REPORT of the FILM EDUCATION WORKING GROUP Acknowledgements

Making Movies Matter

REPORT OF THE FILM EDUCATION WORKING GROUP Acknowledgements

Cover Still: The Boy Who Stopped Talking, available from BFI Video

Photographs courtesy of: Artiﬁcial Eye British Film Institute Buena Vista International (UK) Ltd. Eros International Ltd. Marysia Lachowicz Metro Tartan Miracle Communications PolyGram Filmed Entertainment Yvonne Salmon Transit Films United International Pictures Warner Bros

First published in 1999 by the British Film Institute 21 Stephen Street London W1P 2LN

The British Film Institute promotes greater understanding and appreciation of, and access to, ﬁlm and moving image culture in the UK.

British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library.

ISBN 0 85170 766 1

Printed in Great Britain by Norwich Colour Print Ltd. Contents

Summary 2 CHAPTER THREE: TEACHING 49

The Working Group’s Proposals 3 Who Teaches? 50 Introduction: Why Movies Matter 6 Teaching the Moving Image in Schools 51 Glossary of Acronyms 8 Continuing Professional Development 53

Teaching in the Post-16 Sectors 55

Teaching “Practice” 57

CHAPTER ONE: ACCESS 9 CHAPTER FOUR: RESOURCES 59 The Cinema Experience 10 Video 60 Who Has Access? 11 Copyright 61 Cinemas as an Educational Resource 16 Digital 61 Film Societies 18 Knowing What’s Available 63 Access to What? 20 Archives and Museums 64 Increasing Access through European Funding 24 Classroom Resources 68 The Child Audience 26

APPENDICES 71

Appendix One: Members of the FEWG 72 CHAPTER TWO: LEARNING 29 Appendix Two: Becoming Cineliterate 73

“Cineliteracy” 31 Appendix Three: Key Skills for Initial Teacher Training 80

Film Education in Mandatory Schooling 33 Appendix Four: Protocol: “reproduction of moving image material in educational resources” 81 Film Education Post-16 38 Appendix Five: Evidence Submitted 83 Film Study in Lifelong Learning 41 Appendix Six: Organisations Represented at the Informal Learning Opportunities 42 Invitation Seminars 83 Practical and Creative Learning 45 Appendix Seven: Research Reports 90 Routes to Cineliteracy 47 Appendix Eight: Films and Print Publications Referred Looking Ahead 48 to in the Report 91 making movies matter

2 Summary

THE CHALLENGE extended access to cinema It also argues that wider educational screenings for education audiences access to the moving image requires The Working Group calls for a new through discount schemes; changes to copyright law, improved attitude towards the moving image all students in initial teacher on-line services, and more resources amongst education policy-makers. training to be taught basic moving for the classroom. They should recognise that critical and image teaching skills; creative moving image skills will be a model of moving image learning a key element of literacy in the 21st progression to underpin curricular IMPLEMENTATION century. planning, assessment, teacher training, inspection and classroom The Film Education Working Group The Group calls upon the UK moving resources; hopes that its report will stimulate image industries to invest in education research to provide better evidence discussion between agencies and as a long-term strategy. This will help about the effectiveness of moving institutions at many levels: notably to create the knowledgeable, critically image education. between Government departments; aware audiences upon which the value between schools and cinemas; and and integrity of their future output between the public and private depend. THE ARGUMENT sectors. Many of the FEWG proposals require only modest changes in The report argues for stronger established policies: implementation THE PROPOSALS infrastructural support for moving can begin now. Others are more image education through a national fundamental and, for that reason, Moving image education in the UK has library strategy and regional networks require prompt action. developed in random and piecemeal linking cinemas, educational ways for 50 years. This report institutions, archives, libraries, ﬁlm proposes consistent standards of UK- societies and other relevant bodies. wide moving image education, accessible to everyone. The Group has paid particular attention to the needs of younger audiences The Working Group makes 22 proposals and learners, to informal and lifelong which, taken together, constitute a learning, and to opportunities for coherent strategy for change. practical production, while acknowledging the importance of academic study in Key proposals include: formal contexts for older students.

moving image education in UK The report advocates teaching and curricula at all educational levels, learning about the cultural and and an acknowledgement of the historical value of the moving image moving image in the National as well as about its importance in Literacy Strategy; conveying information and ideologies. making movies matter

The Working Group’s Proposals 3

PROPOSAL IMPLEMENTATION (glossary of acronyms p 8)

FUNDING

1. All publicly funded ﬁlm activity in the UK should include a relevant educational component. (para 2.4) Film Council

2. Production of ﬁlm drama, animation and documentary for children under 12 should be made a policy priority by the appropriate Lottery distributors. Arts Councils, Film Council, (para 1.38) Scottish Screen

3. Media III should be lobbied to support initiatives in ﬁlm education, including video publishing. (para 1.35) DCMS

ACCESS AND RESOURCES

4. A discount scheme should be established to provide standard discount rates for school and college student groups at cinemas. (para 1.12) All UK exhibitors

5. A scheme should be established to reduce ﬁlm hire charges for student-only screenings. (para 1.13) All UK distributors

6. The European Copyright Directive should take full account of the needs of moving image education and ensure that the “right to copy” moving image material for educational purposes is no less than that for print, and that the UK Copyright, Designs and Patents Act 1988 be amended accordingly. (para 4.7) HM Government

7. The capabilities of digital technology to support ﬁlm education should be more thoroughly explored through research and software development. (para 4.11) BECTA, SCET, DENI

8. A national strategy should be developed for collaboration between libraries with substantial moving image-related holdings and other relevant organisations, possibly in the form of a Library and Information Plan. (para 4.17) BFI National Library

9. Educational access to ﬁlm archive holdings should be improved through central negotiations with rights-holders and an accelerated video publishing BFI Collections and other programme. (para 4.21) UK ﬁlm archives making movies matter

4 PROPOSAL IMPLEMENTATION (glossary of acronyms p 8)

PROVISION

10. Cinema-based educational provision throughout the UK should be improved BFI, Film Education and and expanded. (para 1.18] partner venues

11. Practical production opportunities in non-vocational contexts should be made more widely and consistently available through: research into existing provision; a UK-wide conference for providers; co-ordinated bids to the New Opportunities Fund for a UK-wide programme BFI, Scottish Screen, Sgrîn and the of such provision in after-school clubs. (para 2.50) Northern Ireland Film Commission

FORMAL EDUCATION

12. The model of moving image learning progression provided in this report (Appendix Two) should be developed in consultation with teachers and published as guidance to teachers, inspectors and trainers. (para 2.52) QCA, SCCC, CCEA, ACCAC

13. The mandatory curricula in England and Wales and in Northern Ireland, and the curricular guidelines in Scotland, should specify the study of “moving image” as part of the national language curricula at all age levels. (para 2.14) QCA, SCCC, CCEA, ACCAC

14. The National Literacy Strategy should advise teachers to acknowledge children’s ﬁlm and television experience, develop their understanding of it through classroom talk, and link it to text-level work. (para 2.18) DfEE

15. Curricula in History, Modern Foreign Languages and other relevant subjects at all levels, and specialist post-14 syllabuses in these subjects, should take account of the ways in which moving image media can support and enhance QCA, SQA, SCCC, CCEA, ACCAC learning. (para 2.20) and the Awarding Bodies

16. Media Studies syllabuses should always include moving image study and Film Studies should continue to be recognised as a distinct subject in its QCA, SCCC, CCEA, ACCAC and own right. (para 2.23) the Awarding Bodies

17. Moving image education should be designated as a mandatory element of inspections, and training should be provided for inspectors in how to evaluate moving image education practice. (para 3.10) OFSTED, OHMCI, HMI, DENI making movies matter

PROPOSAL IMPLEMENTATION 5 (glossary of acronyms p 8)

RESEARCH AND DEVELOPMENT

18. In order to ensure better and wider provision, research is needed into the locations, processes and outcomes of informal personal learning about ﬁlm. (para 2.39) NIACE, BFI, HEIs

19. Planning should begin now for a more substantial incorporation of moving image education in future revisions of school curricula. (para 2.52) QCA, SCCC, CCEA, ACCAC

20. Higher priority should be given to funding moving image research, and to research into teaching and learning about the moving image at all levels of informal and formal education, and ﬁndings should be appropriately and widely disseminated. (para 2.54) ESRC, AHRB

TRAINING

21. The repertoire of basic ﬁlm teaching skills provided in this report (Appendix Three) should be developed and disseminated as guidance to all UK providers of initial teacher training. (para 3.8) TTA, GTC, DENI, TTA Cymru

22. Funding should be identifed (eg through the Standards Fund, the Excellence Fund and the Northern Ireland School Improvement Programme) to help schools purchase training and advice to improve teachers’ knowledge and skill DfEE, SOEID, DENI and in moving image education. (para 3.14) the Welsh Ofﬁce making movies matter

6 Introduction: Why Movies Matter

In the twentieth century, human society working group to draw up a film lively and popular cinema culture, created a new language: the moving education strategy. The remit came which fosters an informed and critically image. The film pioneers of the from the earlier work of the Film Policy engaged audience” (A Bigger Picture, century’s first decade invented its Review Group, which had reported to foreword). It did not demand an complex rhetoric of picture, duration the DCMS that “the British film exclusive focus on British films: simply and sequence using the new audience is less adventurous than “variety” and “richness”. It did not technologies of the 1890s. By the some of its counterparts abroad and prescribe types of learning: just 1930s, synchronised sound systems that it should be a longer-term goal to “awareness”, “appreciation” and had vastly expanded its communicative create a more ‘cineliterate’ population, “enjoyment”. potential. Seventy years later, through education, in its widest sense, increasing numbers of people across at all ages and levels” (A Bigger The Film Education Working Group the world are using cheap high-quality Picture, DCMS 1998, para 6.7). (FEWG – for membership see Appendix 1, digital technology to record their own “Cineliteracy” was defined as greater p. 72) has taken its cue from the experiences, tell stories and send awareness of the sheer variety of films broad vision of this remit. While we messages through moving images. on offer, and deeper appreciation of have accepted and followed A Bigger the richness of different types of Picture’s central concern with film and The influence of this extraordinary cinematic experience, [which] would the cinema experience, we also know means of expression continues to grow encourage more people to enjoy to the that it would be both destructive and and change. Cinema and television, full this major element of our culture”. misleading to separate this from the the dominant institutions which have myriad of other moving image controlled access to moving images for That report clearly placed a view of experiences that are available today. so long, are now being diluted by a personal learning and pleasure at We have been generous in our proliferation of channels and platforms. the top of the agenda, while interpretation of the terms The education, information and acknowledging the further social and “awareness” and “appreciation”. These entertainment industries are becoming economic benefits such learning would are, we believe, not fully gained from ever more dependent upon the bring if it enabled “a broader range of the viewing experience alone or communicative power of the moving film-makers, distributors and exhibitors educational activities based upon it. In image, whether delivered through [to] find an audience and survive in the common with the best of current cinemas, broadcast, video or online. marketplace” (ibid.). And although the education practice, and in recognition The existence of an informed citizenry Film Policy Review Group’s own remit of the widened access offered by – essential to the democratic process was to produce proposals for creating digital technologies, we have accorded – is increasingly sustained through the “a more robust and competitive as much importance to the experience moving image media. This unique and industry – to the benefit of British of creative practical work, in both vital language must surely, therefore, audiences and the British economy”, formal and informal educational become part of basic literacy at the the remit it passed on to the Film settings, as we have to opportunities start of the third millennium. Education Working Group was intended for viewing and analysis. However, a to be credible to education separate Film Training Review is In 1998 the Department for Culture, professionals as well as other reporting to the DCMS on professional Media and Sport (DCMS) asked the audiences. It recognised that “the training for the industry. British Film Institute to convene a seed-bed for such a future is a more making movies matter

The FEWG was asked to consider that it will be of interest to education recognise that enabling people in a 7 education at all levels and in all and cultural ministries in all the UK’s rural area to see a mainstream film on sectors, but to “focus on schools, in national governments and will be a big screen may be as significant a order to reach out to as large a considered by all of them in the cultural achievement as bringing a new proportion of the future film audience context of far-reaching constitutional foreign-language film into distribution as possible” (A Bigger Picture, para change. Rapid progress in England or providing video production activities 6.8). What is at stake in trying to forge with the establishment of Regional in after-school clubs. a new relationship between formal Development Agencies (RDAs), their education and moving image media? accompanying local authority We are not, therefore, proposing a Children spend less time in school “Chambers”, and the new Greater single cultural model or favouring one than they do with family and friends, London Authority also signals a kind of film, or one kind of education, and much of this leisure time is taken considerable decentralist shift in over another. What we have attempted up with watching television and video: thinking and future delivery. We have to do in this report is to hold to the in consequence they bring into school therefore sought to recognise the UK’s fundamental principle that film is more a vast if inchoate moving image diversity in educational and cultural than an industry, more than a experience. Teachers also are provision, and its consequent collection of commodities, more than a consumers of moving image media, implications for our proposals. vehicle for stars and stories: it is a but many have only the discourse of However, we also recognise features of language. We want to see the cultural the press, their own professional British society that are common to significance of this language formation and “common sense” to each UK nation, such as the constant recognised in all its diversity and all its guide them in considering what might elision of culture and class in public multifarious influences. We want to see be worth teaching. An emphasis on debate. Nearly a third of the evidence an end to the pusillanimous British schools therefore involves focusing on submitted to the FEWG concerned the habit of blaming it for society’s every ill the relationships between home, cultural status and assumed class and lack. We want to celebrate the school and leisure. One of the most affiliations of different kinds of film. brilliance of our global moving image intractable problems facing schools The frequent oppositional pairing of heritage. We want to remind you that today is that they must prepare young terms such as “elitist” and “popular”, movies matter. people for both work and leisure in a “arthouse” and “mainstream”, culture that may well be profoundly “intelligent” and “abstruse”, reflected The Film Education Working Group different from today’s: should they deep tensions, and models of cultural April 1999 therefore seek to prioritise older production and consumption that may cultural forms or to embrace the new? be losing their relevance. All we can be sure of is that in demanding a proper recognition of We have attempted to avoid these moving image media in school tensions. We have considered three curricula, we are setting in train a strategies: how to widen access to profound cultural change in which we film, how to broaden the range of films are, essentially, asking the British to available, and how to enhance the feel good about enjoying movies. cinema experience through informal or formal learning. In this project, we We complete this report as the first have held on to the essential elections to the devolved bodies in proposition that these are Scotland, and Wales are about to take differentiated tasks. They may overlap; place, following those in Northern in the experience of some people they Ireland in 1998. Although this report is may appear to be a single linked presented to the DCMS, we recognise strategy, but it is also essential to making movies matter

8 Glossary of Acronyms

A4E Arts for Everyone ICT Information and Communications Technology ACCAC The Qualifications, Curriculum and Assessment INSET In-service Training Authority for Wales Awdurdod Cymwysterau, Cwricwlwm ac Asesu LEA Local Education Authority Cymru AHRB Arts and Humanities Research Board MERDG Media Education Research and Development AS Advanced Subsidiary Group ATQ Additional Teaching Qualification NEAB Northern Examinations and Assessment Board BBFC British Board of Film Classification NFT National Film Theatre BECTA British Educational Communications and NFTVA National Film and Television Archive Technology Agency NIACE National Institute of Adult and Continuing BFFS British Federation of Film Societies Education BFI British Film Institute NTO National Training Organisation NVQ National Vocational Qualification CCEA Northern Ireland Council for the Curriculum, Examinations and Assessment OFSTED Office for Standards in Education CEA The Cinema Exhibitors’ Association OHMCI Office of Her Majesty’s Chief Inspector of CNC Centre Nationale de la Cinematographie Schools in Wales

DCMS Department for Culture, Media and Sport PGCE Post-Graduate Certificate of Education DENI Department for Education for Northern Ireland DfEE Department for Education and Employment QCA Qualifications and Curriculum Authority DVD Digital Video Disc RDA Regional Development Agency EKN Euro Kids Network RFT Regional Film Theatre ESRC Economic & Social Research Council RVQ Related Vocational Qualification

FEFC Further Education Funding Council SCCC Scottish Consultative Council on the Curriculum FENTO Further Education National Training SCCCMS Standing Conference on Communication, Organisation Cultural & Media Studies FEWG Film Education Working Group SCET Scottish Council for Educational Technology FVT Film, Video and Television SIFT Summary of Information on Film and Television SOEID Scottish Office Education Industry Department GFT Glasgow Film Theatre SPAEM (see OHMCI) Swyddfa Prif Arolygydd Ei GNVQ General National Vocational Qualification Mawrhydi yng Nghymru GTC General Teaching Council, Scotland SQA Scottish Qualifications Authority SVQ Scottish Vocational Qualification HE Higher Education HEI Higher Education Institution TTA Teacher Training Agency HMI Her Majesty’s Inspectorate TTA Cymru Teacher Training Agency, Wales

Opposite: The performance of Playing to Pictures, Museum of the Moving Image, March 1999 CHAPTER 1

access making movies matter · access

THE CINEMA EXPERIENCE 1.2 We think that everyone ought at least 0 The FEWG does not simply want to make to have access to this experience, and 1.1 a purist insistence upon cinemas being much of the evidence submitted to us Film education can only happen if the only place to see a film, but it does also bore this out. people get to see films. No believe that seeing films on the big educational project can, by itself, screen and being part of an audience BIG SCREEN REVELATION force changes in people’s cultural is a unique and valuable experience. interests and leisure choices. Like any “A few years ago I watched The other education, film education has to Searchers with a group of ... sixth- VIEWING PREFERENCES be part of a wider cultural agenda formers, who didn’t particularly which motivates learning. People Research on young people’s uses of enjoy westerns, but the opening need to recognise that their video found that although teenagers sequences really caught their commitment to learning will be are more likely to watch films on imagination and they were visibly worthwhile. They may simply want to television than at the cinema, over moved by the interplay of looks be able to make better-informed 60% said they preferred to watch between the characters ... [which] is choices about which films to see; them at the cinema (A.J.B. Barratt, barely noticeable on the TV screen.” they may be studying film as part of >VideoWATCH: Report on Phase DRAMA AND MEDIA TEACHER, the school curriculum; they may want One, BFI/Middlesex University, COMPREHENSIVE SCHOOL, LEEDS to try making films themselves. In March 1996, pp 34-35). Only 26% each case, the original motivation to of adults in a Marketing Intelligence learn comes from opportunities to see survey in May 1996 said they would and enjoy films. This chapter therefore rather wait for a film to come out on is about access to the primary video or be shown on television, experience of seeing films, whether in than to watch it in the cinema. cinemas, on television, or on video. The Searchers making movies matter · access

1.3 the number of foreign-language films WHO HAS ACCESS? 11 But of course there is more to available through any delivery system “access” than this. We do not simply remains extremely low at a market 1.4 have to address the problem of share of between 0.2% and 2% The first issue concerns physical physical access to cinemas, but the (MEDIA Salles, European Cinema access to cinemas. Although there will question of what people get to see – Yearbook, 1998, p. 94). Many key be more than 250 multiplexes in the not only in cinemas, but through all the classics of world cinema are actually UK by the end of 2000, in addition to delivery systems available. The FEWG unavailable for cinema exhibition 600 other cinemas, the population members and most of those who (see panel). Other categories such in many rural areas will still have provided evidence are absolutely clear as animation, short films and difficulty in accessing any cinema and that “awareness of sheer variety” must documentary are becoming in many towns and cities there are still mean awareness of world cinema past increasingly hard to access. no specialist cinemas. and present, not just US and UK films, not just current productions, and not PLUGGING THE GAP just fiction. In these terms, it was immediately apparent from our “In Swindon ... transport links are consultations that “sheer variety” is very weak in a number of increasingly not “on offer” to anyone: surrounding areas and the access to film form is limited. At Media Arts we are developing a Mobile FILMS YOU CAN’T SEE Media Club for next year, which will bring multimedia facilities to Many films are unavailable for cinema touring festivals of imported titles many deprived communities for screenings (on film). The main such as “Africa at the Pictures” and the first time. The service we reasons are: the current “Visions of Norway” have provide at our venue is in a central a short appearance through subsidy Materials location, so in theory we plug the but will not be distributed in the UK. These might be in such a bad or gap in the provision due to out of fragile condition or they are under Censorship town multi-screen cinema preservation status and can’t be shown. Certain titles might not get a cinema development.” certificate despite the fact they are of Price EDUCATION OFFICER, cultural value. REGIONAL ARTS CENTRE The cost of clearing the rights might be prohibitive. For example Saturday Another factor which affects the Night and Sunday Morning, Woman availability of archive holdings is the in the Window and The Leopard are conditions made on the prints from NOT JUST A RURAL PROBLEM all too costly for a small distributor to the legal owners of the work. “Local opportunities for young release due to the advances required Many Hollywood classics will be people in Darlington are limited as by their rights-holders. unavailable at any one time, often the nearest cinema showing art Exhibitors because the rights-holders plan an house films is 33 miles away in There may be no exhibitor interest in eventual re-release. For example at Newcastle .... Access to art house showing certain titles because they the moment The Wizard of Oz, cinemas is limited for children and are not deemed to be commercial Singin’ in the Rain, Sunset the pretentious image is off-putting enough, including short films, most Boulevard and many others cannot for them.” lesbian and gay titles and foreign- be seen in UK cinemas. TEACHER, COMPREHENSIVE SCHOOL, language cinema. Hence films in DARLINGTON making movies matter · access

Thus a substantial percentage of the up to standard. There have also been Schools and Colleges 2 population has no access to a number of experiments in providing independent British, American and subtitling for hearing-impaired people 1.6 foreign-language films in cinemas. The and audio description for sight- When we look at the formal education economics of multiplex provision are impaired people. No system, however, sector, there is an added disincentive calculated on 20-30 minutes drive has yet proved satisfactory. to cinema visits even when physical time from city centres. Taking into distance is not a problem. The cost of account the decline in public transport transport and the general difficulty of LISTENING TO IMAGES and the demographics of car getting student groups out of school or ownership, we can see that groups Throughout 1998 Glasgow Film college, even when the cinema visit such as the elderly, the disabled, non- Theatre researched methods of itself is free, presents a major practical drivers, and children, are particularly making the cinema experience challenge. disadvantaged when it comes to accessible to patrons with visual cinema access. impairments. An audio-described MISSING OUT version of Shallow Grave was 1.5 programmed, offering an opportunity “We are a very small school of only Disabled cinemagoers, of whom the for assessment. Although audience 600 pupils, offering GCSE and A largest groups are people with mobility response from visually impaired Level Welsh as a second language. problems or difficulties in managing patrons was positive, the success of As a part of the A Level course, we differential light levels (rather than the venture was limited by the fact are instructed to study two Welsh wheelchair users) have particular that the description (provided “live” films or two TV series. At the needs when they do manage to get to by a presenter) was only offered at moment, we have only viewed one the cinema. The Cinema Exhibitors’ one performance. GFT has been film – Hedd Wyn – as this was the Association (CEA) has played a leading working with the International Audio only one I could find on video. role in producing guidance to cinemas Describer Agency to pilot new Teenagers tend to go to the main to ensure that they meet the methods using pre-recorded cinema in Merthyr to see the requirements of the 1995 Disability commentaries on CD and has blockbusters, but they are not able Discrimination Act. Provision has shown It’s a Wonderful Life, Little to see a wide range or variety of improved substantially over the past Voice and Hilary and Jackie using films. In my department, a great five years even though there is still this system. deal of work has to be done in some way to go in getting all cinemas order to arrange for a whole class to sit and watch a film all the way through. Problems include arranging transportation and convenient times to go to the cinema and watch films with the pupils. Unfortunately, we have no ‘Chapter’ [Regional Film Theatre] in this area which offers courses or a morning film for schools.” TEACHER, SECONDARY SCHOOL, MERTHYR TYDFIL

The Princess Bride making movies matter · access

1.7 curriculum, or are free. This is in to their populations and support the 13 Some schools find it easier to justify contrast to the situation in several other activity with teacher training and cinema visits for examination groups European countries such as Sweden, classroom resources. However, since it post-14 when moving image study is Denmark, Holland and Belgium, is usually France to which Britain’s explicitly part of their curriculum. In the where there are national schemes for shortcomings in fostering cinema culture lower secondary school and in primary encouraging cinema visits by are compared, the FEWG commissioned school it is much harder unless the visits schoolchildren. Some of these schemes research into that country’s film can be very specifically linked to the reach very large audiences in proportion education practice (see panel).

