The questions I brought home from Berlin

Links between film education and EU key competences

8 Key competences have been defined at EU level (

Among them there are such competences as cultural awareness and expression, social and civic competences, communication in languages, and digital competence etc.

Maybe it would be reasonable to link film education outcomes with them?
However, if we say that film education should lead towards cultural awareness and self-expression, do we condemn a film to become only a tool for developing key competences? On the other hand, do we really mean that sensitivity to films/cinematic experience shall be our end destination?

What comes first, cinema experience or knowledge and skills?

I like Petra’s argument that “knowledge might be a tool for something more important: experiencing cinema“ (the post on 31st October). However, do we mean that knowledge and tools for experiencing cinema should come first, before cinematic experience? If yes, how can we assure that these knowledge and tools do not channel viewer‘s experience into the direction we have constructed? Maybe relationship between cinema experience and knowledge is not a relation between a reason and an outcome? Maybe it is rather a dialectic process we are trying to grasp?

Intersection between Cultural, Critical and Creative

In the Creative group we admitted that one of the greatest challenges for the project will be the work on linkages between the outcomes formulated by all the groups. Therefore, maybe it would be reasonable to mix the three groups for a couple of hours in the next meeting in order to make the linkages between Cultural, Creative and Critical?

 Short term vs. long term activities

When we speak passionately about film education outcomes, do we mean by film education only a long term process, e.g. film education module at school which is taught for several years? Or do we also think that short-term activities, such as one day film workshop, are also valuable? Then, do we think about the outcomes for short-term projects? Do they differ from the long-term outcomes in the extent of knowledge, skills, and competences? …Or should we neglect them at all?

Film heritage and film education

I would strongly agree with Vitor’s argument that “film literacy should contribute to good preservation and better understanding of our cultural collective memories“ (the post on 31st October). However, when we look at MEDIA financing schemes we come across the contemporary production. Certainly, it is also an important reservoir for our collective memory. Nevertheless, film heritage has to play more significant role in relation to film education and the overall film policy. Therefore, the film education outcomes should also inspire to actualise and revive film heritage.

Looking forward to see all of you again and to continue our discussions in Prague.


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.

Pencil Vs Mouse and Bullet Vs Cirlce

It seems that we are still struggling around basic concepts, objects and ideas. We are still at this intermediary state of being both analogue and digital, descriptive and visual.

Meeting desk with different writing media on.

Both pencil and mouse are still held by the same hands.

However , our very creative meeting for Creative Europe, managed to overcome its obstacles of language, rhythm, flight schedules ( towards 10 different cities in Europe) and mainly beliefs as to what film education is and can be for young people and educators.

A round table discussion on media literacy frameworks from 10 countries

A round table discussion on media literacy frameworks from 10 countries

Some of the questions we discussed were initiated by Ian Wall’s set of paradigms upon which we agreed and disagreed: do devices matter or not? What is the relationship of popular Vs art films and how could we use them? Is heritage the job of specialists or not? Should we develop sensitivity towards films or critical thinking and how? Do we prefer the idea of “choosing” e.g information, knowledge  etc or “discovering”? How necessary is reflexion? We all agreed and know about the positive “social” outcomes of media education, but what about the filmic ones? What’s the relationship of film literacy to media literacy? Should a framework for Film Education belong to a Life Long Learning concept? These and many other were the concepts that we discussed and finally after several slides of bullets, came to a harmonius agreement though a visual representation of a circle. We all look forward to seeing it and building a final proposal.

Michelle's proposal incorporated a whole day's ideas.

Michelle’s proposal incorporated a whole day’s ideas.

A Film Literacy framework with interesting connections

A Film Literacy framework with interesting connections