1
SCREENING LITERACY: CASE STUDIES SCREENING LITERACY: APPENDIX TO THE FINAL REPORT: case studies 2
CONTENTS
Preface to the case studies 3
1 Formal Education 4
2 Out-of-hours film education, partnerships with schools 14
3 Competitions for students in film education 18
4 Film Societies/Film Clubs/Film Programmes for Children and young people 22
5 Film Education in the online environment 28
6 Film Education sponsored by the Film Industry/AV Industry 31
7 Film Education in the Community 36
8 Trans-national Case Studies 38 SCREENING LITERACY: APPENDIX TO THE FINAL REPORT: CASE STuDIES 3
PREFACE TO THE CASE STUDIES
We asked all respondents to provide case studies of fi lm education work in their country covering work in the formal sector (schools/ examinations), informal (outside school), and work supported by contributions from the fi lm industry or wider A/V sector. We asked respondents to say whether case study projects were evaluated, what the reach was, the sources of funding, and whether it was sustainable.
The case studies presented here provide accounts of work and give a fuller fl avour of some of the similarities and typicalities of work across Europe as well as some of the key differences. The case studies are organised under headings that were generated after we received all of the case studies submitted. It is rare to fi nd ‘pure’ examples of fi lm education work sponsored through one specifi c sector, setting, or funding source. Much fi lm education work takes place in many different contexts with different sources of funding. CASE STuDIES 4
Section 1 Formal Education
It is rare anywhere in Europe to fi nd a sustained project or programme for fi lm education in schools, during the school day, or through the curriculum. There are examples of fi lm education integrated through arts education in many school settings, or as part of literacy learning, or in support of a wider humanities agenda. There are also some examples where fi lm education is opted for as a subject of study in the upper stages of secondary education, post–14.
We found few examples of programmes that integrate the ‘three Cs’ of fi lm education in schools (that is, the critical, wider cultural, and creative dimensions of practice).
Even though we have a separate section on work supported by the fi lm industry, it should be noted that many industry-sponsored initiatives directly support schools in school time and through the curriculum. casecase st studiesudies: SECTION 1: FORMAL EDUCATION 5
Primary Education 5–11 years
Although many case Greece studies submitted were all-age, or cross-phase, in In Greece, the Audiovisual Expression in a more complex way later on in secondary (Cinematic Expression Programme) is a education, the main themes covered are their address, Primary (or national programme, introduced as an audiovisual and cinematic narration; film Elementary)-only examples optional part of Visual Arts Education, a semiotics; creator’s/director’s (subjective) were quite rare. In addition mainstream curriculum subject aimed at pre- point of view; film genres – animation, feature to the two Primary-only school, primary and middle school children. film, documentary, reportage; point of view Set up with government money, the pilot critical analysis of film tools (sounds, film case studies below, we also programme which has run since 2011 is aimed language); analysis of the technical parameters include some which have a at cultivating audiovisual expression as an art of film – interview and reportage on screen; large, or majority focus, on form, familiarising students with all forms of advertisements; skills and professions in the Primary age children. art in a new way, using new technologies and film industry; production, promotion and digital education tools. circulation of audiovisual products in the film industry. To this end, Visual Arts Education is taught two hours per week in Primary and Middle/ National Guidelines and a Manual are provided Secondary schools, and consists of five for the teachers who wish to apply and work strands: Music, Visual Arts, Drama, Dancing on film education in the classroom. Because – Movement and Audiovisual Expression. the programme is optional and one choice The term ‘Audiovisual Expression’ refers to among others in Visual Arts Education, it is not all forms of expression involving audiovisual possible to record how much and how often it media and tools, focusing not only on is taught in the classroom. Ideally the course technical elements but also on cultural and of Audiovisual Expression should be taught creative aspects. It includes the following independently either as a core subject of film topics: art photography, all film genres education or as a part of media education at (content analysis, direction, production), schools, involving evaluation and assessment. animation, video art, visual reality projects, We would like the programme to become comics and digital production (i.e. 3D a more regular part of the school curriculum, animation, computer graphics etc.). It focuses either as a separate core subject focused on narrative communication, which uses the on film education or cross-curricular norms of written and spoken language in throughout the school or as a part of media a more open, ‘out-of-the-box’, cultural way, education (currently non-existent). For further creating an alternative audiovisual language, information please see: in parallel with mainstream literacy in schools Using the ‘spiral curriculum’ teaching model, www.digitalschool.minedu.gov.gr/ where topics are taught in a more simplistic way in primary education, and returned to CASECASE STuDIES: STuDIES SECTION 1: FORMAL EDuCATION 6
Primary Education 5–11 years
Lithuania Portugal Slovenia
MOKAUSI IS KINO – ‘I am learning from film’ Film is studied in Portugal most commonly It is also possible to complete the programme In Slovenia, in 2007, an animation project – is a 2 year project running until June 2013. as part of social and civic education areas. with a small festival showcasing student work. was established as part of the art curriculum This project is funded through the European There are some small-scale opportunities to There are extended activities attached to the in primary school drawing on guidance Social Fund with the support of the Lithuanian study film as a separate subject in the middle programme including a possibility for some from the Society for Animated Films. This Ministry of Education, developing the concept age group. Without a national film education project focuses on teaching pupils how to that reading and understanding the world strategy, this case study reports specifically on further teacher education that might achieve make animated films from the process of requires a knowledge of a wider range of texts, a regional project. accreditation. storywriting, art and drawing work through including film texts. The project is convened to animating the story and screening it. through a collaboration of cinemas, A Film The Juventude Film School (Youth Film School) Evaluation is undertaken through feedback An important feature of the project is the Festival (Kaunas) and the NFO Cuma (Travelling is a programme run by the DREALG (Regional from the participants. This programme is pedagogic work of the project: pupils always cinema). Aimed at schoolchildren of all ages Educational Authority) in Faro, Algarve. This regional currently, but is entirely replicable and work together to develop their animation. and teachers, the project consists of film is a voluntary, optional programme aimed sustainable on a nationwide basis. Pupils are involved in all aspects of the work programmes designed for schools and film at schools with objectives to implement the including producing the script from a story workshops for school groups. The emphasis is analysis, appreciation and evaluation of films www.drealg.min-edu.webside.pt/content_01.asp?Btree they create themselves. Each member of the on European films including several national including structured sessions about film ID=02/05&treeID=02/05/00/00&auxID=menudir group has a clear role and takes responsibility titles and is designed to develop taste and language and film processes. It is a systematic, for an aspect of the art-work. The group critical response. The cinemas screen films at sequential programme aimed at five different decides on how the work should be sequenced the request of teachers/schools outside the levels in primary schools (from Grades 5–9) and and then the animation is made through normal cinema screening schedule. All of the a course of 3 levels for secondary schools (from photographing the pictures and entering them school screenings are accompanied by short grades 10–12). The programme was launched into a programme for animation, Monkey Jam. introductions to the film and discussions after with a training opportunity for teachers in The outcome is a short animation film that is the film. Special speakers (film professionals how they might introduce and develop the then screened to other pupils and parents. or media educators) are invited to discuss the programme in their schools. Essentially, the films with groups of children (in classes of up programme works around film screenings (4 The project could be sustainable and is to 25 children). The project is supported with sessions per academic year). Students can replicable in a form of additional school teaching materials. In addition to film-viewing then take part in a range of other activities, program, like school clubs and critical reading of films, this project also including close analysis of the films and supports practical film-making workshops for worksheets are available to support pupil www.animateka.si different age groups of students. Mostly these responses to the films. Follow-up work includes are on the lines of 3 day short courses that do entering student responses to film into take place during the school timetable, thus competitions, or to be judged by pupil juries. requiring schools to opt into the value of the programme. The project also runs seminars for teachers and for film professionals to assist in teaching about film beyond the programme and back in their schools or institutions. CASECASE STuDIES: STuDIES SECTION 1: FORMAL EDuCATION 7
Primary Education 5–11 years
United Kingdom
Film Education exists as an integral part of The project reached 70 different municipal The British Film Institute is charged with literacy learning across all four nations in the areas (just over 50% of all municipal reaching into all four countries of the United UK and as an optional separate subject post–14. authorities in England, and with contact in Kingdom and this initiative made its way Scotland, Northern Ireland and Wales). It ran across the UK but not evenly. It was running In the United Kingdom in 2004 the BFI set 7 training seminars for ‘lead practitioners’ alongside the formal qualifications that are up and managed the Reframing Literacy in literacy learning in schools, in municipal taught separately and differently in each of the project, a programme aimed at all 5–14 year authorities, and universities and that cohort in countries and was a supplementary project olds – the principle purpose of which was turned trained over 2000 teachers in the 3 years exploring the value of moving image work in to support the teaching of mother-tongue the project ran – and since 2008, many more literacy learning. To gain an insight into how literacy by incorporating the study of short have been trained. In addition to the input this project worked with other formal projects films into literacy teaching. The programme at the level of teacher education, the BFI also in the UK at the same time, it could be looked advocated the centrality of film in any created a series of resources that promoted the at alongside Moving Image Education in model of 21st century literacy. It therefore use of short films in literacy learning activities. Scotland (www.creativescotland.com/) promoted all aspects of film – national and 20,000 copies of the resources sold nationwide which also had a primary purpose to widen world heritage, film form and language, and to date. 60 local authorities committed £850,000 the concept of literacy; and with a close focus appreciation of film as art – but all within a (1€ million)into promoting film in literacy on pedagogy. definition of literacy. There were 5 objectives between 2005–09. for the scheme: to builld an infrastructure in www.ccea.org.uk/movingimagearts. the local authorities to ensure the long-term Evaluated by researchers in literacy sustainability of moving image education development from the UK Literacy Association, from Early Years to end of KS3 (aged 14); to the results included positive impacts on develop a cohort of lead practitioners who literacy (especially boys’ writing) and teachers’ are confident in designing and disseminating motivation and confidence, and are published curricula, resources and training for other in Moving Literacy On, a research project practitioners; to identify and explore learning which was examining progression in literacy. outcomes and pedagogies related to moving www.ukla.org image work in classrooms across Early Years and KS 1–3; to explore ways of integrating The programme has been exported to Belgium, moving image education into mainstream Poland and Mexico. Since the project ran there literacy practice; and to develop ways of has been a further reporting of continued work integrating the three sometimes separate in at least 15 of the original 60 local authorities dimensions of moving image media education engaged in the work. The BFI is exploring how (that is the creative, the critical and the replicable the project is. cultural). casecase st studiesudies: SECTION 1: FORMAL EDUCATION 8
Secondary Education/ High School Education
The case studies below Denmark Finland represent examples of film education work, In Denmark, some schools have a specialist In Finland film education does not occupy status and offer media and television study, any mandatory formal space in the school predominantly taking and also offer film as a separate subject of curriculum, though it is offered as a separate place in high school settings, study. As a high school subject it is supported optional subject in the latter stages of as integrated into wider through government finance. There are formal secondary education. arts, media, literacy and examinations and the Danish Ministry of Education collects statistics of achievements Work in 2004 to raise the status of children’s humanities work. Most in film learning from school. Encouraging culture in Finnish schools resulted in a year of countries reported that a love of film is part of a broad educational focused film activity in schools, funded by the film education has the mission across all age-ranges as is an national government. Whilst one aspect of the potential to reach right appreciation of culture. There is an emphasis project was to see, discuss and evaluate films, on understanding film as an art form. The a very important objective was to encourage across the formal education examination, however, also places critical children themselves to make films, showing sector but that film-in- viewing and film production as core aims. them to real audiences and analysing what curriculum activity tends to they had produced. be a marginal attachment There is no formal training in film education for teachers pre-service. But there are a range An important legacy from this project was to other subjects, and often of providers of resources and supporting the collaboration it initiated, bringing together only being trialled locally workshops – the Danish Film Institute and all sectors of media education and was rather than nationally. Station Next. These resources are focused considered a vital first step to answer the on teaching film and detail pedagogical question about how children’s culture could approaches. be developed. The high profile nature of the events provoked public discussion about the importance of film education in children’s learning and led to the introduction of some specific film education work in individual schools, an example of which can be seen here:
www.koulut.sodankyla.fi/elokuvakasvatus/ kitisenranta/filmeducation.htm CASECASE STuDIES: STuDIES SECTION 1: FORMAL EDuCATION 9
Secondary Education/ High School Education
France Germany
In France, teaching film and audiovisual to discovering film through watching the In Germany, film education is part of media of the programme having spread more education is part of the overall offer in big screen and discussing emotions. Collège education and taught across all school age widely. Something similar in Lower Saxony education, based on a law passed in 1988 to au cinema develops knowledge of cinema ranges, supporting work in other subject areas gained national attention. What’s significant include arts education as a vital component further through more formal study of genres such as German, Arts, languages and ethics about this pilot approach is that it fed wider in the development of individual skills and and filmmaking. Finally, Lycéens et apprentis though not generally offered as a separate interest and in 2010, the Landerkonferenz access to culture. Teaching of film as an art au cinema develops appreciation of film by subject. There are some examples of formal MiedenBildung, a board of representatives promotes awareness of cultural heritage focussing on directors, screenwriting and the film study in Higher level study in schools and for media education in all federal states, nationally and internationally and contributes craft of filmmaking. It is estimated in 2011 that some localised pilot projects in Film Education published – in collaboration with Vision Kino – to the development of artistic expression. The nearly 1.5 million students experienced film e.g. Film in Deutsch-Zentralabitur in Bremen, a paper on standards in film education and in most widely accepted model of film education through École et cinema; 681, 000 participated a high profile pilot project which commenced March 2012, the national conference of Federal includes teaching film history, film theory and in the Collège au cinema and 11% of French in 2007 and ran for three years. This project Ministries and cultural affairs published a practical workshops about cinema. students were involved in Lycéens et apprentis was a collaboration between the Department declaration outlining common tasks of media au cinema. Since the launch of the programme of Education and Sciences in Bremen, the education in schools, including film education. The Ministry of Culture and The Ministry over 17 million students have participated in University of Bremen, the municipal cinema of Education in France oversee a number one or more of the three programmes. In all, in Bremen, and VISION KINO. The project www.visionkino.de of outreach programmes in schools these figures aggregate to 10.5% of the school had half of high school students opting into in partnership with cinemas and film age population. studying film as part of the common school professionals. Three programmes have been leaving examination in German. The study of operating for more than 20 years: École et These programmes are supported by the film in the examination was organised around cinema (School and film), Collège au cinema film industry and by the production of a main focus, e.g. in 2008, this was around (Secondary School at the cinema) as well as support materials and training opportunities the theme of ‘literature and war’. The study Lycéens et apprentis au cinema (High schoolers for teachers. Work in this programme is involved looking at representations of war and trainees at the cinema). The École et supplemented by website materials: in film. This pilot has fed wider activities to cinema programme is aimed at children from support a broader film education strategy in kindergarten upwards and introduces students www.site-image.eu/ Germany and there are now new examples CASECASE STuDIES: STuDIES SECTION 1: FORMAL EDuCATION 10
Secondary Education/ High School Education
Hungary Iceland
Film Education does have a formal place in the In Iceland there is a project promoted by school curriculum in Hungary as an optional the Film Centre for Compulsory schools in area of study, reaching approximately 10% of Reykjavik by the Reykjavik municipality, to all children. Film education activity, however, provide ongoing support to schools in the has a wider reach. Since 2011, the Education area of film education. It is supplemented by Authority, part of the Ministry of National some grants and schools buying in to part of Resources in Hungary has funded a Secondary the service. The main goals are that through School Academic Competition in Moving film education work there will be audience Image and Media Knowledge. The main aims development and a widening out of young of the programme are to develop talent. The people’s taste. The project also supports using competition has high status in providing some film as a tool across the wider curriculum and entrants with ‘additional points’ for university aspects of the project are focused on personal entrance. See Competitions section below for and individual development as well as further detail. encouraging creativity. The Film Centre’s main aim through this project is to increase the competence of pupils and teachers to create films and to use the medium positively in all areas of the curriculum.
