This document summarizes the history of film education in France from the early 20th century through the present. It describes how popular education movements after World War 2 utilized film clubs to promote education and debate. Figures like Andre Bazin traveled the country running workshops and film clubs. Federations of film societies nourished France with films and discussion for decades. In the 1970s-80s, film education expanded in schools and universities but lost its connection to popular audiences. A minister in the 1980s-90s championed bringing films into schools through partnerships with cinemas. Today, film is considered an art form in French schools and programs bring over 750,000 students to cinemas each year to study films.
On June 19th, 2015, 50 delegates from across Europe gathered at the Cinémathèque française in Paris to discuss the future of film education in Europe and launch A Framework for Film Education in Europe. The Framework establishes common goals and outcomes for film education across Europe. It brings together the knowledge and experiences of over 25 partners from various film education organizations. The event highlighted several successful film education programs and their importance in developing film appreciation in young people.
This document summarizes what is known and not known about film education research. While there have been some case studies and smaller projects exploring how students understand and make films, connect to other subjects, and use new technologies, much is still unknown. Specifically, large-scale studies are needed to understand the broader benefits of film education, learning progressions over time, pathways after education, and outcomes across Europe. The document calls for longitudinal studies and a synthesis of research to help address these gaps. It also discusses expanding the definition of "film" to include evolving digital and interactive media.
Edu film literacy framework brochure 2015 v5markreid1895
This document provides a framework for film education in Europe. It was created by film education practitioners from 20 countries to consolidate approaches and establish common learning outcomes. The framework aims to inspire people to enjoy, understand, create and share film throughout their lives. It identifies three key dimensions of film education: creative, critical, and cultural. It then outlines six areas of learning and links them to learning outcomes and experiences. The framework is intended to guide the design of film education programs and activities across Europe.
The document summarizes a seminar on researching film education in Europe. The seminar aims to shape a research agenda for film education by discussing what is already known, identifying new questions, and hearing perspectives from ongoing research. Participants will compare views and work to articulate an agenda, with the goal of better understanding the current state of film education across different settings and countries in Europe.
The document summarizes a survey of film education practices across Europe conducted by Mark Reid, Head of Education at the BFI. The survey aimed to map current film literacy practices, both formal and informal, across different age groups. It involved questionnaires and case studies of 27 EU nations, 3 EEA countries, and Switzerland. The survey found a variety of approaches to film education across countries and identified characteristics of strong national models, including coordination across sectors, entitlement to film literacy for all people, and robust evaluation. Recommendations included establishing models of different film education approaches, translating effective programs between countries, and developing professional development opportunities.
Northern Ireland Screen provides learning opportunities around film and moving images to help more people, especially young people, engage with these mediums. They have established Creative Learning Centers and after school film clubs that have trained over 5,000 teachers and engaged over 10,000 young people. While evaluations found this expanded access and skills, the organization recognizes a need to better define film education goals, integrate in and out of school programs, and improve impact measurement.
1. The document discusses film education in the UK context, where film is taught to varying degrees across England, Scotland, Northern Ireland, and Wales.
2. The BFI works in this context through programs like Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training.
3. The document discusses different models of film education, from film literacy to film as a creative art form, and argues that unfortunately no European curriculum requires the study of film for its own sake for all students.
Steven Stegers Moving Images in History EducationEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The teaching of film literacy is an “uncommon and sporadic practice”. This was the answer of 62% of the 6,701 teachers who participated in a European-wide survey. Only 5% teachers answered it is a “widespread and common practice”. Why is the teaching of film literacy not more widespread? Especially since having access to equipment is no longer a barrier and film and television have a major impact on the way young people see and understand the world. This session tries to see why moving images are not used more and what can be done. It will do so by looking into current practices, presenting potential use cases, and identifying learning objectives that can only be reached by using moving images.
On June 19th, 2015, 50 delegates from across Europe gathered at the Cinémathèque française in Paris to discuss the future of film education in Europe and launch A Framework for Film Education in Europe. The Framework establishes common goals and outcomes for film education across Europe. It brings together the knowledge and experiences of over 25 partners from various film education organizations. The event highlighted several successful film education programs and their importance in developing film appreciation in young people.
This document summarizes what is known and not known about film education research. While there have been some case studies and smaller projects exploring how students understand and make films, connect to other subjects, and use new technologies, much is still unknown. Specifically, large-scale studies are needed to understand the broader benefits of film education, learning progressions over time, pathways after education, and outcomes across Europe. The document calls for longitudinal studies and a synthesis of research to help address these gaps. It also discusses expanding the definition of "film" to include evolving digital and interactive media.
Edu film literacy framework brochure 2015 v5markreid1895
This document provides a framework for film education in Europe. It was created by film education practitioners from 20 countries to consolidate approaches and establish common learning outcomes. The framework aims to inspire people to enjoy, understand, create and share film throughout their lives. It identifies three key dimensions of film education: creative, critical, and cultural. It then outlines six areas of learning and links them to learning outcomes and experiences. The framework is intended to guide the design of film education programs and activities across Europe.
The document summarizes a seminar on researching film education in Europe. The seminar aims to shape a research agenda for film education by discussing what is already known, identifying new questions, and hearing perspectives from ongoing research. Participants will compare views and work to articulate an agenda, with the goal of better understanding the current state of film education across different settings and countries in Europe.
The document summarizes a survey of film education practices across Europe conducted by Mark Reid, Head of Education at the BFI. The survey aimed to map current film literacy practices, both formal and informal, across different age groups. It involved questionnaires and case studies of 27 EU nations, 3 EEA countries, and Switzerland. The survey found a variety of approaches to film education across countries and identified characteristics of strong national models, including coordination across sectors, entitlement to film literacy for all people, and robust evaluation. Recommendations included establishing models of different film education approaches, translating effective programs between countries, and developing professional development opportunities.
Northern Ireland Screen provides learning opportunities around film and moving images to help more people, especially young people, engage with these mediums. They have established Creative Learning Centers and after school film clubs that have trained over 5,000 teachers and engaged over 10,000 young people. While evaluations found this expanded access and skills, the organization recognizes a need to better define film education goals, integrate in and out of school programs, and improve impact measurement.
1. The document discusses film education in the UK context, where film is taught to varying degrees across England, Scotland, Northern Ireland, and Wales.
2. The BFI works in this context through programs like Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training.
3. The document discusses different models of film education, from film literacy to film as a creative art form, and argues that unfortunately no European curriculum requires the study of film for its own sake for all students.
Steven Stegers Moving Images in History EducationEUscreen
Content in Motion | Curating Europe’s Audiovisual Heritage Conference, December 3-4 2015; www.euscreenxl2015.eu
The teaching of film literacy is an “uncommon and sporadic practice”. This was the answer of 62% of the 6,701 teachers who participated in a European-wide survey. Only 5% teachers answered it is a “widespread and common practice”. Why is the teaching of film literacy not more widespread? Especially since having access to equipment is no longer a barrier and film and television have a major impact on the way young people see and understand the world. This session tries to see why moving images are not used more and what can be done. It will do so by looking into current practices, presenting potential use cases, and identifying learning objectives that can only be reached by using moving images.
