Culture forming function of film
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The document discusses the status of film in new media culture according to three theories. It argues that the focus should be on defining the viewer as an active participant with new skills like erudition, expertise, criticism, selection, integration and creativity. Some examples of media education initiatives in Poland are provided but it is noted that more are still needed to support this new type of engaged viewer.
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Culture forming function of film
- 1. Culture-forming function of film and new media dr hab. Piotr Drzewiecki, prof. UKSW presscafe.eu@gmail.com
- 2. Culture-forming function of film and new media • status of film in new media culture • new type of film viewer • proposals of media educational initiatives John, Film, flickr.com, CC BY 2.0
- 3. Status of film in new media culture • theory of audiovisual culture (M. Hopfinger) • theory of the language of new media (L. Manovich) • theory of cultural convergence (H. Jenkins) Info.wsisiz.edu.pl, Permitted Public Use, Wikimedia.org, CC BY 2.0, CC BY-SA 4.0
- 4. Theory of audiovisual culture (M. Hopfinger) • type and style of culture • dominant communication techniques in culture - type • values and their hierarchies in culture - style • audiovisuality is a type of culture • dominant perception • verbal culture and typographic perception, until XIX century • formation of audiovisual culture - cinema perception, XIX century • audiovisual culture (development of television) - audiovisual perception, XX century • multimedia culture and electronic perception, XXI century Empik, Bibliofil.com.pl, Permitted Public Use
- 5. Theory of audiovisual culture (M. Hopfinger) • multimedia culture and electronic perception • electronic perception = audiovisual perception + simulations and virtualization • computer practice • differs than only the transmission • interactivity and virtuality • abolition of the boundary between real and simulated • film and computer practice borrowed from earlier media • digital image - effect of reality without the necessity of reality • broken relationship - world and media • instead of the "mirror" of reality - simulation of reality • new kind of aesthetics Idaho National Laboratory, Simulation, flickr.com, CC BY 2.0
- 6. Theory of audiovisual culture (M. Hopfinger) • new questions about the anthropological dimension of culture • a new "anthropological situation" • need of new audiovisual education • anthropology and film • two areas of human activity, different but close, both born by European culture • both have audiovisual character, our audiovisuality is a natural equipment of humanity, film is a form of technical invention of humanity Jeffrey, Every Channel The Same, flickr.com, CC BY-ND 2.0
- 7. Theory of audiovisual culture (M. Hopfinger) What is the status of the film in the new media culture according to Hopfinger? • audiovisuality in culture is still based on films, but we have a new form: virtuality and simulation • digital image give us - instead of “mirror” of reality - an effect of the reality. Reality is not necessary for audiovisuality • subject of this culture (viewer, receiver, human) is a way to solution of problems with new computer and audiovisual technology • subject needs support and help - media and film education Info.wsisiz.edu.pl, Permitted Public Use
- 8. Theory of the language of new media (L. Manovich) • relationship between the film and the new media • two vectors • from the cinema to the new media - to map the mechanisms of new media • from computers to cinema - influence of computerization for our understanding of moving images Ceneo, Permitted Public Use
- 9. Theory of the language of new media (L. Manovich) • the language of cinema played an important role in the formation of new media interfaces • new identity of image generated by the computer • the digital image - discrete and modular • two-level, composed of the screen surface and the computer code that creates the screen • icon-interface, a gateway to another world, not just a representation of the world Jeff Warren, interface, flickr.com, CC BY-SA 2.0
- 10. Theory of the language of new media (L. Manovich) • physical reality in the form of a flat image is now one of the many possibilities for new media technology • not only a recorder of reality, but a new form of painting • new media are still based on narrative • due to the cultural understanding of narrative-based forms of communication www.haaijk.nl, Cinema, flickr.com, CC BY-NC-ND 2.0
- 11. Theory of the language of new media (L. Manovich) Wikimedia.org, CC BY 2.0 What is the status of the film in the new media culture according to Manovich? • film history and theory of film is the basis and reference for the history and theory of new media • cinema has expanded its capabilities beyond film realism • but the cinema and new media retained its narrative • because, as an audience (viewers), we still want storytelling
- 12. Theory of cultural convergence (H. Jenkins) • media convergence - modern "collision" of old and new media • communicate a cultural content through different channels of communication • community of fans around the world, who broaden the scope of cultural content Granice.pl, Permitted Public Use