This project is ongoing and feedback is collected periodically from participants.
In Spring 2012 the Centre ran a series of free training courses aimed at students and teachers. Courses were on: film literacy, cinematography and scripts, image analysis, adobe illustrator training, moviemaker and more.
www.myndver.hvasso.is/ CASECASE STuDIES: STuDIES SECTION 1: FORMAL EDuCATION 11
Secondary Education/ High School Education
Republic of Ireland Italy
Film education is an element of formal ten venues around the country and worked Whilst there is very little provision in the languages and communication technologies, education from ages 5–19 as a source with their own school groups. Films were primary years for film education, there have multimedia, film and the use of global image. of enjoyment, in Ireland. Within school screened in local cinemas/arts venues been recent changes to education in Italy, A group of professionally trained teachers programmes of study, film study exists to and included Independent films, US, Irish that mean that specialist senior high schools have been delivering two hours of film study a support other subjects, notably English film, world cinema and documentary. The now offer Cinema and Multimedia Disciplines, week and post the films on YouTube. (comparing film and written texts) and Irish screenings were free of charge to encourage focusing on technical skill, film aesthetics language. participation. The project was evaluated and language, and a strand of Audiovisual www.youtube.com/user/istitutodartedepero in-house and by each teacher involved and Multimedia workshops, that focus on In 2005, the Irish Film Institute produced a through collating numbers of and successful professional and project management skills. There has also been some collaboration on Transition Year Moving Image Module and this completion by participants and through some Film studies is a separate field of study in production with the Scuola Nazionale de module was taken by students in high schools. feedback. the new fine arts high schools. Film is also Cinema. The module was written collaboratively with used as a tool of study in wider areas of the input from a range of partners including the The Module was delivered for Transition Year curriculum. There are currently 110 fine arts From 2012–13 the school will follow the new Irish Film Board, the Irish Film Institute, PDSS programmes and is now online along with high schools or liceo in Italy. curriculum in Audiovisual and Multimedia (Teacher Education) and the Arts Council several other recognised national programmes. learning. There is no formal assessment of in film and moving image education. The Prior to these wider changes, the Art pupils’ skills in this programme beyond self- module comprised a national film screening The Irish Film Institute produces a range of Institute ‘Depero’, Rovereto, North-East Italy, evaluation. The Art Institute ‘Depero’ promotes programme, national teacher education film study guides represented an example of film education itself as a specialist centre of the Arts. To and the production of accompanying film in an Arts schooling context. The school was extend this model of film education further, education resources. The programme was www.irishfilm.ie.learn designed as a school of graphic design but there would need to be a national vision for delivered by teachers who were recruited in over the years it changed its objectives and its teacher training, and an expansion of technical operational guidelines to include the study of equipment CASECASE STuDIES: STuDIES SECTION 1: FORMAL EDuCATION 12
Secondary Education/ High School Education
Netherlands Poland
In the Netherlands, there is no national training either in-house or through e-learning In Poland, a strategy to secure a more picture of exactly how much the DVD is strategy for film education in schools, and some formal film production training at sustained programme of film education in used. In addition there was a comprehensive but there is government money available Open Studio (a recognised training centre) secondary schools was established in 2009 by e-learning training package for teachers to support projects and organisations in so that production skills for teachers were the Filmoteka Szkolna. It was set up in 2009 accessible to all and free of charge when the delivering film and media education. developed. The process of how to assess by a coalition for Film Education between the project first launched but it was reported that the achievements is still in development. Polish Film Institute, the Centre for Citizenship there may now be a charge for the training This case study is based on the work that Together with the Radboud University of Education and the Warsaw Film School resources. has taken place in one high school in Zwolle, Nijmegen they have developed a baseline with input from teachers, film theorists and that developed formal film education and assessment to measure skills at the beginning academics. The programme collated a DVD of www.filmotekaszkolna.pl/ integrated it across the curriculum in all and after the work. Students produce work to 55 key Polish films including documentaries subject areas. The project was established in be assessed: portfolios, questionnaires and and animations and sent this to 14,000 2008–09 through cooperation between the through showing their work for feedback. secondary schools. This resource is free to ALL Head and school teachers at the school and These latter two tools of assessment are still schools online. outside film and media organisations, notably in development and there is not yet reporting Mediawijzer.net Mondiaan Foundation. on achievements. Currently, the programme is Training for teachers to use this resource evaluated primarily via participant feedback was initially available through a workshop The programme was called Modern Media and and its success might be marked by the fact programme managed by the Ministry of aimed to give students the knowledge, attitude that it has continued on a year by year basis. Education and the Ministry of Culture and and skills to prepare them for the digital Nevertheless this is seen as a very specific National Heritage. Approximately 800 pupils society. It is a structured programme where project for this school and there has been and 500 teachers have taken part in film in First Grade (middle school), students can no further development of a wider film education workshops. One of the main select to follow a sequence of tasks. Spending education strategy in the formal sector in the achievements of the programme was the approximately 5 hours per week on the Netherlands. The survey ‘Measuring Media opportunity to engage with films in the native subject, they variously studied film through Literacy’ carried out by EYE, Cinekid and News language and explore the relationship between a range of viewing and analysis activities in the Classrooms has produced an extended film and national culture. supplemented by production activities. These case study on the value of this programme and activities are used to study film through a the potential for it to reach more widely into Training is available for project coordinators range of concepts: who sends the message? the Dutch education system. through attendance at national and (production); how is it made? (technology); international conferences, rather than through who is it made for ? (audience); what is the www.thorbecke-zwolle.nl/kiesthorbecke/ a formalised programme. Filmoteka Szkolna message? (film language) and what is the plusprofielen/media.php does not have data on the take-up of the goal of the message? (form/genre). The cross- DVDs but the achievements of those who have curricula element works in integrating film www.mediawijzer.net/?q=partners/thorbecke-sg- taken part in the training have been assessed study into Economics (finance of film); History maakt-kinderen-vroeg-mediawijs through feedback collected in evaluations. As (context) and Languages (communication). these evaluations have only been collected Everyone delivering the programme received on a voluntary basis there is not a complete CASECASE STuDIES: STuDIES SECTION 1: FORMAL EDuCATION 13
Secondary Education/ High School Education
Spain Sweden
Cinema en curs (www.cinemaencurs.org) is a film Cinema en curs is currently deployed in The Swedish Government initiated a Creative education programme of the nonprofit cultural five strands: Schools Initiative aimed at offering all association A Bao A Qu, which is dedicated to • A regular annual workshop programme (since children, regardless of their circumstances, thinking up, managing and developing projects 2005), with students aged from 9–18 years of good opportunities to experience professional linking together art, culture and education, very diverse social and cultural characteristics. cultural activities and develop their own especially within the school setting, with Cinema en curs started with this mode taking creativity, as well as to achieve better goal creators and in partnership with cultural its inspiration from Le cinéma, cent ans de fulfilment at school. In 2011 the Swedish institutions. jeunesse, which it has worked in cooperation government provided SEK 150 million per with since its beginnings. Currently, 3 of year, targeting all years of compulsory school Cinema en curs was established in 2005 with the annual programme workshops are (grades 1–9). the aim of creating structural links between directly associated with the project of the cinema and education, placing film at the Cinémathèque Française. Since 2005, 82 In 2012 this was increased to SEK 156 million, heart of primary and secondary schools and, at workshops in this modality have been carried and the actitivites reached out over 252 the same time, encouraging the participation out; in 2012–2013 there are 11. municipalities and 126 independent schools, and involvement of students and teachers in • Modular workshops (since 2010) structured involving over 620 000 pupils in grades 1–9 the cultural life. The two main objectives are around documentary and fiction practical across Sweden (about 40% of the cohort). The to enable the discovery of film as art and to tasks. In 2012–2013, 23 workshops with activities bought from this money are self- explore the pedagogical potential of film in the pupils aged between 9 and 18 years are to be selected by schools. They use the funding to school setting. conducted. buy in cultural activities such as performances • Little Cinema en curs (since 2010), for 3 – 9 or guided tours at museums, or to build The programme is organised in three key areas: year olds, currently in eight schools, with 1200 collaborations with the arts and convene • The Workshops. They are carried out in public students and 23 teachers. seminars/conferences in school. Schools can primary and secondary schools within the • Atlas Cinema en curs: documentary workshops buy in activities from any area of the Arts. But school timetable with students aged from 3 in primary and secondary schools within film work became one of the most popular to 18 years in three different modes. They are the Cinema en curs modular program; and a activities within the Creative Schools Initiative. jointly taught by a film professional and a website where the documentary pieces are The success of this initiative as backed by team of teachers. In its 8 editions more than published, leading to an exchange between government funding now needs to be matched 4,000 students have participated directly in participants from all countries. A selection of with some further investment in teacher Cinema en curs. Lumière Minutes, Portraits of trades and crafts education so that the film work embeds more • Teacher training to equip them with the and Portraits of spaces may be seen at the fully into the curriculum, beyond the voluntary instrumental and methodological tools web. At the present time, the project is being aspects of it. needed for introducing cinema in the school carried out in Catalonia, Madrid and Galicia setting as art, culture and creation. Training (Spain), Portugal, Argentina and Brazil. Work has been given to more than 2,000 teachers in is underway to incorporate Valencia and the various towns in Spain and in countries such Basque Country (Spain), Italy, Croatia as Argentina, Brazil or Chile. and Korea. CASE STuDIES 14
Section 2 Out-of-hours fi lm education, partnerships with schools
This survey asked respondents to provide case studies of fi lm education that might take place outside school hours and whether any of these activities engaged teachers and other professionals in further training and development. These case studies reveal a range of different work in fi lm education often initiated by cultural organisations. Funding is mixed between government, local agency funding and fi lm industry inputs. Some of the projects work with children out of school hours, whilst others have a specifi c purpose to work with harder to reach youth groups and have goals about using fi lm education as a route to social cohesion and inclusion. casecase st studiesudies: SECTION 2: Out-of-hours film education, partnerships with schools 15
Austria Denmark France
Film ABC in Austria is funded through a mix Station Next is a film school for young people ‘Passeurs d’images’ is a cultural and social ‘Passeurs d’Images’ organises extracurricular of government and industry sponsorship to and their teachers based in Hvidovre, organisation promoting Film & Image projects promoting film and audiovisual lead a nationwide initiative on media and film Copenhagen, Denmark. It was set up with education, contributing to the French urban cultural initiatives, aimed primarily at young literacy. Its main work involves organising support from the Ministry of Culture in 2000. development policy and supported by the people, who, for social, geographical or cultural a series of seminars and events aimed at It offers short and long-term production ACSE (National Agency for Social Cohesion reasons, don’t have easy access to films and teachers and pupils focused on developing courses and holiday courses for middle and and Equal Opportunities). It is registered other audiovisual events and activities. cultural understanding of film. It has a key high school students. There are multiple aims in the agreements on film and audiovisual It enables them not only to watch films, but to role in developing successful partnerships and outcomes for these courses including: development signed by the French government learn the techniques of making and showing with the film industry to create opportunities individual development through the study of and regions as part of a plan called ‘Dynamic films. for film-making and convenes events at the a wide range of film, encouraging creativity, Hope Suburbs’. Film School in Vienna, as well as brokering enhancing cultural experiences and notably, Its objectives are to provide better access to opportunities to work across the border in developing production skills. The materials This project is supported by a range of film, to educate youngsters on film, to raise Slovakia. for the workshops have been developed in agencies including the Ministry of Culture public awareness to cultural diversity, to fight collaboration with film professionals. Station and Communication, the State Secretary in against discrimination, and to mobilise several Film ABC offers basic and advanced training Next offers a range of courses that last from charge of urban development, the National partners in the same country to work towards to teachers, successful completion of which one day to three years. There is also an annual Cinematography Centre (CNC), the National an overall strategy. results in an accreditation from the central professional development session which Agency for Social Cohesion and Equal pedagogic institute for education and training reaches around 60 professionals. Station Next Opportunities and the High Commissioner for www.passeursdimages.fr/-A-film-education- of teachers. Film ABC believes the successful does track participants who go further with Youth, Education and Community Life. initiative-?lang=fr education of teachers enables high quality film their interest in film/media and enter jobs in education work to happen in school settings. the film/TV industry. Evaluation of the success The project reaches all the French regions of the programme is made in a variety of ways: and overseas territories, and is supported by a www.filmabc.at Station Next monitors numbers attending number of partnerships with local authorities, workshops and completing workshops, as well cinemas, film and audiovisual associations as collecting feedback. The organisation has and social integration organisations. national and international contacts in similar organisations e.g. Uganda. casecase st studiesudies: SECTION 2: Out-of-hours film education, partnerships with schools 16
