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.

1. 1
ANALYSIS OF THE SURVEY
“FILM EDUCATION:
FROM FRAMEWORK TO IMPACT”
SEPTEMBER – DECEMBER 2018
Ian Wall. 2018

2. 2
Introduction
The objectives of the project FILM EDUCATION: FROM FRAMEWORK TO IMPACT are as follows:
• create a common set of understandings and practices of what counts as high quality film education across Europe;
• build bridges with formal education systems across Europe, thus ensuring a stronger link between Film Education and Formal Curriculum within the
frame of 21st Century learning;
• share and distribute expertise across Europe, from most to least experienced practitioners, agencies and countries;
• empower film education professionals across Europe, by giving them access to training, resources and development either online, or face-to-face.
• ensure European approaches to film education are informed by perspectives beyond Europe’s borders, and are situated in a more genuinely global
conversation.
• draft realistic but robust goals for film education, which can be tested and evaluated.
In order gain a snap shot of the current state of film education across Europe as well as attempting to identify good practices and innovative
approaches to film education, this survey asked respondents to identify a number of points, ranging from their own experiences to sharing
those projects which have inspired them from elsewhere.
The answers to the survey will also help in developing the methodology for delivering our objectives.
 Research the corpus of online film education resources and approaches, evaluate them using the Framework, and consolidate the best into a body of
recommended online practices in a new web portal (Framework Web Portal);
 Devise and deliver an online training course (or MOOC) with global online partner FUTURELEARN using the Framework and recommended resources,
aiming to reach 10,000 film education practitioners in Europe and beyond
 Train 150 ‘Lead Practitioners’ in up to 15 countries where film education is under-resourced (Baltics; east and west Balkans; eastern Mediterranean),
to build capacity both in those countries, and Europe-wide.

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 Support ‘cascade training’ to a further 7,500 educators in those countries, delivered by Lead Practitioners.
Thus, the project will be informed no only by the needs and demands of individual countries but will also take into account the challenges
which many countries face in introducing and/or developing film education, be that in a formal/informal education setting , be it in schools or
in cinemas and cinematheques.
There is a wide range of experiences represented by respondents, ranging from those who are part of long establish and well funded
organisations to those who are either just starting to introduce film education and also those who need to struggle from one project to
another in order to survive.
The data gathered here will help set the agenda for the first meeting of the group in January.

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Respondents
To date, we have received responses from 58 organisations.
9 responses from Italy
4 responses from Lithuania, Slovenia and the UK
3 responses from Austria, Spain, Denmark and Belgium
2 responses from Germany, Greece, Hungary, Switzerland, France and Denmark
1 response from Finland, Portugal, Estonia, Serbia, Sweden, Poland, Croatia, Ireland, Russia, Czech Republic, Norway, Holland, Slovakia, Malta
and Romania.
One question we did not ask was what type of organization respondents represented. However, looking at responses we can say that
respondents represent a wide range of institutions ; film institutes, cinematheques, film centres, film museums, archives, film festivals and film
clubs, cinemas, government funded organisations, universities and subsidized projects.
Whilst some are long established, others are in the process of forming strategies for film education or are newly formed projects starting to
define their activities.

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Mission Statements
47 out of 58 respondents either supplied a mission statement or stated that they did not have one.
The basis of the mission statement depended on the type of organisation and its reach. Thus, responses from film festivals stated that their
aim/mission was to run a film festival for children. One respondent stated that the key aspect of their aims was to run a festival of films by
young people for young people.
Respondents who were more industry focused stated that their aims were to provide training for professionals or help in the development of
professionals.
Most statements contained references to analysis and critical understanding of film in one way or another within the context of children and
young people their ability to connect with cinema/film and to reflect and understand the art of film. There was also mention of young people
as “audience” and part of audience development and the right of young people to have access to film in all its varieties. The development of a
film culture was deemed important in many cases. Other terms commonly used were “experience, reflect, understand and engage with film”
Surprisingly there were fewer responses which specifically mentioned “creating’ films than one might have expected.
One respondent talked about “learning with film”, suggesting film as a tool as opposed to an object of study in its own right.
There was mention of “better selection of films” , diverse range of films and art films as being important within the delivery of film education.
Only one respondent mentioned formal and informal education although this is implied in other statements. All in all, there seems to be a
commitment to sustained and accessible work. Strangely there was no mention of teacher training and the development of their skills.

