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Screening Literacy: a survey of European Film Education Mark Reid, BFI.

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1 Screening Literacy: a survey of European Film Education Mark Reid, BFI

2 When the outcome of an issue is unclear, or cannot be resolved, it is important to learn to love the question Rilke, Advice to a Young Poet

3 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-curric; learning objectives; film institutes and other orgs? –Informal sector: film institutes, NGOs, grassroots groups –Role of film industry and media professionals in film literacy projects –Egs of good practice Policy recommendations to EC, for Creative Europe

4 Which territories? 27 EU nations: AustriaBelgiumBulgariaCyprus Czech RepublicDenmarkEstoniaFinland FranceGermany GreeceHungary The Irish RepublicItalyLatvia LithuaniaLuxembourgMaltaThe Netherlands PolandPortugalRomaniaSlovakia SloveniaSwedenSpain (excl Canary Islands) UK (excl Channel Islands) And 3 non-EU EEA nations LiechtensteinNorwayIceland And Croatia, Switzerland

5 Research team structure 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 Benelux France Germany Czech Republic Slovakia Scandinavia Baltic Austria Michelle Cannon Spain Portugal Italy Greece Cyprus Malta Romania Bulg Poland Hungary Slovenia Wendy Earle UK and Ireland National Research partners - Phase 1 Polish Film InstituteEYE /NDS Film Institute Irish Film Institute University of the Algarve University of Roma Tre Vision Kino Hungarian MPAA Slovenian Film Centre CZ National Film Archive Hellenic Audio-Visual Inst. Station Next (Denmark)

6 Deliverables Final Report end of 2012, comprising: 5pp Exec Summary (suitable for presentation to general public) description of methodology 1 page summary picture for each nation conclusions Annexes Catalogues of: film festivals; teacher training programmes; resource publications; industry initiatives Digest of known research into film education outcomes

7 Phasing the work Phase 1 survey Jan - March: –Online qu’aire sample of 12 nations via Survey Monkey; –case studies of 3 sectors in each nation –2pp summary of provision in each nation –‘survey ‘triangulated’ by third parties –Advisory group seminar 26 March to refine qu’aires and absorb initial findings Phase 2 survey May - July: qu’aires and case studies from 20 nations Fewer case studies as examples of good models Transnational projects examined

8 Country surveys

9 SOME INTERIM FINDINGS Few national strategies or entitlement statements Focus on making, as well as watching Patchy teacher - or other - training Variable locations: –Media education; arts; curriculum; after-school Balance of motivations and purposes –Media literacy; cultural motivations; audiences; instrumental reasons Threats to provision: Greece, Hungary, Slovenia

10 Some key examples Trans-national programmes: le cinema cent ans de jeunessele cinema cent ans de jeunesse German film literacy competence statements A national strategy, inspected: Northern Ireland National audio-visual and multimedia curriculum, Italy Reframing Literacy

11 Le Cinema cent ans de jeunesse Since 1995 Watching, making, cultural cinema Focus on film language and ‘film thinking’ 40 workshops, 7 countries, 500 children 50 hour curriculum Dirigiste!

12 EDUCATION FOR MEDIA LITERACY: THE THREE “C’s” Creative Learning Cultural Learning Critical Learning 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

13 Reframing Literacy Short films (21c) Literacy focus Municipal authorities in UK Training/ seminars Research and evaluation

14 Reframing Literacy ─ in numbers 7 teaching resources published 55 short films collected in the resources 61 local authorities involved 150 lead professionals trained 5000 schools reached £400,000 revenue to BFI on sale of resources £800,000 spent by local authorities on training 1,000,000 estimated no of children reached £0 cost to BFI in addition to staff time

15 Definition of film literacy – all the forms and formats Agreed list of competencies in film literacy: guidelines (maybe following German version) Teacher training : towards competencies Clarify link between film literacy/education and media literacy/education Film literacy as ninth key competence (connection with media literacy) Outline of progression: journey / spiral of learning: research to map processes and pathways Support Film archives in providing research and education Canon of European film heritage: lists of recommended films? Exchange/shared portal / platform for film education resources /best practice National film agencies: obligation to fund film literacy / education Build connections between film industry and education: copyright for educational usage What might be.. Research: what counts as impact or quality Research: Who has access to what in film education Research into how to teach / pedagogies: formal/informal... recommended reading... multiple translations Digital archives: Apprend le tele – accessibility of broadcasters’ archive Review policies re digital copies: keeping films in circulation for cinema screenings Set up expert group to take things forward: film education advisory network Development of a database of film literacy achievements Work with Europa cinemas to promote film literacy

16 Translatability.. Is the essence of film literacy its 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; ) Europe is a culture of translation; why not film literacy?

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