Greece Hungary
Established in 2008, Karpos Education and activities are directed at teachers, some of The Ars Longa Art Society in Cered, Northern shooting, camera placing, lighting, and editing. Intercultural Communication centre began their work has been aimed directly at young Hungary has hosted an annual film literacy The films made by participants are evaluated coordinating projects primarily aimed at people through workshops. project aimed at teachers who teach film and analysed together on the last day of the teachers of film in schools. Karpos has a reach in high schools, since 2005. The project was workshop and participants receive a certificate across Greece through its wider film education More widely, the centre has had success originally established by the Hungarian Moving and level of achievement. seminar work. These seminars have been in other partnerships beyond Greece: a Image and Media Education Association who delivered in several regions of Greece, and in partnership with Turkey, within the EU received funding from a range of different There are several courses or workshops cooperation with local schools. The centre was programme ‘North Aegean Narratives’, through industry bodies. on filmmaking in Hungary but this one founded by professionals working both in the providing an educational workshop on how is specifically aimed at teachers who are media industry and in media education and is to create a documentary film and with T-NET The aim of the programme was to develop teaching the subject in school. The ‘Cered funded through a mix of grant funding from (www.theatro.edu ) where Karpos offered a the technical and analytical abilities of film Model’ is seen as meeting the needs of the Ministry of Education, cultural institutions workshop at the National Students’ Theatre teachers to help them produce films. It has teachers who need practical filmmaking skills and European money. Festival in Nuremberg, Germany. teacher education as a core goal in assisting in order to teach effectively in school. There teachers to improve student work and help are no higher education structures in place The main goals of the centre are to offer Karpos has had an important role in assisting them to develop creative tasks. to provide this education for teachers. Since opportunities to develop skills, through media the integration of the school optional subject 2011, the funding for this project is much less training with professionals as well as offering ‘Audiovisual Expression’ into schools through The project works on a one-week residential certain. The Hungarian Moving Image and a space to develop self-expression through workshops about cinematic expression and in intensive workshop, open to 15–20 teacher Media Education Association are applying for the exchange of views and creative ideas. The designing educational materials for assisting participants led by a technician and three grants to support its continuation. centre produces educational materials and the teaching of History in Primary schools. filmmaker tutors, taking place in late August. organizes educational seminars. Teachers are Participants are divided into beginners and then encouraged to take the skills, ideas and www.karposontheweb.org advanced groups. Everybody is tasked to processes learned from the centre’s work into undertake a film-making project following their school teaching. The focus of much of the the tutor’s instructions and as part of a team. work is on how media, image and sound can The projects focus on: dramaturgy, script- develop narratives. Whilst most of the centre’s writing, organizing and preparation work for casecase st studiesudies: SECTION 2: Out-of-hours film education, partnerships with schools 17
Republic of Ireland Luxembourg United Kingdom
The work of the Irish Film Institute has Crème Fraiche is a specific film and creativity This is a relatively new project and positive First Light is a UK wide organisation that uses reach across the formal/informal sector and project which began in September 2011, aimed feelings about the project have been registered film and media production to develop skills has supported initiatives such as Cinemobile at young people out of school and school- by participants, though there is no hard data to in young people aged up to 25. They work – Ireland’s mobile cinema which operates aged children. Funded and organised by the report a bigger impact at this stage. with over 5,000 young people aged 5–25 every throughout the country and brings a screening National Youth service (Service National de year, giving them the opportunity to learn the programme to children across Ireland, from la Jeunesse) in conjunction with the National The project is related to the annual craft of high-quality short filmmaking from primary to secondary schools. It provides Audiovisual Centre (Centre national de programmes of the Service National de la industry professionals using industry standard access to a wide range of films including Irish l’audiovisuel) and the Luxembourg City Film Jeunesse, the Centre National de l’audiovisuel equipment. film shorts and animation in order to broaden Festival, the project is in receipt of funds from and the Discovery Zone Luxembourg City young people’s experiences of films. A lot of central government and through donation. Film Festival; by these bodies, the project is First Light’s programme Second Light. film education work that takes place in the linked to the Europe-wide project ‘CréaJeune’ identifies talented young people aged between informal sector in Ireland is targeted at groups This project is principally about developing and to the programmes of some schools. 18 and 25, from a wide range of backgrounds, of young people out of school of ‘at risk’. the creative potential of young people who are The programme is a national programme and enables them to achieve their potential not normally in touch with film education. The defined by the specificities of Luxembourg; through targeted training activities, led by film project includes three steps: a scriptwriting potential partnerships with different schools and media industry professionals that develop contest with scriptwriting courses, a and film clubs are being discussed to take creative and technical production skills, as screening event with the presentation of the programme out more widely across the well as a range of ‘life skills’. First Light is young filmmakers’ work and a video-film- country. unique in that it offers realistic progression competition. The winning script is moved into routes for these talented young people to find production and young people gain support www.snj.public.lu/actualites/2011/10/19_concours/ employment in the creative sector by working from experienced professional staff to create index.html closely with industry partners. the film. www.firstlightonline.co.uk CASE STuDIES 18
Section 3 Competitions for students in fi lm education
A common approach to encouraging practical fi lm-making for children and young people is to enter their work into competitions. As some of these case studies show, an important aspect of the process is to have youth juries and for participants to be involved in refl ecting, evaluating and judging other work. We also note that many festivals or celebrations of young people’s work do not have to involve a competitive element. The Co-op Young People’s Film Festival in UK famously screens all fi lms submitted, and the annual screenings of Le Cinema cent ans de jeunesse, screen all the fi lms made by young people over three days, in a salon atmosphere, with fi lmmakers as young as 8 years old encouraging and interrogating their peers, and their fi lms. . casecase st studiesudies: SECTION 3: Competitions for students in film education 19
Finland Hungary
The Valve Film School for Children offers Since 2011, the Education Authority, part of the of the competition involves students being children and young people the opportunity to Ministry of National Resources in Hungary, shown a short film or film excerpt in the make their own films. This initiative is part of has funded a Secondary School Academic first part of the finals and given one hour to a wider arts-based initiative to develop cultural Competition in Moving Image and Media analyse it. The second stage of the competition awareness in children and young people. At Knowledge. The main aims of the programme involves competitors shooting a few shots, the video workshop, they can practice film are to develop talent. The competition has edited in camera, and discussed with each editing with the help of an instructor. Every high status in providing some entrants with other in front of the jury. November, the Cultural Centre Valve is the ‘additional points’ for university entrance. location for Oulu International Children’s and The call for the competition appears in the As this is a competition the achievements are Youth Film Festival, arranged by Oulu Film Educational Official Journal every summer. It is evaluated with scores and verbal feedback Centre, and the Oskari Awards Gala for films open to every secondary school student of the provided. The competition further offers made by children and young people. two higher classes (16–19 years old). Students evaluation training and an opportunity for are able to choose from three practical tasks professional exchange of experience for the www.kulttuurivalve.fi/sivu/en/children_young_ and from three essay tasks as both film teachers whose students got into the finals. people/ production and film analysis form part of the The number of participants in the competition competition. Student work is carried out in is very small – just 60–100 per year but this discussion with teachers, but is independently means that this project is replicable and submitted and the submissions are evaluated sustainable. by a committee of applicants. The process casecase st studiesudies: SECTION 3: Competitions for students in film education 20
Republic of Ireland
Ireland’s Young Filmmaker Competition & runs a Young Film-makers award to encourage This project evaluation is based solely on Fresh Film Festival began in 1997 in Limerick and showcase young people’s creative work. the number of DVDs that have been sent as the Irish Schools Video Competition, Submitted films are of a very high standard. to schools and the number of subsequent an annual festival to showcase the work Final Cut Pro training for professionals downloads. This project is very distinctly of filmmakers under the age of 18 years. supervising the project has been provided. linked to the inclusion of short films in the Funded by the Irish Arts Council, the local study of Irish language. One measurable authority and some sponsorship, the festival Achievements are formally evaluated and impact of the use of the DVDs was a change in is organised by the Board of Directors, lead by feedback is collected. This project is replicable how the Irish language exam was organised at Jayne Foley. and sustainable with continued funding. senior level, to include a section on short film. For further information: Screenings of the films have taken place in ‘Fresh’ provides an annual programme of many regional venues and at IFI over the years. events in support of young filmmakers in www.freshfilmfestival.net Ireland. The festival hosts International Film It is expected the project is sustainable with Shares, creates opportunities for filmmakers In 2006 the Irish Film Board set up the funding and money for film production. to travel and network on an international Gearrscannain Project/Irish Language short level, provides workshops, produces various films for schools. This initiative is aimed at www.irishfilmboard.ie/funding_programmes/ showcases and hosts the Ireland’s Young high school students. The project originated Gearrscannain/83 Filmmaker Awards. from a film-making competition which encourages new Irish film-makers to create ‘Fresh’ advocates film-making by young people and submit short films made in the Irish in all genres and many entries come from local language. These are then compiled onto a DVD and regional youth groups, local film festivals with subtitles and accompanying study guides and schools nationwide. There are both with teachers’ notes. The DVD and Guide were educational and artistic objectives to ’Fresh’. made available to all schools nationwide. Educationally, it promotes an awareness of Subsequent screenings of the films took place film, encourages young people using film, at the Irish Film Institute and other venues. video and digital applications and ensures The Irish Film Board is committed to the that programming in the festival reflects the production and release online of two short development and interest needs of children films in the Irish language for schools each and young people, and artistically. It offers year. There is no professional development technical training in filmmaking and training with this programme. casecase st studiesudies: SECTION 3: Competitions for students in film education 21
Norway Slovenia Sweden
In Norway, the Amandus Film Festival – www. In Slovenia, there is support for informal film At the festival, young people’s films are November film festival filmport.no/Amandusfestivalen/ – is a week education and a network of activity supported screened and discussed. The mentors Each year young filmmakers are welcomed long film festival, that’s run on a yearly basis through art house cinemas and film clubs. overseeing the projects have an opportunity to a national film festival where they get to (from 1988), convened through a partnership to share and debate their experiences, their screen their own films. This work is initiated between the Norwegian Film Institute and Videomanija is a youth film festival for processes and any special insights. locally where students will first submit their Lillehammer University College. This is Slovenian youngsters aimed at 15 –20 year films to one of the 19 regional film festivals essentially a film-making competition where olds and is focused on practical film-making. A film jury that consists of 3 film professionals in Sweden. The winners from these local the festival is organised around the films sent Young people get together either in school and a number of young film-makers assess the events are then nominated to go to the in by youngsters. Support for the process is or in after-school settings, to make films submissions and award prizes. The main prize national festival in Trollhättan Sweden called provided through a range of seminars prior and submit them for competition. The films is that the winning films can gain a wider November Film Festival. Until recently, this to the festival on film, film-making and film are judged by a jury of young people and screening to the public in a regular cinema. was aimed at young people generally, up to the history and on current trends in cinema. These professional film-makers. At the heart of age of 26 but has just been altered to cut out are given to young people and teachers with this project is a creative exercise for young This project is sustainable in the sense that the younger age group (0–14 years). The idea an opt-in of approximately 800 participants. people. The aim is that the films come from it is regular annual event with similar size of is that the regional competition is enough for the ideas of the young people, rather than participants and stable public financing from this age group,and that the national festival is A successful showing of a film at this festival being taught, such that the festival is seen as the Ministry of Education, Culture, Science something to aim for. can mean that the young people get to take a space for young people’s emerging ideas. and Sport. their films to other film festivals across Europe. Nevertheless, about half of the films are made in organised workshops and do bring www.videomanija.org The emphasis of film education in Norway, together opportunities to learn skills as well currently is that much more activity is related as to execute independent ideas. The festival to young people’s creative production rather and the competition bring together all people than film viewing or film heritage. The project working in this area and provides a space to for critical reading of films was more prevalent screen and discuss films and film-making. in the 1990s but did not make an impact in schools. The Norwegian Film Institute used to have a role in distributing European and Norwegian films but this also seems to have fallen away more recently. CASE STuDIES 22
