Date post: | 29-Oct-2015 |
Category: |
Documents |
Upload: | boglarka-nagy |
View: | 52 times |
Download: | 0 times |
of 39
Screening Literacy: a survey of European Film Education
Mark Reid
Head of Education, BFI
20th May 2013 1
In a
Screening Literacy: a survey of European Film Education
Mark Reid
Head of Education, BFI
20th May 2013 22
The Tender Specification of the European Commission requested
a report mapping the current practices in
film literacy in Europe
Research Question
20th May 2013 23
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
Research Objectives
20th May 2013 24
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
EC Definition of Film Literacy
20th May 2013 25
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
Film, Media or Literacy?
20th May 2013 26
Research team
27
Advisory group of experts Vitor Reia-Baptista Laszlo Hartai Simone Moraldi Irene Andriopoulou Sara Duve
Ian Wall
Film Education
Andrew Burn
Institute of Education, London University
Mark Reid
BFI
Wendy Earle, Project Manager
Caren Willig Michelle Cannon Kate Domaille
National Research partners - Phase 1 Polish Film Institute EYE /NDS Film Institute Irish Film Institute Uni of Algarve
University of Roma Tre Vision Kino Hungarian MPAA Slovenian Film Centre CZ
National Film Archive Hellenic Audio-Visual Inst. Station Next (Denmark)
20th May 2013
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
Phasing the Research
20th May 2013 28
Short Report Sept 2012: 12pp Exec Summary (suitable for presentation to general public)
Description of methodology
1-2 page summary picture for each nation
Recommendations
Full Report end of 2012: Expanded findings
50+ case studies
Focus on transnational programmes
Sections on family, cinema-based, and archive film education
Online publication on the European Commission website and shorter print version to be disseminated
Deliverables
20th May 2013 29
Czech Republic Report er: Pavel Bednarik, independent
fil m pr ofess ional, Nat ional Film Arc hive
(Narodni fi lmovy arc hiv) Prague
Researcher: Caren Wil lig
Overv iew
Population 10,532,770
Percen tage of school age
chi ldren:
0-14 years: 14.4%
15-24 years: 12.1%
There is no nat ional fi lm education st rategy yet , but in Janu ary 2012 an exp ert group
was set up by t he Ministr y of Cultu re t o develop a stra tegy in 2012. The on ly
prev ious d ocum ent briefl y m ent ioning t he imp ortance of fi lm education and of a
nat ional f i lm st rategy, wa s t he Concept ion of Cin ematography o f t he Czech Republ ic
2010-2016 (agreed by t he Parl iam ent in 2010).
Formal education
The nat ional govern m ent dec ides t he count ry s cur r icul um . The cur ricul um is based on Fram ew ork Educat ional Program mes suggesti ons to t he sc hools sup ported and financed by th e local auth or i ties. Scho ols t hen creat e School Educat ional Program mes, wh ich are di ff erent in every school. Film educat ion is part of media educat ion f ro m ages 5-19. It support s other subjects and social and civi l education.
There are som e nati onal guidel ines on medi a education t hat include fi lm education.
Fi lm is not st udied or exam ined as a separat e su bject , but hist ory of fi lm is part of
th e cur riculu m in his to ry o f li terat u re in t he final exam s at high scho ol. No records
of achievem ent s in f i lm education are col lected. Info rma l aft er- /ou t -of sc hool
program mes are offered by nat ional , regional and local cul tura l and volunt ary
organisat ions and by som e schools.
An est imat ed 40% of sch ool ch i ldren receive som e fo rm of fi lm educati on .
Informal education
There is no nat ional inf rast ru ctur e to sup port informal education. Inf ormal fi lm
educat ion is pr ovided by independent organisat ions funded year on year by t he governm ent , the MEDIA program me, and t he Eur opean Social Fund w ho organise fil m screenings and education mat erial s. On a regional level, t here are fi lm
soci eties, stud ent fi lm clubs, and som e fi lm cl ubs f or chi l dren and young people.
Fi lm education is p rovi ded as part of medi a educati on, to sup port ot her field s of
int erest , to pr om ote cri tica l view ing and fi lm m aking. There is n o record of how
mu ch fund ing informal fi lm educati on gets and no at tem pt to measu re
achievem ent.
Aud io v isual sector
The fi lm indus t ry funds such activitie s as screenings for scho ols, festiva l education
program mes, and som e dist rib u tors fund educational cam ps fo r young fi lm makers.
There are also ti cket discount p rogram m es, fi lm course s, and sp ecial screenings
wit h int roducti ons by invite d speakers.
Broadcaster s help develop fi lm li teracy by ai ring archive, Eur opean and W orld
Cinema fi lms, and t he second public serv ice channel shows fi lm classic s in t he
context of fi lm cl ubs. These p rogram m es are only aim ed at older youth and adul ts, th ere is nothing for chi ldren, apart fro m a couple of f ranchise TV channels fo r
chi ldren, bu t only on pay cable TV and w eekend program mes f or chi ldren, but t hese
are not educational platf orms.