This document provides a framework for film education in Europe. It was created by 25 film education practitioners from 20 European countries in response to a recommendation from a 2012 European Commission-funded report on the state of film education. The framework aims to consolidate approaches to film education, organize them under common outcomes, and provide guidance for future projects. It identifies 6 key learning goals for students to develop an understanding of film as an art form and cultural text. The framework maps these goals to learning outcomes, experiences, and dispositions to help educators design programs and policymakers develop film education.
This summary provides an overview of the document in 3 sentences:
The document discusses the changing definitions of cinema over time, from its origins as a technological invention to its development as an artistic medium and ideological tool. It explores cinema's shift from early "cinema of attractions" to later narrative films, driven by cultural pressures to be seen as a serious art form. The document also analyzes debates around defining cinema as an art based on its relationships to other arts and its unique cinematic techniques and editing, as well as defining it as an ideology based on how it conveys sociopolitical messages.
The document discusses the evolution and development of motion pictures from their earliest forms to modern digital cinema. It describes how early films were static single shots with no editing, and then began incorporating multiple shots and storytelling techniques. The introduction of sound in the 1920s revolutionized films, and color technology gradually replaced black and white films starting in the 1930s. New filmmaking styles and independent films arose in the 1960s as the studio system declined. Digital technology has been a major force driving changes since the 1990s. The document also discusses how technologies like 3D projection and color television impacted the film industry and viewing experiences.
The teaching of visual anthropology by jay ruby presentation by sajjad haider...Sajjad Haider
This document discusses the teaching of visual anthropology. It begins by providing context on the field of visual anthropology, noting that it occupies a marginal position in academia. It then discusses challenges in teaching visual anthropology, such as limited funding and conservative forces within universities. The document argues that training programs in visual anthropology should be located within general anthropology departments rather than separate programs. It also argues that anthropologists need to be more involved in teaching media production skills to train "anthropological image makers," rather than deferring to film schools. The document concludes by examining three common assumptions about film that are problematic for teaching visual anthropology.
Comenius project sinema grubu funda irem meydan merve doğanpacrucru
The document discusses the history of cinema. It begins by introducing important early figures in cinema history like the Lumiere brothers, Georges Melies, and Thomas Edison. It then outlines several important film movements and trends that developed in the early 20th century in places like Germany, France, Italy, and Brazil. These include Expressionism, Poetic Realism, Neorealism, the French New Wave, Free Cinema, and the Brazilian New Cinema. The document concludes by discussing the impact and influence of cinema on society through its ability to educate, reflect social issues, and spread ideas and values.
The document discusses the history and goals of Third Cinema, which originated in 1968. It rejects the Hollywood model and European art films, instead seeing the director as part of a collective appealing to masses by presenting truth to inspire revolution. Third Cinema films were meant to be screened clandestinely to avoid censorship and promote political knowledge and revolutionary action among viewers. Examples of Third Cinema discussed include films from Brazil, Argentina, India, Pakistan, China, Egypt, Latin America, Africa, and the Middle East. The document also provides details about the history of cinema in Iran, both before and after the 1979 revolution, and profiles influential Iranian filmmakers like Makhmalbaf, Panahi, and Farhadi.
USE OF NEW MEDIA IN THE PROMOTION OF CINEMANeha khatun
This document provides background information on the early history and development of cinema. It discusses key figures and innovations including the Lumiere brothers who held the first public film screening in 1895. Georges Melies expanded on early fiction films and special effects. Edwin Porter directed important early narrative films including The Great Train Robbery. D.W. Griffith directed over 500 short films for American Mutoscope and Biograph and pioneered important cinematic techniques. Warner Brothers founded one of the major Hollywood studios. Charlie Chaplin became the first major film star.
1. The cinema was invented in 1895 in Lyon, France by the Lumière brothers, who produced the first film projection. Lyon now has many institutions named after the Lumières and their former home is now a cinema museum.
2. There are many genres of films shown in French cinemas, and viewers can choose between standard or 3D/4D experiences. Popular French actors and directors are listed.
3. Heritage cinemas in France show older, black and white films. Students can study cinema history and filmmaking in Lyon. Major cinema festivals are held in the city annually.
The Journal of Italian Cinema and Media Studies is hosting its 5th anniversary international conference at The American University of Rome from June 9-10, 2017. The conference will provide a forum to discuss innovative directions for the journal and examine the role of Italian cinema and media in a global context. Possible topics include Italian co-productions, LGBTQ cinema, digital cultures, and television narratives. The deadline for 250-word abstract submissions is October 31, 2016. Selected papers will be considered for publication in the journal or an edited volume.
1) The document proposes several lessons that integrate the arts (drama, dance, visual arts, music) to teach students about the French Revolution.
2) One lesson involves having students act out a scene from A Tale of Two Cities to learn about historical context and develop script writing skills.
3) Another uses dance to help students analyze conflicts during the French Revolution and interpret them through performance.
4) Additional lessons explore the social classes of the time through a "living tableau" acting exercise and how artists depicted the period through visual analysis of paintings.
This document discusses cinema in community spaces in Porto, Portugal. It describes several community organizations and spaces that screen films for educational and social purposes, including Casa da Horta, Espaço Musas, Terra Viva, Gato Vadio, and Casa Viva. It provides examples of film screening events hosted by these spaces, such as a series on Palestine screened at Casa Viva and Gato Vadio, and a series on utopia/dystopia presented by a student at Gato Vadio. The document argues that these community cinemas provide important social spaces for freedom, learning, and dialogue at a time when public spaces are diminishing. It notes that human beings are social by
The document outlines plans for an annual European Film Week to be held at a university. The goals are to make European film heritage better known to students, provoke debate about European cinema, and provide information about it. Each event involves professors, students, and institutional partners selecting films and topics. Past events focused on New Waves, writers and film, and a dreamed Europe within the EU. The events included films, lectures, and attracted hundreds of attendees each time with support from embassies and cultural organizations.
The document discusses visual communication and colonial postcards from French colonies in North Africa. It provides context on how photography was used to promote French colonial ideology and view of colonized peoples. The postcards often depicted stereotypical and distorted images of local women and cultures. The book "The Colonial Harem" is analyzed, which examines how these postcards represented veiled women in a sexualized and fantasized way. The postcards aimed to justify colonialism and French presence by portraying locals as needing civilization, while also serving colonial desires of possession and conquest. Overall the document examines how visual media was a tool for colonial powers to propagate distorted views of colonized lands and peoples.
Cinema has had a profound impact on society since its inception in the late 19th century. The first films shown by the Lumiere brothers in 1895 amazed audiences and caused some to faint in fear from the moving images. Over time, film evolved to tell stories and narratives through the works of pioneers like George Melies. Cinema serves as a reflection of society and a powerful means of communication, culture, education, and propaganda. While film can increase understanding between cultures and influence society in positive ways, it also has the potential to promote unhealthy behaviors if misused.