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Qn 2. Level of Operation
All 58 respondents answered this question. It is worth noting that the majority (41 respondents) work at a national level. Many of these also
work at regional, local and/or international level. 6 respondents work at regional level only, 1 at regional and local and 1 local only.
0.00%
10.00%
20.00%
30.00%
40.00%
50.00%
60.00%
70.00%
80.00%
International National Regional Local

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3. What is the single most inspiring film education project that you offer in terms of outreach (digital/analogue or screenings) ?
57 respondents answered this question.
Responses can be grouped in the following categories:
Film making
Screening programmes
Database of resources
CPD
Young Film Programmers
Workshops
Websites
DVD
Project Funding
Film clubs
By far the greatest number of projects involve screenings and/or workshops. Of the four websites named, one streams films whilst two are
information based. One website does not appear to work. Three organisations give CPD as their example of an innovative outreach project.
Some projects offer a combination of three or four of the above activities

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And which single programme from elsewhere inspires you?
48 respondents answered this question.
By far the most the most inspiring project mentioned is “Cinema, Cents ans de jeunesse.”( 8 respondents) MiniFilm Clubs, CinEd and film clubs
in general (Into Film, local film clubs) are also popular with respondents as is the BFI Film Academy. Festival organisers seem to refer to other
festivals as inspiration. Within language groupings, Scandinavian countries cross-reference each other as “inspirers”.
There are references made to creative work, particularly that carried out in Northern Ireland, Holland and Spain. (This in addition to BFI YFA).
There are two references to CPD for teachers.

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Qn 4. The purposes of film education.
All respondents answered this question.
The chart on page X gives an overview of the responses to this question. It is interesting to look closely at the ways in which the responses
group together and any implications that this may have for any future directions. It might also be interesting to compare the results of these
findings with the original Framework for Film Education and the priorities that it set.
Promotion of film as an art
form/ film for film's sake
67.27%
Developing film literacy - as part of
a wider screen/media literacy
61.82%
Film as art and film literacy emerge as the top two purposes of film education by a clear margin. It is however interesting that this leaves
approximately 33% of organisations that do not see either of these as a priority. This might be down to the nature of the organisations
responding – festival and cinemas for examples might prioritise building audiences (the next most popular response) – or focus more on a
broader curriculum/creative approach (film used a stimulus within other subjects)
Building cinema audiences 49.09%
Supporting the school curriculum
(beyond film studies)
45.45%
Film as part of a wider creative

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learning 45.45%
There then follows another sharp drop in popularity – 10% decrease. This group is split between filmic purposes –film heritage (strangely low
down the list) and creative skills – and more general purposes relating to personal development and civic participation – more general
outcomes of film education
Film as part of critical literacy
- for civic society
34.55%
Film education promoting film heritage 32.73%
Developing skills/talent for the cinema and
wider creative industries 29.09%
Film education as part of personal development29.09%
The lowest tier of purposes relates to the actual promotion of types of cinema , be it national, European or global (the lowest of all
“purposes”). It may well be that films from these categories might be subsumed within the notion of “the art of cinema” and thus are not
specifically a point of focus.
Promotion of national cinema 24.5
Promotion of European cinema25.45%
Tackling social disadvantage

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18.18%
Promotion of global cinema 12.73%

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0.00% 10.00% 20.00% 30.00% 40.00% 50.00% 60.00% 70.00% 80.00%
Promotion of film as an art form/ film for film's sake
Developing film literacy - as part of a wider screen/media literacy
Film education to develop wider cultural insight and understanding
Building cinema audiences
Supporting the school curriculum (beyond film studies)
Film as part of a wider creative learning
Film as part of critical literacy - for civic society
Film education promoting film heritage
Film education as part of personal development
Promotion of European cinema
Developing skills/talent for the cinema and wider creative industries
Promotion of national cinema
Tackling social disadvantage
Promotion of global cinema
Series1

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5. What is the most important network, association or group that enables you to successfully reach more learners, either regionally or
nationally?
There were 56 responses to this question.
There was a wide range of different types of networks that organisations used, quite often relevant to the type of organisation. Thus cinemas
referred to local audiences as well as teacher networks associated with the cinema. Certain projects create their own networks (e.g. Cinema,
cent ans de jeunesse, Into Film)
Arts, media and education centres were also important ways of reaching learners. Cinema based or after school film clubs led directly to
engagement with learners/audiences.
Some organisations used social media (blogs, Facebook, YouTube) and websites to engage with learners. “Schools film weeks” offer some
organisations the chance to engage with children and young people as well as other film festivals for young people. Festivals seem well served
with various festival networks.
A number of organisations report teacher networks of varying size (from local to national) which act in both supporting and advisory roles.
There seems to be a limited linking with university departments.
Only two respondents specifically mention networks of film education organisations within a country.