Section 4 Film Societies/Film Clubs/ Film Programmes for Children and young people
Film clubs and societies for young people are reported widely across Europe. These have different funding roots, sometimes supported by government or local government to extend cultural experiences for children and young people. They are often funded through a mix of public and private money. Many of these examples show fi lms moving out of traditional cinema settings into different contexts that fi t better with where and how young people live. Cinema buses, for example, bring cinema to rural communities in Estonia, Ireland and Switzerland whilst children’s fi lm festivals also exist to showcase student production work as well as to provide special screenings. casecase st studiesudies: SECTION 4: Film Societies/Film Clubs/Film Programmes for Children and young people 23
Croatia Czech Republic
Reported by the Kids Meet Art project, in and kindergartens in the city of Zagreb took In Czech Republic there are regional film There are other similar initiatives in children April 2012 a pilot project in Zagreb took place, part, accompanied by 50 teachers and 12 other societies, film clubs and some film clubs for and youth out-of-hours programmes, partly supported by relevant experts in the field educators. The screenings took place in April children and young people run at an informal because the Czech republic retains a strong of film and media culture from the Faculty and May 2012 in the Museum of Contemporary level. Most of it is provided by independent tradition of camps from the socialist times. of Education at the University of Zagreb, Art, in a movie theatre and other relevant organisations, funded through a range of Now these have a focus on the increasing and with institutions such as the Ministry venues across the city where screenings could sources including European Social Fund popularity of cinema, filmmaking and of Culture, the Croatian Audiovisual Centre, be held with workshops. During the pilot there money and commercial input. animation activities for children. and Mediadesk. The goal was to assemble were two screenings of selected films each day an educational programme of film viewing and four workshops with expert guidance. In Aertek is a Film and Cinema Camp which There is no professional development involved including some non-contemporary titles. total, over 50 workshops took place over the 6 is organised every summer and focuses on in the Camp. An evaluation does take place The selections were made on the basis of days of the project. Each screening opened up informal training of children and young so some participant feedback is collected. The the quality of the content, the genre and new topics of discussion and were drawn upon people from 10–16 years of age. The 14-day sustainability depends on the cinemas’ Chief directorial diversity. The films were further to support children in discussing their growing camp was founded by Prague cinemas Aero, Executives to finance the programme into the selected according to suitability for different up and maturation. The workshops covered Oko, Svetozor and is a privately funded future. They are supported by small grants age ranges, from children in kindergarten to many different thematic areas in relation to initiative with a main goal of offering an from the local municipality and the Ministry of elementary school children. Five movies that film art, under the guidance of a professor initial filmmaking programme to young Culture, but these are year-by-year sources and were selected for the pilot were suggested and film specialist from the University of children from Prague. The programme is about there are pressures on funding. by the European Children Film Associations Zagreb. The pilot was evaluated positively and supporting young people making good use (ECFA) and have been awarded by the world’s it is hoped to use the success of the pilot to of their free time, but it is also about how For further information: www.aertek.cz film festivals for children. The pilot lasted six develop a nationwide programme on similar they can become creative through using film- days, and 2, 400 children of primary schools lines in the future. making tools and through opportunities to work with famous filmmakers who help them learn about the processes and gain confidence with the camera. casecase st studiesudies: SECTION 4: Film Societies/Film Clubs/Film Programmes for Children and young people 24
Cyprus Estonia Italy
The International Children’s Film Festival Kinobuss (Cinema Bus) is a Cinema on In Italy, The Giffoni Film Festival is a high of Cyprus (ICFFCY) has been running for Demand, a travelling cinema in Estonia, profile event, attracting big names from the seven years. It offers screenings, events working as an exhibitor, an independent industry to its annual festival in Salerno, and workshops on film in a festival setting, distributor, a film and media educator and as Campania. The Festival began in 1971 from designed to complement formal learning a platform for projects that unite film-culture- an idea by Claudio Gubitosi which was to taking place in school. In relation to film education-creativity. promote and develop cinema for young people, screenings, ICFFCY fosters a critical approach elevating it from the marginal position it had to film viewing. The Festival itself blends Sponsored by a wide range of organisations back in those days, and leading it to where he screenings – aimed at broadening the access from government agencies (e.g. The Ministry felt it belonged as a high quality genre with to films that children and young people have of Culture) to Film Archives and commercial wide appeal. – with workshops for school children, young backers, the Kinobuss provides a wide range people and families. In addition to watching of screening and film education services to The festival provides opportunities for films, children are given opportunities school children and young people. In addition participants to assess and evaluate short films to participate in film-making. ICFFCY is to making cinema accessible through the bus submitted to juries and to view, discuss and sponsored through a mix of private and public travelling to audiences, the organisation also assess feature films viewed in sessions over 14 funding. Future plans are to develop a media runs a series of workshops from teaching consecutive days. The age of the jurors ranges centre that will act as an ongoing resource animation to pre-school children, through from 6–18. They are placed into 4 official around film education beyond the festival to documentary making with young adults. competitive sections according to their age aimed at children and young people as well as The workshop programmes are available on a group. Two further sections have been added their educators. Currently, the festival offers participant fee basis and provide opportunities for children aged 3–5 (Elements+3) and for over some workshops specifically aimed at teachers to work with professional film-makers in 18s (Generator +18). The jurors view, assess, to be able to draw upon the festival further the process of designing, developing and discuss and vote for films in the sections. back in their classroom settings. shooting short films. Kinobuss has a wide Running juries of young people to discuss reach in being able to act as an exhibitor, an and assess film-making is one of the unique www.icffcy.org/ educator and to forge other possibilities for aspects of this festival. Upwards of 120,000 festivals showcasing the work produced. A people attend the 14-day festival. strong statement on their website positions Kinobuss as a key voice in trying to modernise Giffoni generates further activity across the the education system in Estonia to include year in the form of a modular programme to chances to learn through and with A/V texts schools called Giffoni Movie Days. The festival and move children towards media literacy. is funded by private sponsors and public institutions. www.kinobuss.ee/en/ www.giffonifilmfestival.it/en/ casecase st studiesudies: SECTION 4: Film Societies/Film Clubs/Film Programmes for Children and young people 25
Netherlands Northern Ireland
Cinekid in the Netherlands is an organisation discover their own talents and gain a greater After School Film Club is a scheme available minimum of 20 online film reviews following that has grown from modest beginnings to appreciation and understanding of film. There for all primary and post-primary schools screenings to the official club website. convene a film festival, running activities are also opportunities to get insights into in Northern Ireland offering Extended Day Teachers and pupils can select age appropriate throughout the year in film, television and careers in the audio-visual industries. The Services, that is, schools with large number films from the FilmClub website. A DVD is then new media for children. Cinekid has developed programme views the activities as important of pupils designated as disadvantaged. It is delivered to the schools in the post. Funding in line with the generally recognized need for the professionals as for the young people, it part of the larger FilmClub initiative, which in kind is provided by the Department of for knowledge, expertise transfer, product is a good opportunity for them to talk directly supports after-school film clubs in 7,500 Education in infrastructural costs and staffing. development and education. The main to their audiences and understand what schools in England. The scheme is coordinated In an Inspection report of the scheme it was objective of the Cinekid Foundation is to young people see in film. Examples of film- by Northern Ireland Screen with funding from found that participants displayed a high level promote the quality of image culture for making work include: making an animation the Department of Culture, Arts and Leisure of enjoyment in, and engagement with, the children, and to promote active and creative movie under the guidance of a professional and by the Office of the First Minister and films provided. participation of children in the media to animator, acting classes by a director, and Deputy First Minister. Delivery and support for strengthen their position serving taste writing filmscripts under the direction of a schools is provided by Cinemagic, the annual www.filmclub.org/blog/northern-ireland development and developing critical abilities. scriptwriter. There have been opportunities to film festival for young people based in Belfast, work on set design and costume. and the Nerve Centre media hub based in In Northern Ireland Cinemagic Screen Festival The Cinekid Education programme is a feature Derry/Londonderry. Workshops Programme provides a further of the annual Cinekid Festival, where media Outside of the Festival, Cinekid provides some localised example of National Schools Film professionals work directly with children to training for media professionals working with Schools commit to a minimum of 15 Week, organised by industry body teach them the processes of making films. children, where they learn about didactics screenings each academic year. Each club Film Education. This programme works in the following way: and pedagogy and about where and how has on average 19 members who upload a the work of the professional is first viewed by media work might have been placed already the children in the cinema, then the children for children, including telling them about the begin to produce their own short work under CinekidStudio. Successful completion of these the guidance of the professional, who acts short courses means film-makers and media as an advisor and an instructor. During the professionals are able to be workshop leaders process the children learn more about the in schools. Some of this work is continued in film maker, their profession and the processes an online environment. See Section 5. of production. The main goal is that children casecase st studiesudies: SECTION 4: Film Societies/Film Clubs/Film Programmes for Children and young people 26
Poland
In Poland, The Nowe Horyzoty Edukacji the programme reaches approximately 42,000 Filmowej (New Horizons in Film Education) is a pupils each year. 10 year old project launched by the Ministry of Culture and National Heritage, the Polish Film Each year, during the International Film Institute, the National Audiovisual Institute Festival NEW HORIZONS in Wrocław, there are and some funding earned by income from workshops for teachers who have decided to ticket sales at participating cinemas. This use film in their teaching. These workshops programme takes place in cinemas in 26 cities are delivered in many forms including across Poland. Aimed at teachers and pupils lectures, masterclasses with film-makers and of all ages, and members of the public, the practical workshops. There are classes also on programme is organised by age categories, the history of cinema, film analysis, and film and aims to present cinema to young people pedagogy. in out-of-school settings with educational ‘New Horizons in Film Education’ generates objectives. The main goal is to make young other educational activity including the people more familiar with the language and production of teaching packs, support history of film, as well as to encourage them to for young people and film-making and a visit cinema more often. competition for film-making, workshops and online learning opportunities. Monthly screenings of films are preceded by lectures. Each programme is organised into www.nhef.pl/edukacja/artykul.do?id=666 nine sessions taking place across the year. Whilst organised into a coherent short course, there is no formal assessment. It is estimated casecase st studiesudies: SECTION 4: Film Societies/Film Clubs/Film Programmes for Children and young people 27
Spain Switzerland