FILM EDUCATION IN FRANCE

The Enfants de Cinéma scheme has The films are chosen at national level Kiarostami, Miyazaki and de Sica and substantial funding at Ministerial level by a panel which includes teachers, film amongst the titles were The Night of and in 1997/8 provided cinema visits critics, academics, representatives of the Hunter as well as the more for nearly 610,000 schoolchildren and cinema owners, and the organisers of obviously child-friendly Crimson Pirate 15,000 teachers in more than half the the projects. The criteria of choice (the favourite film in 1998), The Wizard country’s departments (local education include the following: films recognised of Oz, Edward Scissorhands, The authority equivalents). The scheme is as cinema classics; contemporary films NeverEnding Story, Tim Burton’s financed mainly by the Ministry of which have been critically acclaimed; Nightmare Before Christmas and Culture through the Centre Nationale de films which are interesting The Princess Bride. la Cinematographie (CNC), with local cinematographically and give a The films are pre-booked in the March perspective on other cultures; films of funding coming from a variety of of the preceding year, and there is different styles and from different additional sources: local councils, considerable variance at local level as countries; and, obviously, films for county councils, education departments to what is booked. On average, each which permission can be obtained for and Directions Regionales des Affaires cinema will book five films a year; the screening and for the making of new Culturelles. It operates through three longer their participation in the scheme, copies, which are then held by projects: Ecoles et Cinéma (for primary the more films they tend to show. distributors for booking. This is done by schools), established in 1994; College Creteil, for example, has 14 cinemas the CNC, which also supervises the au Cinéma (for lower secondary), involved in the project and screened 22 creation of new subtitles for foreign- established in 1989 and the largest films last year. The national organisers language films to ensure that they are project; and Lyceens au Cinéma (upper felt that this was too many and, as appropriate in style and format to be secondary), set up only in 1998. A students saw on average only three read by children. basic ticket price of 12ff was films, more effort could have been established from the outset, which is Each of the projects operates with a list made to raise attendances at a smaller split between the exhibitor (70%) and of about 25 feature films and feature- number of screenings. In some areas the distributor (30%). With an annual length programmes which are available there are committees of teachers who box-office of £2.4 million, this scheme for booking by exhibitors participating in work with cinema managers to book makes a substantial contribution to the the scheme; around five films on each the films; in others, the managers do it business of at least some exhibitors list change each year. About 50% of the themselves. Some cinemas hold and distributors. The policy of charging titles on each list will be French, and previews for teachers; others do not. It for tickets was deliberate: the 50% count as “classics”. In 1998/9 the is the cinema managers, operating to organisers believe that schools and Ecole et Cinéma project’s film list for some extent with a representative of pupils will value what they pay for more primary-age children included films by the local education inspectorate, who than if it were free. Svankmajer, Losey, Ozu, Hitchcock, are the key to the scheme. making movies matter · access

1.8 UK Cinema-School Initiatives 4 It is clear that far more children in NATIONAL SCHOOLS several other European countries have 1.9 FILM WEEK experience of a wider range of films in The only national scheme in the UK National Schools Film Week is cinemas than do their counterparts in which attempts to bring large organised by Film Education and the UK. However, even in France, the numbers of schoolchildren into funded by All Industry Marketing for objective for all children to have access cinemas is National Schools Film Cinema (AIM) and a range of other to film education at every stage of their Week which takes place in October sponsors including Sky Movies, the schooling is far from being realised. each year. What the Week clearly National Year of Reading and the Even at present levels of provision, achieves is to raise the profile of Times Educational Supplement. This there is concern at Ministerial level cinema-going with schools, to is now the largest event of its kind in about the difficulty of maintaining the stimulate teachers’ enthusiasm for Europe, providing free screenings of rate of expansion of the last four years film, and to give thousands of 55 different films to 143,000 and at the same time keeping up children the cinema experience that students and mailing out 132,000 standards, particularly in pedagogy. many of them have never had before. free teaching guides. The event has The Ministry of Education is taking a So far it has not been able to attract expanded substantially since it was closer look at film education at the many schools towards more initiated in 1996, and in 1998 moment and has commissioned a challenging material or enable many included the provision of 130 themed report from the national inspectorate cinemas to take the risk involved in workshops and presentations. which makes it clear that film and trying to do this, but Film Education A strong theme of the Week is the audio-visual education has no solid intends to include a European Day in provision of preview screenings: base within the curriculum and that some locations for the 1999 National Ever After, Mulan and The Truman there is growing criticism of the way it Schools Film Week to strengthen the Show each showed in 50 or more locations and attracted audiences of is currently constituted. We return to presence and take-up of foreign- 12,000, 10,000 and 15,000 this in Chapter Two (para 2.52). language films. respectively. Other titles which attracted substantial audiences were Babe, Fairytale: A True Story, James and the Giant Peach, Matilda, WIlliam Shakespeare’s Romeo + Juliet (Luhrmann), The Borrowers and The Magic Sword. Titles such as Land and Freedom, Life Is Sweet, Secrets and Lies, The Girl with Brains in Her Feet and TwentyFourSeven all reached total audiences of fewer than 1000. The week included screenings of two French films, Lucie Aubrac and Un hèros très discret, at venues in Bristol, Nottingham and London. These were for A Level students of French and were accompanied by presentations and follow-up in French.

Primary school children at a screening introduction during National Schools Film Week, October 1998 making movies matter · access

1.10 1.11 establishes a clear and consistent 15 The only specialist festival for As in France, both of these initiatives system of discounts for students. The children’s films (defined in this actually reach a tiny proportion of the position facing schools who want to instance as 6-18 year olds) in the UK UK’s population of over 8 million 5-16 take parties of students to their local is Cinemagic. This event has taken year olds. The FEWG would like to see cinema is very confused. Some place in Northern Ireland in December film “normalised” far more extensively cinemas offer free seats for almost every year since 1990. in the school curriculum and the barrier accompanying teachers, and others Cinemagic takes place in Belfast and to cinema visits, other than free ones, also offer reductions for parties at early Derry but includes two- and three-day broken. We hope that one overall effect performances. There is no rationale or events in other towns and has included of this report and acceptance of our consistency in the offers that are made tours to other cities in the UK. proposals may serve to raise the status to schools, even within cinema chains. Cinemagic’s just-started experiment of cinema visits in formal education The advantages of a school and college in appointing an outreach officer, and to prioritise existing funding. discount scheme for every cinema in whose mission is to take cultural the country would be that all managers programming to after-school clubs etc. 1.12 would know exactly what discounts to the whole year round, by means of It would be helpful to formal education offer and the whole scheme could be discussions, workshops and video institutions if the whole exhibition administered centrally. We recommend projection, should be monitored and sector recognised the importance of that discounts should vary according to encouraged. It has funding for only the year-round educational visits, both to the numbers of students attending, first six months yet may turn out to be the education sector itself, and as a with groups of 50 or more paying only a project which should be extended, way of building future audiences. We £1 per head. The scheme would apply and possibly replicated elsewhere. recommend that the exhibition sector to the first two screenings of the day between Monday and Thursday of any week. Our discussions with the Cinema CINEMAGIC Exhibitors’ Association indicate that the This festival of films for children and including compilations of short films sector is willing to pursue this strategy. young people is funded by the Northern and specially imported foreign- Ireland Film Commission alongside language films such as Count Me Out 1.13 numerous other funders including (Iceland), Cross My Heart (France), Distributors could also contribute to Belfast City Council, the Department of Beyond Silence (Germany) and The the extension of screening provision for Education for Northern Ireland and the Glassblower’s Children (Sweden). schools and colleges. If student-only European Commission. Sponsors Some 55 international films were screenings are treated by distributors include Virgin Cinemas, the Belfast shown in 1998, with directors’ as private screenings and excluded Telegraph and The Irish News. discussions for young audiences in from the aggregated box-office takings Attendances in 1998 were just over Belfast, Derry, Newtownards, of the venue as a whole, exhibitors 13,000 – an increase of 50% on 1997 Newtownabbey, Armagh and Coleraine, who want to develop educational – and the festival reaches a wide range and masterclasses from actors and programming tend to be discouraged. of school and family audiences across film-makers. The Festival includes a In these cases, the schools’ screening all communities in Northern Ireland, Young Previewing Committee which attracts a separate, fixed charge which with 60% of the school attendances contributes to programming, and may well be more than the normal from Protestant schools and 40% from Children’s Juries which award prizes minimum guarantee, thus making it Catholic schools. Films shown in 1998 to the best feature and best short. extremely difficult for exhibitors to included some mainstream releases The juries are linked to international break even on such screenings, such as The Parent Trap but the event exchange schemes with other especially if they are, as we suggest, also provides a wide range of titles children’s film festivals. to provide them at a discount. Given that one purpose of such screenings is making movies matter · access

to broaden audiences, we suggest that CINEMAS AS AN EDUCATIONAL 6 PROPOSAL 4 ways be found to enable exhibitors to RESOURCE offer discounted screenings to school A discount scheme should be and college audiences. Our particular established to provide standard 1.14 concern here is to enable students to discount rates for school and As the exhibition sector continues to college student groups at cinemas. see non-mainstream films and we expand and diversify, each chain and (Implementation: All UK exhibitors) recognise the difficulty this poses for independent will need to offer the smaller distributors who may well recognisable and distinctive value in have only one or two prints of films. addition to the film-viewing experience. Bookings for single screenings of such One such value could be for cinemas films are particularly expensive and it PROPOSAL 5 to develop a role as local teaching and may be that this problem can only be learning resources. Many cinemas, A scheme should be established to solved through subsidy. We therefore particularly Regional Film Theatres reduce film hire charges for wish to encourage distributors to student-only screenings. (RFTs), already recognise this, and explore ways of devising a scheme that (Implementation: All UK distributors) a few have established a solid record will broaden the range of screenings of collaboration with a wide range of for schools and colleges without institutions and provide exemplary penalising the smaller distributors. programmes of diverse education activities.

A CHANCE TO TALK

Cinephiles at the Watershed in Bristol is a monthly meeting of anyone interested in discussing films. Usually between 20 and 30 people attend, predominantly from the over-30 age-groups. Two or three films from the following month’s programmes are chosen at each meeting and discussed at the next. In March 1999 these were Life Is Beautiful, Class Trip and In a Lonely Place. Extra programme notes are provided at screenings for these films, and the meetings are advertised in the brochure so that anyone can come. The charge is £1.50 (£1 concessions); the seating is arranged “seminar style” and the meetings are chaired by the cinema’s Education Officer.

Life is Beautiful making movies matter · access

1.15 1.16 venues is the “value-added” of 17 Many RFTs and other independents, Where such cinemas do not have an educational provision. Film Education’s however, find it difficult to exploit their education specialist in-house, there is valuable initiative, Teachers education potential to the full. Even no reason why programmers or Programming Cinemas, and its series where cinemas employ full-time managers should necessarily feel of In Cinema Meetings between education officers, their work is often confident about identifying appropriate teachers and local exhibitors should be programming-led, so that the education educational provision and finding the integrated with these developments activity is an “add-on” which may or right people to deliver it, building and extended to informal education may not meet the needs of the liaisons with education providers in providers. We take up this point again potential education audience. Most either the formal or informal sectors, in Chapter Two (para 2.35). programmers do not want to pin down or assessing the educational value of even a small amount of their what their venue does provide. 1.17 programming to the kind of time-scales Programmers and managers who do Although some Regional Film Theatres needed for planning in formal education: want to develop their educational have been in the forefront of up to a year ahead. The salaries of provision need access to good advice developing cinema-based educational many RFT education officer posts are and training. The BFI is currently activity, others with smaller resources low compared to those of teachers and developing a new National Exhibition have been more tentative about what the posts offer little or no career Strategy which is taking into account they could achieve. Some independent development. They tend to have many the importance of raising the profile of cinemas and smaller chains have aspects to their roles and it is unlikely both informal and formal educational either initiated educational work that they will be able to build the work in cinemas and encouraging the already or aspire to do so, and a few contacts and identify all the curricular development of creative partnerships cinemas in the major chains told the needs that are necessary to establish and networks. This will ensure that a FEWG that they would like to do more a reputation as an education provider. key element of its partnerships with work with formal education but needed local contacts. In all these cases there is a potential role for national bodies THE POOR RELATION such as the BFI, Film Education, Sgrîn, “In every venue, it seems, education c) offer provision which can earn Scottish Screen and the Northern is one of the watchwords, but it is money, rather than necessarily Ireland Film Commission, and for programming which is always in the address pertinent issues (so regional organisations such as the driving seat and marketing which certain valuable education English Regional Arts Boards, to foster seems to swallow the vast majority of projects remain ideas because educational activity more systematically funds. Education officers (or education their earning potential is small); and to share good practice. provision, in venues where programmers d) offer one-off events rather than and education workers are one and the developmental/long term same) always seem to be struggling to: projects for the same reason as c; a) develop events on the back of e) elicit the support of the venue programming, the strategy for for education work in terms of which has not been discussed staffing and resources.” with education officers; FILM MANAGER, b) offer work divorced from the main REGIONAL FILM THEATRE programme and marketed separately from the rest of the venue’s work; making movies matter · access

1.18 FILM SOCIETIES schools, archives, cinemas, further 8 The national training organisation for and higher education institutions, the arts, Metier, has developed 1.19 production and training workshops, National Vocational Qualifications Film societies are a significant rural audiences and ethnic minority (NVQs) for artform development and voluntary sector informal network communities. Film societies could be has told us that they would like to which provides opportunities for people enabled to share and extend good make these available for cinema to pursue their interest, enjoyment and practice, and develop regular managers and film education understanding of film. There are communication with individuals and providers. Metier intends to work with currently 200 film societies in the UK organisations involved in film education other partners to develop appropriate with a million admissions a year. The such as providers of practical resources and to broaden the range of British Federation of Film Societies production opportunities (see Chapter exhibition venues able to provide (BFFS) now receives an increased Three, para 3.23), sources of funding, educational opportunities. This would annual grant from the BFI to assist its and other providers of informal film enable cinema managers to gain role of increasing the number of active education. The New Opportunities expertise in managing the provision of film societies and enabling them to Fund would seem to be a likely source educational events – for example in extend their activities and reach. This of funding for new initiatives linking targeting them appropriately and could involve broadening the remit of school film societies to other local providing the right resources. At a film societies to include work with agencies. different level, it would also enable industry professionals and other KEEPING FILM ALIVE people with key skills and knowledge to impart, but who may lack “Linlithgow is a town of some put on an annual children’s show, but pedagogical or presentational skills, to 12,000 inhabitants and the Film this had to be dropped due to the develop their confidence and ability in Society was formed 26 years ago difficulty of getting films suitable for teaching or leading sessions. when the local cinema closed. a wide enough age-range to make There is now no cinema anywhere them viable in a small town. We tried in West Lothian. Being a small town to revive this three years ago but had PROPOSAL 10 we have a programme backbone to cancel when (even with help from of ‘commercial’ films. Although we local teachers) we had only sold Cinema-based educational would never class ourselves as four tickets three days before the provision throughout the UK should be improved and expanded. ‘film buffs’, never mind ‘cineastes’ show. This year we helped a local (Implementation: BFI, Film (whatever that means) we have primary school put on two pre- Education and partner venues) successfully gauged audience Christmas matinees. These shows reaction for 26 years, as our were very successful – mainly membership has never fallen below because the children themselves 150 in that period. We find children were involved in the organisation, have not lost interest in the cinema – advertising and marketing as a they never knew anything about it in ‘Business Project’.” the first place. When we started we CHAIRMAN, LINLITHGOW FILM SOCIETY

Life is Sweet making movies matter · access

1.20 were highly successful in themselves 19 Most film societies are dependent on but also demonstrated that the running 16mm prints of films but a few use costs and maintenance would need a video projection and there are 50 who generous level of public subsidy. use 35mm. The BFFS is looking for However, there are two current ways of providing mobile 35mm initiatives in Scotland (see panel). projection systems to extend access to film in rural areas. The idea of “mobile cinemas” was referenced several times in evidence to the FEWG. This can mean taking equipment to venues, or it can mean actual vehicles which convert to a “cinema”. The original Students from Parkside cinemobiles were developed in France Community College, Cambridge and both the Wales Film Council (now during a Media Studies class superseded by Sgrîn) and the Northern Ireland Film Council (now Commission) organised visits by a cinemobile which

MOBILE CINEMAS

The Screen Machine is a new As far as informal education goes, The other mobile cinema in Scotland is initiative and was launched in the function of the Screen Machine Drew Goodwin’s Film Mobile, started in Scotland in July 1998. The cinema at the moment would seem to be the 1995. Goodwin visits venues that have has 110 seats, Dolby Digital sound provision of a focus in the community no exhibition facilities, and sets up his and can show 35mm, 16mm and that sparks the imagination. Some own screen and projectors in order to films in most aspect ratios including of the people living there would supply the local community with a CinemaScope. The £660,000 ordinarily not be able to visit a day’s or evening’s entertainment. He scheme, funded by the Lottery, cinema more than once every two or has eight or nine screens, ranging Highlands and Islands, Scottish three years, therefore it is already from 20ft x 10ft up to a huge 30ft x Screen and other funders, is the first providing a valuable service by 15ft. This is a private enterprise, which of its kind in the UK, and will show getting communities together to received some start-up funding but films to remote communities across share the cinematic experience. Goodwin feels he has now got a strong the Highlands and Islands. The The intention is to screen more circuit going, and is in circulation for 370,000 residents of the region live indigenous work from Scotland between five and seven days a week. in an area bigger than Belgium, but (eg Tartan Shorts), and to invite film- He tends to offer mainstream films, only six communities are served by makers to accompany the tours for about five to six weeks after their first permanent cinemas (Inverness, Fort Q & A sessions. Perhaps in the long release (for example, he did 34 William, Aviemore, Campbeltown, run more non-mainstream films can screenings of Titanic), and finds his Oban and Kirkwall). It is intended that be screened, with a view to showings are well attended. However, the Screen Machine will show a stimulating discussion within he is now beginning to branch out into variety of films, including communities after the machine has specialist films, as he feels that “there blockbusters, classic films, completed a two-day stint and are plenty of people out there who still documentaries and educational films. moved on. appreciate a quality film”. making movies matter · access

ACCESS TO WHAT? Distributing Non-mainstream Film Life Is Beautiful, handled by Miramax 0 through their parent distributor, 1.21 1.22 Disney’s Buena Vista International UK. The most substantial single area of There are some particular problems in Similar success – over £1 million in evidence submitted to the FEWG, both the UK which account for the dominant total UK box-office, comparable to The in writing and at the Invitation presence of Hollywood films on our Ice Storm or Land Girls – was also Seminars, concerned the narrowness screens. Some are unique to this enjoyed by titles such as Il Postino of the range of films available – country; others exist elsewhere but are and Cinema Paradiso. whether at cinemas, on video, or on more serious here. They include the television. This was expressed in terms relatively unfavourable box-office of excessive numbers of films from the earnings that foreign-language films Films on Television USA, and the consequent lack of are able to achieve compared to European and international cinema in Hollywood blockbusters supported by 1.24 languages other than English, UK films large advertising campaigns and the One problem cited by many at our representing ethnic minorities and in fact that, compared with non-English seminars, and in written evidence, was other languages, eg Welsh and Gaelic, language territories, films from the the decline in the range of films – contemporary innovative low-budget USA do not need to be re-voiced or particularly foreign-language – on free English-language films, “classic” films subtitled, which gives them a greater to air terrrestrial television. This in turn including those from the silent era, and advantage over films in other inhibits small distribution companies other areas such as short films, languages than they have in other from trying to release foreign-language animation and documentary. Although countries. Although the British Board of films here, if they cannot build TV the FEWG is firmly of the view that all Film Classification (BBFC) offers a sales into the deal. The broadcasters types of cinema are valuable and discounted tariff of £720 for a two- we consulted confirmed that audience important, and that we certainly do not hour film on the cost of classification figures amply demonstrate the British want to undervalue Hollywood, we are of foreign-language titles, its fee for suspicion of foreign cultures, but concerned about the huge dominance any two-hour 35mm English language agreed that, interestingly, we do not of films from the USA in UK cinemas feature is £1041, adding a further really know why this is. For most of the and on UK television. If our remit is to disincentive to the small distributor audience, it cannot be that they draw enable audiences to experience the seeking to release an English-language upon much experience of viewing “sheer variety” of the moving image, non-mainstream film in the UK on a subtitled films in making their choice then we must ask whether, and how, low budget. It may be possible for the to watch something else. The obstacle they may get access to non- BBFC to offer a wider range of must be that they do not expect to mainstream films. By this we do not categories attracting discounted rates. enjoy them. simply mean “black and white subtitled We understand that it is open to films” (which is what many of those discussions on this issue. 1.25 submitting evidence assumed we Broadcasters need to address this meant) but any films of value that lack 1.23 problem. The educational truism here is the vast marketing and distribution Not surprisingly, the distribution of that people will be more confident support enjoyed by Hollywood’s studio non-mainstream films is a fragile about making adventurous cultural product. business mainly carried out by small, choices if they have a better under-capitalised companies run by understanding of what a particular film enthusiasts with a particular love of the is part of: a national cinema, a director’s cinema. Occasionally major US work, a genre or theme. The process of distributors will enter the business self-conscious informal learning can be briefly to distribute a particularly triggered by intelligent contextualisation. accessible Oscar-winning film such as Since channels such as BBC2 and making movies matter · access

Channel Four have a remit to innovate 1.27 21 and to serve minorities they should be NIGHT SCHOOL Access to a range of films on television interested in constructing more “events” is likely to become more widespread “It would be possible to envisage around particular categories of film or with the proliferation of niche national television broadcasts of a themes, such as the recent BBC2 channels. The FEWG has been series of selected films – both weekend on the emergence of the new impressed by FilmFour, both in terms feature films and accompanying right in Europe, which included a of its feature film and short film educational programmes – linked showing of La Haine. programming, and in the supporting to a course in ‘cineliteracy’. These materials available on the FilmFour 1.26 could be broadcast at night, when web site. In, for example, its respect It is ironic that we received evidence there is a reasonable supply of for the use of correct aspect ratios and (see panel) calling for night-time un-used airtime, and down-loaded for accessible introductions by critics broadcasts at a time when the BBC’s for later viewing. The most obvious or directors, it gives some sense of plans to re-organise its Learning Zone organisation to do this would be the what a broadcast national film theatre provision are likely to cut the strand Open University, which already has might look like. The development of provided by Film Education. The 48 its own programmes broadcast by FilmFour indicates a likely move to programmes it has provided to the public service broadcasters, but pay-tv of all but the most commercial Learning Zone over the past three there is no reason in principle, if films. This undermines the notion of years have covered individual films the political will were there, why cultural entitlement upon which the and generic topics such as the film other educational organisations public-service ethos rests, but it has to industry and have built up a general could not do the same thing.” be admitted that the monthly cost of audience as well as being used by VOICE OF THE LISTENER AND VIEWER FilmFour is no more than the cost of schools and colleges. one or two cinema visits.