This document outlines resources for teaching a 9th grade unit on the French Revolution using technology. It provides examples of blogs, podcasts, videos, apps, and other online sources that can help students understand the French Revolution through diverse tools. These include interactive timelines, documentaries, primary sources, artwork from the Louvre Museum, and other sites that make historical information accessible for students. The resources highlighted have been researched as credible for both teaching and providing factual information on the French Revolution.
The 1st International Photograph Gallery Road Show, TV Show and Social Responsibility Program will hold exhibitions, parties, and outdoor events in 10 cities across Europe and Russia. A reality TV show will follow famous photographers mentoring local amateur photographers in unique 19-episode seasons. 20% of profits will benefit a children's illness charity. An amateur photography contest in each country will select participants to guide famous photographers and potentially exhibit in events, with the prize being an opportunity to assist famous photographers.
Gymnastic mediatic fotografisk 2008 / exhibition text Emergency Art
This document provides information about the exhibition "Gymnastic Mediatic" by artist Thierry Geoffroy/Colonel. The exhibition focuses on how different media like newspapers, television, and the internet can be used as art forms. Colonel has worked with exploring media as art for over 20 years, using classified ads, television programs, and online platforms. The internet in particular provides new opportunities for direct communication and spreading ideas. The exhibition shows how Colonel's strategy is to move art from traditional spaces into media in order to communicate with a wider audience.
The document discusses the history and evolution of educational technology from ancient times to the present. It covers major developments such as the invention of writing, alphabets, printing press, textbooks, blackboards, photography, film, radio, television, computers and the internet. It also profiles important individuals who contributed to the field such as Comenius, Herbart, Pestalozzi, Montessori, Dewey, Edison, Bruner and Bloom. The emergence of educational technology in the Philippines is also briefly outlined.
Letter to european ministers for culture staatsminister neumannDomenico La Porta
The letter is from the presidents of three film industry organizations to the German Minister of State for Culture and Media. It expresses concerns about recent statements from European Commission officials that threaten essential film financing and distribution practices. Specifically, it discusses the Commission promoting simultaneous film releases in cinemas and on VOD, and a new MEDIA funding scheme that encourages VOD releases before cinema screenings. The letter argues these policies disregard the importance of exclusive cinema windows to raising finance and promoting European film culture. It asks the Minister to monitor EU policy developments and ensure future policies truly benefit European film and cinemas.
This document outlines the origins and progress of the Film Education: From Framework to Impact project between 2018-2021. It aimed to develop models of film education across Europe, conduct a landscape survey of film education in 29 countries, create an online course ("Film Education: A User's Guide") and regional training seminars, and hold an international conference in November 2020 in Erfurt. Key findings from the survey identified needs such as developing strategic visions, increasing teacher training, and prioritizing film in national curricula. The online course launched in March 2020 and had over 4,200 enrollments from countries like India, the US, and Egypt.
This document outlines a sample structure for a cinema club program called Cinemacent ans de jeunesse that explores concepts of time through film. Over 25 weeks, students would watch clips relating to different themes about time, complete three exercises filming shots exploring time's passage, and ultimately plan and film their own short film mixing showing and telling that includes changes in pace. Key activities include analyzing early cinema's temporal techniques, recording the continuity of actions, capturing dynamic tension under time pressure, and observing transformations over long takes.
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Similar to Alain Bergala's talk at the Framework Launch
This document provides a framework for film education in Europe. It was created by 25 film education practitioners from 20 European countries in response to a recommendation from a 2012 European Commission-funded report on the state of film education. The framework aims to consolidate approaches to film education, organize them under common outcomes, and provide guidance for future projects. It identifies 6 key learning goals for students to develop an understanding of film as an art form and cultural text. The framework maps these goals to learning outcomes, experiences, and dispositions to help educators design programs and policymakers develop film education.
This summary provides an overview of the document in 3 sentences:
The document discusses the changing definitions of cinema over time, from its origins as a technological invention to its development as an artistic medium and ideological tool. It explores cinema's shift from early "cinema of attractions" to later narrative films, driven by cultural pressures to be seen as a serious art form. The document also analyzes debates around defining cinema as an art based on its relationships to other arts and its unique cinematic techniques and editing, as well as defining it as an ideology based on how it conveys sociopolitical messages.
The document discusses the evolution and development of motion pictures from their earliest forms to modern digital cinema. It describes how early films were static single shots with no editing, and then began incorporating multiple shots and storytelling techniques. The introduction of sound in the 1920s revolutionized films, and color technology gradually replaced black and white films starting in the 1930s. New filmmaking styles and independent films arose in the 1960s as the studio system declined. Digital technology has been a major force driving changes since the 1990s. The document also discusses how technologies like 3D projection and color television impacted the film industry and viewing experiences.
The teaching of visual anthropology by jay ruby presentation by sajjad haider...Sajjad Haider
This document discusses the teaching of visual anthropology. It begins by providing context on the field of visual anthropology, noting that it occupies a marginal position in academia. It then discusses challenges in teaching visual anthropology, such as limited funding and conservative forces within universities. The document argues that training programs in visual anthropology should be located within general anthropology departments rather than separate programs. It also argues that anthropologists need to be more involved in teaching media production skills to train "anthropological image makers," rather than deferring to film schools. The document concludes by examining three common assumptions about film that are problematic for teaching visual anthropology.
Comenius project sinema grubu funda irem meydan merve doğanpacrucru
The document discusses the history of cinema. It begins by introducing important early figures in cinema history like the Lumiere brothers, Georges Melies, and Thomas Edison. It then outlines several important film movements and trends that developed in the early 20th century in places like Germany, France, Italy, and Brazil. These include Expressionism, Poetic Realism, Neorealism, the French New Wave, Free Cinema, and the Brazilian New Cinema. The document concludes by discussing the impact and influence of cinema on society through its ability to educate, reflect social issues, and spread ideas and values.
The document discusses the history and goals of Third Cinema, which originated in 1968. It rejects the Hollywood model and European art films, instead seeing the director as part of a collective appealing to masses by presenting truth to inspire revolution. Third Cinema films were meant to be screened clandestinely to avoid censorship and promote political knowledge and revolutionary action among viewers. Examples of Third Cinema discussed include films from Brazil, Argentina, India, Pakistan, China, Egypt, Latin America, Africa, and the Middle East. The document also provides details about the history of cinema in Iran, both before and after the 1979 revolution, and profiles influential Iranian filmmakers like Makhmalbaf, Panahi, and Farhadi.
USE OF NEW MEDIA IN THE PROMOTION OF CINEMANeha khatun
This document provides background information on the early history and development of cinema. It discusses key figures and innovations including the Lumiere brothers who held the first public film screening in 1895. Georges Melies expanded on early fiction films and special effects. Edwin Porter directed important early narrative films including The Great Train Robbery. D.W. Griffith directed over 500 short films for American Mutoscope and Biograph and pioneered important cinematic techniques. Warner Brothers founded one of the major Hollywood studios. Charlie Chaplin became the first major film star.