- 13. Theory of cultural convergence (H. Jenkins) • a new culture, the culture of participation • the viewer, the consumer • becomes an important cultural subject for broadcasters and producers • has also the opportunity to create their own amateur cultural messages, not only those defined by broadcasters and producers Hans Dinkelberg, Old & new media, flickr.com, CC BY-NC 2.0
- 14. Theory of cultural convergence (H. Jenkins) • phenomena of fan digital cinema and amateur cinema • film is a transmedial story integrating various texts of culture • category of a cult movie, "dish of difference" • cultural citation and monomyth, conceptually abstracted structure from intercultural analysis of the world's major religions new_media_days, new media days, flickr.com, CC BY-NC-ND 2.0
- 15. Theory of cultural convergence (H. Jenkins) Wikimedia.org, CC BY 4.0 What is the status of the film in the new media culture according to Jenkins? • viewers are primarily participants • new media have given the opportunity to develop amateur filmmaking and to share this creativity • contemporary films are characterized by the integration of different cultural texts • at the center of media convergence processes - including film - the viewer-culture participant
- 16. Problem of film status or problem of the viewer? • transformation of film status in the new media culture • not talk about a permanent crisis, but more about the transformations, which have a character of crisis • questions not so much about the status of the film, but about the status of the viewer • subject of technological change in the cinema • participant of the film culture Hannah Bluedawn, garden of lights, flickr.com, CC BY-NC-ND 2.0
- 17. Defining the viewer • a person watching a show, a television program • passive observer or the witness of the event • in film studies: • Hugo Münsterberg • Boris Eichenbaum • Edgar Morin • André Bazin • Christian Metz David Winship, the viewer.11, flickr.com, CC BY-NC 2.0
- 18. New type of film viewer - active participant • viewer-erudite • viewer-expert • viewer-critic • viewer-selector • viewer-integrator • viewer-creator Ed Dunens, The Viewers, flickr.com, CC BY 2.0
- 19. Viewer-erudite • looking for knowledge about the history of products and transformations of audiovisual culture in the context of technological development Yury Ostromentsky, film, flickr.com, CC BY 2.0
- 20. Viewer-expert • reading the rules of audiovisual speech, including the transformation of new media (virtual reality, simulation) Yury Ostromentsky, film, flickr.com, CC BY 2.0
- 21. Viewer-critic • ability to critically review films, also using new media messages Yury Ostromentsky, film, flickr.com, CC BY 2.0
- 22. Viewer-selector • ability to select films using new media Yury Ostromentsky, film, flickr.com, CC BY 2.0
- 23. Viewer-integrator • ability to perceive the relationship between film and other texts of audiovisual culture Yury Ostromentsky, film, flickr.com, CC BY 2.0
- 24. Viewer-creator • ability to create amateur audiovisual communications with the use of new media Yury Ostromentsky, film, flickr.com, CC BY 2.0
- 25. How to make the viewer an active participant? • viewer-erudite • viewer-expert • viewer-critic • viewer-selector • viewer-integrator • viewer-creator Ed Dunens, The Viewers, flickr.com, CC BY 2.0
- 26. Proposals of media educational initiatives • Edukacjafilmowa.pl • Edukacja filmowa - Kurs na kino • Akademia Polskiego Filmu César.Gutiérrez, Film, flickr.com, CC BY 2.0
- 27. Edukacjafilmowa.pl • good example of education of the viewer-active participant of the audiovisual culture Krajowa Rada Radiofonii i Telewizji, Permitted Public Use
- 28. Edukacja filmowa - Kurs na kino • audiovisual education in portal is based primarily on the historical method Kino Charlie, Permitted Public Use
- 29. Akademia Polskiego Filmu • two-year, film-based academic course, supplementing the formal education in higher schools Stopklatka, Permitted Public Use
- 30. Conclusions • Three theories: audiovisual culture, language of new media, cultural convergence • Concentration on viewer - subject of audiovisual culture • A new definition of the viewer-active participant • New features of this new kind of viewer: erudition, expertise, criticism, selection, semiotic integration and creativity • Not enough educational initiatives in this area, examples of programs implemented in Poland David Grandmougin, film., flickr.com, CC BY-NC-ND 2.0
- 31. dr hab. Piotr Drzewiecki, prof. UKSW • Authors website: presscafe.eu • E-mail: presscafe.eu@gmail.com Presscafe.eu, Permitted Public Use
Editor's Notes
- I would like to ask questions and trying to give an answer about media education in times of social media Also about the place of the old media in the new media system And also especially about the status of film film in the culture of new media. My main question and problem to analysis: Is the film still one of the most important factor shaping the culture? Or its cultural-forming function decreased due to the development of new media?