La Haine making movies matter · access

Cultural Diversity 2 HINDI PICTURES 1.28 There has been a significant Kuch Hota Hai. With South-Asian cable Cinemas which have offered seasons development of UK South-Asian channels and South-Asian influences or strands of programming that attract audiences (Indian, Pakistani, entering Western pop culture, crossover audiences from specific communities Bangladeshi) for India’s Hindi interest by White youth in Indian cinema as well as opening up significant aspects of world cinema, for example commercial cinema. Over the last is beginning to take place. The potential Chinese or Iranian, have sometimes decade new cinemas have opened to create cultural understandings and gained sell-out audiences or developed dedicated to Hindi product and recently sharing through work with South-Asian new audiences. It is essential, the multiplex chains have begun to cinemas is a real possibility; the work however, to develop access to films capitalise on this interest. Two Hindi already developed at venues such as from a wide range of cultures, defined films broke into the British Top Ten in Broadway, Nottingham and Filmhouse, in many different ways. There are two 1998: Dil Se .. (grossing an estimated Edinburgh, should be expanded and issues here: the interest of everyone in £250,000 in its first week), and Kuch shared. the UK in seeing their own culture represented on screen, and the need for high quality films from different UK communities ranging from Welsh and 1.29 and global cultures to reach a wider Gaelic through Urdu, Turkish, Gujarati, This is an issue for broadcasters and audience. The Black and Asian Greek, Spanish and the many other distributors to address, as well as communities in the UK constitute a languages spoken by UK citizens, and exhibitors, educators and funding range of distinct racial/cultural films in these languages are not widely agencies. Speakers and participants in identities including African-Caribbean, seen. Cultures defined by religious New Futures for Black British Film, a Indian, Pakistani, Bangladeshi, affiliation such as Judaism and Islam conference organised in autumn 1998 Chinese, Nigerian, Somali and also inform film production and again, by the BFI with Middlesex University Vietnamese. There are many language access to such films in the UK is rare. and other sponsors, drew attention to the persistent assumption that scripts by Black writers and productions by Black film-makers are simply “for” Black audiences, and consequently “too risky”. It was also observed that conventional approaches to marketing and promotion need to be re-thought, in order to reach new Black audiences but also to break into crossover markets. Building school and college interest in a wider range of culturally diverse films clearly needs to be part of such a strategy.

Dil Se .. making movies matter · access

Film Festivals Overall, film festivals are popular researched for this report offered 23 events for which audiences are a formal strategy for audience 1.30 generally growing, and any of the development. Festivals clearly need Festivals provide important educational opportunities they may better advice and support to develop opportunities for attracting audiences offer are likely to benefit from the appropriate methodologies for to films they might not otherwise see. general profile of the event. However, monitoring their audiences. One key The FEWG commissioned research on it also seems that where a venue source to support this strategy is the the educational potential of festivals offers a year-round programme of BFI’s new Festivals Fund. (see panel) and found that the informal educational activities, any festival it education opportunities they can offer may run is likely to benefit from the vary according to their size and level of wider audiences and contact networks sponsorship. that such activities will have built up.

1.31 SPECIAL OCCASIONS More could probably be done to The FEWG researcher looked in nurture festival audiences and widen detail at the British Short Film the range of educational events Festival, the Black Pyramid Film available to them. But unless festivals Festival and the International Film know more about who their audiences Festival of Wales, and spoke to the are, such work cannot even begin. organisers of 12 others. Festivals Although some funders make the such as the Italian Film Festival or provision of audience statistics and Bite the Mango are specifically demographic information part of their aimed at raising awareness of a funding criteria, little is done to enforce type of culture and its cinema, and this. Most festivals know little about may be considered as informal their audiences and none of those educational initiatives in themselves. Others such as the London Film Festival or the International Film Festival of Wales provide additional events and/or information which enhance the reception of the films, including film-maker question-and-answer sessions, formal interviews, masterclasses, and special events such as retrospectives and panel discussions.

John Akromfrah at the New Futures for Black British Film Conference, National Film Theatre, October 1998 making movies matter · access

INCREASING ACCESS THROUGH 4 EUROPEAN FUNDING

1.32 The European Union programme, Media II, is currently undergoing a mid- EUROPA CINEMAS term review. In parallel, proposals are This scheme is directed from Paris year. The UK member cinemas being put forward for the establishment and supports some 800 screens in programmed 24,969 screenings of of a possible successor programme, 200 locations throughout Europe. It European films in 1998, representing Media III, to take over when Media II now makes grants of annual funding 53% of their total number of concludes at the end of 2000. The of up to 30,000 euros (£21,000) screenings. These accounted for Distribution strand of Media II has partly conditional on evidence of 1,045,815 admissions. However, this supported the distribution and video “activities directed towards young figure includes British films. publication of European films beyond people”; 25% is withheld if these are Screenings of films from other their country of production, through not undertaken. In the year 1998, European countries amounted to conditional loans, and has supported Europa Cinemas had 30 member 12,661 (27% of the total number of co-operation between broadcasters cinemas in the UK, with 53 screens in screenings), and there were 456,086 on some categories of television: 23 cities which received total grants admissions to these (23% of total documentaries and animation, for of 350,073 euros (£245,051) for that admissions). example. It has also supported two “devolved” networks, Europa Cinemas and Euro Kids, both of which aim to increase the exposure of young people to European films in the cinema.

EURO KIDS

This network is administered from weight for expenditure reclaim takes at least a year for the EKN Milan. Its object is to promote the purposes as a film from another bureaucracy to process a claim and widest possible exhibition of European European country. However, it now send the monies due, means that some films suitable for younger viewers. The appears that the EKN office is working UK members are not sure whether they carrot offered to cinemas which are towards treating the exhibition of non- are going to stick with the scheme. members of the Network (currently ten domestic product more favourably than in the UK, 250 across Europe) is that the exhibition of domestic product. This objection is not fully shared by all at the end of each six-monthly period Some UK members argue that the UK members of the Network. For they can claim back up to 50% of the European playing-field would not then example, diligence and ingenuity rental, organisational and promotional be level, because countries where resulted in the following films being costs involved in showing European audiences accept dubbed films shown to “young audiences” by UK films to young audiences, capped at a (including France, Germany, Italy and members of the Euro Kids Network total of 12,000 euros (£8,400). Spain) would have an advantage over during 1998: Das Boot, Asterix those countries (such as the UK and Conquers America, Tintin and the The exhibition of a UK film (the Scandinavia) where dubbing is Lake of Sharks, Lucie Aubrac, definition of which currently includes unpopular (except for animation such Marius et Jeannette, Hercules, Le co-productions in which the UK was as Asterix and Tintin). This objection, Bossu, Nosferatu, Ma Vie en Rose, one of the partners) carries the same combined with the fact that it always and The Singing Ringing Tree.

Opposite: Nosferatu making movies matter · access

1.33 1.34 1.35 25 Funding of more diverse programming The Training strand of Media II supports There is clearly considerable scope is also available through Media II’s a wide variety of programmes, aimed for taking more advantage of automatic distribution support scheme. mainly but by no means exclusively European funding and initiatives to Under this strand of the Media II grant at vocational and professional improve access to a wider range of system, distributors can receive development. Amongst those which film in the UK, especially if Media III subsidies to set against the costs of have a strong educational and youth can be designed to entail less distributing European films from member content are the European Children’s bureaucratic procedures and fewer countries. However, while these grants Television Centre in Athens, which runs delays. Whereas support for video can be helpful in defraying such costs a number of European-wide schemes publishing of significant European and improving the economics of for children and youth; and Archimedia films was available under Media I, distributing films that would otherwise in Brussels/Paris, which sponsors Media II has failed to continue this. only be marginally commercial in seminars on film history and archival We recommend that Media III restores particular markets, they are not of programming as well as training in this important and cost-effective form sufficient value to turn an otherwise specific archiving skills. of funding. completely uncommercial film into a viable commercial proposition. For this reason, relatively few foreign-language PROPOSAL 3 films have been supported in the UK Media III should be lobbied to under this scheme, although it has support initiatives in film provided benefits for some UK education, including video producers whose films have been made publishing. considerably more viable in continental (Implementation: DCMS) markets than they were in the UK. making movies matter · access

THE CHILD AUDIENCE 1.37 British Films for Children 6 With a few isolated exceptions, the 1.36 contextualisation and presentation of 1.38 One audience sector, despite its high films to UK children under 12, in the Very few British films are aimed at cinema attendance figures, sees a informal sector, contain little that could children under 12. This is a narrower range of films than any other: be perceived as “education”. Virtually production, as well as an exhibition this is the under-12s. The research all Saturday matinees offer something and distribution problem. Broadcasters commissioned by the FEWG on approaching a child-minding service are commissioning less children’s specialist cinema exhibition for this (with a parent present in many cases) drama, and spending less money on age-group demonstrated that there rather than an active viewing what they do commission. The Arts has been a revival of Saturday shows experience. This approach is urged Council of England’s Lottery film (“matinees”) for children in the late upon exhibitors by their own franchises have not yet, as far as 90s, linked to the establishment of professional body, the CEA, given that FEWG is aware, begun to develop any multiplexes. All the major commercial cinemas are not in a legal position to children’s films. At one invitation chains are doing this, though not in act in loco parentis. Some independents, seminar the question was raised as to every cinema they own (see panel). however, do offer workshops and other how the franchises would evaluate a activities for children. script for children. Would they, for example, consult experts on children’s fiction, not necessarily just on children’s film? We think that there is SATURDAY MORNING PICTURES an obvious and urgent need to remedy The larger exhibition chains programme Almost any film that has a U or PG this production gap. If priority is children’s matinees centrally, with no certificate will be considered by accorded to any one sector of the local discretion allowed. The films programmers as prospective matinee audience in raising awareness of the chosen, in at least 95% of cases, are material, and may be included even if “sheer variety” of what film can offer, second-run mainstream titles that are it has no obvious child orientation. For then it should be children. generally only three or four months old. example, Men in Black, Blues In the first half of 1999 this repertoire Brothers 2000 and Godzilla were all included Mulan, Small Soldiers, shown at matinees in 1998. PROPOSAL 2 Babe Pig in the City, Prince Valiant, Production of film drama, Barney’s Great Adventure, Paws, In the small handful of cases where animation and documentary for Flubber, Anastasia, Star Kid, Antz, the film screened is not a commercial children under 12 should be made Prince of Egypt, The Rugrats Movie, bringback, such titles as The a policy priority by the appropriate Madeline, and A Bug’s Life. Often Adventures of Robin Hood, Digby Lottery distributors. there are two films on offer to choose The Biggest Dog in the World, (Implementation: Arts Councils, from. In the large chains one of the Asterix Conquers America, and Film Council, Scottish Screen) films will have been retained from the Swallows and Amazons will be found. previous week, and the other will be Older films like these are normally new, but otherwise they are regarded screened by independents or community as interchangeable. In an independent cinemas, and not usually by the large outlet, the two films (often a U and circuits. In virtually all cinemas the a PG) might be programmed and only items shown at matinees, apart promoted as one of them being “suitable from the feature, are trailers for other for children of seven and under”, and features in the cinema’s current the other “for eight and above”. general full-price programme. making movies matter · access

Non-mainstream Films for Children the poor quality of translation and the 27 actual presentation of subtitles. If more 1.39 foreign-language product for children is The UK prejudice against minority films to be brought into distribution then such as subtitled or experimental work subtitling has to be improved, possibly is re-doubled where children are through using laser systems. There concerned. Because adults think have been some attempts in the UK subtitles are “difficult” it would seem to to find child audiences for foreign- follow commonsensically that children language films, such as the BFI’s 1998 will find them even more difficult. tour of non-mainstream films Because realist narratives dominate our sponsored by Chewits; the Cinemagic consumption of moving images, it is festival in Northern Ireland; and a assumed that children will also prefer number of NFT seasons such as them. Some lateral thinking needs to “Eleven at One Blow!”, which imported be applied to the question of what 11 fairy-tale films from the former The Boy Who children may choose to see and what German Democratic Republic in Stopped Talking their parents may choose on their January 1999. Membership of Europa behalf. Short films enable exhibitors to Cinemas and the Euro Kids Network take less of a risk in offering non- has also encouraged more adventurous mainstream material to children. Shorts programming in some RFTs. should be programmed alongside features in children’s screenings, and PUSHING THE BOUNDARIES the potential of video sales of short film compilations to schools and to families One researcher showed a range The National Film Theatre’s (NFT) needs more thorough investigation. The of experimental animated and live experience is that even family BFI’s initiative in creating a directory of action shorts to primary school audiences will accept subtitles films for children (Terry Staples, Now children, and some of these titles more readily if they have the Showing, BFI, 1999) will need to be were later incorporated in the option of hearing them read on sustained by regular updating on its Chewits Tour on the basis of their headphones. This enables web site and by creating a parallel enthusiastic responses (Patricia younger or less literate children to directory of short films, suitable for Tuttle, Experimental Programming share the experience, as well as showing to children and available in for Children, unpublished paper, making it easier for older children the UK now. BFI 1998). who may be able to read but Northampton Forum uniquely need help getting started with 1.40 managed to get a full house and subtitles. The NFT has also shown In the UK, foreign-language films audience endorsement for the unsubtitled foreign-language films are considered to be completely Dutch film in the Chewits tour, for children, using earphone inaccessible to child audiences, The Boy Who Stopped Talking, commentary. Some RFTs would although in countries such as Denmark by dint of careful preparation with have been interested in showing and the Netherlands which do not a local school, providing free some of the German films support a re-voicing industry on the tickets and an introductory talk. imported by the NFT in January scale of those operating in Germany or Some of the Cinemagic foreign- 1999, but could not because the Italy, and where the audience is used to language titles also benefitted prints were neither subtitled nor watching subtitled films, it is assumed from being shown as part of re-voiced; use of headphones that if children can read, then they can National Schools Film Week. was essential. read subtitles. There is a UK problem in making movies matter · access

1.41 paid to the fact that ethnic minority 8 Schools are clearly more willing to take children have few opportunities to “see a chance with subtitling than parents themselves” on screen, and that the are. In carefully prepared educational UK’s many minority languages are settings, children can come to minority rarely heard in children’s film. film with fewer prejudices than adults. The United Kingdom Reading 1.43 Association’s evidence to us stressed We have looked in this chapter at the that “young people have insufficient ways in which people do – and do not access to a wide range of quality film, – get access to the cinema experience and most of what they do see is on and to a range of films, because what video and in the home”. It points out people see is fundamental to what that “additional resources allocated by they learn about film, and to what they the DfEE (Department for Education want to learn. But what does “learning and Employment) for books, and the about film” consist of? How and why is Year of Reading promotions do not ... it provided, and to whom? These allow schools to purchase ... videos”. questions are the subject of the next The Association would not only like to chapter. see film more widely used in primary schools, but also as part of shared viewing with parents. It is likely that in this kind of context, subtitled films would be of more interest. We think these are valuable and interesting possibilities, which the BFI and Film Education should explore together.

1.42 Any attempt to develop more adventurous programming for children would have to take into account the need for long-term strategic plans, rather than “one-off” initiatives, including educational support; a higher and more consistent quality of subtitling; and provision of portable headphone/PA or audio description systems to tour with foreign-language ﬁlms. In addition, a form of regular communication (newsletter or electronic, plus if possible periodic face-to-face meetings) would facilitate communication between all the exhibitors who are working to broaden and deepen children’s cinematic experience. Attention must also be

Opposite: Animation Workshop at St. Anne’s School, Lewes CHAPTER 2

learning making movies matter · learning

2.1 University Challenge. In this scenario, formal and informal settings; but 0 Today education is the focus of new learning about a film means acquiring following the FEWG’s remit, we focus kinds of attention. The Labour information about it: who made it, how particularly on school-based learning. Government has pledged itself to raising it was made, how well it has done at It is in schools that, ideally, everyone the national average of literacy and the box-office. Many people are should acquire some experience of the numeracy test outcomes by the time of interested in this level of learning, and range of film production worldwide, the next election, while the media and it is the aspect of film education that both past and present, and the critical communications industries see many providers, and not a few policy- tools to engage with it. education as a series of vast new global makers, are most at ease with. markets to be conquered. Everyone RESPONSE TO FILM recognises that “education” is a buzz 2.3 word to write into mission statements But learning is much more than the “The mood and setting of the and help reach sponsors. Under this ability to reproduce detailed opening sequence in the film of spotlight, some strange contradictions information in contexts such as an Gulliver’s Travels is quite emerge. Mandatory schooling and examination or a pub quiz. dramatic. It begins with an certificated courses have become more Conventionally, learning has been seen overhead shot of the countryside by regimented and outcome-focused as the acquisition of understanding moonlight. The music during this through the implementation of national and skills, attitudes and values, as well shot is eerie and mysterious and standards and performance indicators. as knowledge. Learning changes builds up a certain amount of But at the same time, opportunities for people and empowers them, which is tension. The constant beat of learning and the uses for learning have why we enjoy it and seek it out. The drums and the repeated tunes of become more flexible and diverse. The popular notion of learning, especially the violins are heard throughout the leisure and entertainment industries are that which is supposed to take place in opening. There is also a slight constantly finding ways of adding compulsory schooling, is that it is tinkling of a harp which gives the educational value to experiences such boring and difficult. But teachers, and music a magical feel to it. In the as theme parks and domestic PC more experienced learners, know that opening we see a lot of what software. The concept of Lifelong boredom and difficulty are the Gulliver would see. The use of Learning acknowledges that people symptoms of failure to learn, of having camera shots gives us his access learning opportunities as and lost track of what it is we are trying to viewpoint. After a while we see a when the opportunity or need arise. learn, whether through poor teaching shot of a young boy in a room by The same concept encourages or for some other reason. Real learning candlelight with a toy soldier in his providers to find innovative and is often hard work, but when it hand. A large image of the toy inclusive methods of delivery. People happens, learners have a sense of soldier is reflected on to the wall are buying “education” – in diverse and purpose, pleasure and reward. creating a shadow. In this shot the often novel ways – as never before. three sizes throughout Gulliver’s 2.4 Travels are shown. The little boy 2.2 This chapter is about what people can represents Gulliver, the toy soldier Paradoxically, the outcomes of learn about film in order to develop their shows a tiny Lilliputian and the education – what people actually learn enjoyment of film, their knowledge large image of the shadow is made – are not at all clear. In popular about its variety of forms, their to look like a Brobdingnagian giant. discourse education is largely equated understanding of how the moving Not only is this shot symbolic to the with the acquisition of information. image language works, their ability to rest of the film but it’s also very Teachers, books and software “tell you articulate what it is they value and enjoy effective because it looks good.” things”. An educated person is in films, and their skills in making their “MEDIA” COURSEWORK FOR GCSE assumed to be someone who knows a own moving images. Such learning will ENGLISH, 16-YEAR-OLD PUPIL, CUMBRIA lot: a winner of Mastermind or be lifelong, and may take place in making movies matter · learning

We recognise that it is unlikely, at least 31 in the short term, that school pupils FOUR COMPETENCIES will have many opportunities to acquire The substantive points about based on a canonical list of “classics”. practical production skills, but we think cineliteracy made to the FEWG in An independent cinema manager these are an extremely important part written evidence can be summarised suggested that “the really cineliterate of film education and we have under four headings, as follows: individual is one that really knows how proposals to make about how they can to recognise a great work of cinema Analytical Competence be fostered amongst school-age and to discover why it is great” and an A great number of submissions talked children. Our consultations indicated Arts Development Officer in Scotland about the importance of audiences that in the UK there is now an proposed “the ability to list ten major understanding the formal qualities of increasingly positive attitude to film, films and film-makers from around the film, and many made the case for film and to the idea of education about the world” as a key skill. But although a being studied as an art form equivalent moving image. Nevetheless there is large number of respondents in status to drama, novels, poetry and much development to be done and complained about the narrow range of fine art. The majority of submissions many kinds of film education are films available both to students and the saw the ability to analyse films as the relatively expensive. We think it should general viewer (too much US product, essential and basic component of be a responsibility of British Film, the too few opportunities to see cineliteracy. Phrases such as “recognise new body which is anticipated to independent or world cinema) most how films are constructed”, “knowledge oversee all state-funded activity relating stopped short of arguing for a canon as of film codes”, “ability to interpret the to film, to ensure that education is a a way of redressing this imbalance. construction of narrative and character” central element of such activity. Nevertheless there were those who did and “understand the techniques and argue for it, including school inspectors grammar of film production” occur who felt that a “list of suitable films” frequently in written evidence. PROPOSAL 1 would be helpful in identifying what film Contextual Knowledge education should be about. All publicly funded film activity in Many respondents asserted that the UK should include a relevant Production Competence cineliteracy should include an educational component. For many an essential element of understanding of the broader social, (Implementation: Film Council) cineliteracy, by analogy with print economic and historical contexts in literacy, was “writing”: that is, the ability which films are both produced and to produce moving image material as consumed. An RFT Education Officer well as making sense of it and suggested that cineliterate people enjoying it. Indeed, links were made should have “knowledge of production, between these two aims: through the industry traditions, audiences and the “CINELITERACY” process of making, understanding social influence of film”. This perspective and enjoyment would be enhanced. reflects the insistence in film and media 2.5 This kind of learning was seen as studies syllabuses over the past 30 The FEWG took this term from A Bigger distinct from professional training – a years on developing learners’ Picture as a key word to sum up our view which was endorsed many times awareness of film as an industrial remit. We therefore made it the basis of a in the Invitation Seminars. For example, product reaching mass audiences. specific question in our Call for Evidence a university lecturer in Liverpool said that was sent to over 40,000 people in Canonical Knowledge that “Every citizen, if they are to both education and in the moving image Our respondents, both in written understand and participate in the industries, and to the 200 people who evidence and in the seminars, were culture, should get the chance to shoot spoke to us in Invitation Seminars. We more divided and ambivalent about and edit a basic video”. wanted to know what people thought whether film education should be cineliteracy might be (see panel). making movies matter · learning

2.6 “toutes les images”. Another 2.8 2 A number of written submissions to the submission to the FEWG from the Guild It seems that there would be a good FEWG took issue with the use of the of Television Cameramen felt that deal of consensus around the idea of term “cineliteracy” because of its cineliteracy could not be divorced from a cineliterate person being someone apparent emphasis on cinema. For a wider understanding of the visual with a knowledge of the history, example, the Voice of the Listener and arts. Two submissions questioned contemporary range and social context Viewer pointed out the close whether British audiences are in fact of moving images, the ability to relationship between film and less cineliterate than anywhere else. analyse and explain how moving broadcast television and argued that images make meaning and achieve education about cinema could not be 2.7 effects, and some skill in the separated from other forms of audio- Little of the evidence submitted production of moving images. We visual culture. “Moving image literacy” considered what cineliteracy might would like to add a more fundamental was felt by some to be a more mean to the general film audience: what observation: that cineliteracy must appropriate term as it encompasses being literate about film might actually inevitably become a part of everyone’s video, television and new technologies mean on a day to day level. One basic literacy entitlement and should as well as cinema. It is interesting in submission bore out discussions within be treated as such. This concept this context that part of our research on the FEWG’s informal task group about carries with it the weight of the film education in France revealed that the importance of informal talk: the idea evidence submitted to the FEWG in all many educationists there consider that that understanding and appreciation of its contradictions – just as current film education is too narrowly focused film develops through conversations with definitions of print literacy do. But to on cinema at the expense of “more peers, friends and colleagues so that acknowledge it as a basic entitlement relevant” areas such as television, and meaning and value develop as part of a lifts it out of the domain of the film buff that a recent report by the national social process. Children’s discussions and into the everyday. Knowing about inspector responsible for this curricular about film classification were the film should be normal and natural. area calls for a broad approach to example given by our respondent. making movies matter · learning