‘Festival Internacional del Audiovisual de Some of the films screened have been made by Roadmovie is a non-profit, mobile cinematic Barcelona – FIAB’ (Barcelona Audiovisual) children, and are screened under the umbrella project to promote Swiss cinematic culture. of media literacy, showcasing young people’s Running since 2003, it brings the cinema www.oeti.org ; talents. Other screenings are from film-makers experience to areas where none exists and www.oeti.org/web/festival-presentacion.php who have created films for young people or facilitates contacts between those who make about the issues they face. film and those who watch it. Moreover, it also This festival, organised by the Observatory promotes cultural exchange among the four on Children’s Television, is primarily aimed Children and young people participate each linguistic regions of Switzerland. Roadmovie at children and young people who participate year with their schools, either presenting aims to fill a gap between the cinema that is through their schools. It also brings together work they’ve created or attending viewings of commercially available and a wider repertoire professionals in education and from the film/ films and hearing professionals discuss the of films that may have political and cultural audiovisual sector and has a wider reach to production process. As part of the festival, significance the whole community. there are some worksheets and study guides made available to schools so that the work can Roadmovie is a mobile cinema project. The International Audiovisual Festival of travel back from the festival to classrooms. It screens Swiss films and provides Barcelona (FIAB) was born 15 years ago to film education in remote schools and promote ethical audiovisual content aimed This project shows collaboration across many municipalities. The basic idea is that the at children. Today the main objective is to different sectors to achieve film education people participate in creating their own local provide opportunities for children to read opportunities: academics, film-makers, cinema event, and thereby deal with and learn and understand the language of film. The educators and children are brought together about film culture and film as a media. The festival screens hundreds of films from all and support for the initiative has enabled it whole process is coached by Roadmovie. over the world. More than thirty countries are to run for fifteen years with support from the represented, with an important contribution local government and the City of Barcelona. Roadmovie loosely works together with other from the countries of Europe. The screenings The connection to the Observatory allows regional projects (e.g. learning resources for are divided into different categories and have for further dissemination of the outcomes screened films). been previously selected by a distinguished of the festival and has ensured the festival jury, chaired until last edition by UNICEF, and has been able to continue locally and have www.roadmovie.ch with representatives from institutions related an influence beyond Barcelona, e.g. through to the world of television, audiovisual, film and creating alliances with another festival in education. Spain. With continued funding the organisers hope that the work undertaken with students will be further developed in schools and more progress can be made in the programme of teaching and learning around film. CASE STuDIES 28
Section 5 Film Education in the online environment
The growth of websites and online resources has had a marked effect on support for fi lm education. The online environment divides into two distinct areas of support: one is through providing tools and resources aimed at teachers/parents; the other is online forums for young people to share their production work and discuss fi lms. casecase st studiesudies: SECTION 5: Film Education in the online environment 29
Denmark Finland Germany
One resource to have been developed by Kelaamo is an online community for young Spinxx is an online magazine for young media Station Next in Denmark is a web application film makers (www.kelaamo.fi) that includes critics, aged 5–15. Using a web 2.0 platform www.filmlinjen.dk based on the 10 years sections for film educators (www.kelaamo.fi/ children submit articles, interviews and experience gained working with young fi/Edu/). Kelaamo beta is a new community for discussions about films that interest them. The people. The resource assigns roles from pre- Finnish film enthusiasts, students and young aims of Spinxx are that through engagement production to post-production and assigns people who want to share their work and to with film criticism, children and young people specific tasks to each member of the film crew. network with other interested groups. The acquire a deeper understanding of the media site aims to combine the interests of amateur world and reflect on their own media use. For a short presentation in English: and professional film-makers in a new way: it brings together into one community, the film From 2007–2009 Spinxx was supported with www.filmlinjen.dk/Public/Info.aspx?articleid=784 industry organizations, festivals, film schools funding from the Child and Youth Support and showcases their respective needs and Plan. Spinxx has worked to develop a set of aspirations. criteria to evaluate ‘good films’ and to develop the training of new editorial directors . From 2010, with the support of the Prime Minister and the Federal Agency for Civic Education Spinxx held a critics summit.
All output is published online so there is ongoing peer assessment enhancing critical judgement, writing skills and articulation about film.
Currently, Spinxx reports over 6000 articles submitted to 25 editorial offices. For further information:
www.spinxx.de casecase st studiesudies: SECTION 5: Film Education in the online environment 30
Netherlands
In the Netherlands, Movie Zone is a national and events. There is training provided for film brand aimed at young people between 12 professionals working in cinemas in how to and 18 years old and supported by EYE, the make best use of the facility. Equally, EYE national film institute. Movie Zone consists runs training sessions on how to work with of a digital learning environment providing young people. In the Moviezone Redaction information about film and where young team, young people learn to write good film film lovers can come into contact with each reviews. Moviezone supports Moviesquad, film other. In addition to the online environment, juries of young people who attend the many MovieZone has an offline presence and film festivals across the Netherlands. The top coordinates film events and activities in 80 activity of MovieZone is focused on developing towns and cities across The Netherlands. young people’s talent.
Movieone provides information about At this moment MovieZone has secure funding films, creates access to materials on film thanks to the SNS REAAL Fund. analysis and film creation and stimulates young film talent. The projects work on a www.moviezone.nl pyramidal structure where participants have opportunities to engage with film at Cinekid in the Netherlands also has an different levels. The entry point is that all online platform to encourage practical work participants have access to the Introduction (CinekidStudio.nl) where children can access to film which provides guides on viewing and moviemaking tools. These tools assist in opportunities for reviewing films. At a step movie-making happening at school or at up from that, Moviezone focuses on selecting home. The website has recorded more than special films for youngsters and marks these 110,000 children using the online tools to with Moviezone label and Moviezone presents. create films. Delivering this part of the work relies on working with distributors and cinemas across www.cinekid.nl the Netherlands, organising special screenings CASE STuDIES 31
Section 6 Film Education sponsored by the Film Industry/AV Industry
Most commonly, the industry sponsors programmes including screenings for young people or festivals. The National Schools Film Week initiative in Germany and UK are both examples of the industry sponsoring much larger, national programmes for young people. Although these take place largely outside of classrooms and formal teaching spaces – much of the activity in the NSFW are cinema screenings – the educational emphasis is on supporting curriculum subjects. casecase st studiesudies: SECTION 6: Film Education sponsored by the Film Industry/AV Industry 32
Belgium Germany
In Belgium, the ‘Wide Screen on a Blackboard’ Because the programme is supported by Generally there is good provision of film continue after Film Week has finished. A programme is offered each year from ‘Europa Cinemas’ www.europa-cinemas.org education by the audio-visual sector in range of Study Guides are published and made September to June, screening about 30 films the emphasis of the screenings is on European Germany, supporting cinema, film museums, available for work before/after the screenings. for primary and secondary school children. films. tours, learning resources and film education There is no formal assessment of achievement These films are projected in cinemas or programmes. The most wide-reaching of these but feedback is taken from participants arts institutions and are selected for their This project has been run for more than is the National School Films Week, supported through evaluations. accessibility. The aim is to make the films 25 years now and it is renewed each year through a collaboration between Vision reach the widest possible numbers of children mainly thanks to movie events. ‘Wide Screen Kino, local education ministries and the film This project is similar to those in France and and young people. The selection of films is on a Blackboard’ could easily be adapted in industry. National School Films Week reaches the UK (though the French model is state- focused on both the craft of the film-making other European countries: as it is reported 617 cities in 16 states and screens films funded) and is argued to be sustainable and the choice and interest of the subject there is no need for the teachers to have suitable across a broad age-range from 5–17. and replicable, an embedded part of the they deal with. Each film is supported by cinematographic pre-requisites or special The list of films screened in 2011–12 reveal curriculum.For further information: a pedagogical guidebook in order to help training. Moreover, pedagogical documents a strong, thoughnot exclusive, emphasis on teachers analyse the film they attend with issued from Widescreen on a Blackboard are showing German films. The event is organised www.visionkino.de their pupils. These guidebooks are given free already available in other European countries, in cooperation with local initiatives, schools, just before the film begins and give teachers essentially French-speaking countries. Two of cinemas and film distributors. Sometimes working tracks in order to exploit the film them, dealing with ‘Die Fremde’ (Feo Aladag) the screenings are preceded by talks given immediately after in the classroom and to and ‘Les Neiges du Kilimandjaro’ (Robert by film-makers or with opportunities to analyse relevant aspects of it. Each year, Wide Guediguian) are already translated in most discuss a film with a production team. This is Screen on a Blackboard touches about 140.000 European languages: similar to the model of events offered in the pupils (60% secondary and 40% primary). UK through National Schools Film Week – a About 5000 teachers are involved in this www.grignoux.be/dossiers/322/ blended approach, that involves screenings, project. discussions and follow-up activities.
This project relies on teachers’ skills and Training courses for teachers are offered in experience in different areas without advance of National Schools Film Week on demanding a specialist capability in film topics such as film aesthetics, film language analysis and techniques. and film analysis adapted to primary and secondary levels so that work with film can casecase st studiesudies: SECTION 6: Film Education sponsored by the Film Industry/AV Industry 33
Greece Hungary and Romania
In Greece, the film industry takes an active film education workshops (direction, editing, The Film Industry does provide screenings Participants learn alongside established role in film education activity, offering animation, short film etc.) all aimed at for schools as well as festival education film-makers, many of them well-known film- school cinema screenings, festival education children and young people. programmes in Hungary. One such makers in Hungary and Romania. It operates programmes, support for learning resources, programme is the Joint Residential Creative more like a masterclass than a formal learning weekend films clubs and discounted tickets. Camera Zizanio, which was established in Camp of Filmtett Journal (Romania) and experience. There is no assessment of the film the Olympia Film Festival 10 years ago, has Duna Workshop (Hungary). Duna Workshop they make but there is ongoing evaluation of The International Olympia Film Festival for a closer focus on young people creating was established in 1995 as the creative what they produce in the workshops. Most Children and Young People started in 1997, films and being involved in production and experimental field of Duna Television in of the costs are covered by Duna Television and the Camera Zizanio festival began in 2001, assessment of films. At Zizano young people Hungary. The Workshop was created to find supplemented by a participation fee. coming out of the Olympia Film Festival. Both attend workshops on film-making, actually talented Hungarian speaking filmmakers projects are organised by the non-profit film make their own films and then screen them living across the border and to help share their The workshop is not connected directly to organization ‘’Youth Plan’’ (Neaniko Plano) and for wider discussion. The emphasis is on film ideas. Filmtett (the name means roughly other projects. However, through showing funded through a combination of government creativity and imagination. Screenings of Film Act) was a Romanian monthly journal of the films made there, this project is linked money, grants and cultural sponsors. young people’s work at the festival are marked the moving image, but since February 2008 the to several festivals. It is also related to the through an Awards Ceremony and films printed version was removed and instead they Department of Film, Photography and Media The Olympia Festival is the only festival are judged by panels of youth juries. There started Filmtett – a Transylvanian Film Portal. of the Sapientia Hungarian University in created specifically for children and young is a parallel programme of workshops for Transylvania in Kolozsvár. people in Greece and delivers both a single professionals. The Olympia Film Festival is The aim of this project is to bring together festival in December each year and follow- the only children and youth film festival taking young film enthusiasts from Hungary and Since the workshop is self-financing, the on activities across Greece and across the place in Greece and it is considered among the Transylvania with film-makers. This is a participation of a sufficient number (15–20) of year afterwards. At the Festival in December top 10 film festivals for children and young residential course that takes place in the paying audience is required to be sustainable there are a series of organised screenings people in Europe. Transylvanian mountains in different locations and replicable. of films from all over the world in different for ten days. Applicants apply to develop categories: feature films, short films (fiction); www. olympiafestival.wordpress.com/ their skills in a number of areas: film director, The films are shown in the Hungarian short films (animation) and Digi Kid. Alongside www.neanikoplano.gr/ animation film, cinematographer, film actor/ programme of the Roman Television’s the screenings are parallel events, such as actress, editor, sound engineer, producer- Kolozsvár Editorial Region in every year. unit manager, film critic. Participants work The short fiction films are shown on Duna with a professional crew and they can work Television as well. The films are represented with animation and special effects too. The on festivals like the Alter-Native in aim is that participants can learn from the Marosvásárhely, Hungarian National Film profession’s best. Week, BuSho etc.