1. The cinema was invented in 1895 in Lyon, France by the Lumière brothers, who produced the first film projection. Lyon now has many institutions named after the Lumières and their former home is now a cinema museum.
2. There are many genres of films shown in French cinemas, and viewers can choose between standard or 3D/4D experiences. Popular French actors and directors are listed.
3. Heritage cinemas in France show older, black and white films. Students can study cinema history and filmmaking in Lyon. Major cinema festivals are held in the city annually.
The Journal of Italian Cinema and Media Studies is hosting its 5th anniversary international conference at The American University of Rome from June 9-10, 2017. The conference will provide a forum to discuss innovative directions for the journal and examine the role of Italian cinema and media in a global context. Possible topics include Italian co-productions, LGBTQ cinema, digital cultures, and television narratives. The deadline for 250-word abstract submissions is October 31, 2016. Selected papers will be considered for publication in the journal or an edited volume.
1) The document proposes several lessons that integrate the arts (drama, dance, visual arts, music) to teach students about the French Revolution.
2) One lesson involves having students act out a scene from A Tale of Two Cities to learn about historical context and develop script writing skills.
3) Another uses dance to help students analyze conflicts during the French Revolution and interpret them through performance.
4) Additional lessons explore the social classes of the time through a "living tableau" acting exercise and how artists depicted the period through visual analysis of paintings.
This document discusses cinema in community spaces in Porto, Portugal. It describes several community organizations and spaces that screen films for educational and social purposes, including Casa da Horta, Espaço Musas, Terra Viva, Gato Vadio, and Casa Viva. It provides examples of film screening events hosted by these spaces, such as a series on Palestine screened at Casa Viva and Gato Vadio, and a series on utopia/dystopia presented by a student at Gato Vadio. The document argues that these community cinemas provide important social spaces for freedom, learning, and dialogue at a time when public spaces are diminishing. It notes that human beings are social by
The document outlines plans for an annual European Film Week to be held at a university. The goals are to make European film heritage better known to students, provoke debate about European cinema, and provide information about it. Each event involves professors, students, and institutional partners selecting films and topics. Past events focused on New Waves, writers and film, and a dreamed Europe within the EU. The events included films, lectures, and attracted hundreds of attendees each time with support from embassies and cultural organizations.
The document discusses visual communication and colonial postcards from French colonies in North Africa. It provides context on how photography was used to promote French colonial ideology and view of colonized peoples. The postcards often depicted stereotypical and distorted images of local women and cultures. The book "The Colonial Harem" is analyzed, which examines how these postcards represented veiled women in a sexualized and fantasized way. The postcards aimed to justify colonialism and French presence by portraying locals as needing civilization, while also serving colonial desires of possession and conquest. Overall the document examines how visual media was a tool for colonial powers to propagate distorted views of colonized lands and peoples.
Cinema has had a profound impact on society since its inception in the late 19th century. The first films shown by the Lumiere brothers in 1895 amazed audiences and caused some to faint in fear from the moving images. Over time, film evolved to tell stories and narratives through the works of pioneers like George Melies. Cinema serves as a reflection of society and a powerful means of communication, culture, education, and propaganda. While film can increase understanding between cultures and influence society in positive ways, it also has the potential to promote unhealthy behaviors if misused.
This document outlines resources for teaching a 9th grade unit on the French Revolution using technology. It provides examples of blogs, podcasts, videos, apps, and other online sources that can help students understand the French Revolution through diverse tools. These include interactive timelines, documentaries, primary sources, artwork from the Louvre Museum, and other sites that make historical information accessible for students. The resources highlighted have been researched as credible for both teaching and providing factual information on the French Revolution.
The 1st International Photograph Gallery Road Show, TV Show and Social Responsibility Program will hold exhibitions, parties, and outdoor events in 10 cities across Europe and Russia. A reality TV show will follow famous photographers mentoring local amateur photographers in unique 19-episode seasons. 20% of profits will benefit a children's illness charity. An amateur photography contest in each country will select participants to guide famous photographers and potentially exhibit in events, with the prize being an opportunity to assist famous photographers.
Gymnastic mediatic fotografisk 2008 / exhibition text Emergency Art
This document provides information about the exhibition "Gymnastic Mediatic" by artist Thierry Geoffroy/Colonel. The exhibition focuses on how different media like newspapers, television, and the internet can be used as art forms. Colonel has worked with exploring media as art for over 20 years, using classified ads, television programs, and online platforms. The internet in particular provides new opportunities for direct communication and spreading ideas. The exhibition shows how Colonel's strategy is to move art from traditional spaces into media in order to communicate with a wider audience.
The document discusses the history and evolution of educational technology from ancient times to the present. It covers major developments such as the invention of writing, alphabets, printing press, textbooks, blackboards, photography, film, radio, television, computers and the internet. It also profiles important individuals who contributed to the field such as Comenius, Herbart, Pestalozzi, Montessori, Dewey, Edison, Bruner and Bloom. The emergence of educational technology in the Philippines is also briefly outlined.
Letter to european ministers for culture staatsminister neumannDomenico La Porta
The letter is from the presidents of three film industry organizations to the German Minister of State for Culture and Media. It expresses concerns about recent statements from European Commission officials that threaten essential film financing and distribution practices. Specifically, it discusses the Commission promoting simultaneous film releases in cinemas and on VOD, and a new MEDIA funding scheme that encourages VOD releases before cinema screenings. The letter argues these policies disregard the importance of exclusive cinema windows to raising finance and promoting European film culture. It asks the Minister to monitor EU policy developments and ensure future policies truly benefit European film and cinemas.
Similar to Alain Bergala's talk at the Framework Launch (20)
This document outlines the origins and progress of the Film Education: From Framework to Impact project between 2018-2021. It aimed to develop models of film education across Europe, conduct a landscape survey of film education in 29 countries, create an online course ("Film Education: A User's Guide") and regional training seminars, and hold an international conference in November 2020 in Erfurt. Key findings from the survey identified needs such as developing strategic visions, increasing teacher training, and prioritizing film in national curricula. The online course launched in March 2020 and had over 4,200 enrollments from countries like India, the US, and Egypt.
This document outlines a sample structure for a cinema club program called Cinemacent ans de jeunesse that explores concepts of time through film. Over 25 weeks, students would watch clips relating to different themes about time, complete three exercises filming shots exploring time's passage, and ultimately plan and film their own short film mixing showing and telling that includes changes in pace. Key activities include analyzing early cinema's temporal techniques, recording the continuity of actions, capturing dynamic tension under time pressure, and observing transformations over long takes.