FILM EDUCATION IN therefore opening up between the 33 MANDATORY SCHOOLING WHAT ARE TEACHERS DOING? way children are using film as an interpretative tool to gain understanding The BFI’s 1998 Audit of Media in 2.9 of narrative structure – and thereby English revealed that, although The mandatory curricula in England, gain a better appreciation of plays and 91% of the sample of 718 Wales and Northern Ireland, and the novels – and the way in which they are secondary English teachers in 5-14 curricular guidelines in Scotland, able to study it as an art form in itself. England and Wales were all make reference to “media”, mainly Teachers need a more precise enthusiastic about media teaching within mother tongue curricula, but understanding of the techniques of and 43% claimed to devote such references are marginal moving image texts in order to close between 10% and 25% of compared to the attention given to that gap. curriculum time to it, most of this literature and to verbal language. The work was likely to relate to print use of the term “media” follows the texts. 44% wanted the curricular WHERE’S THE EVIDENCE? strong lobby for media education in the requirement clarified and 75% mid-1980s and early 1990s, which Section 10 inspections – the wanted more training in how to argued for the expansion of the notion standard inspections of schools – teach it. Teachers feel most of “text” from its traditional connotation are not required to consider media confident about teaching film of “book” to encompass all forms of education except insofar as it is versions of novels and plays, and communication and expression: part of English, and there is some less so with teaching about film in television, video, radio, newspapers, anecdotal evidence to suggest that its own right. Media Education in magazines, comics, computer games – teachers will avoid using moving Wales, a survey for the Welsh and film. image texts during inspections. Office by Media Education Wales Such inspection evidence as there (1997), found that media education is – for example in an OFSTED in both primary and secondary Media in the English Curriculum report specifically on English in schools was dominated by work in England and Wales 1998 – suggests that the quality with print media, although in the of work is limited and stresses the Welsh curriculum substantially 2.10 lack of progression in learning. more moving image work was The impetus behind this lobby is Pupils will be set similar tasks at carried out. understandable but the emphasis on different age levels and the the value of studying a wide range of outcomes tend to be much the texts in schools has left teachers same. This judgement is much the confused. They want to bridge the gulf 2.11 same as that of an internal report between the kinds of texts traditionally Many teachers feel daunted by the by Her Majesty’s Inspectorate valued in school and the wider range logistical and intellectual demands of (HMI) in 1988, which expressed of texts valued and used by children in studying moving image material in particular concern about the lack their own lives, but they are not sure crowded classrooms. They tend to of learning progression, and is what sort of evaluation is appropriate concentrate instead on more familiar reflected today in teachers’ or what sort of critical judgement they media texts such as newspaper uncertainty about what are should be seeking to develop. reports, advertisements or film appropriate levels of challenge and versions of novels and plays. They are learning outcomes at different confident in making comparisons ages. For example, a third of the between different film adaptations of BFI’s 1998 sample did not feel a novel or between novel and film, but confident in assessing pupils’ lack the critical vocabulary to teach media learning. about film in its own right. A gap is

Opposite: Media Studies student editing a video sequence, Parkside Community College, Cambridge making movies matter · learning

2.12 Scotland and Northern Ireland the importance of media in aspects of 4 English teachers in England and the curriculum (particularly English), but Wales, and many in Northern Ireland, 2.13 unfortunately the guidance offered to have a more formal opportunity to In Scotland, where there is no teachers in Key Stage documents is of teach about media at Key Stage 4 mandatory curriculum, media education a very rudimentary nature. (age 14-16) where “media” is a – which can include moving image but requirement of every syllabus at does not have to – is identified as a General Certificate of Secondary cross-curricular theme and is also “Moving Image” Specified Education (GCSE). However, only the specifically addressed in Language and syllabus from the Northern Expressive Arts, two of the five main 2.14 Examinations and Assessment Board curricular areas of the 5-14 curricular The FEWG understands that the (NEAB) allows media learning to be guidelines (The Structure and Balance Qualifications and Curriculum Authority’s assessed through coursework, thus of the Curriculum 5-14, Scottish Office (QCA) current review of the National enabling teachers to include moving Education Department, 1993). It is also Curriculum in England specifies image study here if they wish to. written into “Curriculum Design for the “moving image” for study within This syllabus is taken by over 80% Secondary Stages” as a cross- Reading at Key Stages 3 and 4 (ages of schools, but teachers in the BFI’s curricular element and as a specific 11-16) in the draft revision of English. audit sample stressed the problems of option within some curricular modes. In We think this is a clarification that will trying to fit in work that, if done well, is Standard Grades and Highers, subjects be welcomed by teachers and will time-consuming: “when you come to allowing or encouraging media encourage resource providers and GCSE, you can’t spend six weeks education include English, Art and trainers to focus support specifically on doing it because you don’t have the Design, Modern Studies, History and this area, which teachers clearly want. It time” (teacher, Cardiff); “it’s the media Music. However, there is no Standard is at the same time appropriately modest, piece that suffers” (head of Grade Media Studies or Film Studies. given the current pressures on teachers department, Oxfordshire). This is no As in England, English has probably and schools. We urge the Department doubt why only a minority of the NEAB been the most important site for media for Education and Employment (DfEE) to centres undertake moving image study education, with dedicated media see that this specification is retained in as part of coursework, but when they options, although the Scottish the final Orders for the curriculum, and do so they tend to choose film rather Qualifications Authority (SQA) says that that curriculum bodies in other parts of than television. Similar preferences are this option is taken by only about 1% of the UK follow suit. These references reported by Media Studies examiners centres annually: lack of teacher should be supported by guidance at GCSE and General Certificate of confidence is usually cited as the which includes criteria for success so Education Advanced Level (GCE A reason for this. Now that Media Studies that schools can audit, plan and Level). Film is clearly the medium is a recognised teaching qualification evaluate their work. preferred by students and by teachers. (an “additional teaching qualification” or ATQ; ie not stand-alone), it will be interesting to see whether take-up of PROPOSAL 13 this option increases. Higher Still Media The mandatory curricula in Studies, which will become available England and Wales and in Northern for post-16 students in 1999, requires Ireland, and the curricular the study of two media, one of which guidelines in Scotland, should must be non-print, and combines both specify the study of “moving analytical and practical work. The image” as part of the national Council for the Curriculum, language curricula at all age levels. (Implementation: QCA, SCCC, CCEA, Examinations and Assessment in ACCAC) Northern Ireland (CCEA) has recognised making movies matter · learning

The Primary Curriculum 2.17 this as a sensible extension of the 35 Thus almost all children come to National Literacy Strategy. Now that 2.15 school with the ability to read an the framework for the Strategy is in There is nothing in the revised draft image on the screen and to relate to place, teachers are finding ways of curriculum for England and Wales at narrative structures in films, videos making the activities of the hour more primary level which acknowledges the and television programmes. They have flexible. They are looking for a wider immense significance of moving image learned, through seeing a number of range of activities which will include media for younger children. This is in moving image texts, to understand more specific focus on speaking and contrast with the Scottish curricular narrative conventions and to predict listening and on drama. They will be guidelines, and ignores the range of possible developments in a story. This looking for ways to use information narratives young children have already is an enormous help to them when and communication technologies (ICT) encountered. Some of these will be they first start to read printed texts. and all types of moving image text to simple re-tellings of everyday events, They have some understanding of develop pupils’ literacy. In the longer some may come from books, but many what to expect, how suspense can be term, we hope that a wider definition more will have reached them through created and conflicts resolved. of “literacy” will be generally the television screen. Moreover, the excitement and interest acknowledged and that the ability to they associate with narrative is likely to choose from and use a range of 2.16 make them want to read on and then communicative modes will be valued Many of the narratives children are now lead them to more complex texts, in and fostered in schools. deeply engaged with are designed by both print and moving image. But the industries outside the realm of education. Literacy Strategy’s Framework for Some of the most pervasive and Teaching does not encourage teachers PROPOSAL 14 powerfully global narratives are created to take advantage of this knowledge The National Literacy Strategy by the toy and media industries and are and understanding and many teachers should advise teachers to delivered through television, computer believe that moving image texts have acknowledge children’s film and programs, films and comics. Many no place in the Literacy Hour. television experience, develop children are sophisticated consumers their understanding of it through of such narratives before they reach 2.18 classroom talk, and link it to school age. By interacting with stories We think that it would not place an text-level work. (Implementation: DfEE) within the realm of popular culture, additional burden on teachers if they children begin to tread a pathway which were encouraged to acknowledge may lead them into the kind of literacy children’s knowledge of moving practice schools are interested in images in classroom talk about texts, fostering – as outlined through the characters and genres. In fact we National Literacy Strategy in England. believe most teachers would welcome

DISCOVERING TEXTS

“Those with Special Educational characters’ in films; they understand Needs are able to voice opinions heroes and heroines, main characters, about the film. There is no big issue plots with a beginning and a middle about recording the work on paper; and an end, what the angle of shots they see that films are stories – they conveys, the structure of a dialogue.” have a beginning on paper and PRIMARY SCHOOL TEACHER, develop through into ‘real live PEMBROKESHIRE making movies matter · learning

Film in Other Subjects also afford opportunities to The curricular area of Preparation 6 understand a country’s cultural for Adult Life, which is to be 2.19 history and social attitudes. integrated into the new National The FEWG argues that, just as the use The growing insistence upon visual Curriculum for England and Wales, of books in any subject presupposes a literacy in Art and Design is will cover areas such as basic print literacy, the use of film in interpreted by many schools as an Citizenship, Moral and Spiritual other subject areas should be able to opportunity for pupils to undertake Education, and Personal, Social presume a basic skill in the critical cel, three-dimensional and and Health Education. This is analysis of the moving image. This is computer-based animation, to make clearly an area in which the use of why we have paid particular attention their own video and multimedia film is likely to be popular, as a way to the place of moving image education products, and to analyse film- of triggering discussion of issues in mother-tongue curricula, since that is makers’ use of light and shadow, and considering how individuals and where children’s basic communicative texture, angle and sequence, both groups are represented in moving and critical skills should be in mainstream product and in image media. For example, training established. But we do also strongly artists’ film and video. in citizenship must be based on the endorse the proper use of film in a Media Studies is offered by many ability to understand, criticise and range of other subjects. For example: schools as an option at GCSE evaluate what is read or viewed in and was taken by over 23,000 any form. The skill of distinguishing Primary-school children learn candidates in 1998. Pupils study a fact from opinion, prejudice from about some of the basic principles variety of aspects of film, including reality – or, quite simply, good from of moving images in Science: the study of specific films as texts; bad – is one which children start to persistence of vision, light, processes of production, distribution learn from their earliest school years magnification and sound. and exhibition; genre; practical or even before that. It is part of their Information and Communications approaches to film-making, from progress in literacy. What they read, Technology increasingly involves storyboarding to video filming and but also, more immediately, what accessing and manipulating editing. However, teachers who do they see on television or in the moving images. not have specific training in film cinema helps shape their sense of The history of the late 19th and study and production, or who do moral values and of community. If 20th centuries must include the not have access to video that experience is to be coherent, it consideration of moving images as production technology, tend to is essential that they are presented historical evidence and ensure that restrict their study to print texts with a range of moving image texts children learn how to evaluate which may be more familiar and in the classroom and have the documentary film and understand easier to resource. opportunity to discuss them. They the techniques of its construction. Special Needs teachers need need to develop the language with They should also develop their ability support in identifying appropriate which to talk about and evaluate to analyse the representational moving image technologies and moving image texts. This will techniques of historical pedagogies which can help support the progress from early reconstructions of any period in students with special needs gain stages of awareness of the society both documentary and fiction film. access to the curriculum. Moving in which they live to a more complex Modern Foreign-Language image education could similarly understanding of the network of curricula already acknowledge that support and enhance the English conflicts, duties and responsibilities the culture of target languages as an Additional Language which that society involves. cannot be understood without curriculum, enabling access to the learning about their moving image traditional literacy curriculum for media. Films are not just a way of students of language backgrounds listening to spoken language: they other than English.

Science Fiction Workshop making movies matter · learning

2.20 37 MAKING IT WORK The value of film within a wide range of subjects should therefore be The BFI’s 1996 research study, But in the light of the wide curricular recognised not only in curricular A Review of Good Practice in Media relevance of film, it is reasonable to requirements and guidelines produced Education, found that media teaching suppose that schools are most likely by the curriculum and assessment was most successful in schools to realise its potential where it is part bodies throughout the UK, but also in where it was part of the school’s of a coherent approach to planning the same range of subject syllabuses overall strategic planning. This was across the school and where subject post-14. most likely to happen where heads, or departmental policies are linked governors and parents valued media with whole-school priorities. The work for its role in promoting positive Welsh survey (Media Education in PROPOSAL 15 attitudes to learning or for promoting Wales, 1997) found that in both Curricula in History, Modern Foreign children’s technical or creative skills primary and secondary schools, Languages and other relevant (Learmonth and Sayer, BFI 1996, media work was likely to be more subjects at all levels, and specialist p. 42). Obviously such value is in turn successful when it was acknowledged post-14 syllabuses in these dependent upon the skills and by senior management, was part of a subjects, should take account of the priorities of the teachers and whole school plan, drew upon local ways in which moving image media departments involved, and this study resources and was taught by teachers can support and enhance learning. (Implementation: QCA, SQA, explicitly focused on schools where with specific media training. SCCC, CCEA, ACCAC and the good practice was likely to be found. Awarding Bodies) making movies matter · learning

FILM EDUCATION POST-16 at this level each year. The most film and the moving image generally is 8 popular option in England and Wales – likely to be reflected in increased take 2.21 also taken up quite widely in Northern up of one-year media or film courses, In this report we are assuming a Ireland – is A Level Media Studies, such as Advanced Subsidiary (AS) and general entitlement to film education. which requires the study of at least GNVQ Single Awards, by a wider range We therefore argue for an entitlement two media. Film is the most popular of students. For these reasons we hope on behalf of students in further and medium chosen by both teachers and that the QCA recognises the distinct higher education to opportunities for students. Moving image study and nature of Film Studies and ensures its specialised courses of film study. production are also popular on the continued presence at A Level. These courses currently operate General National Vocational largely in the post-16 sectors: in Qualification (GNVQ) Advanced in PROPOSAL 16 further and higher education (including Media: Communication and Production continuing education), and in school and A Level Communication Studies. Media Studies syllabuses should sixth forms. The range of courses Higher Still Media Studies is due to always include moving image which feature an element of moving start in Scotland in 1999. It is study and Film Studies should continue to be recognised as a image study in these sectors is regrettable that there is no Film Study distinct subject in its own right. enormously diverse. There are what syllabus at GCSE in England and Wales, (Implementation: QCA, SCCC, CCEA, are often unhelpfully designated and in Northern Ireland no Media or ACCAC and the Awarding Bodies) “academic” or “theoretical” courses Film Studies at GCSE or A Level. which focus purely on film study; communication, media and cultural studies courses which feature moving The Distinctiveness of Film Studies “Vocational” Courses image elements; and courses with a strong production focus. 2.23 2.24 Given that there is such diversity of In further education the term options to study the moving image in “vocational” – as used, for example, in Media and Communication Studies the post-16 sector, we do, however, the GNVQ – often simply designates a argue for the maintained presence of different model of learning: one in 2.22 dedicated Film Studies courses in this which “learning through doing” is the In the further education sector in sector. Film Studies is a subject with a motivating factor. The conceptual England, Wales and Northern Ireland, distinct history, objects of study, and underpinning is similar to A Level and the revisions to qualifications at critical method, and it is international students are very likely to go on to A Level within the new National in scope. It has features in common higher education. This is rather Frameworks of Qualifications mean with the study of literature and the different from the use of “vocational” in that syllabuses have yet to be visual arts in its textual focus and other media qualifications such those confirmed beyond 2000. Syllabuses concern with aesthetics, while at the from the City and Guilds or the Edexcel are currently being re-written to meet same time borrowing an attention to Foundation awarding bodies’ Higher the new requirements for examinations context and audience from the social National Certificate and Diploma. These at 18+, and in at least two cases the sciences and history. We note that the provide vocational preparation for entry position of film in these syllabuses is restructuring of Advanced Level into the industry through a mix of being protected or strengthened. qualifications in England and Wales is theory and practical production skills However, we do not yet know how aimed at increasing the possibilities of acquisition. Developments are under many syllabuses will finally be students taking more subjects in their way through the QCA involving Skillset, permitted at this level. There are some first year of post-16 education and Metier and other relevant national 20,000 candidates for film, media and also of mixing awards of A Level and training organisations (NTOs) to advise communication studies qualifications GNVQ. In this context the popularity of on the creation of a vocational making movies matter · learning

qualification framework, which will to provide some clarity to this situation 39 support pre-entry vocational training by extending the development of RVQs CROSSING BOUNDARIES through recognised standards-based to higher education as a way of A group of Birmingham University qualifications. Skillset’s provisional title signposting those courses, or course staff interested in setting up a for these is Related Vocational elements, that are relevant to the postgraduate film studies course Qualifications (RVQs). Even so, their industry for employment purposes, and were all situated in different role in film, video and broadcast media is preparing to pilot these with 20 departments under different school will be “pre-vocational” in relation to higher education institutions. However, structures, and argued that the work-based vocational training the central purpose of most degrees interdisciplinary work is integral to which leads to National Vocational that involve moving image study is to film studies. There is now a Qualifications (NVQs) and Scottish extend and consolidate students’ growing commitment on the part of Vocational Qualifications (SVQs). knowledge and understanding of these heads of departments and schools media and to develop their critical to support the new course, which 2.25 skills. It is entirely proper that higher will draw on research and teaching Public debate about the value of film education should pay attention to experience in the departments of and media courses in higher education significant cultural forms and enable Cultural Studies, English and has been even more fraught students to engage with them through American Studies. Its aim is to and equally confused about both critical and practical activity. This connect the historical production of “vocationalism”. A relatively small is “vocational” in the sense of forming cinema with the study of film as number of higher education institutions a basis for professional life (see also text, along with an analysis of make an explicit commitment to below in “Towards a Model of Learning issues of audience and prepare students for direct entry to Progression”, Appendix Two). consumption. Students will learn the media industries, usually at how film links theory and practice, postgraduate rather than and assess the notion of film as a undergraduate level. The far larger Film Study in Other Subjects social process circulating between numbers that offer media, film, production, text and consumption. communications and other degrees and 2.27 The course moves beyond the degree components relating to moving Many modern language courses in both purely academic to place film image media aim to provide students further and higher education include studies in the broader context of with a range of experiences and the study of film and television as the public sphere. knowledge that will benefit a number of aspects of national cultures. History career and further study pathways. courses often look at moving image texts as forms of historical evidence 2.26 and as instrumental in the perception Many students on these courses may of history, and some English courses harbour personal ambitions to work in feature film study. The increasing the film or television industries, but are modularisation of higher education usually realistic about their chances of courses offers the advantage of widening doing so, at least in the short term. access to film study by drawing in The fact that a higher education students majoring in other subjects, course may include practical but it can also mean that coherence production experience does not mean and progression are weakened. The that it is provided as professional development of “foundation” modules training, even though students may in film study is one way to counter this use it in their attempts to gain access difficulty; enhancing inter-faculty and to the industry later on. Skillset wishes inter-school links is another. making movies matter · learning

2.28 in these areas, without confident and 2.30 0 The model of learning progression well-informed teachers and lecturers Little is known about the kinds of provided in Appendix Two outlines a this is unlikely to happen. teaching and learning strategies that series of core concepts and skills which are possible, or effective, for film we believe should inform the design of 2.29 education in post-16 settings. In the any course which features an element A point raised at both Invitation further education (FE) sector, the of film study. It is essentially a model Seminars addressing these sectors English lead body for researching which outlines the stages of learning at was that there is inadequate provision, the Further Education any age. As such it should bring some information currently available on the Development Agency, has coherent underpinning to the wide range of courses which feature film disseminated a series of “frameworks range of higher education (HE) courses study. Several agencies keep for good practice” in a range of which feature film study, and aid course information on the range of provision subjects and would be well-placed to designers who wish to start film study in these sectors, including the funding research and disseminate good courses in new departments or subject bodies and quality assurance agencies practice in moving image education. In areas or who want to adapt their in each home nation. Professional the FEWG’s consultation seminar with courses to take account, for example, of associations such as the Standing representatives from the higher different ranges of prior learning in their Conference on Communication, education sector, the view emerged student intake. Evidence from our Cultural and Media Studies (SCCCMS) that the sector would benefit from Invitation Seminars suggested that this have undertaken research into student more open and objective debate about would be welcome. It was recognised, numbers, as has Skillset. There is still the content, pedagogies and outcomes for example, that where film appears in a need for a more comprehensive of moving image education at modern language study at A Level and audit of provision – for example undergraduate level, led by the BFI university, the focus is on film’s resources, staffing, student numbers, and/or by the new body to be formed representation of national identity and locations, course designation – which from the amalgamation of SCCCMS culture, and as providing exposure to would provide the basis for a more and the Association for Communication, spoken language. While we could press transparent picture of opportunities for Cultural and Media Studies (AMCCS). for more concentration on film-as-film film and moving image study at post-16. 2.31 One issue of concern raised often in seminars and in the FEWG itself was the public profile of film and media education. Although SCCCMS has done sterling work in correcting some of the more serious misunderstandings in media coverage of the subject, FEWG discussions floated the possibility of a “super subject association” which would speak on behalf of moving image education at every level and across a wide spectrum of actual subjects.

Playing to Pictures rehearsal at Peckham Park School making movies matter · learning

Learning Progression Post-16 FILM STUDY IN LIFELONG 41 LEARNING MAKING LINKS 2.32 “In cities with a good history of Progression between the further and 2.34 media education, an active higher education sectors is a serious This sector spans a variety of levels independent cinema and higher and neglected issue. Currently there are from introductory “film appreciation” education institutions which offer a myriad pathways between school sixth courses to undergraduate level range of Cultural and Media forms and further education colleges, modules offered by the extra-mural Studies courses, the provision is and higher education institutions. With departments of universities. Pathways almost certainly measurably better the growth of Media Studies and Film for progression are becoming developed than, for example, in Studies at A Level, increasing numbers increasingly clearly defined for adults rural areas with little or no access of students are entering moving image returning to formal education through to anything other than mainstream or media-related degree courses with part-time evening and weekend film. Here, a key element is an some element of prior learning in the classes. In several UK cities, learners area. One institution represented at could move from informal, non- active teacher or community group a consultation seminar suggested accredited courses offered by a leader with a keen interest in film that as many as one third of their regional film theatre, to enrolment on education. Thus I would argue that undergraduates in Media had an A Level an accredited basic film course, for provision could be improved with in either Film or Media Studies. At example with the Open College an increase in outreach work. There present it is rare for an HE institution Network, held at a local community or is also often a gulf between schools formally to take account of this prior further education college. This in turn and colleges and HE institutions in learning. The majority of students on the could lead to an evening class A Level terms of what is being taught. course have, after all, had little or no in Film Studies or Media Studies at a There are few opportunities to formal education in media or the moving sixth form college or an Access to ensure teachers share in the image. Two factors will impact on this: Higher Education course at a further research at HE level into media and firstly, the numbers of students with an education college with progression to a media education. In addition, there A Level or level 3 vocational background part-time degree. Universities may are still unrealised opportunities to in Media Studies or moving image study offer courses providing ten or twenty link the media industry with media have been steadily increasing in the last credits towards a degree and in some education, for example through five years; secondly, HEIs now have to cities – such as Cambridge, for business and education account for the value they add to their example – these can be taught as partnerships.” students’ experience by providing evening classes or short summer RFT EDUCATION OFFICER clearer definitions of “graduateness”. courses at a cinema venue.