www.filmtett.ro/filmtett-duna-muhely-alkototabor casecase st studiesudies: SECTION 6: Film Education sponsored by the Film Industry/AV Industry 34
Malta Slovenia Spain
Some countries make use of initiatives started In Slovenia, in one of the main cinemas in the After the screenings, the programme has Eula is an innovative educational project, in other areas in Europe. One example was Municipality of Ljubljana – Kinodvor – was workshops where children can present their funded in part by the cinema industry in that Malta drew upon materials produced by given finance by the Ministry of Education to feedback on the films in visual work or in Spain and with goals to build future cinema UK’s Film Education to support work around run projects for children and young people discussions. Again, this emphasis in Slovenia audiences through grassroots education the film ‘The Boy in the Striped Pyjamas’. The in 2010 and 2011. Two of these educational is on film as art. Attendance at the programme activities. Eula education aims to promote event was part of the commemoration of the projects were financed by the Slovenian film Is carefully counted and monitored and an film and audiovisual culture in Spain, offering Holocaust Day. Students from several schools centre. increase in attendance was noted during children and young people a structured and were organised in groups, and several themes 2011–12. systematic opportunity to see movies and to were developed as the result of the film. Before One of the programmes – ‘Kinobalon’ – was take part in filmmaking, as part of their overall the event, teachers and Education Officers aimed at families. It was occasionally held In 2010 and 2011 this programme was preparation for adult life. were briefed on how to use film across the during the week but was mostly run at nationally organized and distributed curriculum to support the various lessons in weekends and in schools holidays. throughout the arthouse cinema network; Its main goals are: to provide children the national curriculum The programme is a mix of screenings and however in 2012 Slovenia faces budget cuts and young people with opportunities to creative workshops where young people which puts the continuation of the national watch a wide range of film, to encourage develop a response to what they’ve seen. spread of this programme in question. learning, critical understanding, debate and The programme is developed to target conversation about films and the issues and particular age ranges and to give access to www.kinodvor.org/kinobalon emotions they raise. Additionally, through a wide range of genres. All screenings are workshops, children and young people accompanied with an introduction and the are encouraged to use film as a vehicle for majority of them have follow-on teaching their own creativity, and encourage the film materials. Some projects are accompanied industry to respond to them. The project raises as well with a resource to take away from questions about responsible viewing, enabling the session. The booklets present the children to reflect on the threat of piracy characteristics of the selected films to children and abuse of intellectual property rights, to and promote creative and independent educate schoolchildren and encourage young responses immediately after and long after people to respect them. the film has ended. Eula offers services to children, to teachers and to families in a range of activities that include opportunities to participate in an online environment, to take part in day workshops and to participate in a range of activities in and out of school settings.
www.eula.es casecase st studiesudies: SECTION 6: Film Education sponsored by the Film Industry/AV Industry 35
Sweden United Kingdom
Pupils take over the cinema In the UK, up until 2012, National Schools Film the UK by providing schools with unique The Swedish Film Institute have together Week provided teachers and their students film and cinema learning experiences inside with a regional film centre issued a guide opportunities to see a wide range of films at and outside the classroom that are directly book about how a school class can do a local cinemas entirely free of charge, across relevant to the curriculum, placing film at the project where they run a cinema for a day. The the UK. heart of the cultural experience. emphasis is on the skills pupils need to use to plan a cultural event. They work together in The Festival’s goal was to support classroom Before a screening the teachers prepared for all areas to make the day successful, including teaching by providing schools with a powerful the event through prior research tasks into the the booking of a film, the publicity, the experience for their students that links directly film, issues within the film, or into processes screening and the selling of tickets. It provides to elements of the curriculum supported by an of production or the director. They could even an insight into how the industry works at the online library of resources related to individual explore the history of the local cinema. Back exhibition stage. films and more generic topics, essentially an in the classroom, Film Education provided extension of the classroom. for focused teaching materials for exploring issues in greater depth. The website collected It was the largest event for schools and feedback from screenings. cinemas in the world and continues to received high praise from all participants. In www.nationalschoolsfilmweek.org 2011, more than 470000 students attended the event in over 2,600 screenings in 520 cinemas.
Produced by the industry-sponsored charity, Film Education, the core purpose was to enrich the education of young people across CASE STuDIES 36
Section 7 Film Education in the Community
Both the fi lm industry and cultural organisations have an interest in providing cinema screenings and other fi lm events for the community to sustain an interest in cinema-going and to keep the profi le of cinemas in the public eye. casecase st studiesudies: SECTION 7: Film Education in the Community 37
Austria Italy United Kingdom
The Austrian Film Museum provides an The Cineforum Teramo, in Abruzzo in In the UK, there are localised projects in film educational programme that has a broad reach Southern Italy has been promoting film and education and these projects are funded in a to the public and a specific Summer school film-making across the community since 1995. variety of ways from local authority funding, aimed at teachers who would like to learn An annual festival Cineramnia is a week-long to charity, national lottery and commercial more about how to teach film. The Summer project hosted in September that brings a funding. These are sometimes designed very School regularly attracts up to 50 teachers, range of activities in film-making and viewing closely to explore the regional issues, e.g. in who spend up to three days learning different to the local community. One significant Northern Ireland the Renewing Communities – approaches to the study of film. The Museum element of this festival is the invitation to the Intergenerational Film Project which ran from also provides an open lecture series which whole community to be involved in making 2006–2008 was focused on bringing together involves lectures, artists’ talks, screenings and a short film. Events across the week include young and older people to create films that open audience discussions with film-makers. targeted workshops to school students, examined aspects of local history. Youth One further programme, Fokus Film, is offered screenings of films, presentations and projects have been reported in Scotland, Wales every semester to give up to two school classes discussions. In 2011 the focus was very much and England too, although funding sources the possibility to deepen the involvement with on new Italian Cinema. The festival reports tend to be short-term and specifically focused film. These classes spend up to 30 hours a 6000 attendees across the week-long event. on a key outcome. semester in the Film Museum Cineforum Teramo programmes educational activities throughout the year. At the festival itself the number of workshops are intensified and participant numbers are recorded, as well as feedback collected through questionnaires.
To retain the richness of the festival, funding partnerships have been established between local and regional administrations as well as a regional bank: Tercas. National partners include Rai Cinema and the Cineteca Nazionale.
www.cineramnia.it CASE STuDIES 38
Section 8 Trans-national Case Studies casecase st studiesudies: SECTION 8: Trans-national Case Studies 39
Le Cinema, cent ans de jeunesse
This case study was developed from material specific theme. This thématique is selected by The practical activities consist of a series Aims on the 100 ans de jeunesse webpage and blogs, the Cinemathèque amongst ideas suggested of short film-exercises, as well as a longer The programme offers students access to and thanks to Michelle Cannon (UK programme by participating teachers, filmmakers and eight to ten minute film (film-essai), all to be unprecedented resources and talent, as coordinator), Chris Waugh (educator, London coordinators the previous year, and changes made following the guidelines set out by the the pupils work with equipment and see Nautical School), and Mark Reid (BFI Education annually. Previous topics have included: Cinematheque. All films are screened over a films which they would not have access to Director). three-day presentation session in Paris around in a regular school context. The teacher- – light (2005–2006) June each year, where schools take part in a filmmaker partnership – from the start a Programme presentation – foreground/background (2006–2007) Q&A session about their film. central element to the programme 7 – allows The Cinema 100 ans de jeunesse (Cinema, 100 – point of view (2007–2008) for innovative pedagogical approaches to years young) project began in 1995, as part – colour (2008–2009) Each exercise focuses on a specific teaching, and aims to benefit the pupils as of series of events organised by the French – camera movements (2009–2010) issue related to the topic, and allows much as the supervising adults. Indeed, the Cinemathèque in Paris to celebrate the – showing/revealing (2010–2011) student to think about various aspects of programme is also intended as a ‘laboratory’ centennial of cinema. Inspired by the Lumière – the place of the real in fiction (2011–2012) cinematography. For instance the first exercise to experiment with film literacy pedagogy.8 Brothers’ first films such as Arrival of a Train at for the 2011–2012 topic ‘the place of the real A high level of importance is attached to the La Ciotat or Workers leaving the Lumière Factory Using these themes as an angle of approach, the in fiction’ was labelled ‘Interaction between dynamic between teachers and filmmakers, (both 1895), students across France were asked programme consists of a mixture of practical Real/Fiction’: the pupils were asked to film who are offered a two-day training at the to produce a one-minute-long still-frame film, and theoretical activities, providing as the the same basic situation (‘a character waits Cinemathèque at the beginning of each year. which was edited into a one-hour film and project’s artistic director Alain Bergala calls it ‘an for another character and they meet’) in two This takes the form of a series of lectures by shown at the Cannes Film Festival the same equilibrium between seeing and doing’.3 Pupils different settings, in order to grasp how the Alain Bergala, which reflect on this year’s year. What started off as a one-off project has are expected to engage with the practical side ‘real’ of each setting affected the fiction of theme and its implications, both practically now been running and expanding successfully of filmmaking (scripting, shooting, editing etc.), the film (eg. weather, light changes, passing and theoretically. The ‘recommended viewings’ for seventeen years. Originally involving but also to reflect on already-existing films as people or objects invading the frame etc.) The are also presented during the training three hundred and fifty school-pupils from well as their own. For this purpose, a series of exercises are designed to nourish the creation sessions.9 Supervisors meet a second time four French cities, it has now extended to a ‘recommended’ films are selected each year by of the film-essai to be produced in the second in March to present, discuss and reflect on number of European – and most recently world the Cinemathèque, in order for the classes to half of the year. The 2011 ‘rules of the game’ the short exercises produced by the students – countries1. Its 2011–2012 edition involved engage with the issues raised by the year’s topic. for the longer film asked the pupils to create Finally, all teachers and filmmakers meet after over a thousand pupils from seven different These often rare works are selected on the basis a work during which ‘real and ‘fiction’ should the screening of the pupils’ films in June for a countries: France (Metropolitan and Overseas of suggestions by participating teachers and coexist, with the real ‘taking over’ temporarily last assessment (bilan) of the year’s progress, Territories), Spain, Italy, Germany, Great-Britain filmmakers, and stem from a variety of countries from the fiction mid-way through the film.5 and to exchange ideas about the following and very recently Brazil2. Run annually by and periods in cinema history. For instance The principle of the fairly strict guidelines year’s programme. the Cinemathèque, the programme involves recommended viewings for the year 2011–2012 is intended to set a framework to channel children aged seven to eighteen who work included Renoir’s Boudu Saved from Drowning and fuel the pupils’creativity, as they are In addition to vocational benefits for the with a team of supervising adults composed (Fr,1932) and Ray Ashley and Morris Engel’s The challenged to find inventive ways of ‘going supervising adults, the programme thus aims of a teacher and an independent filmmaker. Little Fugitive (USA, 1953).4 around’ the rules.6 to help pupils gain a better access to and Throughout the year, the pupils are asked understanding of European/world cinema to reflect on and produce material around a heritage, as children familiarise with rare casecase st studiesudies: SECTION 8: Trans-national Case Studies 40