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6. What is the most important piece of supporting infrastructure - in terms of agreements, laws, rights, systems and or policies that
supports your work in film education?
57 responses to the question.
There seems to be no one common piece of infrastructure but taking all responses together one might come up with a blueprint for a perfect
Support mechanism for film education.
The fact that film is part of the national curriculum is key in certain countries (and clearly identified as something missing in others).
Support from government departments is also important – be it the Education or Culture ministries. However, it should be noted that whilst
some Education ministries support film education and think it is valuable, they are not inclined to include any study of film within their
national curriculum. In some places financial support comes from government or regional sources – quite often project funding. Similarly, a
number of organisations are funded directly by their national film institutes.
Cooperation with film distributors regarding licensing, use of film clips, special fees for closed film club screenings exist in some countries.
Also, education exceptions for the use of film for educational purposes exists in some countries’ copyright laws.
In some countries, money allocated to film production has a special clause which requires the production to allocate some resource for
development of educational support for the film.
Alas, some respondents point out that there is no supporting infrastructure that infrastructure is fragmented due to the regionalisation of
their country.

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7. Which do you think is the most innovative film education programme that you offer?
In total, 55 people responded to these questions, although unsurprisingly, less were eager to admit which of their programmes had not been
successful. (42 respondents).
It is very difficult to summarise answers to these questions as they all refer to specific projects or varying natures.
Some stand out projects include :
Developing film education in public libraries
Working with young people with disabilities
Short film tennis
Pop up film sets for use by young people and community groups
Interactive editing website
Film festivals introduce workshops – both creative and critical into their programming – also film campuses/camps and young people
programming the festival and being part of juries. Organisations run specific workshops for learners, critical, creative and a mixture of both.
There are a number of interactive websites which allow learners to edit films, experiment with film sound etc.
Film clubs and specific projects such as Cinema, cent ans de jeunesse and Moving Cinema (pan European) are also cited.

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And can you name one other innovative programme that is not your own?
Again, it is difficult to summarise answers to this question as reference is made to specific projects.
Cined and Moving Cinema are both mentioned. There are some examples of teacher training cited as well as teacher conferences.. A number
of film making projects are mentioned including Station Next in Denmark and animation workshops. Film programming for specifically
educational purposes and also different festivals are deemed innovative as well as school film weeks.
Specifically designed teaching programmes (Nerve Centre , Cineteca Milano) are referred to.

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Which of your programmes do you think offers the widest reach in your country/ region?
Film festivals devoted to young people and schools film weeks along with specially designed cinema programmes for schools ( sometimes
accompanied with study guides) seem to be the most popular when it comes to “reach”, although this depends on the type of organisation.
Film clubs are also mentioned. Study materials and books are also referred to as reaching a wide audience of learners.
Again, references are made to teacher training by a few organisations.
The idea of reach varies depending on the organisation and activity. For some a reach of 500 is achievable whilst for more national (and
international) programmes we are looking at number over 1 million.
And finally, which programme have you offered which you feel did not work? Why?
A number of issues are raised here. Projects that were aimed at families as well as specific after school programming for teenagers seemed
unable to find an audience. Attempts to provide programmes and training for teachers in film heritage also failed to attract audiences as have
attempts to promote national cinema. One key sticking point with many projects was that if a charge(fee) was involved for either attending a
workshop or inviting a film maker into schools then interest was not there from the institutions.
Teacher training , a key issue which occurs again and again (or fails to occur) has difficulties in attracting attendance from teachers. At times ,
funding is an issue with teacher training as it also is with the development of teaching materials. And in trying to develop digital resources,
there have been issues with the complexity of programming which has resulted in the projects being abandoned; on the flip side, some
projects have been superseded by digital innovations.
Attempts to create networks of organisations have failed as too often organisations have little time to spend networking at are also in
competition with each other for funding and audiences.
At university level there have been problems recruiting for courses at both undergraduate and graduate level.

