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- 1. Screening Literacy: a survey of European Film Education Mark Reid Head of Education, BFI Santiago de Compostela 24th October 2014 1
- 15. In a
- 22. Screening Literacy: a survey of European Film Education Mark Reid Head of Education, BFI Santiago de Compostela 24th October 2014 22
- 23. Research Question The Tender Specification of the European Commission requested ‘a report mapping the current practices in film literacy in Europe’ Santiago de Compostela 24th October 2014 23
- 24. Research Objectives A ‘European-scale experts study which identifies and analyses film literacy provision in Europe – in formal and informal settings, and all age groups’: – Film literacy and AV national policy; film industry; broadcasters – National Curricula: single subject or cross-curricula; learning objectives; – Informal sector: film institutes, NGOs, grassroots groups – Role of film industry and media professionals in film literacy projects – Examples of good practice 27 EU, 3 EEA nations, plus Croatia and Switzerland Policy recommendations to EC, for Creative Europe Santiago de Compostela 24th October 2014 24
- 25. EC Definition of Film Literacy The Terms of Reference for the survey included a definition of film literacy, later amended, as follows: ‘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’ Santiago de Compostela 24th October 2014 25
- 26. Film, Media or Literacy? To be literate is to participate fully in a culture To participate fully in 21C culture, we have to be literate in the moving image ‘It is vital and obvious that understanding, manipulating, and appreciating the film sentence should be an accepted part of the education system’ Anthony Minghella Film, Media, as Literacy Santiago de Compostela 24th October 2014 26
- 27. National Partners Polish Film Institute EYE /NDS Film Institute Irish Film Institute Uni of Algarve Uni of Roma Tre Vision Kino Hungarian MPAA Slovenian Film Centre CZ Nat Film Archive Hellenic AV Institute 27 Station Next (Denmark) Santiago de Compostela 24th October 2014
- 28. Phasing the Research Phase 1 Survey -- January until March 2012: • Online questionnaire sample of 12 nations via Survey Monkey • Case studies of 3 sectors in each nation • 2pp summary of film education provision in each nation • Survey ‘triangulated’ by third parties • Advisory group seminar on 26th March to refine questionnaires and absorb initial findings Phase 2 Survey -- May until July 2012: • Questionnaires and case studies from 20 nations • Fewer case studies as examples of good models • Transnational projects examined • Additional surveys - heritage, families, cinemas Santiago de Compostela 24th October 2014 28
- 29. Deliverables • 12pp Exec Summary (suitable for presentation to general public) • Description of methodology • 1-2 page summary picture for each nation • Recommendations • 50+ case studies incl transnational programmes • FilmLiteracyAdvisoryGroup.wordpress.com • www.bfi.org.uk/screeningliteracy Santiago de Compostela 24th October 2014 29
- 30. Country Summary Example Media and Learning 13th December 2013 30
- 31. 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? Santiago de Compostela 24th October 2014 31
- 32. A strong model of film education What would it look like, for you? Santiago de Compostela 24th October 2014 32
- 33. 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 Santiago de Compostela 24th October 2014 33
- 34. 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 Santiago de Compostela 24th October 2014 34
- 35. • Create and publish a set of models of film education that cover different curriculum approaches, pedagogies, learning resources, and training. • Establish a ‘Translation Fund’ for extending programmes and resources that are valued in other nations • Support for further research especially on funding, take-up and impact of film education programmes • • Priority to be given to exploring and developing programmes for families and diverse communities, and for developing activity in accession states • Support and guidance on exploiting heritage film, and changes to IP law required • Develop models of professional development across the sector, including a European MA in Film Education • A Film Literacy Advisory Group to advise on priority areas for funding, and to steer research Recommendations Santiago de Compostela 24th October 2014 35
- 36. What next? • Report publication: www.bfi.org.uk/screeningliteracy • Film Literacy Advisory Group: http://filmliteracyadvisorygroup.wordpress.com/ • Derry seminar in June followed by Warsaw seminar October, 2013 • Creative Europe-funded Film Education Framework 2014 • EFAD Research Semonar, London, October 2014 Santiago de Compostela 24th October 2014
Notes de l'éditeur
- 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.
- 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
- Those pictures weren’t taken as part of the data gathering process, but still reveal significant aspects of film education in Europe - both continuities and individual distinctiveness, which would stimulate rich discussion - but for another time
- This is the question we were asked to answer by EC..
- The first part of our research was to insist that ‘making’ film was as important as watching it. Film literacy is an entitlement for all citizens and, like print literacy, the making or ‘writing’ is as important as the ‘reading’ or watching. So the EC definition is now the one you see here.
- For the BFI, our definition goes back to UNESCO in the early 1990s (but I don’t have a reference, sorry!) It says that being literate is to participate in society, and that to participate fully in contemporary society and culture, we have to be literate in the moving image. Anthony Minghella, who used to be Chair of the BFI, put it very eloquently.
- We split the research programme into two parts: an early trial of questionnaire survey, with a small group, and which enabled us to refine our research questions. Then a much wider trawl of nations and partners, with a re-calibrated research mechanism. This approach allowed us to identify and address gaps in knowledge. We made sure our surveys were ‘triangulated’, or double checked, by a third respondent in each nation. We think we arrived at a pretty accurate national picture of each country.
- We have had our final short report approved, and have published a fuller report online at www.bfi.org.uk/screeningliteracy
- This is what a sample national picture looks like: 2 to 3 pages on each country, under these headings.
- 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