- I propose three parts of this analysis: First - analysis of the problem on the basis of three theories: audiovisual culture (of Maryla Hopfinger), new media language (of Lev Manovich) and cultural convergence (of Henry Jenkins). Second - analysis the problem by asking question about the subject of contemporary audiovisual culture. Have we a new type of film viewer? It’s a trying of new anthropological-cultural interpretation and proposition of new typology of film viewer. Third - analysis of examples of media education initiatives for educating of film viewers in Poland.
- Umberto Eco said "we live in a historical period where more books are produced and sold than any other age, also taking the proportion of printed books to the population of the land". I think we could say the same talking about the films. In quantitative approach - we have no problem with status of film in culture, we live in a historical period where more films are produced and sold than any other age In qualitative approach - we have a problem, new social media and video games are competition and diversity in attracting the viewer's attention, we have attractions to choose from, problems of selectivity and criticism. Old media like film still have their place in culture and find new followers, but they have lost their dominant position How to explain this contradiction of growth and crisis, in this case, of film in culture? This problem is the subject of research, also these three media theoreticians.
- Maryla Hopfinger, prof. in the Institute of Literary Research of the Polish Academy of Sciences. Researcher of the contemporary audiovisual culture since the 1960s. She distinguishes between type and style of culture: dominant communication techniques in a historical period is the type of culture; values and their hierarchies in culture - its style. The contemporary type of culture is described as audiovisual, noting that the category of audiovisuals is based on the natural anthropological equipment of man, modified by verbal culture, and by modern audiovisual culture. Analyzing the transformations of audiovisual culture introduces the category of dominant perception. For the verbal culture this was typographic perception, for the period of the formation of audiovisual culture - cinema perception, then replaced by audiovisual perception in connection with the development of television. Today we can talk about multimedia culture and electronic perception.
- The modern type of audiovisual culture is defined by multimedia and electronic perception. According to Hopfinger, audiovisual perception is still the basis of participation in multimedia culture, but it is enriched with simulations and virtualization, which consists in this new type of perception. As a result of the expansion of electronics, a new type of communication practice has emerged - computer practice. It is a connection that differs than only the transmission. It is interactivity and virtuality, also abolition of the boundary between real and simulated and created. This is new electronic indirect communication. It is characteristic that both film and computer practice borrowed from earlier media, film from photography and computer practice from typography. But the digital image introduces a effect of reality without the necessity of reality. It is a novelty. We have broken relationship between the world and the media. Instead of the "mirror" of reality we have a simulation of reality. According to Hopfinger we have a new kind of image - the image based on digital information. It is part of abstractionism (abstract art) in the culture. We have no necessary relationship between audiovisuality and outside world. It is a new kind of aesthetics. Not aesthetics of recording and reproduction of reality, but aesthetics, which give an effect of reproduction of reality.
- Multimedia culture and electronic perception gives new questions about the anthropological dimension of culture, about the human in audiovisual culture. We have a new "anthropological situation" in culture, new kind of integration of audiovisual and visual, verbal and nonverbal messages. It also gives questions about new audiovisual education, as the researcher notes "the lack of educational (school) programs preparing for participation in this new audiovisual culture, like programs preparing for reading and writing". At school there is a lack of film education programs as a permanent element of education. According to Hopfinger anthropology and film are two areas of human activity, different but close, both born by European culture. The first segmented the sphere of human behavior, trying to read texts of culture. The second - as a communication practice - produces texts of culture and presents them for reading to the audience. They have become a source of our knowledge and self-knowledge, they can show us - the participants the culture - our identity and experience of others. Anthropology and film both have audiovisual character. Our audiovisuality is a natural equipment of humanity. Film is a form of technical invention of humanity.
