The structure of the educational programme - different models 3. One brick at a time - putting workshops, courses, etc., in a context and progression 4. Identifying milestones and checkpoints along the way âą sample theory: Vygotsky, Constructivism and Social Constructivism
- 30. PRODUCTION EXERCISES 1. Choosing a focus 2. Defining and setting parameters 3. Identifying learning outcomes 4. «Learning to make film» as opposed to «making film» ⹠sample theory: Phillipsen, the application of constraints
- 31. COLLABORATION 1. The importance of communication 2. The Triangle method: advantages, disadvantages, and application. 3. Communicating artistic vision and inviting artistic input from others 4. Defining areas of artistic responsibility («Whose film is is, anyway?») 5. Dealing with conflict: when - and how - to intervene 6. Constructive vs. Destructive conflict. 7. The debriefâ
- 32. THE STATEMENT OF INTENT 1. The statement of intent as a tool for learning and creating 2. The application of the statement of intent in the creative/artistic process 3. Ways of composing a statement of intent 4. Instructor feedback 5. Using the statement of intent as a tool for evaluating results
- 33. FEEDBACK AND ASSESSMENT 1. Creating a culture of constructive feedback 2. Assessing student work based on the statement of intent - giving feedback 3. Creating the «confidential space» - allowing the students to be open, honest, direct with each other 4. Continual assessment of student progress 5. Student evaluation of courses, workshops, etc. - Using student feedback to improve the study programmes ⹠sample theory: Hattie on Calibration, Feedback
- 34. THE FILMMAKER AS ARTIST 1. Identifying talent 2. Developing artists vs. Training skilled professionals 3. Giving the artist an understanding of her/his own artistic stance - «What kind of artist am I?» 4. The role of all the disciplines in storytelling
- 35. FLOW 1. What is Flow and why is it useful for artists and creative people 2. Creating the conditions in which flow can occur âą sample theory: Csikszentmihalyi
- 36. Fredrik Graver Head of Studies The Norwegian Film School, Lillehammer fredrik.graver@hil.no
Editor's Notes
- Most film school teachers are film professionals, not academics or pedagogues; they can be fish out of water in a formalised teaching context.
- Different disciplines have varying needs; for example: screenwriters and sound designers have very different approaches to the film and their education needs to consider this.
- Filmmaking is a team activity and at some level the needs of the school to coordinate the activities of the different disciplines will place constraints on the liberty of the individual discipline to organise their own activities.
- Despite the 90-year history of film schools, there is very little literature on the pedagogy of film schools. Most of what exists is historical studies and overviews, or individual teachers - mostly directors - presenting their method. NB: important not to confuse «very little» with «none»!
- In the case of the Norwegian Film School: teachers reside all over the nordic countries, and come to Lillehammer only for the periods when they teach.
- Also know colloquially as «Bologna». Whether we like it or not, arts schools have to adapt their programmes to the EQF, and the language used by education bureaucrats can be quite foreign to filmmakers⊠Also: this has led to external pressure to formalise teacher training in order to ensure teachers have the formal qualifications.
- All our teachers are working professionals at a high level. They bring an unquestioned and current expertise in their field to the school.
- There is a wide variety of previous education represented in our staff, from no formal post-secondary training, to professional courses through to higher international education - this variety is a strength.
- Some have taught extensively, some have no teaching experience. This disparity ensures that we have both «tried and true» methods and creative new approaches represented.
- Our teaching staff are almost exclusively active filmmakers - also while they are employed at the film school. They typically work 30-50% as teachers, the rest in their film careers. This ensures they bring current impulses and techniques back into the school.
- The Norwegian Film School is organised as one, unified school and not as a collection of more or less independent disciplines. We see the film production as an analog: all need to work together to create the same «film».
- We are interested in the studentsâ progression over the three years, and have only one exam at the conclusion of the programme. All parts of the education are expected to form part of this 3-year whole and should not be perceived as isolated or stand-alone.
- We apply a series of pedagogic principles / approaches throughout the programme, and endeavour to give all teachers access to a «pedagogic toolbox» they can apply in their teaching.
- We have regular discussions that involve pedagogic approaches, both at an annual gathering each August and in weekly staff meetings.
- Key to the pedagogy is to let the students learn though experience. Ideally, the teachers will neither «show» nor «tell», but give students the tools they need to experience and learn through their own mistakes.
- Writing about 100 years ago, Dewey developed the foundations of what became know as constructivist learning theories.
- Why? Two-fold: provide teachers with an expanded tool-kit â both in terms of the practical and theoretical knowledge and, even more important, a peer network for discussion and support â to use in the planning and completion of their instruction, and, secondly, to fulfil the external, formal requirements on our own premises.
- Given the geographic challenges, any such course must combine both physical gatherings and an extensive online component.
- The nordic countries share many common cultural traits, and at the same time are unique and distinct. In addition, there is a history of collaboration in NORDICIL; this should give us some common ground build on and open ourselves up to new impulses and thinking.
- The distributed classroom allows different institutions to collaborate; the premise is simply that some parts of the course are shared by all, while others are more specific and just run within the individual institutions.
- In Lillehammer, we will apply to make this course worth 10-15 ECTS points so our teachers can get formal accreditation from the parent institution Lillehammer Univeristy College. We will also explore whether this accreditation can be extended to participants from other nordic countries should that prove to be interesting.
- This will be a central operational concept: the idea that a collection of peers gather with the specific intent of learning from and teaching each other. Draws on constructivist and connectivist learning theories as well as open online tools.
- An extension of scaffolding introduced earlier.