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.

 

 

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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.

EFAD Seminar on Research 16 October

A group of colleagues from the European Film Agencies’ Directors’ group met in London on 15 and 16 October to begin to sketch out a research agenda for film education in Europe.  Colleagues from Croatia, Finland, Estonia, Spain, France, Italy, Belgium, the European Commission, and several UK and BFI colleagues devised a set of research questions that for us need answering.  At the end of the day, we came up with 20:European Film Education Research Questions

To help us in our deliberations, we welcomed presentations from Professor Andrew Burn from the London University Institute of Education

From Paul Reeve, Director of UK film education organisation Into Film

And from Mark Reid of BFI

Presentation from Bernard McCloskey of Northern Ireland Screen to follow..

Berlin seminar – Jan 2014 – prep for film ed framework

More information will be posted about the content of the day but in the meantime, here are some photos of our time in Berlin including some night shots…

We came up with a circular preparatory framework and will post a version of it for comments in the next few days.

[Please feel free to post your own material / photos and contact Michelle if you’re not sure how to go about this.]

Invitation to FLAGgers

Sarah Duve, Ian Wall and I are thinking of holding a small overnight seminar in Berlin in mid-to-late January, to prepare a bid to Creative Europe to create Framework for Film Education in Europe.  Maybe 15 people at most.  Some money available to support travel for five or so people.  Email me if you’re interested

Mark