- What is the status of the film in the new media culture according to Hopfinger? It has become part of a broader multimedia culture and electronic perception. Audiovisuality in culture is still based on films, but we have a new form: virtuality and simulation. Digital image give us - instead of “mirror” of reality - an effect of the reality. Reality is not necessary for audiovisuality, like in video games. The effect of reality, however, seems to be the anthropological need of man. Characteristic for Hopfinger's theory of audiovisual culture is an anthropological approach. Subject of this culture (viewer, receiver, human) is a way to solution of problems with new computer and audiovisual technology, with new technological dominance. But subject needs support and help. Subject needs film and media education.
- Lev Manovich, a professor of computer science at the City University of New York, a pioneer in theory of new media. Author of his most famous publication “The language of the new media" Concerns the relationship between the film and the new media as two vectors. The first vector is from the cinema to the new media, is about how use history and theory of cinema to map the mechanisms in the technological and stylistic development of new media. The second vector is in the opposite direction - from computers to cinema, to consider how computerization influence for our understanding of moving images, cinema language, new forms of cinema.
- According to Manovich, the language of cinema played an important role in the formation of new media interfaces: human-computer interface and cultural interface: user-cultural data. We also have a new identity of image generated by the computer. From the time, when traditional cinema began to use computer techniques to the fully digitally generated image. Examples of using digital techniques in traditional cinematography are: three-dimensional animation, virtual scenography and actors, computer coloring of the film and post-production techniques. But we have often new forms of computer-based cinema, simulators, online films, interactive movie games, which use narratives borrowed from computer games. Manovich characterizes the digital image as discrete (composed of pixels) and modular (consisting of layers). It is a two-level, composed of the screen surface and the computer code that creates the screen. The digital picture became an icon-interface, a gateway to another world, not just a representation of the world. It is also a control panel and tool that connects through its hyperlinks to other images.
- For Manovich, film presenting physical reality in the form of a flat image is now one of the many possibilities for new media technology. The principle of digital cinema is still the filming of reality, but also the production of film-like scenes. There is the possibility of interfering in film material other than in traditional cinematography. The image is editable at every stage, including montage and special effects, which was previously separated at next stages of the film. Cinema expands its possibilities, gives completely new modification tools. So the cinema is now not only a recorder of reality, but a new form of painting. This is a cinema-brush, not a cinema-eye. The language of cinema is still classic realism, but new technology gives the possibility of avant-garde non-narrative forms. The first example of such a transgression of the norms of film realism was the production of music videos. But according Manovich new media are still based on narrative. Because the audience wants storytelling. Because the creators of computer games want to narrate. In the new media, the language of cinema has been still applied, due to the cultural understanding of narrative-based forms of communication.
- For Manovich, film history and theory of film is the basis and reference for the history and theory of new media. Cinema has expanded its capabilities beyond film realism, beyond registering reality, to the avant-garde simulation forms. But the cinema and new media retained narrative. This was a conscious decision of the computer and entertainment industry. Because, as an audience, we want storytelling. Preservation of narrative is an important anthropological and pedagogical aspect of this development of new media. The viewer has many opportunities in the cinema, has many opportunities in the new media, but still wants narration, expects narrative forms.
- Henry Jenkins is a media scholar, a professor at the Massachusetts Institute of Technology, and currently at the University of South Carolina. He is the creator of the concept of media convergence, a fan community researcher, a media educator. Jenkins in his research also dealt with the status of cinema in a new media culture. The concept of media convergence, proposed by him, describes the modern "collision" of old and new media, which create complex interactions and abilities to communicate a cultural content through different channels of communication. Often, the same cultural content is being presented in many forms: film, computer games, books and specially designed series of clothes or other gadgets. There is also a growing community of fans around the world, who broaden the scope of cultural content themselves, spontaneously or inspired by broadcasters and producers of the content.
- According to Jenkins, media convergence is changing the functioning of the contemporary media audience and giving rise to a new culture, the culture of participation. The viewer, the consumer becomes an important cultural subject for broadcasters and producers. The viewer, the consumer has also the opportunity to create their own amateur cultural messages, not only those defined by the commercial activities of broadcasters and producers. Media culture has become open to participation, not only in terms of technological access categories, but related to the ability to educate own media skills and search cultural opportunities. In this way, the power and knowledge that has so far been reserved for broadcasters and producers is becoming a part of larger audiences, and can be expanded and developed through new technologies and new communications practices.