This document discusses concepts of time in cinema. It begins by explaining that film is inherently a time-based medium structured around duration. Filmmakers use techniques like temporal markers and editing to manipulate the experience and flow of time. Early films by the Lumière brothers and Alice Guy Blaché explored the discoveries of capturing time through a motion picture. There are different types of time in film including scene time, duration, and simultaneous time. Exercises are proposed to experiment with capturing the passage of time through long takes, cuts, and transformations over the duration of a shot.
This document outlines the structure and goals of a 12-25 week filmmaking course titled "Sensory Cinema". The course will involve watching film clips to analyze how sensations are conveyed, completing three short film exercises paying attention to sensations, and making a final group film of 7-8 minutes focusing on sensations as perceived by characters or viewers. Examples of films that effectively convey sensations are provided. An analysis framework is introduced that focuses on how the five senses, movement, time, character perspectives, place, and memory are used to tell stories and evoke sensations through film.
Sample scheme of work for sensory cinemamarkreid1895
This document outlines a sample 26-week program called "Sensory Cinema" for exploring film through a sensory lens. It involves watching film clips each week that represent different themes like childhood memories, pure sensations, disconnected senses. Students do exercises like creating a short film representing everyday sensations or responding to music through images and sounds. They also work in groups on a final film project exploring sensations from different perspectives meant to cross boundaries between documentary, experimental and fiction filmmaking. The program is flexible and can be adjusted to fit available timeframes between 8-10 or up to 26 weeks.
1. The document outlines the structure and content for a filmmaking course titled "Sensory Cinema". The course will run for 12-25 weeks and include watching film clips, discussions, and creating short films.
2. Students will complete three short film exercises exploring everyday sensations, interpreting spaces through different senses, and responding to music through film.
3. For their final project, students will create a 7-8 minute mixed-form film communicating sensations as perceived by characters and disconnected from people on screen but relating to the viewer. The film will cross boundaries between documentary, experimental, and fiction filmmaking.
This document discusses how short films can be used to support literacy education. It outlines a 3-year project between the BFI, Bucks County Council, and Rothschild Foundation that uses film to enhance primary literacy and secondary foreign language learning. Research shows that moving image education can improve attainment, motivation, engagement, and understanding of texts. The document provides examples of pedagogical approaches like "Tell Me" grids that encourage analyzing films' characters, settings, and stories. It also summarizes research finding positive impacts of moving image education on literacy, enjoyment, and confidence.
This document discusses using short films to enhance literacy education. It argues that short films can make learning more active, connect classroom learning to students' lives outside of school, and deepen understanding of texts. Short films allow students to analyze elements like character, setting, story, symbolism, and film techniques. The document provides examples of activities like using "Tell Me" grids to discuss films, stopping and starting films to pick out details, and predicting what will happen next. It aims to show how analyzing short films can improve students' creative, critical and cultural understanding, and help develop literacy in the 21st century.
Film literacy in a contemporary landscapemarkreid1895
The document discusses the importance of film literacy and incorporating moving images into education curricula. It argues that film is the dominant art form of the 21st century and students need skills to engage with and understand film. Currently, film education varies between countries and regions with some placing more emphasis on it than others. The document advocates for taking a broader view of literacy to include moving images and considering how different forms of representation, like film, can stimulate different cognitive skills in students.
Final analysis of the film education surveymarkreid1895
This document summarizes the results of a survey on film education in Europe. 58 organizations responded from various European countries. The survey found that most organizations operate at a national level and focus on screenings and workshops. The most inspiring external project was "Cinema, Cents ans de jeunesse". The top purposes of film education according to respondents were the promotion of film as an art form and developing film literacy.
This document summarizes the responses from a survey of various film organizations regarding film education strategies. The survey found that the main goals of organizations were to develop critical understanding and engagement with film, as well as ensuring access to film for young people. Common projects involved screenings, workshops, and online resources. Key challenges identified were lack of teacher training, funding issues, and film education not being prioritized in school curricula.
This document outlines the structure and content for a filmmaking course focused on analyzing and creating situations. The course will run for 12-25 weeks and include viewing film clips, discussions, and completing exercises and a final film project centered around situations. Students will analyze situations through examining elements like character, setting, camerawork, and emotions. They will complete exercises filming situations without dialogue, between two characters linked to an emotion, and a final film where a situation changes over time, shifting viewer identification.
Scheme of Work for "Situation': CCAJ 2018/19markreid1895
This document outlines a sample structure for a cinema club program called "Cinemacent ans de jeunesse" over 25 weeks between November and May. The program focuses on exploring film techniques and analyzing how films portray different situations. It includes introductory discussions, exercises analyzing situations in paintings and filming short scenes, a screening of a full-length film, and culminates in students filming their own short films over 5-8 minutes about a changing situation.
This document discusses using short films to teach foreign languages to children. It describes how films provide a culturally rich context that engages children. Short films are preferable because they are new to children, manageable in length, and often high quality productions. The document outlines pedagogical approaches like using "Tell Me" grids to discuss a film's characters, setting, story, and mood in the target language. It also describes an ongoing program from the Cinematheque Francaise where children watch and discuss films together in multiple languages.
This document discusses film education in the UK context and models of film education. It provides an overview of film education in different parts of the UK and how the BFI works to support film education through various programs. These include Into Film, which focuses on after school film clubs, and the BFI Film Academy, which provides industry skills training. The document also discusses debates around using film to support literacy versus treating film as an art form. It outlines several potential models of film education, including using film for vocational skills, media literacy, creative expression, civic education, and audience development. The document argues that film education can enable unique types of thinking as described by Elliot Eisner, including flexible purposing and using material as
The document discusses key lessons and insights from a mid-term review of a filmmaking project focused on representing places. Some of the challenges discussed include balancing the representation of place with narrative elements, distinguishing between unique places and more generic spaces, and how to present places as characters. Younger students sometimes focused more on themselves while older students erased themselves to immerse the viewer in the place. The films created showed how places can be represented in evocative ways through imagery, sound, and fictionalized human testimony about the place.
The document discusses how imagination, creativity, and moving images can help find things we don't know we're looking for. It notes that if our only tool is a yardstick, we will only look for what can be measured. The arts can slow down perception, invite exploration, and give permission to play. Looking and listening closely to images, stories, and the world around us can lead to surprises. When teaching, it is important to slow children's perceptions, explore the potential of film, use constraints in creative tasks, help children closely examine their creations, and make room for surprise.
This document provides a 23-week curriculum plan for a project on Places and Stories for schools participating in research looking at how the project may improve writing skills. The plan involves weekly themes where students will view film clips, do activities and exercises to explore how places are portrayed in films and can inspire stories. They will film short videos of places and add elements to portray different times. The final weeks involve planning, filming and editing a short film where a character brings another to a place that elicits an emotional response.
This document outlines the structure and exercises for the 2017/18 edition of the Le Cinéma, cent ans de jeunesse film program, which focuses on the theme of "Places and Stories." The program involves both watching film clips and discussing them, as well as completing three short filmmaking exercises and a final film project about a character bringing another character into a place that elicits an emotional response. The exercises are meant to explore different types of places that can tell stories through film and how places are represented.
