1. from artist to teacher developing a peer-based training programme for film school teachers Fredrik Graver Head of Studies The Norwegian Film School, Lillehammer

2. background background in journalism, radio, music, theatre, arts – all in Canada theatre - actor (30 productions) and director (5 productions) film school in Vancouver, 1996 worked in all departments except Art Department; mostly as a 1st AD Technical Manager - Vancouver Film School Production and Post Manager - Canadian Film Centre (Toronto) came to Norwegian Film School in 2009

3. challenges filmmakers, not teachers

4. challenges filmmakers, not teachers the needs of the discipline

5. challenges filmmakers, not teachers the needs of the discipline coordination

6. challenges filmmakers, not teachers the needs of the discipline coordination literature

7. challenges filmmakers, not teachers the needs of the discipline coordination literature geography

8. challenges filmmakers, not teachers the needs of the discipline coordination literature geography EQF - European Qualifications Frameworks

9. ASSets (at the Norwegian film school) filmmakers, not teachers

10. ASSets (at the Norwegian film school) filmmakers, not teachers prior training

11. ASSets (at the Norwegian film school) filmmakers, not teachers prior training prior teaching

12. ASSets (at the Norwegian film school) filmmakers, not teachers prior training prior teaching active filmmakers

13. approach (at the Norwegian film school) unified approach

14. approach (at the Norwegian film school) unified approach continuous development

15. approach (at the Norwegian film school) unified approach continuous development «holistic» pedagogy

16. approach (at the Norwegian film school) unified approach continuous development «holistic» pedagogy pedagogic dialogue

17. approach (at the Norwegian film school) unified approach continuous development «holistic» pedagogy pedagogic dialogue experience

18. – John Dewey «learn to know by doing and to do by knowing»

19. PROPOSAL 1.pedagogy course for film school teachers

20. PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom

21. PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members

22. PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members 4.make the course «distributed»

23. PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members 4.make the course «distributed» 5.accreditation

24. PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members 4.make the course «distributed» 5.accreditation 6.«peeragogy»

25. preliminary topics

26. overview 1.Overview of the course 2.Introduction of basic terminology 3.Skills/professional development vs. Academic study vs. Artistic education

27. methods 1.Teacher & mentor vs. Master/apprentice 2.The importance of learning from mistakes – «learning by doing» 3.The «zone of proximal development» & scaffolding sample theory ​ : Vygotsky, Dewey

28. instructional design 1.Defining a learning outcome 2.Determining content 3.Choosing a structure and form 4.Feedback and ways of monitoring the success of learning outcomes sample theory ​ : Introduction to Blooms Taxonomy and Introduction to the nomenclature of the European Qualifications Framework: knowledge, skills and general competence.

29. progression 1.Where are the students today and where should they be at the end of their study 2.The structure of the educational programme - different models 3.One brick at a time - putting workshops, courses, etc., in a context and progression 4.Identifying milestones and checkpoints along the way sample theory: Vygotsky, Constructivism and Social Constructivism

30. production exercises 1.Choosing a focus 2.Defining and setting parameters 3.Identifying learning outcomes 4.«Learning to make film» as opposed to «making film» sample theory: Phillipsen, the application of constraints

31. collaboration 1.The importance of communication 2.The Triangle method: advantages, disadvantages, and application. 3.Communicating artistic vision and inviting artistic input from others 4.Defining areas of artistic responsibility («Whose film is is, anyway?») 5.Dealing with conflict: when - and how - to intervene 6.Constructive vs. Destructive conflict. 7.The debrief ​

32. the statement of intent 1.The statement of intent as a tool for learning and creating 2.The application of the statement of intent in the creative/artistic process 3.Ways of composing a statement of intent 4.Instructor feedback 5.Using the statement of intent as a tool for evaluating results

33. feedback and assessment 1.Creating a culture of constructive feedback 2.Assessing student work based on the statement of intent - giving feedback 3.Creating the «confidential space» - allowing the students to be open, honest, direct with each other 4.Continual assessment of student progress 5.Student evaluation of courses, workshops, etc. - Using student feedback to improve the study programmes sample theory: Hattie on Calibration, Feedback

34. the filmmaker as artist 1.Identifying talent 2.Developing artists vs. Training skilled professionals 3.Giving the artist an understanding of her/his own artistic stance - «What kind of artist am I?» 4.The role of all the disciplines in storytelling

35. flow 1.What is Flow and why is it useful for artists and creative people 2.Creating the conditions in which flow can occur sample theory: Csikszentmihalyi

36. Fredrik Graver Head of Studies The Norwegian Film School, Lillehammer fredrik.graver@hil.no