- Jenkins describes the culture of participation by referring to contemporary cinema transformations, describes the phenomena of fan digital cinema, which compares to punk music with its "do it yourself" ideology. According to Jenkins, Internet enabled the transfer of amateur cinema from public to private. Digital cinema has also become a new space of interaction between amateur filmmakers and commercial media. Amateur filmmakers produce films of commercial or commercial quality with minimum budgets. Jenkins describes the problems of cinema by referring to his theory of convergence. The film is, according to him, a transmedial story integrating various texts of culture and giving a new form of entertainment in the era of collective intelligence. A category of a cult movie was created to encourage its cultural citation, to create communities around this movie and to make own messages by audience. The film sometimes becomes a "dish of difference" in which creators refer to different cultures, to western and Asian, to enhance its cultural impact. Hollywood often uses the structures of antique mythology to give monomyth, conceptually abstracted structure from intercultural analysis of the world's major religions.
- Jenkins' analysis of the convergence of media theory gives a new understanding of film culture and the role of viewers in this culture. They are primarily participants, encouraged to develop their own amateur work, partaking in the commercial plans of broadcasters and producers or forming a counter-culture. New media have given the opportunity to develop amateur filmmaking and to share this creativity by moving private messages into the public domain. Contemporary films are characterized by the integration of different cultural texts, which is conducive to their greater cultural citation, inspire the communities that are built around these messages. Jenkins at the center of media convergence processes - including film - puts the viewer-culture participant pointing to new opportunities for its development in culture.
- The above analysis of the theory: Maryla Hopfinger's audiovisual culture, Lev Manovich's new media language, and Henry Jenkins media convergence have provided us some knowledge about the transformation of film status in the new media culture. We can not talk about a permanent crisis, but more about the transformations, which have a character of crisis. Analyzes lead us to questions not so much about the status of the film, but about the status of the viewer, the subject of technological change in the cinema, the participant of the film culture and the need to undertake educational activities. On its quality depends the quality of film culture.
- The definition of the viewer, which we find in Polish dictionaries, usually consists of two parts. The first describes the viewer as a person watching a show, a television program. The second refers to the social attitudes, the passive observer or the witness of the event. Transformations of audiovisual culture indicate the need to develop a definition of the viewer-active participant and to indicate a descriptive catalog of these activities. In film studies, there are many tries to defining the viewer, its functioning and relations with the film work. Some examples: for Hugo Münsterberg the viewer do the work so that the film can be received as an image of reality. Boris Eichenbaum postulated the existence of "inward speech" in the viewer, a process in which a series of moving images on the screen finds its definition and complement in the viewer's mind. Edgar Morin - and also Sigmund Freud, Jacques Lacan and Jean-Louis Baudry - pointed to the integration of the film language into the psychological processes of the viewer, in which the film projection leads to the identification of the viewer with what is on the screen. André Bazin - the viewer at the window, which is the window to the world of the film. Christian Metz - a viewer in front of a mirror in which he sees himself through a film projection. We have also Apollonian and Dionysian type of recipient. In the first viewer contemplates the film, reads and reconstructs its idea within itself, remaining alone in the reception of the work. In the second, he has the need to participate in happenings and artistic activities accompanying the film, is culturally active. We have also the viewer decoder and the viewer interlocutor. In the first type, he tries to read the film in accordance with the author's way of reading, in the second he relates the creator of the internal dialogue, disagreement with such a way of encoding and creating his own alternatives.
- However, it is not the subject of our analyzes of the process taking place in the mind of the viewer connected with the reception of the film, but the search for his new status in culture, or the updating of that status supplemented by the transformation of the new media. The mentioned above theories point to more psychological and cognitive processes taking place in the viewer during the film projection. We are more concerned with the practical skills and knowledge that the viewer should possess. This approach is aimed at developing an ideal viewer-active participant and indicating the tasks in his / her education. So it is no longer just a film or television viewer, but a diverse and convergent media player operating as a classic viewer, but also a subject of other technologies. We are also not interested in processes that occur in the viewer, but search of educational objectives, the effects of the viewer's learning, to achieve perfection of the audience. I would like to present a proposal for a catalog of competences of the viewer - active participant in culture. The education of these skills includes knowledge of the history of cinema and new media, knowledge of the rules of audiovisual expression, critical assessment of the messages, ability to select messages, ability to perceive the connections between film and other audiovisual culture texts, and ability to create amateur audiovisual communications using new media. We can talk about the following, listed on the slide, features of the viewer - the active participant.