This document provides an overview of wound healing, its functions, stages, mechanisms, factors affecting it, and complications.
A wound is a break in the integrity of the skin or tissues, which may be associated with disruption of the structure and function.
Healing is the body’s response to injury in an attempt to restore normal structure and functions.
Healing can occur in two ways: Regeneration and Repair
There are 4 phases of wound healing: hemostasis, inflammation, proliferation, and remodeling. This document also describes the mechanism of wound healing. Factors that affect healing include infection, uncontrolled diabetes, poor nutrition, age, anemia, the presence of foreign bodies, etc.
Complications of wound healing like infection, hyperpigmentation of scar, contractures, and keloid formation.
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.
A workshop hosted by the South African Journal of Science aimed at postgraduate students and early career researchers with little or no experience in writing and publishing journal articles.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Chapter wise All Notes of First year Basic Civil Engineering.pptxDenish Jangid
Chapter wise All Notes of First year Basic Civil Engineering
Syllabus
Chapter-1
Introduction to objective, scope and outcome the subject
Chapter 2
Introduction: Scope and Specialization of Civil Engineering, Role of civil Engineer in Society, Impact of infrastructural development on economy of country.
Chapter 3
Surveying: Object Principles & Types of Surveying; Site Plans, Plans & Maps; Scales & Unit of different Measurements.
Linear Measurements: Instruments used. Linear Measurement by Tape, Ranging out Survey Lines and overcoming Obstructions; Measurements on sloping ground; Tape corrections, conventional symbols. Angular Measurements: Instruments used; Introduction to Compass Surveying, Bearings and Longitude & Latitude of a Line, Introduction to total station.
Levelling: Instrument used Object of levelling, Methods of levelling in brief, and Contour maps.
Chapter 4
Buildings: Selection of site for Buildings, Layout of Building Plan, Types of buildings, Plinth area, carpet area, floor space index, Introduction to building byelaws, concept of sun light & ventilation. Components of Buildings & their functions, Basic concept of R.C.C., Introduction to types of foundation
Chapter 5
Transportation: Introduction to Transportation Engineering; Traffic and Road Safety: Types and Characteristics of Various Modes of Transportation; Various Road Traffic Signs, Causes of Accidents and Road Safety Measures.
Chapter 6
Environmental Engineering: Environmental Pollution, Environmental Acts and Regulations, Functional Concepts of Ecology, Basics of Species, Biodiversity, Ecosystem, Hydrological Cycle; Chemical Cycles: Carbon, Nitrogen & Phosphorus; Energy Flow in Ecosystems.
Water Pollution: Water Quality standards, Introduction to Treatment & Disposal of Waste Water. Reuse and Saving of Water, Rain Water Harvesting. Solid Waste Management: Classification of Solid Waste, Collection, Transportation and Disposal of Solid. Recycling of Solid Waste: Energy Recovery, Sanitary Landfill, On-Site Sanitation. Air & Noise Pollution: Primary and Secondary air pollutants, Harmful effects of Air Pollution, Control of Air Pollution. . Noise Pollution Harmful Effects of noise pollution, control of noise pollution, Global warming & Climate Change, Ozone depletion, Greenhouse effect
Text Books:
1. Palancharmy, Basic Civil Engineering, McGraw Hill publishers.
2. Satheesh Gopi, Basic Civil Engineering, Pearson Publishers.
3. Ketki Rangwala Dalal, Essentials of Civil Engineering, Charotar Publishing House.
4. BCP, Surveying volume 1
Main Java[All of the Base Concepts}.docxadhitya5119
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
Natural birth techniques - Mrs.Akanksha Trivedi Rama University
Alain Bergala's talk at the Framework Launch
1. Launch of the Framework for Film Education in Europe
Cinematheque Francais
19 June 2015
Text in English of Alain Bergala’s talk. Translation by Suzy Gillett
This moment, when the idea to create a European Framework for Film Education
is taking shape, is the continuation of a long history that varies country by
country.
There is no pure film education practice that develops in isolation in schools as if
in an in-vitro space. What takes place in school is never disconnected from what
happens outside school. This is especially true with film which is alive and well
in society, outside the walls of school. This is also valid for this European project,
in that it brings together countries where the history of the rapport between film
and school is very different.
To think about this question I will use the case study of France. It is not by
chance that this is the country with the most developed film education in the
school system. It is because it has benefited from unique historical and political
circumstances in Europe, perhaps even in the world.
I will quickly trace the outline of this background from which we may draw, I
think, elements for thought and foresight when implementing this European
Framework.
This history exists from the beginning of the twentieth century but in France
builds its solid, sustainable and collective foundation after the Second World
War.
Through the networks of the Resistance workers and intellectuals, Communists
and Catholics fought side-by-side and got to know each other. At the end of the
war they shared the belief that popular education in neighborhoods and factories
was the best weapon against the horrors that had just taken place to ensure that
they would never happen again: "never again! "
In the immediate postwar period large mass cultural movements like People and
Culture and Labour and Culture were born out of this ideological and political
conviction. They quickly identified film, which was able to reach all levels of the
population, to be the ideal vehicle for popular education. Everyone, whatever
their cultural level or social background, can watch a film, understand it and talk
about it. These popular education movements immediately took into account
film as art, as aesthetic, not just as content or an ideological vehicle for
communication, which is quite exemplary and unexpected, given their political
and social nature. Pragmatically they established a distinctive pedagogy of film,
set out in a book published by People and Culture in 1953: A New Outlook on Film,
which comprised an introduction to film analysis and a methodology to run film
clubs. In this book there are pieces by André Bazin, Chris Marker, and many
others. Among the tireless film educational activists, André Bazin was at the
2. forefront, the future founder of Cahiers du Cinema whose thought would train the
young people who were to go on to become filmmakers of the French New
Wave. Bazin toured all over France, to run workshops, to host film club sessions
and to offer film training, both at universities and in factories. At that time in
France only a minority of worker’s children had access to secondary school and
university education and he had to go and meet them there where they were,
beyond state educational institutions.
The French Cinematheque, which started out as The Film Circle, a film club set
up by Henri Langlois in 1935, opened its first cinema in rue de Messine at the
end of the war in 1948. Henri Langlois showed his desire to make it a place of
transmission, to show all films to new generations. This had a decisive effect on
the training of the young film-makers who became the New Wave, and who
learned to make films by watching the films that Langlois showed them.
As a result of these post-war activities, large federations of Film Societies were
established, which for three decades nourished France with films and reflection
and debate on film practices. These federations had very rich film libraries of 16
mm and 35 mm films and organized training sessions to run film clubs. I myself
was trained in this way, doing internships, attending and hosting film clubs. The
powerful League of Education (created in 1866!), the great extracurricular
secular movement that was recognized and partly supported by the National
Education Board, circulated thousands 16 mm films intended for schools, many
of which were equipped with 16 mm projectors. These popular film clubs
trained the first generation of teachers "on the job" , at a time when film was not
taught at university; they would go on to introduce film into the classroom in an
“ad-hoc” way.
