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- 1. Researching Film Education International Seminar London October 2014
- 2. Why are we here? To begin to shape a research agenda for Film Education in Europe: •What do we need to know? •How can we find out, together? •What’s the current landscape? What do we know already? What else should we be finding out? •How do we situate film education in a) media education b) wider curriculum settings c) wider non-formal settings? NB, the EC definition of film literacy: the level of understanding of a film, the ability to be conscious and curious in the choice of films; the competence to critically watch a film and to analyse its content, cinematography and technical aspects; and the ability to manipulate its language and technical resources in creative moving image production’
- 3. What are we going to do? Hear perspectives from research already carried out, or just underway Compare those perspectives with our own Articulate the new questions we need to ask When the outcome of an issue is unclear, or cannot be resolved, it is important to learn to love the question Rilke, Advice to a Young Poet
- 4. And who are we?
- 5. Surveying Film Education in Europe Two portraits.. BFI October 2014
- 19. In a
- 26. Screening Literacy: a survey of European Film Education Mark Reid Head of Education, BFI BFI October 2014 26
- 27. Screening Literacy: Main Findings aims and purposes of film education strategies in place; types of provision in the classroom, after school, outside school funded, assessed providers and recipients Why? What? Where? How? Who? BFI October 2014 27
- 28. A strong model of film education What would it look like, for you? BFI October 2014 28
- 29. Strong Models of Film Education • A high degree of co-ordination across sectors supported by a national strategic plan • Entitlement on behalf of all people to become ‘literate’ in the moving image (watching, understanding, making) • Being part of a wider national culture in film • Informal valued as highly as formal education BFI October 2014 29
- 30. Strong Models of Film Education 2 • Robust and independent evaluation • High levels of participation, sustained across a period of time, with measured and recorded outcomes • Funding across public, commercial, education and cultural sectors • Accredited and funded professional development opportunities BFI October 2014 30
- 31. Publications • Report publication: www.bfi.org.uk/screeningliteracy • Film Literacy Advisory Group: http://filmliteracyadvisorygroup.wordpress.com/ • Nordic Journal of Digital Literacy 04-2012, VOL. 7 Andrew Burn and Mark Reid BFI October 2014
- 32. Researching Film Education International Seminar London October 2014
- 33. Discussion questions ♯1 What are your own agencies’ approach to identifying impact, reach, rates of participation, and value for money of film education? What have you heard that you might learn from or use? BFI October 2014 33
- 34. Discussion questions ♯2 What do you think are the key research questions in film education? BFI October 2014 34
Notes de l'éditeur
- Calling ‘action!’ in Poland
- It’s learning at the Cinema - in Austria, at the FilmMuseum
- Czech Rep
- It’s asking questions in Lithuania
- In Germany, Schools Film Week
- The very young, in Holland
- And their grandparents.. Or great grandparents
- Sound recording, Greece
- Knife wielding children in Denmark, at StationNext
- Being a pirate in Belfast
- Film represents the world, whatever is in it; it creates new worlds. Why not geese in Hungary?
- You have the whole world to shoot in Barcelona; or you can turn your back on it
- It’s on the street, in Rome
- And it’s looking back at the past (IN LITHUANIA)
- Os filhos do lumiere
- Playing the soundtrack in Llubjiana
- It’s a serious business in Sweden
- And especially in France..
- But it’s not always serious…
- It’s the young film-maker looking back at you
- Thank you for inviting me to speak here today; I would like to share with you some of the outcomes from a research project funded by the European Commission, to survey film education programmes across 32 European countries. It’s the first time this has been done in a generation, so we welcome the chance to add to intelligence in this area. I’ll present this in two media: in words, in a moment, but first, in pictures.
- After surveying 30 countries, we made some judgements on the support and the features which characterise strong national models of film education provision. Each of these features is more often than not absent in Europe. No country has it all, though Norway, Denmark, Croatia, NI, France, have national strategies jointly owned by Ministries of Culture and Education. In other countries there are high levels of co-ordination, and some film institutes have published their own national strategies.
- After surveying 30 countries, we made some judgements on the support and the features which characterise strong national models of film education provision