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Interestingly, one project has been cited which whilst being very successful in two other European countries failed to take off in another.
Again, failure to find funding for a project, or funding being removed from a project are also given as reasons for projects not working.

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8. Resources and tools that support film education
54 people responded to this question and it’s follow up so responses have been merged to avoid duplication.
It is interesting to note that responses here often refer to online resources, yet few respondents mention this sort of resource when talking
about innovative resources that they had either developed or had come across.
VOD platforms, specific websites, databases for films and social media were all deemed important resources, particularly those which gave
guidance as to how to approach film education and supplied resources to support teaching (e.g. Cinema , cent ans de jeunesse, Cinema en
Curs). Archives were also deemed an important resource. There was some mention of printed study guides. All in all, most popular resources
were those which offered teaching materials.
“People” were often mentioned – these could be filmmakers who participated in workshops, teachers, staff members and students. Also,
networks of people /teachers and film festival networks were important to some respondents.
There was one mention of film industry careers information. It was pleasing to see two mentions of the Framework for Film Education. Only
one respondent mentioned CPD.
There was mention of technology – iPads in particular as well as specific programmes – editing for example
And of course funding as a resource was important to some respondents.

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9. Do you use any measures or indicators that give you meaningful data on the impact of your programmes, activities, tools or resources?
51 people responded to this question
19% of respondents did not carry out any measurement of impact or were in the process of developing a performance indicator methodology.
The majority of those who did carry out impact research tended in the main to use quantitative methods – number of attendees at screenings,
number of people on database, number of participants in examinations, number of uses of online tools – Facebook, downloads, visits to
websites.
A small number used independent evaluators to assess projects and overall performance but no detail was given as to what parameters were
set by the organisations regarding what should be explored in the evaluation.
Many organisations use interviews with participants, attendees to screenings and members of juries as well as focus groups to evaluate
activities. Questionnaires seem a popular method of gaining feedback (but is this the same as evaluation? Without seeing the questionnaires it
is difficult to say). There was one mention of using Survey Monkey as a way of gaining feedback.
A few respondents mentioned that they try to establish how attitudes and understanding have changed in participants during a project
although no detail is given as to how they measure this. Observation of workshops and events followed up by interviews with participants was
mentioned in a couple of cases. Impact on teachers is key – do they take away experiences and apply them in their own classrooms after
attending a course?
In reading the responses one has the feeling that most people are looking for feedback rather than measuring the actual impact of what they
do. There was no overwhelming sense that there were specific outcomes that were being measured or indication of what outcomes might be,
just a comment on the event/workshop/programme. Quantity seemed the overriding research carried out .
One respondent welcomed any help that could be given in constructing a meaningful performance indicator.

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10. Identify up to three challenges or obstructions that you feel prevent you from successfully achieving the strategic vision or goals that
you set yourselves for film education in your organisation.
53 out of 58 respondents answered this question, although not all gave three responses.
It is important to bear in mind that what appears to be a challenge in one country is not necessarily a challenge in another or not to the same
degree. However, taking an overarching view of these challenges there are a series of key tasks facing the development of the study of film as
an art form and as part of a more general study of the media ( see analysis of Q.4).
The ambition of some organisations to reach all children and young people in their country is an immense challenge.
The two “stand out” challenges and obstructions were the facts that currently film has no place in the curriculum and also the lack of funding
for film education. (Both of these on 40% of respondents)
Responses can be grouped under the following headings:
Education and schools
Funding
Public institutions
Industry

