Modelling Film Education
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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
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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.
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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.
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A FRAMEWORK FOR FILM EDUCATION
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.
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A FRAMEWORK FOR FILM EDUCATION
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.
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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.
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- The radio station will be managed by students and teachers across Europe and will feature content like news, interviews, music, and stories produced by students in their native languages and English.
- Over the 2 year period, students and teachers from 9 countries will collaborate online and meet in person at various host countries to receive training in radio production and work together to expand the reach of the existing Web Radio station into other European schools.
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- The project aims to develop a European-wide Web Radio station for schools called "European School Radio: The Voice of Young Europeans".
- The radio station will be managed by students and teachers across Europe and will feature broadcasts on news, culture, and topics of interest to students produced in multiple languages.
- Over the two year project, partner schools from 9 countries will collaborate online and through meetings to contribute content and further develop the existing European School Radio website into a major radio network for European youth.
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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.
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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 survey
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.
CCAJ 'La Situation'
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 2018/19
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.
Flam talk 7 oct 18
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.
Ccaj mid term review report
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.
Talk to ITEM conference January 2018
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.
English and Media Centre @ BFI January 2018
Some questions about cognition in film education via the international film programme le Cinema cent ans de jeunesse
Lincoln sample Scheme
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.
Lincoln launch print
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.
Places and Stories
This document outlines the structure and exercises for a filmmaking course called CCAJ. The course focuses on how places are depicted in film and how they can shape stories. Over 12-25 weeks, students will watch film clips, discuss places and stories, and complete 4 exercises filming different types of places. The exercises challenge students to film a personally meaningful place, how characters enter a place, introduce time elements to a place, and finally create a 5-8 minute film where a character brings another to a place and an emotional response occurs. Various example films and links are provided to illustrate place-based film concepts.
Grey court 5 july 17
The document outlines The Grey Court BFI Challenge which asks participants to program a series of 10 British films from the BFI Player suitable for one of three audience groups: families recently arrived in the UK, seniors in nursing homes, or KS2 children aged 7-11. Participants must choose films that meet certain criteria like length, era, and regional origin. For each film, participants need to provide details like length and director, a URL, a one paragraph synopsis in an audience-appropriate tone and language, and discussion questions. Participants will present their proposed film program and supporting materials to judges to determine the strongest submission.
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- 1. MODELLING FILM EDUCATION Mark Reid, BFI Stockholm 29th August 2018
- 2. UK CONTEXT ENGLAND SCOTLAND NORTHERN IRELAND • Post-14 film and media (8% of cohort) • No moving image in mandatory curriculum since 2013 • Some film in language teaching • Moving image in definition of literacy • "... the set of skills which allows an individual to engage fully in society and in learning, through the different forms of language, and the range of texts, which society values and finds useful." • Moving image embedded in ICT, literacy, History • Dedicated creative Moving Image Arts qual for 14-19 • Extensive support structures – Creative Learning Centres, websites • Inspected formally by govt inspection agency • Investment in cultural education post ‘Troubles’.
- 3. HOW DOES BFI WORK IN THIS CONTEXT? (UK-wide, all curricula, after- as well as outside- school) Into Film Lottery funded £4.25m pa – 2022 Emphasis on after school film clubs Some teaching guides (‘learning through film’) Some CPD, MOOCs BFI Film Academy Entry-level industry skills training 16-19 year olds, outside school 1000 places a year Residential courses NFTS & others 47 centres across UK BFI Southbank Cinema-based study days 15,000 students a year Film and Media Studies Modern Foreign Languages Research and Curriculum development
- 4. FILM AND LITERACY SREFRAMING LITERACY BRADFORD MEDIA LITERACY Since 2013 20 primary schools pa Focus on film to support writing and reading www.primaryfilmliteracy.com • Focus on ‘instrumental impact’ on literacy: better reading and writing • film language not compatible with written language • Film not treated as art- form in its own right • Examples usually Hollywood/ Disney, not global cinema 2004-2009 Short films 80+ LAs 2000 teachers 8 DVDs LIMITATIONS
- 5. FILM EDUCATION IN ITS OWN RIGHT? Unfortunately.. No curriculum in Europe requires the study of film for all children at every age..
- 6. OTHER MODELS OF FILM EDUCATION Film education as vocational skill – for screen industries and beyond Film as media literacy: wider education in the image Film as creative and expressive learning Film as part of civic education – education in citizenship, tolerance, diversity Film and heritage – national, European Film and audience development – to support cinema going
- 7. FILM, ART AND COGNITION Elliot Eisner, Arts and the Creation of Mind, 2002 The arts enable specific, unique types of thinking: Flexible purposing Judgement without rules Using material as medium Seeing the world aesthetically Exercising the imagination Visualising concepts
- 8. from le Cinema cent ans de jeunesse Shot no.. 5, 4 mins 14 https://youtu.be/Ee4SfQNWNpE?t=4m15s
- 9. QUESTIONS ABOUT COGNITION How are the affordances of film being used? (material as medium) How is the world being framed aesthetically? Which concept or concepts are being represented?
Editor's Notes
- Now let’s play with the images What can you hear now?