- Viewer-erudite is an active participant in film and media culture, looking for knowledge about the history of products and transformations of audiovisual culture in the context of technological development. The suggestion of this type of audience-erudity is found in the theory of audiovisual culture Maryli Hopfinger, in which he emphasizes the importance of knowledge and self-knowledge of the audience. Despite the development of media and film studies, audiovisual education has not yet become an independent subject of formal (school) education. It is important to identify the range of knowledge about the history of products and transformations, which should be graduated and relational to the own needs. Viewer-erudite in this way is more the seeker of knowledge than the receiver of ready-to-read informations about films. In practice, the viewer starts from any film and is actively seeking knowledge about story, genre, director, or actors. It also recognizes links between a specific film and the cultural context of its, the literary trend, or the film school in which it was created. The hypertextuality of the Internet, Internet encyclopedias are very useful in this individual seeking of knowledge.
- This viewer-expert is an active participant in film and media culture who can read the rules of audiovisual speech, including the transformation of new media (virtual reality, simulation). The basis is to recognize narrative and realism. According to Lev Manovich, narrative and realism have been preserved in the context of the development of computer practices, but they are only part of new media capabilities. Just paying attention to the narrative and the level of film realism we reject the richness of this language. The language of the film, which is the basis of the language of new media, is only a part of the aesthetic and stylistic possibilities. The basis of knowledge of these rules would be the concept of framing, lighting, stage design, acting and other elements of the film. Very good practice is the mise-en-scène analysis of the visual aspects of the film: visual composition, stage design, props, costumes, makeup, lighting, motion and acting. The viewer asks questions about how a film is visually structured, recognizes its components. The mise-en-scène method is also appropriate for analyzing contemporary video games that use similar audiovisual rules, enriched by an element of interaction.
- Viewer-critic is an active participant in film and media culture who has the ability to critically review films, also using new media messages. We do not mean only the press genre or the written report of the film being watched. Review is the technique of critical competency. We judge film due to ethical standards and aesthetic styles. Reviewing is a in-person dialogue and also expressing opinion in the communications acts. New media have greatly expanded these capabilities. Contemporary viewers have the opportunity to share their opinions on blogs or online forums. According to Henry Jenkins, creating and sharing of own opinion about existing media messages is the basis of participation culture.
- The type of viewer-critics is related to the type of viewer-selector who has the ability to select films using new media. The main problem is an overflow of media messages to choose. Passive attitude in this matter is characterized by accidental and unconscious selection, often dictated by external opinions. An active viewer selects his or her own search messages. Decides own what and when he wants to watch. Also deals with media diversity, choosing and finding time for different types of media, for books, computer games, music, etc. Helps in this matter are lists and films recognized as classic works, which due to their artistic and moral values are worth a look at. . An example of such a statement is published in the century of cinema Vatican list of 45 films. These are only aids that should not replace the viewer's personal efforts.
- Spectator-integrator is characterized by the ability to perceive the relationship between film and other texts of audiovisual culture. This activity is manifested in the search for cultural citations between different types of messages. It is also finding in the culture of myths, symbols, stereotypes, ideologies and values in the culture. A semiotic analysis and commutation test help to develop critical skills and to recognize the hidden meanings and borrowings in the culture. The practice of semiotic analysis seems to be useful, especially in the context of Jenkins' cult movies and films of "dishes of difference", designed to fit into the monomitic unification of various traditions and religions.