Le Cinema, cent ans de jeunesse films from around the world, often not in Film Institute, A Bao a Qu (Spain), and the for the second supervisor meeting in March, because of the desire for the programme their native language. The practical side of the association Imagens em Movimento (Brazil). and the eight-minute films need to be finished to remain an experimental scheme. The programme encourage the students’ personal/ In France, local participating institutions before the presentations session in June. Cinemathèque envisages the network of individual development whilst working on include the cinema and cinemathèque Jean Generally the content of the programme is set ‘pilot-workshops’ as a small-scale laboratory a group project, and the ‘rules of the game’ Vigo in southern France and the Ciné Woulè by the Cinemathèque, but the way in which it for the development of pedagogical tools for help stimulate their creativity. In particular organisation in Guadeloupe. is implemented is up to the individual national the teaching of film. While the programme through the preliminary short exercises, the bodies and schools. in itself is not due to expand however, the programme takes a cinematography-oriented Partner institutions run the activities in their Cinemathèque hope it will serve as a model approach to filmmaking where the pupils are country/region, with general coordination Evaluation of the pupils’ progress is achieved for other (trans)national education projects, to asked to focus on film technique rather than and supervision from the Cinemathèque: In in two ways: Firstly through a blog on which be replicated and modified according to varied message, which enhances their aesthetic Britain for instance, the BFI is in charge of the students’ exercises and updates from their national contexts.11 appreciation of film. Through the collaboration selecting the participating schools, though projects are posted. Secondly, the principal with schools from around the globe, the the Cinemathèque requests information on evaluation is done during the presentation programme also aims to enhance pupils’ the programme’s application (for instance sessions at the end of year, where pupils cultural experience. In addition to meeting in the group sizes, meeting time and premises, present their work to other participating Paris in June and discussing their respective the filmmaker’s CV etc.) Funding for schools’ schools. This allows Cinemathèque organisers projects in various languages, the student activities (such as the equipment and to question the pupils on their experience groups are also encouraged to exchange filmmaker’s salary) and expenses of travelling of the project, but most importantly allows with one another through an online blog (in to the Cinemathèque is also taken on by pupils to examine and discuss each others’ French10), where each class can post updates the national institutions, who contribute work. As detailed above, a general assessment on their progression throughout the year. Due themselves or work with their own local of the programme is also done by teachers, to its language this is disproportionately used contacts to obtain funding. The schools might filmmakers and coordinators in June following by the French-language pupils, though other also contribute to the funding, though this the presentation sessions. students participate as well. varies greatly, even at a national level. In the British case, the total expenditure from the Future of the project: Organisation BFI amounted to about £10,000 in 2011–2012. The Cinema 100 ans de jeunesse programme The project is coordinated centrally by the Cinemathèque finances the central has been running for seventeen years the Cinemathèque, though a lot of the coordination of the project, as well as the and shows no sign of stopping. Plans are administration and organisation is done by the training and presentation events (numbers already in place for an eighteenth edition, regional/national institutions with which the unknown). the theme of which will be decided on over Cinemathèque has developed partnerships. the summer months. However while the Participating international institutions now Similarly, the Cinemathèque sets up a project is sustainable on its current scale, the include the Deutsche Kinemathek (Germany), framework for the activities by furnishing Cinemathèque does not plan for it to expand the Scuola Nazionale di Cinema (Italy), schools with suggested films and setting a any further. This is partly due to financial the association Os Filhos de Lumière (‘the timeframe and guidelines for the exercises and reasons – in order not to put pressure on the Children of Lumière’, Portugal), The British the film. Exercises are to be completed in time current distribution of resources – but also casecase st studiesudies: SECTION 8: Trans-national Case Studies 41
The DocNext Network
Case study compiled using material from the Aims of the programme: Activities and funding process: to reach groups traditionally excluded from DocNext Network, ECF and other websites, and According to its manifesto: The DocNext Network promotes the work of such opportunities. Events which include thanks to an interview with Noel Goodwin and ‘DocNext Network has a broad idea of Youth. young people in two different ways: screenings, workshops and conferences are Matt Cuzner (UK DocNext Network partner). DocNext Network has a broad idea of Media. organised independently by the different DocNext Network has a broad idea of Europe.’13 This first is through the creation of an online hubs, with financial support from the ECF. The Programme presentation Media Collection, which seeks to make hubs are however asked to provide a proposal The DocNext Network is at the heart of the The DocNext Network centers around three multimedia works produced by young people of their activities at the beginning and an European Cultural Foundation (ECF)’s Youth and wide-reaching aims: The first, as indicated (documentary shorts, photos, reportages evaluation at the end of each phase of the Media Programme. Founded in Geneva in 1954 in the above statement is the broadening of etc.) available and freely accessible to a wide programme. When possible, the Network also the ECF, currently based in the Netherlands, the access to and understanding of European audience.15 Industry professionals in particular, asks that some feedback from participants has for the last 60 years played an active role cinema heritage. Indeed, its partnership with such as festival programmers or broadcasters, be collected by the hubs. Funding for each in fostering European identity and community a Turkish organisation expands the traditional are encouraged to make use of the collection.. hub varied slightly, but the British allocation by enhancing transnational cultural exchange. association of European cinema heritage with DocNext is currently in the process of creating consisted of approximately €30,000 for the The ECF’s Youth and Media Programme was production from the EU and EEA. Moreover a special website for these users to facilitate first phase of the programme, which then rose created in 2010 to last for a duration of the DocNext Network’s key mission statement the distribution of works from the collection to €40,000 for the second and third phases, approximately 3 years, and is now entering the is to claim a space for the works of young at events, screenings, festivals etc. However, to be allocated freely by BFI Future Film on third phase of its existence. It specifically aims filmmakers within the realm of European the Collection is also available to the general their different projects and activities within to promote and support the work of young cinema heritage. Secondly it also seeks to public on the video-sharing platform Vimeo.16 the Network. Some of the hubs’ projects also European film and media-makers who ‘as a expand audiences, exhibitors and filmmakers’ All work in the Collection is under Creative receive funding from or collaborate with result of social, cultural or political conditions, understanding of film as an artform by Commons License stipulating that it can be other European institutions. For instance are likely to be excluded from mainstream promoting a DIY approach to filmmaking, reproduced for noncommercial purposes. the Association of creative Initiatives ‘e’ has public discourse’12. It does this through the and encouraging young filmmakers to make The Collection is overseen by a DocNext received financial support from the Polish DocNext Network in partnership with a full use of new technologies: it recognises coordinator in Amsterdam, but content is Ministry for Culture and National Heritage number hubs from across Europe in Britain, the use of new video and sound recording scouted or commissioned and uploaded to for its Poland.doc project (detailed below). the Netherlands, Poland, Spain and Turkey. It equipment such as mobile phones, digital the database by the individual hubs. Part of Moreover, the Zemos98 project European collaborates specifically with the following 6 tools for post-production, and online the collection also consists of works produced Souvenirs has received funding from the ECF’s cultural organisations: exhibition/distribution possibilities through within the context of the ECF’s previous Neighbourhood as well as its Youth and Media social media and online sharing platforms. youth program. Programmes. Generally, each hub makes use Association of Creative Initiatives ‘e’ (Warsaw, PL) Through appropriate training, exhibiting of its own national or European connections British Film Institute (BFI) (London, UK) and funding opportunities, it also stimulates Secondly, the DocNext hubs are also engaged when organising activities within the DocNext IDFA (International Documentary Film Festival and encourages the creativity, personal and in organising events and activities to foster Network. Thus the BFI Future Film Festival, Amsterdam) (Amsterdam, NL) individual development of young Europeans. the development of media and filmmaking- during which DocNext documentaries were Metropolis TV (Amsterdam, NL) The DocNext Network therefore focuses related skills amongst young Europeans. This screened, also included events in collaboration Mode Istanbul (Istanbul, TR) primarily on creative and cultural approaches might be providing funding or support for with institutions such as the British Academy of Zemos98 (Seville, ES) to media literacy as set out by the 2005 Charter youth groups or individuals already familiar Film and Television Awards (BAFTA). for Media Literacy.14 with media-making, or on the contrary trying casecase st studiesudies: SECTION 8: Trans-national Case Studies 42
The DocNext Network
As time has gone on the specifications cultural educators. Further support in these IDFAcademy and Metropolis TV order to ‘stimulate cultural dialogue and the for funding allocation have increased. endeavours is available on the Poland.doc In the Netherlands DocNext is working exchange of ideas across borders’.26 Recent Furthermore, representatives from the various website, with a series of ‘how to’ videos and in partnership with two organisations: events have included a 50-minute screening hubs meet regularly throughout the year case studies.19 Metropolis TV, which is based on a network of works from all categories of the DocNext (usually in the context of a particular event or of around 60 video journalists from around Media Collection as part of the 2011 edition festival organised by one the organisations) BFI Future Film the world who report on cultural differences of ‘Documentarist – Istanbul Documentary in order to exchange ideas and consult on The BFI’s collaboration with the DocNext and particularities, and focus on finding the Days’. The works screened were produced their activities, which has led to an increased Network is achieved through its Future Film ‘extraordinary’ within the ordinary. In October by young filmmakers from across Europe, unity in the activities offered by the hubs. The programme, aimed at engaging 15–25 year olds 2011 it made a call for recruiting young and participants from the Turkish hub were DocNext Network has now laid out 5 different with the BFI through regular events as well as reporters through the DocNext Network.22 present at the screening for a Q&A session.27 activity categories which are supposed to an annual festival. be covered, though the way in which these As part of its festival, the IDFA organises a A creative documentary workshop also ran are covered remains up to the individual The Future Film Festival, now in its 5th series of educational activities in collaboration between January and February 2012 in Izmir, hubs. These categories are: media literacy, edition, takes place in January each year. with the DocNext Network. In particular the with seminars on creative documentary production of works, presentation of works, It includes a wide array of activities for IDFAcademy, which runs for a couple of days making, screenwriting, digital camera research and debate, and digital development. young people led by industry professionals: during the festival, offers skill-development techniques and editing. The following examples will serve to illustrate workshops, masterclasses, panel opportunities for a young guest filmmakers. the kind of activities organised by the hubs discussions, and screenings, covering many The 2011 Academy Programme included a Participants were asked to shoot short within the framework of the DocNext Network: aspects of the film-making process from panel discussion entitled ‘Is the documentary documentaries of up to 5 minutes on screenwriting and producting to acting and industry over the hill?’23. The festival also the theme of ‘Local Heroes of Izmir’. The Polska.doc digital post-production. Shorts from the included a workshop run in collaboration documentaries produced were to be added An initiative run by the Polish Association of DocNext Media collection are also screened with Metropolis TV on using a new phone to the Media Collection, as well as screened Creative Initiatives ‘e’, Polska.doc/Poland.doc throughout the festival.20 application for photojournalism.24 independently.28 seeks to expand the possibilities for media education in Poland. It does this by helping Future Film is also launching a new initiative The IDFAcademy also organises a Summer Zemos98: young media-makers develop their creative entitled the Doc Next Media Lab. After an school, where first-time or second-time In a similar format to BFI Future Film, the skills, through a series of intensive workshops. open call out for submissions, 6 promising filmmakers are given the opportunity to meet Spanish organisation Zemos98 runs regular The young filmmakers are mentored through filmmakers will be selected to receive industry professionals. The are also offered educational activities throughout the year, as the entire process of media-creation from financial and technical support to complete support and feedback on two crucial parts of well as part of its annual Zemos98 Festival. beginning to end. Throughout the project, they a film project over a period of 6 months. the film-making process: Script Development The 2009 edition of the Festival, titled will be offered lectures, Q&A and hands-on They will be mentored and receive training and Editing Consultancy.25 ‘Expanded Education’, included a symposium activities by industry professionals.17 After the in a number of documentary techniques as on education beyond formal schooling, with completion of their projects (available online18), well as blogging, as they will be expected to MODE Istanbul: workshops, lectures and panels on various the young artists are encouraged through the use social media to share their experiences Through a wide range of activities, the aspects of film education.29 More recent ‘Animate your own!’ pathway to use the skills of the program.21 organisation aims to encourage creative examples of activities include training they acquired to themselves become assistant expression from young people, particularly in workshops for young people on the use of casecase st studiesudies: SECTION 8: Trans-national Case Studies 43