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Perception
Education and schools
As has been stated, the absence of film and or film studies from the national or regional curricula is seen as the main obstruction to developing
film education. Partly this is seen as a result of the low status of film as a cultural art form. At the same time, some respondents highlighted
the fact that currently there is a tension between film and media study and that priority is given to media. Lack of teacher training is seen as an
issue (30%) with teachers lacking both the knowledge and also the will to deliver film education. It is not only lack of interest in film but also
there is the sense that teachers are already overworked and thus do not feel capable of taking on new curriculum subjects. There is a lack of
infrastructure within schools to develop film education, although it is not clear whether this is related to teacher training, equipment of simply
space in the timetable. In some cases, people felt that their institutions were not supportive of the work that they were doing. Other areas
mentioned were teachers “digital fear”, particularly in relation to creative work; where teachers had been interested in developing and
supporting film education the process had sometimes taken so long that the teachers either lost interest or moved on to other schools and
thus terminated their involvement in projects.
Funding
Unsurprisingly this is a major issue, expressed in different ways. Lack of sustained funding obviously affects the ways in which organisations
are able to forward plan and continue with their work. For cinema based organisations there is the issue of return for investment – is it
financially worth running screenings and educational programmes (which links back to teacher interest and pressures). The reverse side to this
is that schools and colleges can no longer afford to bring their students to events which are film based. Lack of funding impacts of constructing
events within venues (see later).
Public institutions
The reaction of government departments to the idea of film education is key. Many respondents felt that their Education or Cultural
Departments were not sympathetic to the idea of film education – partly due to the low status of film as an art form. Some mentioned that
there was little or no support for development and training in film education.

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Industry
The reaction and interest of the film industry in film education in some countries was seen as non- existent. Where it did exist there was a lack
of long term commitment and a focus only on big, blockbuster films. Distribution was seen as a key player here and issues of access to films
and copyright were raised – no clear picture emerged as to what organisations wanted from distribution but it is clear that copyright issues
relating to in and outside the curriculum need clarifying.
From the perspective of cinemas who responded to the survey, there are issues centred on value for investment (see above), the overreliance
on volunteers who may, at any moment, leave the organisation. Both cinemas and also other organisations raised issues about human
resource and also the overall institutions attitude to education as part of their remit. Too often it was relegated to a lowly position within the
organisation with little resource, lack of advertising, promotion, staffing, support and budget. Some felt that they did not have enough time to
organise educational events and that scheduling these in lacked a priority within their organisation. There was also the issue of the scale of
events which could be programmed and that a sustained programme could not be offered.
Organisation and co-ordination
There were some contradictory positions on this area. Some respondents felt that their was a lack of coordination within their country and
little or no chance of networking with other organisations. Some felt that there was a lack of strategic vision and leadership with regard to
developing film education and there was a desire to share and learn from other colleagues in their country and beyond. Planning and
coordination were seen as being difficult particularly due to funding issues and a lack of interest from public bodies.
On the other hand, one respondent felt that there was an overcrowded offering of film education within their country which resulted in too
many organisations chasing the same pot of money and making similar offerings.

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Another issue was that there was a lack of definition of what were the challenges of film education and how these might be overcome as well
as there not being a set of “goal indicators” to help formulate not only what was needed but as a way of defining what the outcomes might be
of film education work (see Q.9)
Others
Other issues raised included the challenge of bringing film heritage to young audiences (and also interesting teachers in this area). Tied into
this was the idea that young people were impatient with and unaccepting of “difficulty” and “longer and challenging” films.
Finally, the new methods of consuming films – DVD, streaming etc. presented a real challenge to traditional cinema based screenings .

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Organisations responding to the survey
ORGANISATIONS RESPONDING TO SURVEY
1. VIZO - Institut for Advancement of Visual Culture (Slovenia)
2. CNC (France)
3. DZMP (Slovenia)
4. Mestni kino Ptuj (Slovenia)
5. Copenhagen Film Festivals – BUSTER (Denmark)
6. Romanian Film Centre (Romania)
7. SAN ANDREA SCHOOL . (Malta)
8. Slovak Audiovisual Fund (Slovakia)
9. DFF - Deutsches Filminstitut & Filmmuseum (Germany)
10. Hungarian Moving Image and Media Education Association (Hungary)
11. Eye Filmmuseum (The Netherlands)
12. La Cinémathèque française (France)
13. Instituto de la Cinematografía y de las Artes Audiovisuales (Spain)
14. Creative Scotland (UK)
15. The Association of Danish Filmclubs for Children & Youth (DaBUF) (Denmark)

26. 26
16. KontxtFilm AS (Norway)
17. Lithuanian Film Centre (Lithuania)
18. Skalvijos kino centras (Lithuania)
19. Association la lanterne magique (Switzerland)
20. Into Film (UK)
21. Audiovisual Arts Studio, Zlin (Czech Republic)
22. Meno Avilys (Lithuania)
23. MICE Film Festival (Spain)
24. Drac Màgic (Spain)
25. Northern Ireland Screen (UK)
26. International Debut Film Festival "Spirit of Fire" (Russia)
27. Service de Culture Cinématographique asbl (Belgium)
28. Centro Servizi Culturali UNLA (Italy)
29. University of Zürich, Department of Film Studies (Switzerland)
30. EKOME SA (Greece)
31. BFI (British Film Institute) (UK)
32. Danish Film Institute (Denmark)
33. National Film Archive - Audiovisual Institute (Poland)