The death of Film Societies was rapid in the 70s and 80s with the rise of
television, which offered a lot of films and its own Film Club programmes with
presenters but obviously without possible debate with audiences. VHS players
eventually killed off the use of 16mm films and 16 mm projectors in schools. The
consumption of historic films became more personal and domestic.
Film education gained a lot of ground in schools and universities during the
years 1970-1990. But that was also the time when education about and through
film got locked inside school, and it effectively abandoned the popular non-
scholar audience. Film clubs were the last to think of film education in terms of
the postwar period, as a popular education. Television, which could have taken
up the baton, did not, and Roberto Rossellini’s dream of a popular educational
television is indeed dead.
In the 70s, after the shake up of May 68, film quickly entered universities, where
film departments were launched in several major cities in France. The first
students to be trained in cinema in these universities in the 80s and 90s went on
to be a new generation of university teachers rather than the pioneers of film
that came out of the previous generations of auto-didacts nurtured by Film
Societies.
3. The decades of 1980 and 1990 saw the entry of film into the school system,
corresponding to a cultural policy that was decided and deliberately led by a
minister whose role in this matter was decisive and historic. For over ten years,
this minister, Jack Lang, from 1981 to 1993, was Minister of Culture and his
permanent interest in film saved French cinema from the disaster that affected
other national cinemas in Europe when TV channels began broadcasting films in
large numbers. For example whilst Italian cinema production dropped from
several hundred films a year to a mere dozen, French cinema continued its
momentum by producing over 300 films a year.
Jack Lang actively contributed during this decisive decade to bring films into
schools with all the means available to the Ministry of Culture, but he had to deal
at the time with officials from the Ministry of Education who were not
necessarily as enthusiastic. Then, in 2000, Lang himself became Minister of
Education, and he implemented the policy of "Art at School" where he invented a
new way of introducing the arts into the school system, no longer through a form
of rigid teaching but as a pedagogy of experience and encounter with works of
art and creators.
Film (an area of the arts for which I was at the time advisor to the Mission Arts at
School) occupies a prime place in this policy. A small revolution took place at that
moment in the angle of approach to film in the school system: film, which had
long been approached primarily as a language in the French pedagogical
tradition was finally considered to be primarily an art form, which as a result had
considerable consequences in the actual conception of the place of film in school.
1983 saw the birth of the first "film options" that led in 1989 to a Film
Baccalauréat being available in some schools.
At the same time in France a system was created that has established a lasting
and regular partnership between schools and cinemas: Collège au cinema (Middle
/ Secondary School at the Cinema) in 1989, and Lycéens au cinéma (High School at
the Cinema) and Ecole et cinéma (Primary School at the Cinema) in 1993-1994.
The principle of this system is simple: several times a year classes attend a film
screening at a local cinema to see films on the big screen; they then work in the
classroom with their teachers about the films. These screenings are held during
school time. Primary School and cinema is now is the best established: it is active
in 11 000 schools, 1200 cinemas, and 750,000 students benefit. Other countries
interested in the question of film and school envy us such a system.
The distinctiveness of film education in French schools lies in the permanence of
these extracurricular environments where children, youths and teachers have
been able to relate to film - in real cinemas - and also that the films are chosen
for their cinematographic and film heritage qualities. French schools have been
supported by these systems that have obviously prepared and accompanied the
chances of success of film entering classrooms.
4. In 1995, on the occasion of the centenary of cinema, the educational department
of La Cinémathèque française created a pioneering pedagogical system : Cinema,
One Hundred Years of Youth. The purpose of this system is to experiment with an
exemplary film pedagogy, the methodology of which can be shared with other
countries, in Europe and with the rest of the world. This system has developed
precise and rigorous protocols and functions as a self-study group and a
permanent exchange between participants (teachers and cinema professionals).
20 years after its birth we have finally realized that Cinema, Cent Ans de Jeunesse
was unwittingly a prototype, the foreshadowing of what could be a way of
working between European countries. Another original feature of this system
was the desire to establish it in very different places, across very varied classes
of age and social backgrounds, whilst practicing the same teaching method for
all. This was one of the conditions of its exemplary aims.
This short recap of the history of the introduction of film into the French school
system enables us to identify three stages that made its unique development in
the world possible.
Phase 1: Some teachers who love film introduce film into their class, whether by
passion or ideological conviction, but their practice is still local, individual, and
not always supported by the educational institution, even if it is tolerated. This is
the phase of the "pioneer", often film buff teachers, who were trained in film
clubs and are film activists. This generation has for the most part retired en mass
in the past 10 years, leaving room for teachers whose background and training
have not gone through the same story, but some of whom have benefited from a
university education. But the limit to individual teaching is that everything starts
from scratch for each who practices it and there is no way to capitalize on the
experience gained.
Luckily cinema still arouses the desire to teach it, even in people who have not
studied film. And in well thought out teaching this is not really a handicap. The
"ignorant school master" (to paraphrase Rancière) that loves film and has a real
desire to transmit it, can become a very good teacher, if they find the right
conditions, within a group of peers for self-training, and also the right tools.
Phase 2: The base of pioneers, teachers and concerned activists widens and they
begin to organize themselves in networks where information is circulated,
experience shared and peer to peer training meetings take place. This rough
organization sometimes leads to the start of partial recognition by schools and
some specific methods. During this phase, pedagogical ideas begin to be
exchanged, breaking the solitude of teachers…
Most European countries are now in this phase, which is more or less developed
and structured.
Phase 3: The central educational institution (the Ministry of Education, the
State) decides to implement a national education policy of film in school. This is
5. the chance that France has had, which unfortunately remains to this day the only
country to have experienced such a mutation.
The mere fact that the Minister of Education loudly affirms its conviction in this
area gives immediate legitimacy to the teachers concerned, and some problems
(management of schedules, trips out of school, consideration of these teachers by
their colleagues and school leaders, etc.) are quickly resolved. Everything
becomes easier because of the legitimacy and the affirmation of a common and
shared aim, as was possible in France. "Cinema as art," cinema as "culture and
practice" are brought together. Even if there is a regression, as there is in France
today, a legitimacy of these practices always remains.
Could Europe one day play a central political role at an international level?
To start with a platform of goals is obviously essential. This is a necessary and a
very good start. And this Framework which brings us together today is a good
example of what should be the goal of all education in film: to articulate culture
with creation; to articulate the individual and the collective; to articulate the
learning of taste, thinking about film and that of practice.
This Framework even opens a small window between the inside and outside of
school: home, family, social surroundings. This aspect is the least developed in
France, where the school and the family, for example, remain rather sealed off
from one another, when it is not suspicious and hostile.
I therefore welcome this act of birth because it has avoided the pitfalls of
dogmatic rigid "pedagogues", who would seek a "programme" of film education.
I would just like to open up some perspectives that could subsequently help
establish, from this platform, a truly educational (and self-sustaining community.