The DocNext Network Europa Cinemas computer software and HTML language for Though the sustainability of the DocNext Case study compiled using material from the increasing number of cinemas to organize film and media production.30 Network is uncertain as of yet, the Media Europa Cinema and other websites, and thanks to youth development activities. Collection has now reached a stage where an interview with Europa Cinema’s Vice-President Zemos98 has also recently launched a new it has been sufficiently developed to be able Pr. Ian Christie. The type of activities funded includes film project whereby 6 young talented media- to be sustained even if DocNext Notwork programming for children and adolescents, makers will be taking up residences in various programme is discontinued. The Collection Founded in 1992 with funding from the including special school screenings and young European cities (Seville, Istanbul, Warsaw and could potentially continue to operate far into European Commission MEDIA program audience festivals, as well as film-related Amsterdam) over a period of months, where the future, necessitating limited funds and few and the CNC (Centre National de la workshops and activities (for instance video- they will be given access to the countries’ employees in charge of its updating. Cinématographie), Europa Cinemas aims making, script-writing etc.).The organization audio-visual archives in order to use them to promote the exhibition of European film is currently providing organizational as a basis for ‘remixing’. According to the With regards to replicability, the idea of through the creation of a network of cinemas and financial support to over 90 projects ECF website: ‘By re-mixing this media, they including additional hubs to the Network in Europe (and recently the world). From its throughout Europe, including youth festivals, will review, re-investigate and re-consider has for now been put on hold until the future infancy it has paid particular attention to film training programs and educational prevailing imagery of (im)migrants in of the programme is certain. However, the the support of youth activities in its member resources.34 European societies and re-map Europe visually, Network will be working in close partnership cinemas, though this has come to play an geographically and mentally.’31 with the European organisations such as increasingly important role in recent years. Member cinemas’ youth activities are assessed Kosovo 2.0, though it will not for now gain at a yearly conference in a qualitative and Sustainability and replicability status as a fully integrated hub. If the Doc Next Funding policy and process: quantitative manner. Each year, cinemas The Docnext Network is now entering the Network project is renewed, the possibility of Europa Cinemas provides financial support are expected to send in a review of their remaining third of the original three-year extending to new hubs will be envisaged. to its member cinemas specifically for youth audience work, and are assessed not program set by the ECF. carrying out youth development work. Up only on the number of events organized and to 20 percent of the funding allocated to a their attendance numbers, but on additional Independently from the ECF, the Network cinema is earmarked for youth activities, qualitative evidence of material produced is due to start work on a new EU-funded and all cinemas are allocated funding on specifically for young audiences (eg. brochures, project in June 2012 for a duration of two the basis that they will carry out such work. website pages, educational resources etc.). years, which will focus on widening the If a cinema cannot prove that it carries participation of (im)migrant youth to media out youth development work, or does not In addition to this the national framework production and mainstream public discourse.32 claim to pursue such activities, it will in which each cinema operates in also taken Though additional funding for this project simply lose 20 percent of its allocation. In into account, and efforts from cinemas which might be given by the ECF, it is a separate 2011, according to the organisation’s Young operate with little or no support at a national contract with the European Commission with Audience Guidelines, this support could level (for instance with no governmental its own strict set of guidelines for funding and amount to a maximum of €3000 to €5000 subsidies, and no official policy for film organising activities. euros, depending on the number of screens education) are rewarded. On the other hand, in each cinema used for youth activities.33 cinemas in countries where film education The rationale behind this allocation process and film support is highly integrated at a is to provide a strong incentive for an governmental level (for instance France) are casecase st studiesudies: SECTION 8: Trans-national Case Studies 44
Europa Cinemas expected to organize youth activities beyond It is particularly a focus of the organisation’s 11. Microcosmos, Claude Nuridsany and Marie halfway through the year, and cinemas which the scope of those already in place. annual Young Audiences Seminar, organised Perennou, France, 1996 have not fulfilled their expected quotas of during the ‘Il Cinema Ritrovato’ Film Festival youth activities and reminded and encouraged Aims of the program: in Bologna since 2005.36 The seminar brings Participants are also expected to reflect on to do more in the second part of the year. A difficult question that arises in the context together representatives from member how to make these films, particularly older of this study is that Europa Cinemas’ Youth cinemas to assess the work they do for young ones, attractive to young audiences. This is Assessment is also contributed to by rewarding Activities Program is not strictly defined as audiences. Previous seminars have focussed linked to the second aim of the seminar, and of cinemas with particularly successful youth ‘educational’. Indeed, youth activities are on the use of new media such as networking the Youth Activities Program in general, which activities programs. Europa Cinemas has since labelled ‘youth development work’/‘work sites to attract young audiences (2010), the is audience building and development. Indeed, 1992 awarded three annual programming towards a young audience’ (‘travail vers le issue of catering to different generations the seminar as well as the program aims to prizes, one of which specifically celebrating jeune public’). Once again this is linked to of cinema-goers (2009), or the importance create a new audience for European cinema, achievement in targeting young audiences: variations in the status of film education in of young audiences’ awareness of film trying to understand and circumvent potential The ‘Best Young Audiences Activities’ Prize each country. Thus the nature and depth of history (2006). In keeping with the ‘Il Cinema ‘barriers’ to attracting young people such as is awarded to one or several of its network youth activity varies enormously from cinema Ritrovato’ (‘the rediscovered cinema’) Festival’s ticket prices or language barriers (dubbing vs. cinemas to celebrate the originality, effort, to cinema. While some limit themselves focus on cinema history, one of the seminar’s subtitling issue) etc. and numerical success of youth-oriented to simple screenings of ‘youth films’, other key themes is the importance of European activities. In 2011 this went to three cinemas cinemas have developed very strong links cinema heritage. More specifically, the seminar Training and assessment: also members of the Young Audience Cinema with local schools. They will be liaising with aims to question the notion of heritage, for The Bologna seminar also offers assessment Network Scotland (YACNS) to reward their educators before and after screenings, often instance whether it is fixed or constantly and training opportunities for its member energy and results in terms of screenings include a presentation of the film before the evolving. Consequently, participants every year cinemas’ representatives. Workshops are and audience numbers, but also to encourage screening, and even produce educational are asked to establish a canon of European organised throughout for them to critically greater cooperation between member resources for schools, as in the case of a films for young audiences. The 2011 list goes examine the work they do with young cinemas.37 program in Belgium.35 As Europa Cinemas as follows: audiences, as well as exchange ideas and is part of the industrial MEDIA program it strategies with other members. The seminar Collaboration with regional/ is not an educational or cultural program, 1. The 400 Blows, François Truffaut, France, 1959 also includes interventions from external national/Europe-wide projects: and therefore cannot require cinemas to 2. Billy Elliot, Stephen Daldry, UK, 1999 speakers in the film education and exhibition Europa Cinemas indeed actively encourages do educational work. It does however try to 3. The Class, Laurent Cantet, France, 2008 sector, for representatives to expand their collaboration amongst its member cinemas, provide incentive for them to do so as much as 4. Persepolis, Marjane Satrapi and Vincent ideas and strategies. notably through the Bologna seminar, which possible. Paronnaud, France, 2007 serves to nurture exchange between member 5. The Triplets of Belleville, Sylvain Chomet, In addition to the seminar, assessment for representatives. It also encourages active Nonetheless, its youth activities can be said to France, 2002 youth activities in carried out by Europa collaboration in collective programs, which have two central aims. The first is providing 6. Cinema Paradiso, Giuseppe Tornatore, Italy, 1988 Cinemas on a six-month basis. Participating it sets apart as a specific funding evaluation access to and understanding of European 7. Kes, Ken Loach, UK, 1969 member cinemas must send in an annual criteria.38 Member cinema’s work with schools cultural heritage. This is the founding 8. Hate, Mathieu Kassovitz, France, 1995 review of their activities for young people and participation in education programs is principle of the organisation as a whole, but 9. Bicycle Thieves, Vittorio De Sica, Italy, 1948 (as detailed in the ‘funding process’ section), also warmly encouraged. also applies specifically to young audiences. 10. The Fox and the Child, Luc Jacquet, France, 2007 however their progress is also assessed Though the CNC is one of its main casecase st studiesudies: SECTION 8: Trans-national Case Studies 45
Footnotes
1. An excellent review of the project’s creation and first 18. www.polska.doc.e.org.pl/en/category/projects/ Europa Cinemas 15 years can be found in the following article by the 19. www.polska.doc.e.org.pl/en/category/inspiration/ Cinemathèque Education Director: Nathalie Bourgeois, 20. See the 2012 Festival program: www.bfi.org.uk/ ‘Cent dix ans (de jeunesse), le bel âge?’, 1895 – Mille huit whatson/sites/bfi.org.uk.whatson/files/5th_future_film_ contributors, as an organisation Europa cent quatre-vingt-quinze, no. 41 (2003), available online programme.pdf Cinemas does not have formal relationships (in French): www.1895.revues.org/753 21. 2. See the French cinemathèque website (in French): 22. www.docnextnetwork.org/2011/10/metropolis-calls-for- with national or regional film education www.cinematheque.fr/fr/education/projets- new-correspondents/ programs, though it recognises them when partenariats/cinema-cent-ans-jeunesse1.html 23. See full 2011 program: www.idfa.nl/Assets/Uploads/ they are available. 3. ‘équilibre entre le voir et le faire’ Alain Bergala, Documents/IDFAcademy%20program%20schedule%20 introduction to Cinema 100 ans de jeunesse presentation, 2011.pdf available to download here: www.cinematheque.fr/data/ 24. www.docnextnetwork.org/media-collection/idfa/ This is possibly set to change as the MEDIA document/presentation-cinema-cent-ans-jeunesse-10- full-programme/special-doc-next-workshops-in-the- 11-compresse.pdf idfacademy/ Program comes to an end at the end 2013, and 4. For examples of pupils’ reflections on The Little Fugitive 25. www.idfa.nl/industry/training-education/summer- is replaced by the broader Creative Europe see accounts by various classes here (in French): school/about.aspx www.blog.cinematheque.fr/100ans20112012/tag/le- 26. www.docnextnetwork.org/author/mode-istanbul/ scheme. In addition to continuing MEDIA’s petit-fugitif/ and here (in English): www.markreid1895. 27. See full screening programme here: www. industrial support to the audiovisual sector, wordpress.com/2012/02/15/st-andrews-cinematheque- documentarist.org/2011/fest/Eng/programme/ Creative Europe should also include ‘a stronger club-task-3-and-snow/ sideevents.html 5. see the French blog for the rule descriptions, as well as 28. www.docnextnetwork.org/2012/01/countdown-has- focus on support for audience building and on a montage of all the exercises www.blog.cinematheque. begun-for-youth-mode-documentary-workshop-in- the sectors’ capacity to interact with audiences fr/100ans20112012/exercices/ izmir/ 6. Alain Bergala www.cinematheque.fr/data/document/ 29. www.zemos98.org/eduex/spip.php?rubrique20 more directly, for example through media presentation-cinema-cent-ans-jeunesse-10-11- 30. www.blogs.zemos98.org/DocNextNetwork/2011/12/06/a- literacy initiatives’, according to the European compresse.pdf new-workshop-html5-and-open-video-possibilities/ 39 7. Nathalie Bourgeois, www.1895.revues.org/753 31. www.eurocult.org/node/2734 Commission guidelines. 8. Nathalie Bourgeois, Le Cinema 100 ans de Jeunesse: Une 32. www.ecf-annual.org/dl/ecf_annual_report_2011.pdf, p.14 Experience de Cinema A Travers le Monde, Programme 33. Link to the 2011 guidelines can be found here: www. The economic sustainability of Europa Presentation (2011–2012), p.9. europa-cinemas.org/en/Activities/Youth-audience 9. See reports on the 2010 and 2011 training (in English): 34. Full list of projects receiving support available here: Cinemas seems assured with the www.markreid1895.wordpress.com/2010/11/16/bergala- www.europa-cinemas.org/en/Activities/Youth- transformation of the MEDIA Program into notes-from-paris/ (2010) and www.markreid1895. audience?country=all wordpress.com/2011/10/08/paris-reel-fiction/ (2011) 35. ‘Ecran Large sur Tableau Noir’ (‘large screen on a black Creative Europe, which will continue to 10. See for example the 2011–2012 ‘The Place of the board’) program. Website (in French) can be found here: support it. This might furthermore enable Real in Fiction’ blog: www.blog.cinematheque. www.grignoux.be/ecran-large-enpratique Europa Cinemas to increase its emphasis on fr/100ans20112012/ 36. www.europa-cinemas.org/en/Activities/Bologna 11. Nathalie Bourgeois, Le Cinema 100 ans de Jeunesse: Une 37. www.europa-cinemas.org/en/News/The-Network/ film education and collaboration with national Experience de Cinema A Travers le Monde, Programme EUROPA-CINEMAS-AWARDS-2011 and regional film education programs. Presentation (2011–2012), p.9. 38. www.europa-cinemas.org/en/Activities/Youth-audience 12. www.eurocult.org/activities/youth-and-media 39. See Creative Europe FAQ, Press Release 23.11.11: www. 13. www.docnextnetwork.org/about/ europa.eu/rapid/pressReleasesAction.do?reference=ME 14. See www.bfi.org.uk/education/research/advocacy/ MO/11/819&format=HTML&aged=0&language=EN&guiL charter/ and www.21stcenturyliteracy.org.uk/docs/ anguage=en Reframing_Literacy.pdf 15. www.docnextnetwork.org/media-collection/ 16. www.vimeo.com/groups/docnextnetwork/videos 17. For an example of such workshops, click here www.docnextnetwork.org/2011/06/poland-doc- workshop-10-12th-of-june/ 46