2.33 The experience of higher education departments beyond undergraduate level is similar: entrants on to MA level courses in media or moving image have the same variety of cognate backgrounds at undergraduate level. Some departments are able to take account of this in their course design by, for example, offering fast-track options to Playing to Pictures performance get students up to speed. This practice is at the National Film Theatre, not, we understand, widespread. March 1999 making movies matter · learning

2.35 courses be accredited (for funding 2 Lifelong learning is thus enabled MAKING A DIFFERENCE reasons) can actually be a barrier to through collaboration between different widening participation. Informal learning A 26-year-old first-year BA Film providers within a geographical involves people of all ages pursuing Studies student at Middlesex location. In building a “learning their interest in film by accessing University left school ten years network”, the University for Industry materials and experiences within and ago and worked for a number of should offer people increasing ease of across a diverse range of contexts at years as a bricklayer. Periods of access to information on film and varying levels. The common factor here unemployment and a general sense media courses, as well as forcing is the desire to increase knowledge, of having under-achieved at school greater coherence in the planning of appreciation and enjoyment of film. finally led him to enquire about provision. Collaboration and coherence adult learning opportunities at his within adult education provision local further education college in TOO MUCH TO HOPE FOR? generally, including participation by Orpington. “It was only two years industry and commerce, open up new ago that I realised the potential I “I am a pensioner who lived in incentives for partnerships in moving have and decided to prove to Manchester for many years and sometimes went to afternoon image education. At the moment, myself and to others that I could performances of ‘foreign’ films at the provision across the country is very turn my life around.” In 1997 he Cornerhouse ... When I returned to uneven. It is difficult for an adult took a one-year Access course live in Leeds I found that none of the learner to map out their own taking media and film, along with ‘multiplex’ central city cinemas progression, and the level at which philosophy. He passed the course showed Continental films on a “introductory” courses are offered with flying colours and realised that regular basis ... If cash is limited and varies enormously. The further a degree course was not an you do not have a car, then there is education and higher education credit unattainable dream. In September not much chance of seeing frameworks now in place do offer the 1998 he took up a place at interesting world cinema. And learner some sense of how a Middlesex University and, after just television or video is not the same as progression pathway might be tracked a few months, is now running a seeing films with a real audience. In (eg from FE level 1 which is pre-GCSE, busy student film-making society the 1940s and 1950s I can to Higher Education level 4 which is which he set up. The society looks remember a small cinema opposite Master’s level). But of course such at ways of accessing funds for short the City railway station in Leeds, progression may not be available in films and notifies students of which had afternoon and evening any one given locality. Local networks competitions and festivals. showings of ‘foreign’ films which of schools, colleges, libraries, cinemas, have since become classics: Rome, community centres, arts centres and Open City, Bicycle Thieves, the other agencies would enable learning Cocteau films, and so on. I suppose pathways to become clearer and more INFORMAL LEARNING it is all a matter of finance, but I accessible. There are roles here for OPPORTUNITIES really think that smaller provincial local, regional and national agencies to towns and cities should have small “broker” such networks and this 2.36 central city cinemas which have process should help to identify gaps The distinction between informal and afternoon and evening performances and inconsistencies in provision. formal learning by adults can be of the latest in world cinema, or at unclear. Many of those who participate least the ‘super’ cinemas should in lifelong learning take accredited devote one week in six to Continental courses, but do so for “leisure” reasons and Eastern films. But I suppose that and have no particular ambition to gain is too much to hope for.” additional qualifications. Indeed, at all PENSIONER, LEEDS levels the growing requirement that making movies matter · learning

This eclectic range of self-motivated 2.39 43 and often self-directed learning ON A SHOESTRING However, the evidence base on experiences may include listening to informal education is weak, relying as “Outside London, the problem is a film-maker discuss his/her work, it does mainly on anecdote and the financial. In a world in which there is attending a lecture, study day, evaluation of one-off events. The most no shortage of opportunity for young exhibition, evening class or course, important evidence about the success people to consume films, and no being a member of a film appreciation of informal learning – what people are shortage of enthusiasm on the part group or club, participating in a actually learning and the extent to of art house education officers to practical workshop, or accessing print which they do “come back for more” – reach out to schools and colleges, media, broadcasting and the internet. is obviously the most difficult kind of there is a shortage of the budgets Informal learning is often idiosyncratic, data to collect. But we do believe that and resources required. Try running since it is premised upon personal the systematic improvement of a film course for 20 in a tiny, choice and is pursued predominantly informal education is highly desirable unheated room in an East Anglian for pleasure. and that it is possible to design November! If I take my course to research methodologies that would Norfolk, it must be run from Norwich provide at least indicative data going JUST ENJOYING IT because the chances of finding a beyond simply mapping what different venue in a Broads village with a TV Recent research by the National agencies do. There is a rich field of and a video are near to none.” Institute of Adult and Continuing potential research topics here which FREELANCE FILM TUTOR, CAMBRIDGE Education (NIACE) shows that should be more thoroughly explored, “film and video” is the favoured and we would want to encourage leisure pastime for the largest Informal learning need not necessarily new initiatives such as the Open group of their respondents (26%), be pursued alone or in formally defined University’s National Everyday Culture although far fewer (4.4%) took an settings. It can happen in conversations Programme to take them up. As we “active part” in these media and among friends around a video recorder argue later (para 2.54) in relation to fewer still (1.2%) were studying in the sitting room or in a pub after a formal education, it is evidence about for a qualification relating to them trip to the local cinema; it can happen teaching and learning that drives policy (Naomi Sargeant, The Learning when people get together and form fan and funding initiatives, and it should be Divide: A Study of Participation clubs, produce and share fanzines. part of the BFI’s responsibility to in Adult Learning in the UK, ensure that such evidence is produced NIACE, 1997). 2.38 and disseminated. This could be If policy or funding decisions are to be achieved through partnerships with made in respect of informal learning – organisations such as the National because it is the most inclusive form Institute of Adult and Continuing of education and is obviously valued as Education (NIACE) and with higher such – then we must find a way of education institutions (HEIs) to devise defining some aspects of informal film research proposals and bid for funding. 2.37 education that can be shown to be Potential providers are inevitably successful. Indeed if we do not, then PROPOSAL 18 diverse, and include cinemas, art the way is open for some venues and centres, film festivals, community providers to argue that everything they In order to ensure better and wider colleges and adult education centres, do is “educational” in a broad sense provision, research is needed into the locations, processes and film societies, film and video and thus the specific educational value outcomes of informal personal workshops, film archives, web sites, of what they are delivering cannot be learning about film. broadcasters, museums and libraries identified. This argument can obscure (Implementation: NIACE, BFI, HEIs) (see Chapter Four). both good and bad practice. making movies matter · learning

Informal Learning at Cinemas 2.42 2.43 4 The importance of this kind of However, RFT educational policies and 2.40 provision should not be practice are very diverse. They are Regional Film Theatres (RFTs) and underestimated. To foster and strongest where the venue has been some of the more culturally minded support informal education is to able to find the funding to employ a independent cinemas and chains provide a vital source of nourishment part- or full-time education officer to provide an essential component of for the moving image culture, which develop their work in both formal and informal education activity centred on is the circulation of ideas and informal education. The BFI encouraged the cinema experience. What they can enthusiasms. Informal education can this development in the late 1980s and offer, in contrast to the completely also function as one form of social 1990s and in some cases co-funded commercial exhibition sector, includes: inclusion and as a way of drawing the posts. In some ways the resultant people back into formal education diversity is a strength in that posts have back-up information, such as who may have dropped out many been created out of particular local leaflets and programme notes; years before. It offers an opportunity circumstances and have been able to generally better-informed staff; for those who cannot, or do not wish develop very specific local links. But presentations before and after to, commit to longer or more the policy has also created screenings, and discussions; expensive courses, to maintain and weaknesses. Most of the posts are continuity, in terms of extend their knowledge of cinema; low-paid and their funding base is programming in strands and these are likely to include teachers in often insecure: therefore continuity of seasons; formal education who cannot get development is difficult to maintain and special events – and in some cases, funding for professional development each new post-holder may have to festivals – on a regular basis. in film teaching from their schools or start all over again in building their colleges. But it is also an important links. The strong link of most of these 2.41 part of the branding and marketing posts to programming and the Many RFTs and chains such as City of venues, in that it is a way of marketing of the venue means that Screen either already have, or are encouraging existing audiences to they are essentially working in trying to build, links with local widen their horizons, and to bring in competition with other local venues and education providers, the local film new audiences. The latter works best the overall educational potential of a industry, production companies and when specific communities with range of local cinemas may not be targeted groups in the community. In defined needs and interests can be maximised. It is therefore crucial that some cases this can include the introduced to cinema through a RFTs are part of the networks we provision of evening courses which, “safe” gateway. described above (para 2.35). though they may be closer to formal education, do not demand prior SHARED CULTURES qualifications or that learners subject themselves to formal assessment. But The Education Officer at Filmhouse in attend the sessions, stimulating lively clearly this range of provision can offer Edinburgh worked with Leith Sikh discussion and cultural interchange. learners progression routes through Community Centre to initiate a series Future plans include making a short from an initial interest in a season, of screenings of Hindi films, followed video about Scottish Sikh women at stimulated through the provision of by informal discussion, for Sikh the end of the millennium, and further notes or speakers, leading to women. This developed into a regular development of the girls’ group (8-14 participation in a themed event, day programme and now includes both years), with whom animation and school or evening classes, and finally mainstream and independent films in other film-related workshops have into formal education. Individuals can English, and some television. Often been organised. dip in and out of this process at will the women’s non-Sikh neighbours and in their own time. making movies matter · learning

PRACTICAL AND CREATIVE 2.45 and cultural value, and are a crucial 45 LEARNING The FEWG was aware that there is a element of any project to broaden the wide range of production opportunities audience for film. All teachers know 2.44 for people of all ages and we wanted that it is practical activities that open As we have stated in the Introduction to be clearer about what was on offer, learners’ eyes to the communicative (p. 6), the FEWG members and a wide and from whom. We therefore and expressive problems film-makers range of those who contributed commissioned research, fairly are trying to solve in their work, and evidence strongly supported the role of arbitrarily limited by the time-scale, to this in turn inevitably widens the range creative work in moving images as a children and youth – ie up to 18 (see of what they are prepared to see. We way of learning to appreciate their panel). The research findings, limited are also aware that the full range of communicative potential. This is though they are, convinced us that the such provision is much wider when completely different from professional diverse range of moving image opportunities in adult education and training although it is, of course, production opportunities aimed at other social projects are taken into impossible to separate out learners’ young people all have important social account. longer-term aspirations. Skills acquired in non-vocational and informal contexts OPPORTUNITIES TO LEARN PRODUCTION may turn out to be useful in gaining access to formal and professional Our researchers attempted to to young people with a commitment training later on. We are, however, not answer the following questions: or intention to repeat them. addressing that argument here. Who is providing non-curricular The research was conducted opportunities for children and through a mailing to over 1,000 young people to engage in organisations using mailing lists moving image production? from various national and regional What are the objectives in bodies; through extended telephone providing moving image production interviews, and through 12 case opportunities to young people? studies. What emerged from How are young people’s interviews is a sense of a large and productions provided with an growing sector of engagement with audience? young people in this cultural activity. “Non-curricular” was defined as The young people are involved activities which do not lead to an through pleasure and leisure Practical film-making course at externally recognised qualification or interests rather than an explicitly the Museum of the Moving Image accreditation, or are not part of a educational agenda. For them, film formal curriculum. “Moving image and television consumption is a production” was defined as an leisure activity and they feel that activity in which a film, video or making film or television animation was a primary objective, programmes is a “trendy” activity. a significant element or key For groups considered marginal or practice. “Opportunities” were more socially excluded, this can have problematic to define as this sector potentially important implications. includes many examples of “one More detail on the different types of off” projects. The researchers provision that exist to meet these therefore focused on those diverse needs is in Chapter Three Animation workshop at providing moving image experiences (para 3.23). St. Anne’s School, Lewes making movies matter · learning

2.46 2.48 young people’s productions is often 6 We are concerned about the difficulties Practitioners need networks to impossible, although this is an essential these projects face. Provision is not exchange information, resources and part of the learning experience that consistent, either in availability or opportunities, facilitate ‘models’ for all these projects provide. With the quality, and inconsistent funding for all good practice, and develop diminution of funding for the models of activity inhibit longer-term frameworks for exhibition. This could Co-operative Society’s Young Film- strategic development. Core funding be initiated at a conference, and could Makers’ Festival, the UK’s major and salaries are much harder to raise lead to the establishment of a showcase for this work is at risk. than capital funds, which tends to limit centrally-organised working group and Many practitioners feel that their work the possibilities of developing longer- establish better opportunities for is isolated, marginalised, undervalued term projects. Funders may also exhibition, such as the support of and unrecognised. operate under restricted categories: for festivals, touring packages, a central example they may be specifically repository for viewable material, 2.50 funded (by the Lottery) to produce connections with broadcasters and Under “Needs and Priorities” in its draft animation even though some projects guidelines on sales and rights; support strategic plan, the New Opportunities see their service more broadly as for international exchange links and Fund cites “individual schools, groups “moving image” and would like to exhibition and, where appropriate, to of schools and other statutory or non- incorporate music videos and CD-ROM form links with formal education. statutory bodies, working with a technologies into their productions. named school or schools” as eligible to 2.49 apply for a grant to develop Out of 2.47 Most people agreed that the experience School Hours activities. This clearly There is a clear need for a fully- of having a “real” audience for their offers a way to develop pilot initiatives comprehensive quantitative and productions helps young people to through partnerships between local qualitative research exercise nationally reflect on the gap that can exist and national bodies, leading to national to understand how provision varies between intention and meaning programmes of moving image around the UK, taking into account a conveyed, and the filmic devices for production opportunities in after-school range of factors including regional conveying the intended meaning to an clubs and community projects. The socio-economic differences and audience. It is vital for young people in publicly funded film bodies in each of urban/rural divisions. This research these projects to experience audience the nations of the UK would be best could result in an on-line directory for reactions and affirmation of their work. placed to develop this initiative. use by practitioners and learners. Possibilities for expanding these opportunities are growing. Local cable PROPOSAL 11 television provides a valuable outlet for some products; the growth in multi- Practical production opportunities channel provision and the need for in non-vocational contexts should larger quantities of cheap programming be made more widely and consistently available through: suggests that this will offer more research into existing provision; outlets in the future. Content-based a UK-wide conference for moving image projects (campaigning providers; videos for example) tend to be devised co-ordinated bids to the New with a specific audience in mind, and Opportunities Fund for a UK-wide will be distributed or toured locally in a programme of such provision in after-school clubs. wide variety of contexts including (Implementation: BFI, Scottish schools, youth clubs, arts centres and Screen, Sgrîn and the Northern Animation workshop at local government committees. Access Ireland Film Commission) St. Anne’s School, Lewes to exhibition for the children’s and making movies matter · learning

ROUTES TO CINELITERACY 2.52 The model itself is provided as 47 Learning – particularly lifelong learning Appendix Two. We recognise that it 2.51 experienced by individuals – is a needs further development in Lack of clarity about what film continuous and reflective process in consultation with practising teachers education is and what it actually which learners increase their ability to and will need to be evaluated through involves arises from the limited or non- anticipate and adapt. It became research. But there must be an explicit existent initial training and further obvious to us that a clear and starting-point for more rigorous professional development that teachers accessible model of learning discussion of what moving image get in this area. We return to this topic progression is needed, and that we education really should entail and this in the next chapter. In addition, there should include a version of such a model can contribute to that. are no nationally agreed standards model in this report. In this we were against which to measure attainment encouraged by discussions with senior in film education, even in the formal staff at the Office for Standards in PROPOSAL 12 sector, other than within post-14 Education (OFSTED) who pointed out The model of moving image examined courses. In mandatory that inspectors cannot evaluate learning progression provided in schooling, the pressure of key stage teaching and learning without such a this report (Appendix Two) should tests and league tables has caused model, and by a number of teachers at be developed in consultation with teachers to prioritise measurable skills all levels of education who commented teachers and published as guidance and knowledge. If key components of on versions of the model as it to teachers, inspectors and trainers. cineliteracy are “greater awareness” developed. The example of the current (Implementation: QCA, SCCC, CCEA, ACCAC) and “deeper appreciation” of moving state of film education in France, as image texts, then attainment is best seen through the eyes of their evaluated through teacher inspectorate, also spurred us on assessment. (see panel).

NEW DIRECTIONS NEEDED

The national inspector newly most teachers have not been trained responsible for this area in France to teach it, few do. The report is has written a report (unpublished, but particularly critical of the lower obtained by our researcher). The secondary situation (ironically, where report found that, while lip-service is there is the largest Enfants de paid to the importance of film and Cinéma input), and calls for a audio-visual education in the official re-evaluation of the subject at primary texts, and generous support is and lower secondary levels, the provided by the Ministry of Culture, development of well-defined content, the reality is that little attention is paid teaching time, and a new pedagogy. to it by specialists of the disciplines Other international contacts indicate that are supposed to incorporate it in that this kind of situation is the schools. Its cross-curricular status commonplace in most “developed” means that it is very dependent on countries: most media education the initiative of individual teachers, provision – moving image or not – is who lack suitable teaching materials. patchy and variable, with the best There is no obligation on schools or work being enthusiast-driven. First steps in moving image teachers to offer the subject, and as learning, St. Anne’s School, Lewes making movies matter · learning

LOOKING AHEAD This last condition is vital. Arguments 8 for the value of moving image 2.53 education have relied for too long upon In this chapter we have explored the evangelistic assertion; what is needed different kinds of learning that moving is evidence about teaching and image education can entail. How learning, particularly in longer-term realistic is it to demand that studies rather than accounts of one-off cineliteracy be regarded as a basic projects whose novelty value may entitlement, analogous to the print distort results. In particular, we would literacy and numeracy which currently like to encourage the Communication play a key role in Government Panel of the Arts and Humanities education policies? The accounts in Research Board (AHRB), and the the previous sections show that it is forthcoming Teaching and Learning not realistic to expect radical change in Initiative from the Economic and Social the immediate future. There are too Research Council (ESRC), to reﬂect this many other pressures in the system priority in their allocations. and too many other changes already under way. Even so, we are conﬁdent that the modest proposals we have PROPOSAL 19 made in this chapter so far will, in Planning should begin now for a tandem, have a small but salient more substantial incorporation of effect on the current policy climate moving image education in future and will provide a good basis for the revisions of school curricula. further development that is clearly (Implementation: QCA, SCCC, CCEA, necessary. ACCAC)

2.54 The longer-term view will, we think, be different. In the first place, we hope PROPOSAL 20 to see a far more substantial Higher priority should be given to acknowledgment of the moving image moving image media research, and in future curricular reforms at the level to research into teaching and of mandatory schooling. The following learning about the moving image three conditions would make this more at all levels of informal and formal likely: education, and findings should be appropriately and widely disseminated. if the curriculum were designed in (Implementation: ESRC, AHRB) terms of broad areas rather than individual subjects; if work started now to try and identify the real needs of learners in the first half of the 21st century; if high-quality research were undertaken into the processes of teaching and learning about and with moving images.

Opposite: Animation workshop, St. Anne’s School, Lewes CHAPTER 3

teaching making movies matter · teaching

WHO TEACHES? nothing without teachers who are 0 competent to use them. In any case, the IN AT THE DEEP END 3.1 best teachers will always go beyond Of the 718 English teachers Teaching about the moving image covers the ready-made resource, tailoring the surveyed by the BFI in 1998, all of many different kinds of directed learning learning experience to the learner. To whom carry out a statutory activities, undertaken by an equally wide invest in learning one must invest first requirement to pay some sort of range of individuals at various levels of of all in teachers, and the development attention to “media” in their professional involvement. It can range of film education will be no exception. teaching, only 7% had a media- from formal examined classes on Film All the bodies involved in this enterprise related qualification in their first Studies, through community and youth should identify as their first priority the degree and only 10% had had groups producing film and video, to support, training, and development of media-related elements in their cinemas supporting their screening the individuals who can enable learning initial teacher training (A.J.B. programmes with talks, masterclasses, to happen. Barratt, Audit of Media in English, and programme notes. The individuals BFI 1998, p. 36). who design, enable and lead such 3.2 activities are the most valuable resource Few of the people who teach about available to moving image education. the moving image in any context have The fact that nothing can replace a had much training in how to do it. LACK OF A FRAMEWORK good teacher is too often forgotten or Seventeen of those submitting evidence “Not enough teachers have studied ignored. “Educational” initiatives in this to the FEWG drew attention to this fact. film themselves. Many English sector have too often focused on the Even in specialist post-14 courses in teachers are sympathetic to the production of “a teaching pack” or formal education, it is a common idea that film is as valuable as “classroom resources” without experience for teachers of English or literature and that pupils should be considering that resources are worth Drama to be asked to teach Media able to respond critically and Studies or Film Studies to examination intelligently to both. But few of level without any prior training. The those teachers have been on a expansion of film study in Modern course which would give them Language courses in higher education some of that framework of means that increasing numbers of concepts which is found in The teachers are using films in their Cinema Book by Pam Cook (BFI teaching without ever having advice or 1985), for example. Furthermore, training in how best to do this. Given English teachers tend to use film the range of subject areas in which versions of novels, often studying film is now used in formal education, the differences between film and there is likely to be considerable source, rather than critically inconsistency between the approaches appraising a film on its own merits.” used by teachers from different academic disciplines. SECONDARY SCHOOL TEACHER, COUNTY ANTRIM

Playing to Pictures, National Film Theatre, March 1999 making movies matter · teaching

TEACHING THE MOVING IMAGE in teacher education to classroom- lack the confidence, the disciplinary 51 IN SCHOOLS based training has reduced the ability background, and the language that of higher-education institutions (HEIs) would enable them to engage with film 3.3 to support teaching. In England, the as film. If the learning entitlement The Department for Education and change in emphasis of the Office for model outlined in the previous chapter Employment (DfEE) is committed to Standards in Education (OFSTED) from is to be adopted, or to have any raising the status of the teaching the traditions of Her Majesty’s persuasive force, it will have to be profession through new pay and career Inspectorate (HMI) has reduced the backed up by professional development. structures, initiatives such as the opportunities that inspection can raise Advanced Skills Teacher qualification, for constructive feedback and IF ONLY ... emphases on raising standards of dissemination of good practice. The pupil achievement, and skilling problems impact even more heavily on “What prevents me from teachers in their use of information marginal areas of the curriculum such developing education about film is and communications technologies as moving image education, because my own expertise, background (ICT). Mandatory curricula have been of their low priority. Thus the FEWG knowledge and confidence in introduced for Initial Teacher Training in remit’s focus on schools provides us teaching the subject. I would like Maths, English, and ICT. Funds have with a particular challenge in identifying more resources so that we could been earmarked for training teachers the strategic possibilities for enhancing build up a suitable library of in ICT through the New Opportunities teachers’ skills and confidence, and relevant film texts, time to develop Fund, and for addressing school establishing a base from which the appropriate schemes of work and achievement via the Standards Fund; necessary pedagogic and curricular the equipment to allow our in Scotland via the Excellence Fund; innovations can be developed. students to become more involved and in Northern Ireland via the School in realistic practical production Improvement Programme. Research exercises. Experimenting with programmes have been announced Curricular Locations teaching moving image texts to our through the new Teaching and students in years 9, 10 and 12 Learning fund of the Economic and 3.5 (ages 13-17), I have found that Social Research Council (ESRC); the If, as seems likely, explicit reference they can be drawn into some Teacher Training Agency and the will now be made to the moving image difficult conceptual understanding Scottish Office Education and Industry in the English and Welsh National in such areas as ideology, Department (SOEID) offer small Curriculum, at least at secondary level, construction, representation and research grants to teachers to explore there are immediate implications for stereotyping through the study of aspects of classroom practice. teaching this element. The responsibility familiar mainstream texts such as for teaching the moving image in the One Foot in the Grave, Batman 3.4 secondary school curriculum has and Robin and GoldenEye.” However, all the above exist in a traditionally fallen on the shoulders of HEAD OF ENGLISH, COMPREHENSIVE climate where learning outcomes are English teachers. The BFI Audit of SCHOOL IN BIRMINGHAM being ever more tightly defined, Media in English (BFI 1998), however, especially within high priority areas such revealed that media work is dominated as numeracy and literacy. At the same by advertising and newspapers under time, infrastructural support for teaching the catch-all banner of “persuasive and learning has been under threat. language”. The role of moving image The establishment of new unitary material has been subordinated to that authorities has made LEA support for of illustrating literary texts, and is teachers and departments harder to rarely studied as film. Teachers are co-ordinate in some areas. The move open about the reasons for this: they making movies matter · teaching