27. 27
34. Art-kino (Croatia)
35. Giffoni Experience (Italy)
36. IFI (Ireland)
37. Skalvija Cinema Center (Lithuania)
38. Austrian Film Institute (Austria)
39. Comune di Verona (Italy)
40. Università di Padova (Italy)
41. Biblioteca e Videoteca Assemblea legislativa Regione Emilia-Romagna (Italy)
42. Corti a Ponte (Italy)
43. Molise Cinema (Italy)
44. Coop. Il Nuovo Fantarca (Italy)
45. Hungarian National Film Fund (Hungary)
46. Swedish Film Institute (Sweden)
47. JEF (Belgium)
48. Jugoslovenska Kinoteka (Serbia)
49. Karpos Centre for Education and Intercultural Communication (Greece)
50. IhmeFilmi ry (Finland)
51. Austrian Film Museum (Austria)

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52. A Bao A Qu - Cinema en curs (Spain)
53. CIAC - Centro de Investigação em Artes e Comunicação (Portugal)
54. Flanders Audiovisual Fund (Belgium)
55. Slovenina film centre (Slovenia)
56. Estonian Film Institute (Estonia)
57. Fondazione Cineteca Italiana (Italy)
58. Vision Kino(Germany)

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Websites cited in survey responses:
These web addresses are taken directly from survey responses. Whilst some respondents mentioned websites, they did not include the
address.
1. http://www.elokuvaviikko.fi/
2. https://www.cnc.fr/a-propos-du-cnc/latelier-cinema_886026
3. http://www.menoavilys.org/en
4. http://www.abaoaqu.org/en/projecte/cinema-course
5. Cined.eu
6. https://filmcentralen.dk/
7. www.cinemaencurs.org
8. http://www.abcinemaproject.eu/blog/activity/minifilmclub/
9. https://www.educastur.es/-/aula-de-cine-laboral-cinemateca-recurso-didactico-de-alfabetizacion-cinematografica-para-bachillerato
10. https://screenwiser.com/
11. https://station-next.dk/english/about-station-next
12. www.roadmovie.ch

30. 30
13. construirmirades.dramagic.cat
14. https://animationworkshop.via.dk/e
15. Filmriket.com
16. https://moviezone.nl/kijken/moviezone-reports
17. http://eye-exposed.nl/
18. http://www.filmeducation.org/
19. https://filmcentralen.dk/grundskolen/undervisning/film-x-lav-film-i-cinemateket#.W9rRbuSWzL8
20. DeFilmclub.be
21. https://www.thefilmcorner.eu/
22. https://madaboutfilm.si/
23. http://aulacorto.mecd.gob.es/)
24. https://www.eyefilm.nl/en/history-repeats-workshop
25. www.laplateforme.be
26. http://www.mashuptable.fr/Projet_Mashup/index.html

31. 31
27. hamacaonline.net/educate/
28. https://www.mediamasters.nl/mediamasters-english/
29. http://aulacorto.mecd.gob.es/
30. http://upopi.ciclic.fr/
31. https://filmaccess.scot/festival/
32. http://www.transmettrelecinema.com
33. https://www.cnc.fr/professionnels/enseignants/lyceens-et-apprentis-au-cinema/dossiers-maitre
34. https://www.cnc.fr/professionnels/enseignants/lyceens-et-apprentis-au-cinema/fiches-eleve
35. http://www.transmettrelecinema.com/film/coraline/#video
36. https://nanouk-ec.com/
37. https://www.lessonup.com/en/index.html
38. https://screeningshorts.org.uk
39. www.cinemaencurs.org/en
40. http://www.cinematheque.fr/cinema100ansdejeunesse/en/

32. 32
41. http://www.lekinetoscope.fr/
42. https://www.commonsensemedia.org
43. https://itunes.apple.com/nl/app/mini-movie-maker/id1030552910?mt=8
44. https://www.mecd.gob.es/cultura-mecd/areas-cultura/cine/promocion/educacion-audiovisual/proyectos-alfbetizacion.html