What do we want Film Literacy to be?

It is an extraordinary experience to find together with people from 20 country in a room, you get in touch with different points of view, ways of thinking, experiences. I always get out of those meetings, from one side, with the sensation of being at the core of something bigger and, on the other hand, I feel constantly put into discussion, pushed to get better.

It’s a big challenge to put together a framework that could be used by Film Literacy providers Europe-wide. All of us struggle since a long time to legitimate Film Literacy in their own country, to spread it through people, schools, young public, adults, to raise awareness about it. All this is an extremely precious professional heritage of very qualified people sometimes working in hard conditions.

I see this project as the first step onto a full acknowledgment of Film Literacy in Europe, in order to let it be recognized as an essential part of European film sector and European public life.

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Film and Media Literacy Assessment in Hungary

links to A-level tests inHungary in the last 6 years in English language

I hope it can be useful and interesting for many of you

 

05.2014

EXAMINATION ON THE CULTURE OF THE MOVING IMAGE AND MEDIA EDUCATION

PROJECT – ANSWER KEY

http://dload.oktatas.educatio.hu/erettsegi/feladatok_2014tavasz_kozep/k_momedprang_14maj_ut.pdf

 

Written exam

The written exam is 180 minutes long.

The exam sheet contains a short film extract on DVD. At the beginning of the exam,

candidates watch the film or programme extract that goes with the question sheet. After

the question sheets have been handed out, candidates have three minutes to study the

questions. Candidates watch the extract again, then start working on the question sheet.

Candidates may watch the extract again (for a third time) if so required by anyone. This

will take place at the beginning of the last 30 minutes before they hand in the worksheet.

Candidates may only use the question sheets.

No other help is allowed.

 

The written exam question sheet consists of three sections:

– Questions testing knowledge and facts. This part carries a maximum 20% of the total;

– Questions testing the comprehension of moving image on the basis of the extract shown.

This part carries a maximum 50% of the total.

– Question testing the ability to define and analyse problems concerning mass media. This

part carries a maximum 30% of the total.

The parts in bold help the candidate to focus on what the task requires of them

 

 

TEST

http://dload.oktatas.educatio.hu/erettsegi/feladatok_2014tavasz_kozep/k_momedang_14maj_fl.pdf

ANSWER KEY  (film extract from a Hungarian film by Istvan Bacskai-Lauro)

http://dload.oktatas.educatio.hu/erettsegi/feladatok_2014tavasz_kozep/k_momedang_14maj_ut.pdf

 

05.2013

EXAMINATION ON THE CULTURE OF THE MOVING IMAGE AND MEDIA EDUCATION

PROJECT – ANSWER KEY

http://dload.oktatas.educatio.hu/erettsegi/feladatok_2013tavasz_kozep/k_momedprang_13maj_ut.pdf

TEST (film extract from a film by Michelangelo Antonioni /Profession: Reporter)

http://dload.oktatas.educatio.hu/erettsegi/feladatok_2013tavasz_kozep/k_momedang_13maj_fl.pdf

ANSWER KEY 

http://dload.oktatas.educatio.hu/erettsegi/feladatok_2013tavasz_kozep/k_momedang_13maj_ut.pdf

 

05.2012

EXAMINATION ON THE CULTURE OF THE MOVING IMAGE AND MEDIA EDUCATION

PROJECT – ANSWER KEY

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2012tavasz/kozep/k_momedprang_12maj_ut.pdf

TEST (film extract from a Hungarian film by Gyula Gazdag)

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2012tavasz/kozep/k_momedang_12maj_fl.pdf

ANSWER KEY 

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2012tavasz/kozep/k_momedang_12maj_ut.pdf

 

05.2011

EXAMINATION ON THE CULTURE OF THE MOVING IMAGE AND MEDIA EDUCATION

PROJECT – ANSWER KEY

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2011tavasz/k_momedprang_11maj_ut.pdf

TEST (film extract from a Hungarian film by Elemér Ragályi)

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2011tavasz/k_momedang_11maj_fl.pdf

ANSWER KEY 

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2011tavasz/k_momedang_11maj_ut.pdf

 

05.2010

EXAMINATION ON THE CULTURE OF THE MOVING IMAGE AND MEDIA EDUCATION

PROJECT – ANSWER KEY

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2010tavasz/k_momedprang_10maj_ut.pdf

TEST (film extract from a Hungarian film by Péter Gothár)