3.6 corpus of moving image teaching skills 3.8 2 The curricular provision for moving and concepts which should be available The model provided in Appendix Three image and media education in to any teacher. A generation of is based upon the new teacher-training Scotland and Northern Ireland differs increasingly cineliterate graduates is curriculum in English for England and from that in England and Wales. now moving into teaching. What they Wales, but it is flexible enough to be Though the curriculum in Scotland is typically find when they want to develop adapted to other training curricula. not mandatory, there has long been a some expertise in teaching about the Ideally this short course should be more informed presence for media moving image during their initial teacher supplemented by independent learning education as a cross-curricular theme, training, in order to capitalise on their activities exploring some of these and in the Language curriculum. Media enthusiasm and knowledge of the field, themes at the student’s own pace. Studies was formally recognised by is that their trainers have insufficient CD-ROM resources providing further SOEID in November 1998 as a time or expertise to support them. opportunities to explore the conceptual teaching qualification (additional to or We know that the amount of time likely and pedagogic underpinning of the in combination with another subject). to be allocated in a one-year post- subject should be developed both for As training courses are approved to graduate certificate of education (PGCE) teacher trainers and for student deliver the qualification, secondary course to any aspect of preparation for teachers’ independent learning. If this teachers in Scotland will have access moving image teaching is unlikely to be model were adopted, in parallel with to in-depth training for media more than five hours. In these less than the model of learning progression education, and the status that formal ideal circumstances, we offer a basic outlined in Appendix Two, minimum recognition brings. In Northern Ireland moving image skills repertoire that progress could more confidently and there is no specific requirement for could be taught to student teachers in consistently be made towards a wider those on teacher training courses to any subject area. range of teachers being able to teach address the moving image, although in about moving image media in a some institutions an individual can opt number of subject areas. TERRITORIALITY to follow a Media Studies unit as part of their modular learning programme. “Another major problem peculiar to The Northern Ireland Film Commission secondary education, and which PROPOSAL 21 has opened discussions with cannot be solved by fiat, is The repertoire of basic film representatives of the Department of territoriality. While some schools did teaching skills provided in this Education to try to make media achieve this in some senses, too report (Appendix Three) should be education training a more formal many more did not and have not developed and disseminated as element in teacher training in all sectors. yet; and this was about getting guidance to all UK providers of intelligent, educated people to initial teacher training. recognise the nature of their (Implementation: TTA, GTC, DENI, TTA Cymru) Initial Training – Basic Needs fundamental teaching tool. Whatever platitudes may be voiced 3.7 in INSETs (in-service teacher Moving image media do not feature training) and whatever the only in the English curriculum, but also camaraderie of the staff-room, the in subjects as various as Art, History, average specialist is not only ICT and Modern Languages. Teachers in fiercely protective of time for their all these subjects therefore need to own subject, s/he seems blinkered learn how to integrate moving image against the positive value of material into the curriculum in ways overlapping subjects and work.” sensitive to the specificity of the moving HEAD OF ENGLISH, SECONDARY SCHOOL image. This means establishing a making movies matter · teaching

CONTINUING PROFESSIONAL Identifying Needs PROPOSAL 17 53 DEVELOPMENT 3.10 Moving image education should be 3.9 The problem, however, is more than designated as a mandatory In-service training in moving image that of funding and priorities. What element of inspections, and training should be provided for teaching is an even more urgent kinds of staff development are most inspectors in how to evaluate priority. School staff development appropriate? This is where systematic moving image education practice. policies tend not to prioritise it. The inspection evidence is most glaringly (Implementation: OFSTED, OHMCI, evidence from, for example, the BFI’s absent. The fact that moving image HMI, DENI) Audit of Media in English shows that if study is not a designated part of they did, many teachers would take it inspection frameworks means that up (BFI 1998, p. 37). The Standards inspection by OFSTED is piecemeal Fund in England and Wales, the and happenstance. In the BFI’s Audit of What Teachers Want Excellence Fund in Scotland and the Media in English, 71% of the sample Northern Ireland School Improvement expressed a desire that their media 3.11 Programme, which disburse money to education practice should be assessed Without informed external evaluation of LEAs and schools to support initiatives (BFI 1998, p. 33). It can be assumed their work, teachers depend upon their for raising achievement or school that this desire arose as much out of own academic formation and their own improvement, could usefully support the need for constructive critique as common sense to arrive at a view of moving image education under these for validation and recognition. We what is appropriate content and rubrics. The Education Departments in proposed in Chapter Two that the pedagogy for moving image education each UK nation would need to identify model of learning progression provided and what skills and knowledge they this as a possibility in their guidance in Appendix Two could be used as a will need to provide it. There are many for funding bids, and a template basis for inspecting teaching and inspired and reﬂective teachers who document that could be incorporated learning about and with moving image manage, with little or no external help, into a school development plan or an media. For this to happen, there would to develop good practice in media Education Development Plan at local need to be a policy commitment to teaching. Many will also invest education authority (LEA) level could such inspection at national levels considerable personal commitment in be a useful prompt as to the kinds of across the UK. seeking out resources, advice and initiative that might be planned. training, often paying for these themselves. But it is entirely unreasonable to imagine that this either could or should be the norm. In recent years UK teachers have had to adjust to an immense amount of innovation and to endure much public viliﬁcation of their professional expertise.

Land and Freedom making movies matter · teaching

3.12 learning progression. It is not 3.14 4 It is likely therefore that most teachers necessary for this to involve very There is a continuing place, therefore, will respond to the idea of moving daunting or extensive information for the kind of half-day or one-day image education as either something input. It should be sufficient to make courses that many providers including completely beyond their capability, or teachers aware that there are Film Education now offer, which give as an extension of what they already underpinning concepts and that teachers accessible ways in to moving do. In the former case, they will not learning does and should progress. It image teaching through simple want professional development is important to establish the principle techniques. But there is also a place for because they do not intend to take it that there is more to be learned here more extended training, some of which on anyway. In the latter, they will define than a few tactics. Teachers’ own should lead to accreditation, to establish their professional development needs professionalism will then enable them the principle that this is a curriculum in terms of acquiring classroom to decide whether they wish to pursue area where teachers’ knowledge and techniques rather than in terms of this; or if they are in a management skills can be valued. A number of conceptual understanding of what they role, to decide how to allocate funding providers such as the English and Media are doing and why they are doing it. for professional development in this Centre, London, Media Education This is entirely to be expected and field and which staff should undertake it. Wales, University of Wales Institute, underpins much apparently successful Cardiff, Southampton University and in-service training provision: successful Trinity and All Saints College, Leeds, CINELITERATE TEACHERS in the sense that teachers enjoy it and have created such courses. feel that they have taken away “If the goal is to have a practical ideas for the classroom. But ‘cineliterate’ audience then one A LOCAL INITIATIVE informal evidence from local authority starting-point is to increase the advisers, from HMI and from the BFI’s ‘cineliteracy’ of teachers. Such a The Head of PGCE (secondary) at research report on good practice, tells cineliteracy might have several Goldsmiths’ College, London, us that in the absence of a statement components: a crucial one would established a local network of of learning progression and of any be some familiarity with the Media Studies teachers and English evidence from schools about the ‘formalist’ analysis of film most teachers interested in media work, outcomes of sustained commitment to commonly associated with the entitled Media Education Research film teaching, the standard of such work of Bordwell and Thomson and Development Group (MERDG). teaching is extremely variable. The in Film Art; another would be the This group meets fairly regularly to characteristic weaknesses are “a lack work of Richard Maltby looking exchange ideas, materials and of awareness in teachers of the at the commercial operation of examples of successful practice, theoretical basis of media education ... Hollywood and the industry and to consider ways of promoting [and] ... teaching that exploited the context within which the majority and improving media education in pleasures and accessibility of much of films have been produced and secondary schools. Six of the group media material without insisting on marketed. A third would be encouraged him to set up (on a high standards of analytical and some knowledge of the critical zero budget) two media-related MA creative work” (Learmonth and Sayer, debates and positions which modules, “Reading the Media” and A Review of Good Practice in Media have influenced the definition of “Media in Education”. Education, BFI 1996, p. 42). ‘film studies’ and concepts such as ‘genre’ or ‘realism’ and also 3.13 the changing attitude to The BFI has initiated a programme of In-service training must provide ‘pleasure’ associated with the teacher training in distance learning teachers with a sense of the concepts cinema.” course modules accredited at Master’s that underpin classroom techniques FREELANCE TEACHER level, which are available across the and how they fit into a model of UK and which allow teachers to take making movies matter · teaching

their credits into other MA programmes. TEACHING IN THE POST-16 possibility of establishing Qualified 55 The BFI is working with Film Education SECTORS Teacher status for teachers of moving to build in one-day in-service provision image studies in further education. These to this programme, enabling teachers 3.15 issues must also be recognised by the to move on from the one-day “taster” Further education (FE) faces specific relevant funding bodies in each of the to more sustained training if they so problems in the development of its staff, UK nations, through their inspectorates. wish. However, the teachers who want and in these sectors there is no A report into Media Studies provision to take such courses will be unable to mandatory requirement for teachers to at FE is to be published in1999 by the do so unless funding is unlocked be qualified, although this is now an Further Education Funding Council through a re-alignment of priorities at aim of the new UK-wide Further (FEFC) in England. It would be helpful if national levels. Education National Training Organisation it made clear recommendations (FENTO), announced in November concerning staff development for 1998. Teachers of film at A Level, for moving image teaching. PROPOSAL 22 example, are often from other subject backgrounds, and succeed as teachers Funding should be identified (eg OVERCOMING DISTRUST through personal commitment to through the Standards Fund, the Excellence Fund and the Northern developing their knowledge and skills “One of the major factors inhibiting Ireland School Improvement base, often unsupported by the film education is a general distrust Programme) to help schools management of their institutions. The about its educational value, often purchase training and advice to growing popularity of Media Studies at perpetuated by myths and distortions improve teachers’ knowledge and A Level makes it attractive for reported in the news media. skill in moving image education. colleges, for whom there are financial (Implementation: DfEE, SOEID, DENI Improved teacher education might and the Welsh Office) benefits in the expansion of student help to dispel this. At present there numbers. Often, however, there is no are a lot of teachers being asked to commensurate investment in the staff tackle these areas, even to A Level who are called upon to teach these standard, with little or even no formal courses, largely because colleges in qualifications. This is a situation the sector are unable to plan in which would not be allowed to occur advance. in Mathematics or Sciences. The general public also need educating 3.16 as to the content and purpose of The funding mechanism of the sector film education: people I talk to are means that sometimes it is not clear often antagonistic until they find out whether courses will run until what is involved and then are really enrolment time, when it is too late for surprised about the skills and staff to undergo any meaningful intellectual rigour involved. Even the professional development. An Art groups I teach who chose to study department would never be established film and see it as an interesting in an FE college on the basis that a and valuable field are often member of staff painted as a hobby surprisingly uninformed and and made regular visits to art galleries, ‘uncineliterate’, and are and yet the equivalent of this scenario consequently very empowered and in film and media studies frequently surprised by what they have learnt.” occurs. It would be helpful if FENTO HEAD OF MEDIA STUDIES, were to consult with industry and SIXTH FORM COLLEGE education providers as to the making movies matter · teaching

3.17 contact has been reduced drastically. been in, say, post-production. Writing 6 Unlike those in the 5-19 sectors, In response, new teaching modes, programme notes for a child audience teaching staff in higher education can often computer-based, have begun to is not the same as writing them for reasonably be expected to have a flourish, euphemistically called adults. It is not necessarily easy for an sound grounding in the subject if they “resource-based learning”, and lecturers industry professional to work out how are members of moving image have had to adapt their teaching best to present an account of their departments. Increasingly, however, practices, often with little formal specialism to a group of teenagers. moving image study is spreading support. Evidence presented to the throughout a diverse range of subjects FEWG suggested that in film teaching, HAVING FUN AT CORNERHOUSE including modern European languages, as in many other areas, there needs to History, and English. In common with be a more open, peer-group based, “VIVID” has been running every moving image study at school level, it is sharing and evaluation of pedagogies Saturday at Manchester Cornerhouse becoming increasingly important to appropriate to the new regime. for the past three years. Although address the knowledge and skills base there is a core group of regular of teachers in these subjects. The attenders, VIVID is not a club and unique characteristics of film as a Informal Education allows for young people aged distinct mode of communication and between 11 and 16 to participate in expression must be seen as central to 3.19 individual sessions. A colourful flyer, film study, and teachers and lecturers in In this sector, teachers and other originally designed in consultation related areas are asking for professional providers may well find themselves with VIVID participants, is produced development in order to support them. working in unfamiliar contexts. Leading every three months and outlines the a discussion amongst a large number cross-artform activities on offer. 3.18 of people in a cinema, or chairing a These include special cinema The rapid expansion of student panel of film-makers, requires a screenings, gallery workshops and numbers over the past decade has different level of presentational and career-based events called “I Want to changed the complexion of teaching in management skills than teaching in a Be ...” when arts professionals offer higher education. Lecture theatres classroom. Making a formal presentation an insight into their work through commonly overspill via video relay; to a large audience gathered to see a “hands-on” activities. seminar groups are often the size of film can be daunting for someone primary school classes and tutorial whose professional experience has Above all, it is not easy for venue managers to find – or even find out how to find – the right person to lead or contribute to an informal education event. It would certainly seem appropriate that the Artform Development NVQ (National Vocational Qualification) at level 3 – which accredits the teaching skills of creative industry professionals – should be adapted to include film education (see Chapter One, para 1.18).

Asking for popcorn in French at Shefﬁeld Showroom’s French Day, March 1998 making movies matter · teaching

TEACHING “PRACTICE” Possibilities for Practical Training although – as we state in Chapter Four 57 (para 4.11) – the key factor in 3.20 3.21 developing this aspect of moving image One acute area of professional Evidence from our seminars for further activity will be the development of development need for teachers in all and higher education teachers suggested appropriate software. The extent to sectors is in practical production. that much more could be done to which schools get broadband There are three related problems. prioritise the training needs of those connections (enabling faster exchange Institutions – particularly schools and teaching “practice” in these sectors. of higher-quality moving image material) small colleges – lack the resources to Production companies in receipt of public will dictate how fast this happens. invest in high specification moving funding could be encouraged to prioritise However, it is worth noting that older image equipment. Teachers lack the training needs of teachers, for moving image technologies such as expertise in managing and using example. But there are other skills gaps video and film are being included under hardware; and even in an under- apart from those in “hands on” the “ICT” heading, as for instance in the resourced area, training in pedagogies production. As in information and Initial Teacher Training Curriculum in associated with production work communication technologies (ICT), film England and Wales. We would hope that receives the lowest priority. These and video technology is bewildering in its this will at least ensure that every new tendencies are compounded by the range and daunting in cost. Teachers and teacher acquires expertise in handling absence of the requirement for managers often lack reliable advice in video recording and basic editing as students to produce moving image choosing technology appropriate to the part of their intial training. material as part of the school needs of their students and their level of curriculum, and of exam boards to study – which may or may not be the stipulate this in the mandatory sector. same as “industry standard”. Too often Teaching Practice in the Informal In addition, the nature and role of the technology is bought with little Sector practical work in film education is likely concrete idea of how it will be used, to change as it becomes less particularly in pedagogic terms. A 3.23 dependent upon expensive analogue common model is for teachers to be The kinds of expertise needed in non- hardware and more dependent upon shown how equipment works, without vocational production teaching are likely computers and dedicated educational this being built into a teaching framework to be diverse, as our commissioned software (see Chapter Four, para or discussion of the aesthetic and research into this sector revealed. 4.11). It would be reasonable to communicative potential of the medium. Because we are committed to the predict that if moving image education A comprehensive range of teaching skills, importance of practical work in – both practical and analytical – strategies and activities needs to be developing an appreciation of the moving becomes as “normalised” within formal established, evaluated and disseminated. image, and because it is unlikely that in curricula as we recommend, then the near future space will be available in creative activity in this context will gain 3.22 the formal curriculum for its proper a very particular characteristic form of As digital technologies increase their development, we were particularly its own, not necessarily any closer to capacity to handle moving images, interested in the kinds of provision for professional production practice than teachers ought to be enabled to gain creative activity that exist in the informal secondary school English is to the practical production skills through ICT sector. Our research (see also Chapter writing of best-sellers. training. With the establishment of the Two, paras 2.45-2.50) was confined to National Grid for Learning, and the under-18s; any future “mapping” of this consequent increasing requirements for field should address all age-groups. Four teachers’ ICT competence, it is logical models of provision were identified by our to incorporate the making of moving researchers: Youth Training, Community image material on a digital platform into Arts, Youth Service/Local Authority, and the ICT teacher training curriculum Individual Enthusiasts (see panel). making movies matter · teaching

8 CREATIVE OPPORTUNITIES

The research commissioned by the grants per project can create pressure for others and a sense of self worth and FEWG into the provision of practical for “outcomes” and reduce opportunities value. Often a high adult:young person production opportunities for children and for young people to have recursive ratio. young people identified four main kinds experiences; European funding creates of provision. These are: an emphasis on “outreach” work to “Individual enthusiasts”: piecemeal involve young people who are excluded work is funded by local authorities and Youth training: organisations specifically from the formal education system. This importance is placed on process as offering training and career development sector typically seeks to combine the much as product; typically unaccredited in film and television skills targeted at values of a professional standard skills and without reference to production unqualified, unemployed and training with the importance placed on models within industry. Often voluntary, disadvantaged young people. They the social value of a collective and individual providers may also be involved provide work experience and close links co-operative activity, eg expedition films, with the other models of provision. High with industry, but these do not lead to local history projects, club recruitment, value is placed on using moving image formal qualifications. They operate from local government lobbying and production for its social skills benefits – permanent locations established to social/environmental campaigning. as a tool for effective group work – and provide on-going “training” opportunities there is likely to be an emphasis on in moving image production, primarily Youth service/local authorities: personal and social development of video/television. Young people attend non-statutory recreation and access for participants. Low levels of equipment will individually, often under a “club young people. Recent decline in youth be used and funding is applied for membership” scheme. Funding for this clubs and services is due to funding cuts project by project. sector favours higher numbers of but many committed individuals continue participants, leaving less room for to provide moving image production A common concern raised by people in “individual voices” and creativity; there opportunities within youth groups. Capital all four models was the lack of longer are however recursive opportunities for expenditure on equipment remains low term incomes, resulting in ”short- developing skills over time. as do opportunities for technical training termism”. The Lottery was reported to of staff. Film production is offered as a have provided a major source of capital Community arts: now re-emergent after means to motivate otherwise disaffected funding, which sparked the growth of the disappearance of 70s models and youth. Loose structures, ethos of “social (equipment-expensive) video editing likely to expand as a result of the priority cohesion”, encourage a range of young resources in the community, but has not placed on access by the DCMS. Groups people, including truants, the been matched by any similar sources of tend to be smaller (less than ten); the unemployed, offenders, to become revenue funding. Within the community “educators”/facilitators more typically engaged in local community and culture, arts sector, A4E (Arts for Everyone) have youthwork backgrounds; funding and provide means of expression, life funding has provided possibilities for a for pre- and post-production and and social skills, communication, number of one-off film production between groups is often problematic; teamwork, commitment, trust, respect groups.

3.24 report (see also Chapter Two, para 2.35, initiatives described here, in such a way It was clear to our researchers, even in Chapter Four, para 4.17, and Proposal as to raise their proﬁle and provide this short study, that people working in 8) for the development of stronger local them with greater stability, without this sector feel isolated and would place and regional networks to link institutions stiﬂing their entrepreneurial, often a high value on opportunities to share such as libraries, cinema venues and individualistic, qualities. Again, a key their own practice and learn about that educational institutions. Brokering such issue here is one of training: in this of others. We argue several times in this networks needs to include the kinds of case, of training the trainers.

Opposite: The Leopard CHAPTER 4

resources making movies matter · resources

4.1 4.3 4.4 0 There is no substitute for a good teacher. Fears during the early years of video But the production of video-based But even good teachers need resources from 1979 onwards that video would resources for learning about film faces a to help them teach, and independent hasten the demise of the ailing cinema central problem: the technical and legal learners need resources that give them audience for new films were unfounded. difficulties of reproducing moving image access to at least some of what a Video found new audiences, and material in forms that can be studied teacher can do: provide information, re-awoke an interest in, and appetite successfully. For most teachers, the task of explain ideas, present arguments. This for, film. Together with the development creating appropriate compilations of chapter discusses the resources that of new cinemas, reaching a level of moving image material for classroom are available for both formal and box-office takings not seen for 30 years, study is a daunting one – and if they can informal learning about the moving the market for renting and buying do so, the result is likely to be a second- image, and makes recommendations pre-recorded film on video blossomed or third-generation recording which has for extending their range and quality. to a current record retail value of £1.4 diminished sound and picture quality, and billion. The VCR allows people to build ugly editing gaps. In any case, the up their own personal libraries of likelihood of being able to find and VIDEO favourite films, to tell each other about assemble all the clips you would need to them and exchange tapes, to create teach, say, a basic aspect of film 4.2 their own compilations of favourite language like continuity editing, presents The basic technology of the scenes, to get together to view tapes impossible demands upon most teachers’ videocassette recorder (VCR) has been and talk about them, to view and time. Teachers already teaching film perhaps the most significant factor in re-view a particular scene in order to desperately need professionally produced the development of systematic film enjoy it again and again to see how a compilations to help them do better what study – in both formal and informal particular effect was achieved, or even they are already doing; but such resources settings – over the last 20 years. simply to exorcise the shock of a would also encourage the far wider range Teachers use both off-air recordings frightening or horrific moment. All of teachers who currently feel daunted and commercial videos with which to these activities are undertaken by a by the whole business of trying to work teach film: we must clarify here that the wide range of people, including the with moving image material in the use of commercial videos for teaching very young. The VCR has become the classroom. The key factors holding back and study purposes is completely indispensable tool of informal learning the development of such resources are legitimate, despite the warnings about about film; the industry’s legitimate not simply copyright, but the reluctance “domestic use only” which such videos anxieties about what the VCR has done of rights-holders to distinguish between carry. However, dependence upon for video piracy should be tempered by legitimate educational use and broadcasters and video labels limits an acknowledgement of what it has commercial exploitation, and to those teachers who want to broaden done to create a lively, critical and acknowledge educational users’ the range of their film courses. knowledgeable audience. “rights to copy”, that is, their copyright.