Czech publi c serv ice television (Channel 2) com m issio ned a fi lm li teracy series, but
aft er t he appointm ent of a new di rector and int ernal st aff changes, t he pr oject
stopp ed.
Cultural bodies
There are severa l cult u ral agencies w hose rem it incl udes fi lm . The nat ional ones -
fun ded by t he govern ment and t he Minist ry o f Cu ltur e - are t he Czech Film Cent er
and t he Czech Fi lm Com m issi on, but t hey subsid ise and pr om ote t he Czech fi lm
indus t ry , but not fi lm education. Their sup port f or in formal fi lm educat ion
provid ers is limite d t o advertisi ng t heir act ivi ties in bull etin s and w ebsites . The
regional fil m agencies p rogramm e screenings fo r sc hools and young people, off er
onl i ne resources fo r young people, and run other activitie s fo r local com m unitie s.
Thei r grants com e fro m th e Ministr y of Cultu re, t he MEDIA pr ogram m e, t he
Visegra d fund (partly ), and European Social Funds (Educati on fo r Com petitiv eness
Program me).
Fi lm heri tage is preserve d by a national fi lm archive (govern m ent funded), by
com m erciall y funded special ist fi lm arc hives, and by other governm ent - fu nded
museum s or arc hive col lect ions.
The Czech Republ ic is unique in t he num ber of fi lm festivals t hey offer (because of
th e lack of a st rategy of th e nat ional body t o sup port of t he festival s according to
pr iorities ). Abou t 11 festivals , all funded in dif fere nt ways , are aimed at chi l dren,
you ng people, local com mu n ities, and special int erest groups. Fi lm education
provisi on is not a requi rem ent for fun ding.
There are som e att empt s t o measu re and record learners achievem ents on a nat ional level, bu t t hese are not based on any st rategy and have a very limite d
imp act.
Professional dev elopmen t
There is t rai n ing on of fer f or in-serv ice teachers and academ ics, but tha t consist s
only o f a few short courses or pr ojects re aching a l imit ed number of teachers. There
are Minist ry o f cult u re p roject gran ts fo r t hese (no bursary schemes). The pro jects
cont inu e as accredited pr ogram mes f or dist ance educat ion only at t he fi lm studies
departm ent in Olomouc (Palacky Univers i ty) . There are short courses tha t of fer
dipl omas.
Country Summary Example
20th May 2013 30
aims and purposes of film education
strategies in place; types of provision
in the classroom, after school, outside school
funded, assessed
providers and recipients
Main Findings
Why?
What?
Where?
How?
Who?
20th May 2013 31
National strategies - What
National strategies endorsed by Ministries of Education and Culture
Norway, France, Croatia,
Northern Ireland, Denmark
High levels of co-ordination
between national agencies
Sweden, Poland,
Netherlands, Germany,
Finland
Film education is strong, where wider film culture is
valued. Otherwise no national strategies reported
NB, federal states like Germany, Italy, Belgium, Spain,
Portugal
20th May 2013 32
A strong model of film education
What would it look like, for you?
33 20th May 2013
A high degree of co-ordination across sectors (education and culture agencies
in government; NGOs; film and broadcast agencies) 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 culture in film, that supports education and access to film
for a range of people - children, older people, diverse and marginal groups
Learners, and learning, are valued as highly in informal, as in formal education
Strong Models of Film Education
20th May 2013 34
A commitment to having provision robustly and independently evaluated
High levels of participation in film education, in activities that are sustained
across a period of time, with measured and recorded outcomes
Funding responsibilities will be distributed across public, commercial,
education and cultural sectors, and delivered around a shared national plan
The film education workforce has recognisable and funded professional
development opportunities from entry level to expert status, and with
accreditation to validate their development
Strong Models of Film Education
20th May 2013 35
Some key examples
Trans-national programmes: le cinema cent ans de jeunesse; Europa Cinemas; DocNext network
German film literacy competence statements
Filmoteka Szkolna, Poland
MovieZone, NL
A Wider Literacy, Northern Ireland
36 20th May 2013
Translation Fund for joining or inflecting programmes and resources that are valued in other nations
Support for further research especially on take-up and impact of film education programmes
Create a set of models of film education that suit different settings
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
20th May 2013 37
Film literacys potential to be translated into different:
Platforms (YouTube; cinemas; galleries; TV; mobile phones)
Social purposes (industry skills; citizenship; creativity; wider literacy)
Artforms (music; drama; art and design)
Subjects (history; language learning; geography; science)
A Note on Translatability
Europe is a culture of translation;
why not film literacy? 10th May 2013 38 2nd Media Literacy Congress Lisbon
What Next?
Derry seminar: 4 June Creative Europe funding; Film Literacy Advisory Group; NI case study Filmliteracyadvisorygroup.wordpress.com www.cityofculture2013.com/event/screening-literacy
Publication of Screening Literacy end of May: Executive Summary in print + online Country Profiles, Case Studies online www.bfi.org.uk/screeningliteracy
20th May 2013