- The viewer-creator is characterized by the ability to create amateur audiovisual communications with the use of new media. It is a modern novelty in perceiving the role of the viewer, who, thanks to the development and availability of digital video technology, has the opportunity to create his own audiovisual culture. The phenomenon is the YouTube portal, which creates a new quality of audiovisual media and provides new social problems. The basic problem is the scope of the viewer's filmmaking. It often reaches out to the sphere of personal privacy, presenting it publicly as an audiovisual message. It sometimes creates parodistic versions of popular audio-visual transmissions, rarely decides on the author's solutions. You have to keep in mind the limited amount of time and resources for this type of authorial production. Often it is a viewer's hobby. This new form of audiovisual creativity significantly changes the position of the viewer in the culture, giving it the status of broadcaster and producer. Creative transformation can also involve engaging in fan movements, giving new opportunities for expressing the viewer as an active participant and creator at the same time, without having to enter the sender and producer roles. It's Jenkins's concept again.
- The presented elements of the new type of viewer-active participant in film and media culture prompt us to reflect on his education. How to make it through individual and social action to make the viewer become an erudite, expert, critic and selector, integrator and creator?
- School education should be the domain of audiovisual education. There is, however, not - as noted by Mary Hopfinger - the functioning of the subject of media education in schools, including film education. As long as educational decisions are not made on this subject, we have non-formal education, self-education of viewers, participation in educational projects organized by cultural or non-governmental institutions. In Poland, we can point to several examples of these educational deficiencies, which also take into account the changes that are taking place through new media. We will indicate and discuss three projects: Edukacjafilmowa.pl - the portal of educators and young filmmakers, Edukacja filmowa - Kurs na kino (Course for cinema) and Academy of Polish Film.
- Edukacjafilmowa.pl is an internet portal created within the framework of the program of the Minister of Culture and National Heritage "Education +" and developed within the framework of the "Cultural education" grants. The portal is intended to provide film knowledge and information on contemporary "educational trends" and to integrate animators involved in film education, to share experiences and educational needs. On the portal are among others: discusses films, offers workshops and classes dealing with film and media issues, description of motives referring to other texts of culture. The portal also has ABC of movie (encyclopedia) and “film educational emergency”, which is "a good starting point for discussing with pupils on urgent educational topics". Portal is a good example of education of the viewer-active participant of the audiovisual culture. Integrates the knowledge of film studies and the theory of the language of new media. Provides movie information database, gives film advice and suggestions, gives also examples of references to other cultural texts, encourages to create own video and montage. About edukacjafilmowa.pl, http://www.edukacjafilmowa.pl/o-projekcie
- Similarly, the Film Education portal - Course for Cinema, was created for students, teachers and others interested in film art. The project is co-financed by the European Union from the European Regional Development Fund. It offers educational materials and film-watching materials to help in elementary knowledge of cinema and filmmaking. On the portal we can find courses, tests of knowledge, current information on film education in Poland, as well as a collection of text and audio material in the section Classics of Cinema. Audiovisual education in portal is based primarily on the historical method. Learning the history of cinema is very useful to capture the essence of the transformation of audiovisual technology. Discover the secrets of the film world! About the project, http://www.edukacjafilmowa.eu/tekst.php?id=14
- The third of these initiatives is the Academy of Polish Film. This is two-year, film-based academic course, supplementing the formal education in higher schools. The program is a series of lectures - meetings with filmmakers, projection and discussion. It is initiative of the National Film Archive, in several Polish cities, in cooperations with University of Warsaw, University of Lodz, Jan Kochanowski University in Kielce, Cracow Academy of Sciences of Frycz-Modrzewski and others. The Academy Program consists of over a hundred titles of Polish films in a wide range of names, genres and subjects, with historical (chronological) method of teaching. The form of meetings and discussions is an important alternative to e-learning film, it also serves to build social relationships, develops the need for social reception and discusses cinema. Academy of Polish Film, http://akademiapolskiegofilmu.pl/pl/
- We analyzed three theories: audiovisual culture (M. Hopfinger), theory of the language of new media (L. Manovich) and theory of cultural convergence (H. Jenkins). Some conclusions: We need to concentrate not so much on the problem of film status in the modern culture of new media, as on the subject of this culture - the viewer. We need a new definition of the viewer-active participant of media and film culture. And defining new features of this new kind of viewer: erudition, expertise, criticism, selection, semiotic integration and creativity. There are not enough educational initiatives in this area, but there are examples of programs implemented in Poland that fill these educational lacks.
- Thank you for your attention.