LIMITED RESOURCES, LIMITED SCOPE

“When working on the syllabus for ... or classical Indian ﬁlms such as 5pm; this certainly does not my forthcoming cinema course, I was Mother India ...There is a lack of encourage me to work very actively very disappointed to realise that no tradition of video collections as part towards turning the course-related distributor in the UK has ever of university libraries, and here the screenings into events with wider released classical Latin American audio-visual department is unwilling participation.” titles such as Hour of the Furnaces to provide any technical support after UNIVERSITY LECTURER making movies matter · resources

COPYRIGHT film and video – may be copied under DIGITAL 61 the Act’s fair dealing provisions. This 4.5 means that it is permissible to copy a 4.8 Copyright balances two societal reasonable proportion of the work for Although film education currently interests: providing incentives to authors “criticism or review”. There are, depends extensively on video for close (usually achieved by establishing therefore, significant entitlements study and analysis, digital technology property rights in their works); and under the 1988 Act to copy moving is beginning to transform the ways in ensuring widespread, inexpensive images. But they cannot always be which learners can access, analyse access to intellectual property. The latter exercised because users do not always and manipulate moving images. is realised in various “rights to copy”. know what the law permits. In addition, However, there is virtually no software However, existing entitlements are they often cannot access an original in specifically designed for moving image under threat. Proposals for a European order to make a copy. education. The real potential of Union Directive on Copyright have computer-based learning in this area emphatically leaned towards 4.7 is also hampered by the predominant strengthening authors’ rights rather Rights-holders are not necessarily in a perception of resources such as CD- than user entitlements. Accordingly, we position to identify and evaluate the kind ROMs as being essentially information propose that HM Government seek to of legitimate educational use which carriers: they are high on content and protect established user entitlements should build the “lively cinema culture” low on interactive functionality. But the and to extend moving image and the “critically engaged audience” advanced thinking on digital resources entitlements so that they are no worse upon which, according to A Bigger for education – from the Ultralab at than those which obtain for print. Picture, the secure future of the industry Anglia Polytechnic University, for depends. The FEWG’s response to this example, or from the Knowledge Media 4.6 has been to draft a protocol (see Institute at the Open University – is The crucial factors preventing publishers Appendix Four) which we would like to precisely the opposite: that digital and broadcasters from producing see agreed between major rights- resources for education should be high adequate moving-image based teaching holders and resource publishers such on functionality and low on content. In resources are the lack of understanding as the BFI and Film Education. At other words, they should be modest of what is actually permitted under the minimum, the signatories to such a resources that enable learners to 1988 Copyright, Designs and Patents protocol would enable the range of interact in complex and interesting Act, and the inferior copyrights that exist resources to begin expanding and ways with the content on the disc, for non-print material. The Act allows provide exemplars of what can be rather than click-and-search copying of broadcast programmes and done, which in turn should encourage encyclopaedias that endlessly show films on television for educational use in others to sign up to the protocol. things but do not necessarily teach defined circumstances. These “rights to anything beyond basic information. copy” are more narrowly defined than those for print, but extend beyond what PROPOSAL 6 4.9 many education administrators, teachers, DVD (Digital Versatile Disc) might The European Copyright Directive students and researchers believe is provide new possibilities for film study. should take full account of the permissible. For example, films or needs of moving image education As well as improved picture quality and broadcasts can be copied “to make a and ensure that the “right to copy” better sound, DVD would enable users film in the course of instruction by a moving image material for to locate individual scenes or sequences person giving or receiving instruction”. educational purposes is no less than with great rapidity. This makes it Teachers or students can record that for print, and that the UK possible for the first time for a teacher Copyright, Designs and Patents Act broadcasts “for educational purposes” so to show a number of scenes from 1988 be amended accordingly. long as they are not sold or hired out (Implementation: HM Government) different parts of a film, or even to third parties. All works – including different films, in quick succession – making movies matter · resources

eliminating the time-wasting and 4.10 4.11 2 uncertain process of fast-forwarding a Ironically, it is the moving image The question that needs to be asked is VHS cassette. It would also be feasible industry that has developed the most whether schools and colleges really to use DVDs in conditions where only exciting and fascinating resource with need professional grade editing specially prepared extract reels are extraordinary potential for teaching and software. If what they need to do is to currently necessary – and by-pass the learning about the moving image: the provide short but salient production copyright problems inherent in producing nonlinear editing workstation. Films experiences to large numbers of such material. Because DVD can carry and television programmes can be learners, more modest software with a number of channels, additional composed on computer-based systems smaller memory capacity should be material can be included, such as sub- that allow drafting and re-drafting, sufficient. The problem at the moment plots, foreign languages, subtitles, immediate high-quality review, and is that nothing quite like this exists: different endings, and other added absolute precision, just as word even the semi-professional systems value features which could help processing packages do for writers. are dauntingly complex, while the improve the public’s and students’ The catch is that these systems edutainment packages sold for knowledge about film. For example, a require enormous reserves of memory children’s use which contain some DVD could include the director’s cut and to handle moving image files, and as a editing and animation functionality are commentary on the same disc as the result all the professional systems are too “babyish” in appearance, and feature. DVD titles could also provide prohibitively expensive for educational creatively limiting. Until software access to the Internet and related sites establishments. Only those further manufacturers see the potential of through exclusive links on the disc, when education colleges and universities moving image packages designed played on a DVD-ROM drive on the PC. committed to high-quality practical specifically for creative and analytic Resource publishers need to explore the training can provide them; in the use in schools, this situation is unlikely educational potential of DVD, and the schools sector, a few technology to change. The BFI-funded “Edit: Play” hardware manufacturers should consider colleges and “media arts colleges”, research project has started to try and the possibility of more formal trials such as Parkside Community College identify the salient features of moving specifically for film education.The video in Cambridge, have acquired semi- image composition that children need market is currently showing considerable professional systems through business to undertake to achieve satisfying enthusiasm for DVD, but the rate and sponsorship. Where this work is going creative work with moving images, scale of development will depend upon on in educational contexts, the which should help to clarify the the way in which educational transformation of moving image potential learning outcomes and in turn institutions take up the technology. learning is phenomenal. justify software development.

PROPOSAL 7

The capabilities of digital technology to support ﬁlm education should be more thoroughly explored through research and software development. (Implementation: BECTA, SCET, DENI)

Backtracks screen shot making movies matter · resources

KNOWING WHAT’S AVAILABLE 4.14 4.15 63 While it is recognised that it is unlikely One key problem at present is the lack 4.12 that specialist libraries on the scale of reliable information available about Lack of information about films, or and extent of the BFI’s could be the existence and location of library rather, an excess of information about duplicated elsewhere in the UK, there collections relating to film, what they some films and a dearth about others, are a number of other significant film- contain, how extensive they are, and is a key factor in discouraging people related library collections in other what access is available to them. from changing their choices about locations across the country. Examples During the period in which this report what to watch. Broadcast, press and include the Bill Douglas Centre at the was being prepared, the BFI carried magazine coverage of cinema is University of Exeter, which has a very out a limited survey of libraries which hugely dominated by current releases extensive collection of books and were known to have collections of and the sense of public responsibility related materials on film, and is being material relating to film. The responses that is to some extent seen in media developed in close co-ordination with provide a first step towards mapping coverage of the other arts sometimes the University library. The arts library these collections, but if anything, at seems to disappear when the moving at Sheffield Hallam University has this stage they serve primarily to image in involved. But there are many excellent resources on film. The underline the patchiness of the other sources of information about National Libraries of Wales and of coverage and the lack of any co- moving image media and their role in Scotland, by virtue of their position as ordinated subject planning. Holdings in both informal and formal education is legal deposit libraries, have copies of many locations are very small, and not always well known or widely all books and journals on film there is evidence that there is little understood. published in the UK. The arts collection knowledge about what might constitute at Westminster Reference Library has a basic collection, and how it might be substantial holdings in this subject developed. As might be expected, it is Libraries area. However, coverage across the UK rare for libraries to have specialist staff is inconsistent. Clearly, there is a need who are dedicated to the subject, and 4.13 for more collections to be available at while this is not a problem in itself, it If the information, study and research local and regional level: broad-based may mean that there is greater needs of those engaged in education and well-stocked collections in public demand for guidance and support, or about film, at all levels, whether and educational libraries, supported by at least better communication with teachers or learners, are to be met, knowledgeable and properly qualified equivalent colleagues in other libraries. there needs to be access to resources library and information staff, in There was, however, strong support in the full range of media to support locations where they are readily expressed for developing collaboration those needs. The BFI National Library accessible to the full range of users. in this area. is widely recognised as one of the Many of those attending our Invitation largest and most comprehensive Seminars also pointed out that it is 4.16 collections of resources of all kinds on public libraries which would be best A strategic approach to the the subject of film, but users must placed to extend the range of non- development of library collections travel to London in order to use it. mainstream films on video available for relating to film throughout the UK Demand is heavy, and visitors loan to those who cannot reach the needs to be established. The ultimate sometimes have to be turned away small number of adventurously stocked aim should be to ensure that most when the Reading Room is full. independent video stores. people can meet most of their Moreover, as a national collection, the information, study and research needs Library does not lend materials to relating to the moving image within a users, although it does provide copies reasonable travelling distance of their of articles through the British Library’s home. There should be an online document supply arrangements. directory of collections, reviewed and making movies matter · resources

updated regularly, that describes them ARCHIVES AND MUSEUMS York St John. These institutions may 4 to an appropriate level of detail and also organise conferences and day gives information about access 4.18 schools, or support formal learning by arrangements. Readily available and Film archives provide important designing or contributing to the up-to-date advice on building and educational services, mainly in the teaching of university modules. developing a collection that can meet informal sector. Acquisition and access the wide range of needs will help tend to take priority over education and 4.20 many libraries develop existing or new thus work in the latter field, with a The importance of historical collections. There needs to be couple of exceptions, tends to be perspectives in understanding moving collaboration between libraries to avoid opportunistic rather than image culture was emphasised in unnecessary duplication, and to developmental. Archive initiatives have much of the evidence presented to the facilitate co-operative development. included film screenings at local FEWG and access to the National Film The model of a national, subject-based cinemas, sometimes exclusively of and Television Archive (NFTVA) came Library and Information Plan like the archive material and sometimes in high on many wish lists. one that has already been developed tandem with mainstream for music could be considered here. programming: for example, the East KEEPING HISTORY ALIVE Anglian Film Archive collaborated with 4.17 Cinema City in Norwich to show “It seems to me that to be The BFI National Library is uniquely documentary archive material of East cineliterate is important for two placed to co-ordinate such a strategy, Anglian regiments involved in the reasons. Firstly to be made aware working with and building on existing D-Day landings together with Saving of the power of the filmed image centres of excellence across the Private Ryan, and film records of the and its dominant role in our lives country, developing new links with region’s agricultural industry in the and secondly that audiences and libraries of all kinds and facilitating 1940s together with Land Girls. film-makers should be aware of development and co-operation. This the development of the medium strategy should be integrated with the 4.19 since its beginnings so that networks we have argued for in Other initiatives include the organisation cinema and television can Chapter Two (para 2.35). of exhibitions in collaboration with continue to develop. Film-makers museums and record offices, and audiences with little presentations and workshops for awareness of cinema before Star PROPOSAL 8 community groups, the production and Wars cannot but lead us into a release of video collections, and on dark ages of the filmed image.” A national strategy should be occasion the limited creation of FORMER CINEMA MANAGER developed for collaboration between libraries with substantial educational materials. Those archives moving image-related holdings and with the most overtly educational other relevant organisations, remits and the most established We do feel that this aspect of moving possibly in the form of a Library education policies are without image education has been neglected and Information Plan. exception located in universities, in the past and that in any case more (Implementation: BFI National namely the East Anglian Film Archive attention to moving image as Library) at the University of East Anglia, the “heritage” will reassure those who South East Film and Video Archive at worry that film education only deals the University of Brighton, the North with the current and the ephemeral. West Film and Video Archive at Manchester Metropolitan University, and the Yorkshire Film Archive at the University College of Ripon and making movies matter · resources

4.21 Museums 4.23 65 The benefits for moving image Major museums which house filmeducation that flow from 4.22 related collections are the BFI’s comprehensive deposits of moving In recent years museums have Museum of the Moving Image in image material in the National Film and positioned themselves as accessible London and the National Museum of Television Archive and in other UK film public learning environments to Photography, Film and Television in archives, depend on the assessibility of support both formal and informal Bradford; other national museums the deposits to teachers and students. education. They offer a range of such as the Imperial War Museum, and Although agencies such as the BFI, intellectual entry points to support regional and local museums also hold Film Education and other publishers are learning at all levels. This can be via film material and moving image related keen to develop the historical constructed educational experiences collections. The BFI plans to redevelop dimensions of film education, and (including practical activities, drama- and extend its Museum but also plans although the BFI’s Online project should based workshops, handling sessions to extend national access to its in the fullness of time provide access to etc.) and/or a range of interpretive collections, by developing museum- a quantity of archive material at methods used to contextualise the style education services through designated venues, there is a central exhibits. Museum education can offer touring exhibitions of moving image lack of access to material that can be a stimulating range of collections- related collections and complementary used by researchers and by teachers in based learning experiences. The use of education services to a range of their own institutions. In the short and primary sources (or “real things”) is regional venues (which might include medium term, this has to mean video now well-established as good museums, RFTs, libraries, schools and copies for educational use. Effective education practice and museums, other exhibition sites), and working in ways of clearing copyright on video exhibitions and displays which offer partnership with other bodies. An copies for educational use need to be access to moving image-related important element of this initiative established in dialogue with the film collections provide unique needs to be the development of and television industries. Ways of opportunities for teaching and learning training for teachers and for other allowing the marketing of video copies about film. providers who recognise the of archive material without making the importance of offering learners new cost of clearing rights prohibitive also and accessible “ways in” to the history need to be explored, so that film of cinema and television. archives throughout the UK are able to make their collections more accessible.

PROPOSAL 9

Educational access to ﬁlm archive holdings should be improved through central negotiations with rights-holders and an accelerated video publishing programme. (Implementation: BFI Collections and other UK ﬁlm archives)

Land Girls Reunion at a screening of Land Girls at Phoenix Arts, December 1998 making movies matter · resources

Press 4.26 6 However, this picture needs to be MEET THE READERS 4.24 qualified in a number of ways. Firstly, The average Empire reader owns A number of submissions to the FEWG the readership of these film magazines 39 videos and may well have a expressed concern about film coverage is dominated by those living in London computer at home (49%). 49% go in broadsheet newspapers. We and the South East; secondly, men are to the cinema at least once a recognise the problems faced by the in a significant majority; thirdly it is fortnight and of these 65% are editors. The rise of multiplex dominated by social classes ABC1; more likely to go to a multiplex. blockbuster cinema and the fourthly it is a relatively young Interestingly, 55% have access to proliferation of film listings in readership. To take just one indicative the Internet. He (71% male newspapers have pushed coverage of detail (as well as a significant fact for readership) probably thinks that film towards bite-sized consumer informal learning), well over half of the “Empire gives me all the recommendations. Another factor is readers of dedicated film magazines information I need about films” that broadsheet newspapers are such as Empire and Sight and Sound (71%) although he might say he experiencing a shrinking market, in have access to and use the Internet. “would like to see more old films in which the high visibility of film plays an Acknowledging the many and diverse Empire” (43%). important part. However, the FEWG ways in which people learn about film believes that film has the right to be is important – and clearly the print The average Sight and Sound treated with as much respect as any media offer one point of access. reader is male (76%), aged 40. He other art form. The importance of full However, the Empire/Sight and Sound may well be an academic (17%); and enlightened media coverage of reader profile implies that other groups and live in London or the SE independent and foreign-language film – women, younger and older people – (47%). He probably reads The cannot be over-estimated. must be looking elsewhere if they want Guardian (58%) or perhaps The to learn more about film. Do they look Independent (23%). He might also 4.25 to other kinds of print material or to read Empire and Time Out (26%); Nevertheless, the FEWG’s review of the other media such as television? The he may watch BBC2 (61%) and market research carried out on behalf kind of research cited in Proposal 18 probably C4 (76%). He is more likely to go to the cinema of national newspapers and magazines (see Chapter Two, para 2.39) into the fortnightly (64%) than weekly confirmed the significant role of the diverse and diffuse ways in which (38%). He probably has access to print media in developing and informal learning about film takes the Internet (68%). Of those under sustaining informal learning about film. place, should take into account the 25, 65% will look at Internet movie A number of “lifestyle” magazines in role of print media in constructing as sites, particularly film reviews and particular acknowledged the well as reflecting taste, as well as production information. US importance to sales of their emphasis investigating the place print media may independents are the most popular on movie culture. Magazines dedicated have in learning pathways. kind of film to read about, with to film revealed readerships which classic European, contemporary were not only very satisfied with the British, classic Hollywood and coverage offered in their publications contemporary European not far but with the range and quality of film behind – all at about a 70% rating. experiences available to them generally. The picture communicated Information taken from the Empire was of a population able to access the Readership Survey (1998) and a kinds of films they wanted to see and Sight and Sound survey undertaken to find out the kind of information they by NSM Research in October 1998. required about these films. making movies matter · resources

Internet and Online Services 4.29 develop more effective use of the 67 Some sites specifically claim to provide Internet to ensure wider access to its 4.27 informal film education opportunities, collections and services. The BFI’s What distinguishes the Internet’s such as the “virtual film school” on proposal to make the massive SIFT current contribution to information [email protected]. Although the 35 (Summary of Information on Film and about film is that, more than any other courses advertised there have been Television) database available to public medium, its use is stimulated by pre- “coming soon” for several months at users via the Internet is a useful step existing tastes: film sites are thus used least, there is clearly a potential for in this direction. to reinforce existing interest rather such sites to provide an extraordinary than to initiate new ones. Users tend to level of access to film – if not to the Other services on a redeveloped BFI seek “added value” and contextual cinema experience – which would web site should include: material in the form of information text override geographical limitations. The and images, consumer items educational potential inherent in the enquiries to the information service; (videotapes, books, posters, stills and Internet and World Wide Web has yet online access to the NFTVA magazines), and discussion groups. to be realised. The Web offers the catalogue; There are literally thousands of film- possibility of access, from anywhere at online access to the library related web sites, ranging from any time, to a global “virtual” library of catalogue; corporate studio sites, through official print, sound and moving image material. membership registration and renewal; and unofficial sites on personalities, Challenging problems of technology, film and video booking from BFI titles and genres, to databases, intellectual property, training and collections; resource indexes and online magazines. access will have to be overcome in online version of Films on Offer order to realise this potential. Given (availability data); 4.28 that the BFI is the pre-eminent UK as data capacity improves, on-line Net film sites primarily reflect the source of archive film and television, downloading of stills and video; interests and requirements of the and printed primary source material for online booking of seats for the NFT majority film audience demographic, moving image education, it should and possibly RFTs. which in turn is close to the net user demographic: 18-30, male; but the enormous number and diversity of sites mean that “film special interest” communities also find their place. Non- commercial sites tend to divide along the lines of fan-based versus academic; many universities, libraries and cultural organisations provide film appreciation material such as summaries, indexes, links and bibliographies, on the Net. Film Education’s site (filmeducation.org) offers a range of resources and information for teachers and they are exploring the effectivity of providing additional teaching materials only on the Net.

Film Education’s website making movies matter · resources

4.30 material cannot be downloaded for use CLASSROOM RESOURCES 8 The BFI Online project aims to improve elsewhere. This may prove a access to the collections held within substantial disadvantage to some 4.32 the National Film and Television educational users, but experiments are The FEWG commissioned a report Archive. At present, materials from the under way, at Nottingham Broadway for from an educational publishing editor collection are accessible only in example, to access the service through and consultant to review a range of London, and are, for the most part, video projection and thus use it in a teaching resources for learners subject to a waiting list. The objective is “classroom” situation. between 5 and 18. He found that the to expand this access to other regional uncertain curricular status of moving centres, making a range of material 4.31 image education has had two available immediately or, in some cases BFI Online and the associated significant effects on publishing in this the next day, in digital form through an Imagination Network Universities field. Firstly, many mainstream intranet. The project should eventually Project have been developed through commercial publishing companies are involve digitally encoding a selection of 1998 and 1999 and are currently reluctant to produce resources for film 2,700 hours of material to form a core being piloted in five venues across the education, given that they only produce national collection, and providing UK to provide information on user materials on which they expect to contextual background through the needs in both informal education and in make a profit. What is produced tends digitisation of supporting documents, higher education teaching and to be for examination courses at GCSE scripts, still photographs and other research. The pilots use both full-length and beyond, which effectively rules out related materials. The advantage of films and television programmes as any educational phase below age 14. having a large range of material well as curated extracts and more This leaves much publishing in this available at different regional sites is curriculum focused material. The BFI field to interest groups and lobbying offset by the necessity – insisted upon and its project partners are organisations who do not necessarily by rights-holders – of providing it only investigating how best to customise the have professional publishing expertise. through an intranet: in other words, interface for different audiences. Secondly, as we made clear in Chapter Three, film education resources are addressed to undertrained and unconfident teachers and thus need to teach them directly as well as providing them with materials to teach the students. Thus publishers find themselves addressing two audiences simultaneously, which involves considerable skills of organisation and structure. Given these two factors, then, it is hardly surprising that few materials measure up to the task (see panel).

Babe The Gallant Pig making movies matter · resources

69 SHORTCOMINGS OF CLASSROOM RESOURCES

The FEWG researcher’s remit was to photographs and illustrations would Clarity of Outcomes assess 20 resources in detail and a be preferable to longer resources full A clearly stated focus on one further 20 at a more superficial level; of imperfectly reproduced images. particular area of the curriculum is of the choice of resources was made In multi-component resources, more use to teachers than a broad between him and the FEWG particular care needs to be given to statement of general curriculum administrative team but attempted to the way in which individual relevance. A balance needs to be cover as wide a range as possible. components are meant to relate, how struck between, one the one hand, Nearly 50 publishing companies were this is conveyed, and how it is all supplying enough curricular approached and about 90 resources packaged. referencing to enable the teacher to collected before the selection was incorporate materials easily into their Accessibility made. About 15 of the resources schemes of work and curricular Few of the resources provided were reviewed by teachers or planning, and on the other hand sufficient guidance for any but the lecturers as well as by the researcher providing so much that it becomes more committed teacher. The most himself. The resources were intrusive. Given an overcrowded successful tended to be those with assessed in terms of four aspects: curriculum, film education materials more modest aims. The teacher is their presentation, design, style and have to spell out which learning the crucial factor in the planning of language; their accessibility to the outcomes they will support and how any resource, even when the student intended audience; the clarity of they will do this. is apparently the person being intended learning outcomes, and the directly addressed. Student-directed Range range of pedagogies they supported materials should be produced with a There are generally more resources or proposed. clear idea of how the text is to be that attempt to teach about film Presentation mediated to the student by the than through film; however, in the The language level, and frequently teacher – and with the confidence sample selected it was those that the conceptual level, of many of the that this will be manageable; addressed other topics through film resources was way above that of teacher-directed materials should that tended to be more effective, their target audience. Writers and show a clean division between according to the criteria used in this producers did not seem to be teacher and student text and clear study. There is scope, especially at thinking so much of their target instructions to the teacher on how to post-14 and upwards, to publish audiences as of the concepts they work with the latter. The best more materials that use film to teach were trying to convey. Film and resources are those which do not about other curriculum areas. In media studies seem to equate, in overestimate the teacher’s familiarity order to use the enthusiasm for film design terms, to busy page layouts with the subject. And, says our that many teachers and pupils share, and an attempt to cram in as much researcher, “a little more passion materials should try to strike a information as possible. High would not go amiss”, given that film balance between analytical and production values are needed: is something people feel strongly reflective activities, and more shorter resources with fewer about. practical tasks. making movies matter · resources

4.33 4.34 0 Four key themes emerged from the There are also particular issues research: that there is a dearth of concerning classroom resources for moving image education material older learners, who may be embarking below age 14; that in the books for on an introductory course in film or on post-14, film is consistently the a supported self-study course. It is not medium least well handled; that the easy to design film education materials course book approach, although that are adult in tone and choice of popular with commercial publishers, is examples but simple and accessible in the approach least appropriate for film relation to the level of learning education; and that insufficient use progression. This is an issue that has been made so far of more needs to be addressed by those, interactive resources such as particularly the BFI and Film Education, CD-ROM. Despite these observations, who are producing resource materials this field is clearly one where there is but tend to ignore learners outside the tremendous need for appropriate formal sector. There are therefore six materials and a tremendous principles that educational publishers opportunity for publishing need to bear in mind when developing organisations to produce resources in resources for any sector of film a relatively uncrowded field. There is a education: particular lack of resources dealing with world cinema (eg Chinese, Indian to include well-annotated moving and Latin American). image extracts; to include advice to teachers about learning outcomes and progression; to identify pedagogic strategies; to provide interest and challenge appropriate to the level of learning progression; to provide material suitable for the target age-group; to make appropriate use of genuinely interactive digital technology whenever possible.