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2010tavasz/k_momedang_10maj_fl.pdf

ANSWER KEY 

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2010tavasz/k_momedang_10maj_ut.pdf

 

05.2009

EXAMINATION ON THE CULTURE OF THE MOVING IMAGE AND MEDIA EDUCATION

PROJECT – ANSWER KEY

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2009tavasz/k_momedprang_09maj_ut.pdf

TEST (film extract from a film by Terry Gilliam /Brasil/)

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2009tavasz/k_momedang_09maj_fl.pdf

ANSWER KEY 

http://www.oktatas.hu/pub_bin/dload/kozoktatas/erettsegi/feladatok2009tavasz/k_momedang_09maj_ut.pdf

cinema experience

The critical group was discussing what is essential for a film education: is it providing knowledge about film to young audiences and their adults? If yes, what is knowledge about film? Perhaps knowledge on its structure – narrative, language.

But no, we’ve decided that such knowledge might be a tool for something more important: experiencing cinema. This is the essence of film educational work: how to raise a sensitivity for film and make cinema experience growing (constantly, without an end).

It should start with experiencing cinema in cinemas and should continue with finding a way of translating our thoughts about the film into words – or other ways of expression. In this perspective knowledge of film vocabulary becomes useful.

In the process of “translation”, or expression, our cinema experience obviously changes.

Methods are important: rather than systematic teaching, adjusting to children’s response is more valuable.  It raises dynamics of teaching and allows children to explore and become and stay more curious.

Very good discussion. Rarely experienced, inspiring.

 

 

EFAD seminar notes from Scott – Creative Scotland

EFAD seminar notes from Scott – Creative Scotland

Scott Donaldson from Creative Scotland very helpfully took some notes on the key questions last week, published here to augment that doc published on Friday.

1/Parental attitudes

  • Sample parents whose children are about to begin a film education programme located in mother tongue/wider literacy context (in order to compare like with like across Europe)
  • Get baseline data of their attitudes (and conceptions and…?) to film education before commencement
  • Repeat midway and on completion
  • Aim: find out how parents’ attitudes towards and understanding of film education following their children’s actual experience of it.
  • Aim: use the findings to inform programmes, pedagogy and advocacy as appropriate.
  • Audience for the research: 1/schools and local authorities; 2/Government, education agencies and any other relevant decision makers/purse holders; 3/parents

2/Does film education lead to ‘audience development’?

  • Before and after film education programmes take place, sample film consumption/watching habits of children and parents.
  • Aim: to discover if it is actually true that exposure to a wider diet of films in a learning context leads to wider consumption of films – in particular European and home country films.
  • Audience: European film industries: to help persuade them to support film education more vigorously. Risky study – what if the answer is no!
  • Variables: if you did the study across different types of film education (mother tongue, in the humanities, in media studies, filmmaking projects) and interventions of different lengths, you might be able to identify which types of intervention made a difference (suggestion offered by Dag)

3/What are the outcomes of film education that are specific and unique to film education?

  • What are the contributions of film education to learners’ development that nothing else can provide (to the same extent…?)?
  • Areas of examination might be: 1/literacy/mother tongue context 2/history, geography, other humanities etc 3/sciences 4/other curricular areas 5/soft skills, affective domain etc 6/hard skills, tech skills etc (this needs further thought obv…)
  • Variables: what element of film education – making, watching, etc?
  • Aim: to identify unique affordances of film education
  • Audience: film education community, to sharpen up our own pedagogies, programmes, targeting,advocacy etc
  • Audience: education gatekeepers and purse-holders as above.

4/European Survey of Film Literacy

  • Repeat the Scottish Survey of Literacy across Europe.
  • NB: although we don’t know yet what the survey will tell us, we have an in-principle agreement that we can have the data and do some work on it, so we will can find out what use it might be.
  • However, even if the data is inconclusive, the fact of film clips going into every school in Scotland as part of the Literacy survey, performs a valuable advocacy function in itself.

5/This didn’t come up (except once, in your pictures) but what about older people? Not just 60+, but there’s also 25-60, and there’s also HE and FE type ages/provision. It would be interesting to look at (supposedly) vocational film ed in FE-type locations and look at the actual learning outcomes; and to look at actual learning outcomes in the more expressive-arts type HE provision. These add to what we learn from (3) above. And of course more quantitative data for these various adult sectors would be valuable, as would typologies etc.