In the Manifesto of the People and Culture of 1945, we find these two sentences:
"Popular culture is not to be distributed, you have to live together"
"Real culture is born out of life and returns to life"
The most important perspectives seem to me today to agree on the essential
question of why we want to introduce an approach to film into school. If it were
just to add another discipline to traditional school subjects, in the same model, it
would be a lot of effort for not very much.
If we want to introduce the cinema as art in school, it is primarily for there to be
this back and forth between culture and life, a back and forth which schools are
sorely lacking in their classic disciplines. So that through this artform, young
people experience life, beauty, a vision of the world that is theirs in the age,
country and the era in which they live.
The permanent danger of current approaches to film in school is of losing the
reason why it is done. This is what I call the ‘gadgetization’ of film in school.
6. It consists of doing for doing’s sake without questioning what we are really
looking for through this experience.
An introduction to cinema as art is meaningful only if it disrupts the habits and
the hum of the school institution, notably in the face-to-face interaction of the
teacher and students. One of the major virtues of a film education as art – which
was that of the Arts and School programme, and since 1995 that of Cinema cent
ans de jeunesse - is to open classes for non-teachers of cinema, for practitioners
who accompany students over time in a long project of film. The pedagogy of film
is only valuable over a long duration, the rest is "dressing".
This arrival in the classroom of people from the film industry redistributes the
cards and brings new values that allow some students to see recognition of their
skills and qualities they had never been able to show inside the institution. It is
good for everyone: the teacher, students, and the film practitioner. The
atmosphere of the school is thereby transformed.
What could be a European educational community in terms of cinema
approach?
A community is not just people who, each in their country have the same
objectives. This is when practical and common understanding is installed.
An educational community is when everyone in his country is aware that the
others are following the same methodology, are going through the same
educational work protocols and share the same image/idea of cinema.
The methodology is neither a programme nor the imposition of a common
content.
The methodology provides an escape from the atomization of practices without
reducing national differences. The singular identities, on the contrary, are best
revealed by the structure (the game or role) of a common methodology, of
shared protocols, which let us be interested in what others are doing and by
what you yourself, went through.
What I say here is not a utopia; it is already taking place at a European level with
Cinema cent ans de jeunesse. And it is not difficult, it's just a matter of
organization, of shared methodology and actual meetings between partners.
The digital transformation
Finally I would like to raise an alarm about the most radical of mutations in the
past 15 years: the transition to digital consumption.
This revolution has nothing to do with the old question of generational
differences in culture, it is a true anthropological mutation. The intensive use of
the Internet has made problematic, and soon perhaps insurmountable, the basic
requirement of film : to watch a film in its entirety with no possibility to switch
from one film to another or from one sequence to another, being obliged to go
7. from one scene to another until the end of the film. That is to say, of the
acceptance of the duration and linearity of film.
Only the cinema screen requires us, in some way, to see a film continuously, even
if more and more spectators (even at the Cannes Film Festival) while watching
the film consult from time to time their own personal screen, reading and
responding to text messages. At home, one may suspend at will the flow of a film
on one’s television screen and resume after an interruption, but also slow it
down, speed it up, zap one or more scenes, go from one film to another, etc. To
watch a whole film without interruption is no longer the "normal" practice of
younger generations. The practice is that of the fragment, the rapid move from
one clip to another. This now commonplace practice produces an exponential
increase in our faculty of impatience. Jumping from page to page on the Internet
and the pleasure of dizziness that goes with it one becomes less and less aware
that this random accelerated montage often leaves nothing left in our memory,
one page erasing the next. Watching a film in the cinema is increasingly an
antidote to digital impatience.
This mode of rapid circulation was, up until relatively recently, still linear. Now
it is mutating with multi screens where impatience has another outlet in the
ability to simultaneously move from one screen to another, from the email inbox
to Twitter or Facebook while still following with the corner of their eye a football
match or an American TV series.
I have no doubt that this new way of relating to images – the fast speed,
widespread practice of switching, and concurrency of multiple screens - will
develop new forms of intelligence about the image, but it is too early to have the
foggiest idea about it.
So what can an educator between two eras do, who has given themselves the
mission to educate Internet natives to linear cinema from a time which required
a continuous duration?
First, give them the experience and taste. Then don’t be intimidated by the
demagoguery according to which you should run even faster than students and
the circulation on the Internet. You must first be convinced that there is no
pedagogy without slowing down and without creating links between what is
seen.
The teacher does not have to accompany the logic that governs the highest stage
of consumption: passing more and more rapidly from one product to another,
forgetting the past that slows down, and getting drunk on the pure quicksilver of
this speed.
If education has a sense, it is more than ever that of slowing down. Time is the
raw material of cinema. Although digital is making us forget about it by replacing
it with an abstract and adjustable speed.
8. To educate must be more than ever about creating bonds, between ideas and
memory, between fragments of films and between the films themselves. To
educate is finally to maintain a link between the past and the present. Without
that connection we risk training chickens without heads, amnesic and happy to
be so.
There is no question of refusing traffic on the Internet, from which no one can
escape - and from which we all draw every day incredible benefits and time
saved searching for information and access to resources. But instead we should
teach our students to create links between the millions of film clips that are
found there and that are a mine of unprecedented wealth, provided you know
what to do with them.
And for that we must invent teaching protocols for film that are used via
YouTube. I'm currently thinking about this precise question of a pedagogical but
not pedagogist, use of YouTube and other similar resources sites.
Thanks to digital tools that have become everyday objects, such as smartphones,
all pupils and students can film shots, clips or small short films and upload them
as one throws a drop of water in the ocean of the Internet.
But do the young people who shoot and upload these clips learn something
about how to make a film? Do they express themselves? Is there really any
creation?
Spontaneous creativity, real, aroused by the Internet is not to be confused with
creation. Creativity is the essential fuel of creation, because it is the indicator of
an impulse to do so, but for there to be true creation there needs to be a project,
and a thought of this project in relation to the world and the art that is practiced.
Real creation also requires a reflexive break from the widespread acceleration of
the Internet. There is no spontaneous teaching by the Net. The user who posts a
clip, expects an instantaneous and statistical evaluation: the number of "seens"
and "likes," as the film industry only counts the number of tickets sold. A true
creation is firstly self-assessed by the creator themselves in relation to their
project, and this assessment is done in solitude and with doubt. For him (or her),
the exchange, the sharing with others comes only when the film is finished and
they face the Other: the critic and the public.
A true pedagogy of filmmaking goes through a period of time, that of the
development and maturation of a project. Gadgetization and activism may give
the illusion of a spontaneous acquisition of know-how that requires no thought,
no plan, no work, no transmission, and creates many false illusions.
Our role as educators is to find other strategies, other protocols, to enroll in an
educational community that is aware of its goals and its means, to have an acute
awareness of this new situation we are just beginning to be faced with. This
Framework for Film Education in Europe can contribute to that. Good luck to it.