Opposite: Shallow Grave appendices making movies matter · appendices

2 Appendix One · Members of the FEWG

Alan Howden Chair, Film Education Working Group; Controller of Programme Acquisition, BBC Anne Barnes General Secretary, National Association for the Teaching of English (NATE) Andrew Bethell Managing Director, Double Exposure Ltd. Lavinia Carey Director General, British Videogram Association Ian Christie Professor of Film Studies, University of Kent at Canterbury Vivienne Clark Head of Media Studies, Ravens Wood School, Bromley, Kent Richard Collins Head of Education, BFI Carol Craggs Teacher, Stevenson Junior School, Nottingham Mary Fowler School Development Officer, City of Westminster, London Christopher Gordon Chief Executive, Regional Arts Board Services Ltd. Jenny Grahame Advisory Teacher, English & Media Centre, London Romaine Hart Managing Director, Mainline Pictures Wendy Hewing A Level Media Studies Teacher, Islington 6th Form Centre, London Ian Kane Head of Didsbury School of Education, Manchester Metropolitan University Paul Moore Curriculum Development Manager/Media Studies Lecturer, Omagh College of FE, Northern Ireland Lynda Myles Pandora Productions (resigned December 1998) Kate O’Connor Development Manager, Skillset Vanessa Paynton Education Officer, Glasgow Film Theatre Martin Phillips English & Media Adviser, Devon Patrick Phillips Director of Continuing Education and Professional Development, Long Road 6th Form College, Cambridge/Lecturer in Film Studies, Middlesex University Philip Schlesinger Professor of Film & Media Studies, University of Stirling Roy Stafford Freelance Film Lecturer and Writer Siân Teifi Cultural Development Manager, Sgrîn, Media Agency for Wales Ian Wall Director, Film Education Brian Winston Head of School of Communication, Design and Media, University of Westminster

Administrative Team Cary Bazalgette Secretary, Film Education Working Group, Head of Education Projects, BFI Jane McCarthy Head of Museum Education, Museum of the Moving Image Nicky North Events and Information Ofﬁcer, Education Projects, BFI Jill Poppy Head of Education, Film Education Mark Reid Teacher Training Ofﬁcer, Education Projects, BFI

Observers Chris Drury Curriculum & Assessment Division, Department for Education and Employment Aidan McDowell Media Division, Department of Culture, Media and Sport Alan Sutherland Media Division, Department of Culture, Media and Sport Jon Teckman Deputy Director, BFI John Woodward Director, BFI making movies matter · appendices

Appendix Two · Becoming Cineliterate 73

TOWARDS A MODEL OF be able to do by the end of the stage, LEARNING PROGRESSION and is itself divided into two parts: Knowledge and Understanding, and This model attempts to show what Skills. At each stage a list of Key might be the outcomes of learning Words is provided, which should help about the moving image media of film, to “calibrate” the areas and types of video and television (FVT) through five knowledge that each stage would stages of learning progression. These involve. The model does not, however, stages could be mapped on to the show course content: it is not a stages of mandatory education and syllabus. A rationale for the three specialist courses post-16, but the approaches is provided on p. 79. model is essentially not age-specific: all learners would pass through these It is assumed that the experiences, stages. Such a model cannot of course activities and skills introduced at each cover such a wide range in a simple stage will continue in later stages, and linear way, and in any case people that the outcomes will be cumulative: learn at different rates and come to for example, learners in Stage 5 will the subject with a variety of different still be analysing video sequences using backgrounds and motivations. It the VCR pause button, like learners in therefore offers a very basic Stage 1. They will also be using the framework to indicate the stages same Key Words, along with others through which such learning might they have learned later. What will develop. change over time is learners’ capacity to inter-relate the three different The model is based on three conceptual areas and to use them with conceptual approaches to FVT: Film increasing confidence and independence Language, which focuses on the way of thought to explore an increasingly moving image texts are internally wide range of FVT “texts”. Learners constructed; Producers and will also gain increasing fluency and Audiences, which deals with the ways control in production skills and will be in which FVT texts circulate; and able to relate their production activities Messages and Values, which is to their analytical work. concerned with the interpretations of the world offered by FVT texts. The model is divided into two broad sections at each level: Experiences and Activities, which provides a very basic indication of the range of inputs learners would need; and Outcomes, which describes what learners should making movies matter · appendices

4 BECOMING CINELITERATE · STAGE 1

EXPERIENCES AND ACTIVITIES

see a wide range of ﬁlm, video and television (FVT) from different world cultures including different styles of animation, live action drama, adventure, musical, abstract, factual, documentary; short ﬁlms and features; historical and contemporary, home videos access moving images in different ways, eg cinema, video, television, video games, CD-ROM talk about out-of-school FVT viewing, responses and preferences talk about content and structure of short video sequences while teacher uses pause button to encourage and enable close observation of compostion and framing use VCR, camcorder, and ICT software for sequencing and making animations

OUTCOMES · Learners should be able to:

Film Language Producers and Audiences Messages and Values identify and talk about structuring use credits, video covers and identify and talk about different features such as music, changes posters to identify titles and levels of “realism”, eg naturalistic in location, interior/exterior actors’ names, likely audience drama vs cartoon animation settings, actors and presenters category, and theme or genre use Key Words to refer to use Key Words to refer to identify broad categories of elements of film language when elements of film language when intended audience, eg “this is for explaining personal responses and describing events in a story little children”, and give reasons preferences use Key Words in talking about identify common features between identify devices such as flashback, character types, as well as FVT, book and game versions of dream sequences, exaggeration – referring to clues such as dress, generic texts, eg myth, fairy tale, discuss why they are needed and casting, performance, etc. space adventure, etc. how they are conveyed

In addition, they should be able to:

use VCR to find and repeat short sequences of FVT to support analysis and discussion work co-operatively with others to discuss or make moving image sequences use ICT software to sequence still or moving images to tell story or convey information transfer a narrative sequence from one medium to another, eg poem to film/photo story; film sequences to written text or cartoon strip add music or commentary to a moving image sequence

KEY WORDS

shot zoom pan special effects videotape camcorder cut close-up track cinema programme fade mid-shot focus ﬁlm animation mix long-shot soundtrack television video-recorder making movies matter · appendices

BECOMING CINELITERATE · STAGE 2 75

EXPERIENCES AND ACTIVITIES

see a wide range of FVT including more narratively complex stories, more from pre-1950 and silent periods, films from different cultures including subtitled films, and non-narrative and experimental films watch and discuss sequences that build impressions or emotional effects, eg montage see different versions of the same story or event watch/listen and discuss the use of music, voices, sound effects and silence in short sequences watch and discuss how continuities and discontinuities in space and time are conveyed in FVT (eg in chase sequences) watch and discuss sequences in which characters are presented non-verbally (eg through camera position, lighting, costume, music, etc.)

OUTCOMES · Learners should be able to:

Film Language Producers and Audiences Messages and Values describe how sound contributes to use Key Words to distinguish use Key Words to identify ways in the overall meaning of a moving between different moving image which FVT can show things that image sequence, using Key Words delivery systems have not “really” happened, eg where appropriate identify and distinguish some violence, magic use Key Words to explain how a production roles, using Key Words explore reasons for and against FVT sequence is constructed suggest reasons why different censorship, age classiﬁcation and people may have different the broadcasting ”watershed” responses to the same FVT text explain why some FVT may cost a lot of money to make

In addition, they should be able to:

read subtitles plan and shoot short sequences on video using more than one point of view, eg a person entering a room; one person meeting another; a chase create animated sequences on ﬁlm, video or ICT or in an optical toy such as a zoetrope

KEY WORDS

angle sound effects composer release short recorded “watershed” frame projector director exhibitor documentary censorship star sequence scriptwriter broadcast trailer live action classiﬁcation satellite dialogue script channel feature live budget cable making movies matter · appendices

6 BECOMING CINELITERATE · STAGE 3

EXPERIENCES AND ACTIVITIES

see a wide range of FVT including examples of different national cinemas of different historical periods, examples of major directors and significant “movements” watch and discuss sequences which have ambiguous elements or do not have a clear narrative resolution through analysis and practical activity, explore ways in which small editorial changes can effect meaning (eg slight change of timing of a cut) look at and discuss publicity material for films and have opportunities to make posters, press packs, trailers, etc. use interviews and questionnaires to find out about audiences choices and preferences

OUTCOMES · Learners should be able to:

Film Language Producers and Audiences Messages and Values use Key Words to identify and identify and distinguish between a use Key Words to explain how discuss differences between FVT wider range of production roles social groups, events and ideas genres explain basic differences between are represented in FVT explain how meaning is created processes of pre-production, explain and justify aesthetic through editing of image and production, post-production and judgements and personal sound exhibition responses explain some of the ways in which use Key Words to explain some of argue for alternative ways of ﬁlm styles have changed over time the ways FVT are marketed and representing a group, event or promoted to audiences idea identify and discuss factors that may contribute to success of a FVT text, eg star, genre, theme

In addition, they should be able to:

use ICT to draft, create and manipulate moving image and sound sequences use online and print resources to access information about ﬁlms use credits, packaging and publicity material to identify key information about a ﬁlm’s production

KEY WORDS

editor target market scheduling authentic non-narrative cinematographer proﬁt narrowcast propaganda abstract distributor ratings genre representation stereotype production box-ofﬁce realism unrealistic marketing company copyright realistic non-realistic promotion making movies matter · appendices

BECOMING CINELITERATE · STAGE 4 77

EXPERIENCES AND ACTIVITIES

see a range of FVT that both consolidates and extends existing viewing experience in terms of genre, directors, national cinemas, mainstream and non-mainstream, historical periods find out more about different modes of FVT production, eg industrial/mainstream vs low-budget independent have opportunities to relate FVT knowledge to other cultural fields, eg literature, history, fine art, music etc. investigate a topic, using FVT text, online and print sources

OUTCOMES · Learners should be able to:

Film Language Producers and Audiences Messages and Values identify and describe some major identify and discuss some of the use Key Words to discuss and FVT styles and narrative forms, factors in the production process evaluate FVT texts with strong using Key Words that may effect the ﬁnal shape social or ideological messages explain how elements of FVT and meaning of a FVT text styles may relate to technologies, describe some of the risks and eg portable cameras, editing costs involved in FVT production, software distribution and exhibition explain some of the possibilities and limitations of audience research

In addition, they should be able to:

use ICT to redraft and manipulate moving image and sound sequences in response to audience comment use FVT knowledge to evaluate information on FVT from online and print-sources use stills and clips in live or recorded presentations of critical arguments or investigations

KEY WORDS

deep focus art cinema dominant surrealist theme digital montage Hollywood independent expressionist style non-linear hand-held camera ideology low budget cinéma vérité 16mm analogue auteur mainstream avant-garde mise-en-scène 35mm making movies matter · appendices

8 BECOMING CINELITERATE · STAGE 5

EXPERIENCES AND ACTIVITIES

use ICT to explore expressive/communicative potential of speciﬁc FVT styles consolidate viewing experience and background knowledge of two or three aspects of FVT, eg a genre, a director’s work, or a movement, a national cinema, a technological innovation read and discuss some critical approaches to FVT, eg auteur, genre, realism, audience effects, representation, etc. undertake independent research, using FVT texts, online and print sources, and live interviews where appropriate

OUTCOMES · Learners should be able to:

Film Language Producers and Audiences Messages and Values explain how FVT styles and describe and explain how authors, use Key Words to discuss and narrative forms can relate to genres and stars are meaning- evaluate ideological messages in authors, production context, social bearing systems and how they mainstream FVT texts and cultural context can be used to market FVT describe and account for different use ﬁlm language to construct identify and describe some of the levels of realism in FVT texts moving image narratives ways in which FVT institutions explain relationships between identify and describe the relate to social, cultural and aesthetic style and social/political contributions of different skills in political contexts meaning a FVT text describe the economic organisation of FVT institutions and the relationship between producers, distributors, exhibitors and audiences

In addition, they should be able to:

assemble research findings into clear argument or exposition create moving image texts for specific audiences and purposes in specific styles and genres develop independent judgements about the value and relevance of critical theories

KEY WORDS

theory culture intertextuality diegesis critical hegemony aesthetic institution

FURTHER LEARNING

In specialist higher and continuing education, learners will develop increased ability to research independently, to synthesise ideas and information across a range of areas and to speculate and argue on the basis of such syntheses, to develop their understanding of FVT study as a discipline and to write, speak and make FVT within the disciplinary paradigm. making movies matter · appendices

RATIONALE 79

Film Language Producers and Audiences Messages and Values Each medium has its own system of Now that there are so many different Film and television can affect our conveying meaning, although schools sources of communication it is an emotions and our ideas. There are have concentrated mainly on the increasingly important element of basic many theories about the effects of the medium of print. But over the last 100 citizenship for people to be able to moving image and opinion is years, the moving image medium of identify where messages are coming fundamentally divided as to the real film has developed a particularly from and what motivates them. It is extent of its power to affect behaviour. powerful language, which is now also not enough simply to be able to However, we all know that we can be used by television, video and computer interpret or create films. The moving moved, entranced, angered, delighted software. The ways in which images image media are huge industries and or bored by film and it is important to are framed, sequenced, paced and films are commodities, bought and explore these responses and be able to combined with sounds – music and sold by competing multinational justify them. Particular films or types of sound effects as well as words – have companies. Audiences are targeted film may have ongoing effects on our become a highly significant component and courted in many different ways, ideas, values and beliefs: we need to of the information, stories and ideas although their real interests and consider whether this is the case, how we encounter every day. Everyone responses can be very hard to identify. it happens and whether it matters. It is should have the chance to learn about Everyone should be able to make also important to think about how we how the moving image media create informed choices about their might assess film’s potential effects – meaning. It is a basic skill of consumption of moving image media, whether these are aesthetic, moral, cineliteracy to be able to refer to learning how to identify their sources political or economic – on other devices such as framing, camera angle and the interests they serve. By individuals and groups. Everyone or editing easily and meaningfully in recognising that they themselves are should be able to explore the relative discussion and in critical writing. members of audiences and larger realism of different films and have People of any age learn this most social groups, learners can think about learned to distinguish between literal easily when they have opportunities to how their own interests relate to the meanings and underlying themes. make and manipulate these devices in ways they are defined by others. They Learners should have the chance both their own creative work. should experience the excitement and to see and to create moving image power of producing their own moving texts in a variety of modes from image texts and these should be seen documentary and dramatic realism to and discussed by real audiences. fantasy and non-narrative forms. making movies matter · appendices

0 Appendix Three · Key Skills for Initial Teacher Training

1. One 90-minute session plus 2. One two-hour session plus 3. One 90-minute session, plus reading on film language reading on media ownership reading on audience research Objective: to enable student teachers Objective: to enable student teachers Objective: to teach student teachers to demonstrate some of the ways in to teach about the institutions that how to help pupils consider the which meaning is presented by produce moving image texts and ways in which audiences choose moving image texts, and to consider learn how to help pupils evaluate the and respond to moving image texts. how presentation contributes to messages and values communicated impact and persuasion. by moving image media. Beginning teachers should prepare for the session by making a week’s film, Beginning teachers should be introduced Beginning teachers should undertake television and video “viewing diary”. In to a range of practical strategies for three linked exercises: the session they should undertake two reading and analysing any moving image exercises: text. Short extracts (ie 30 seconds to 2 a) analysis of title and credit minutes) should be analysed closely, sequences of any moving image a) share and discuss viewing choices, frame by frame, employing a range of text – in order to elicit the preferences and responses, and practical and analytic activities using a functions of these sequences, the consider ways of eliciting these in VCR, which include: information they can yield, the a class of pupils, eg focus group nature of different production discussions, surveys, interviews; using freeze-frame and slow- roles, what to look for in terms of b) make a cross-media comparison motion to identify formal components ownership and production context; of the treatment of similar material of sequence (number of shots, b) interrogation of publicity material for different audiences, eg short transitions, camera position and relating to any moving image text extracts on a single theme from movement, lighting, sound); – such as Radio Times billings, different media; a key moment identifying generic characteristics; reviews or previews, press packs, from a literary text in a range of viewing images without sound; film posters, PR materials – in adaptations; a topical issue in a playing soundtrack without images; order to identify content, in terms range of forms. providing alternative soundtrack; of data provided, context, function predicting elements of formal and viewpoint, intended audience, composition and narrative; ideological and moral messages translating a moving image text and implicit or explicit values; into print. c) taster of simple simulation activity – in which students devise and The emphasis in this session should present a treatment or “pitch” for a be on ways of listening to, drawing on moving image product, eg film and drawing out students’ existing adaptation of novel or play, expertise rather than teacher-led children’s programme, science or expertise from the front of the class. history documentary, etc. making movies matter · appendices

Appendix Four · Protocol: 81 “Reproduction of moving image material in educational resources”

The parties to this Protocol wish to 1. No one extract will comprise more 3. The Resource must require facilitate the supply of moving image than ten minutes of original screen engagement with the Work by educational materials to schools and time. A Resource may use more than learners: in other words it will other educational establishments by one extract provided that total usage in encourage and enable classroom establishing agreed criteria for any one Resource does not comprise activities such as those in which “educational usage” which if complied more than 10% of original screen time learners will undertake one or more with will enable the use of copyright of any one Work. A Resource may use of the following types of task: material in educational resources extracts from several Works. Extracts without the necessity of rights-owners’ from non-broadcast or unreleased close textual analysis in writing or consents or the payment of any fees to material such as uncut rushes may be discussion; rights owners. used subject to the speciﬁc agreement comparison between two or more of the producers. Works; This Protocol is binding only upon the provision of their own written signatories hereto and affects only 2. The purpose of the Resource is to or spoken analytical commentary; copyright works the rights of which are enhance learners’ knowledge and experimental alteration of the vested in the parties to the Protocol understanding of the Work or other extract to explore aspects of and educational materials produced by works, and/or their general critical meaning. the parties. skills, through one or more of the following aims: 4. Learners may reproduce parts of This Protocol is in addition to and not the Work in their own essays as still in substitution for any permitted uses to explore the presentational devices images with written material or as of copyright works as provided by the (ie the”language”) used in the Work moving images in digital essays Copyright Designs and Patents Act. or other works to convey meaning; provided that these are for use only to place the Work or other works in within the educational establishment or To qualify as a legitimate educational a historical, generic and/or national for purposes of assessment by usage under this Protocol, the context; teachers. reproduction of extracts from moving to understand the Work or other image products such as ﬁlms, videos works in its industrial, commercial 5. The Resource must contain a and television programmes [“Works”] or political context; substantial amount of information for in publications for educational to compare the Work with others of teachers and students which makes purposes [“Resources”] must conform similar type or content; clear: to the following criteria: to investigate the appeal of the Work or other works to audiences; the intended learning outcomes to encourage learners to appreciate of the Resource; the Work or other works more fully the relationship of the Resource and to want to see the complete to its educational context, Work and others of its type. eg curricular requirements; making movies matter · appendices

the names of the principal 2 “authors” of the Work (producer, director, etc.) as credited in the Work, and copyright owners if known; where and how the full Work can be accessed.

6. The Resource will be packaged and marketed in such a way as to make clear its educational purpose and it will be promoted only to users in educational institutions such as schools, colleges, universities and establishments for continuing and informal education such as ﬁlm societies and arts venues.

Provided these criteria are met, publishers may reproduce extracts without payment to rights-holders and producers of Works will facilitate access to original source material. making movies matter · appendices

Appendix Five · Evidence Submitted 83

Julie Ackroyd BBC David Adams Head of English, Archbishop Ilsley RC School, Birmingham Paul Alexander Retired Teacher, Somerset Martin Amstell Principal, The London International Film School Katherine Anderson Film Manager, The Dukes Film Theatre, Lancaster John Anslow Physics Teacher, Queen Elizabeth’s Grammar School, Blackburn Richard Armstrong Freelance Film Tutor, WEA, Cambridge Arts Cinema Lincoln Ascott Lighting Cameraman Frank Ash Head of English Llyn Aubrey Infundibular, Plymouth Vicki Ball Manager, Vocational Assessment, OCR, Coventry Ann Barefoot Animator, London Martin Barker Reader in Media Studies, University of Sussex Tom Barrance Media Education Wales Patrick Beckwith Teacher, Birmingham Bruce Bennett Lecturer, Film & Television Studies, Bolton Institute of H.E. Robert Beveridge Napier University, Edinburgh Elizabeth Bird Department of Drama, University of Bristol Neil Blain Senior Lecturer, Language & Media, Glasgow Caledonian University Raymond Boyle Acting Head of Department, Film & Media Studies, University of Stirling Gill Branston Lecturer, Film & Television Studies, University College, Cardiff Jeremy Brettingham Freelance Editor, Norfolk Kevin Brownlow Photoplay Productions, London Dave Brunskill Animha Productions, Middlesbrough Nancy Cattell Head of Media/Communications, Canon Slade CE School, Bolton Frank Challenger Chief Executive, Light House, Wolverhampton Vivienne Clark Head of Media Studies, Ravens Wood School for Boys, Kent John Clarke Producer, Director, Writer Paul Coates Reader in Film Studies, University of Aberdeen Iris Cohen Enthusiastic Film-goer Margaret Cook General Secretary, United Kingdom Reading Association, Merseyside Sean Cubitt Screen Studies, Liverpool John Moores University Steve Dales Secretary, The Association of Northern Animators, Co. Durham Lauri Davies Primary Teacher, Newport Barry Day Head of English, Newman School, Carlisle Geoff Dean General Adviser for English, Cambridgeshire County Council Sylvia Dennerstein Member of the Film Artistes’ Association Claire Dewey English Teacher, Sandown High School, Isle of Wight Clare Ditchburn Costume Designer/Researcher, Southampton Andrew Dixon Chief Executive, Northern Arts Mike Dodds Executive Producer/Director/Media Lecturer Scott Donaldson Scottish Screen, Glasgow David Drysdale Drysdale Media 4, Glasgow Michael Dudock de Wit Freelance Animator, London making movies matter · appendices

Andy Egan Research Officer, BECTU 4 Geraint Ellis Lecturer, Communications & Media, University of Wales, Bangor Treva Etienne Film-maker/Actor, Liverpool Moat House Denise Evans Broadcasting Officer, RNIB Joan Fisher Headteacher, King Edward VI Camp Hill School, Birmingham Sharon Fowler Head of Library & Information Service, Ravensbourne College of Design and Communication Andy Freedman Head of Media, Cirencester College Paul Gallagher Director, EUROSCRIPT, London Charles Garrad Former Lecturer, Film Studies Michel Gemmell Director, Film & Video, Reading Tony Grant Vice Chairman, The Guild of Television Cameramen Jan Gray Film-goer, Somerset John Gray Lecturer, F.E. College Kay Green Secretary, Haverfordwest Film Society, Pembrokeshire Mindy Grewar Arts Development Officer, Aberdeenshire Council, Stonehaven Edward Griffiths Saint Boniface Productions, Kent Peter H. Griffiths Chairman, Letchworth Film Society Nick Hale Lighting Camerman/Photographer, London Peter Hames (Formerly) Subject Leader in Film & Media Studies, Staffordshire University Joan Hamilton Team Leader – Communication & Media, Fife College Alan Harding Head of School of Media & Visual Arts, Farnborough College of Technology Jocelyn Hay Chairman, Voice of the Listener & Viewer Stan Hayward Animator Wendy Helsby Lectuer, Media/Film Studies, Queen Mary’s College, Basingstoke Gill Henderson Chief Executive, London Film & Video Development Agency Robert Henderson Linlithgow Film Society Miss Hind Headteacher, Ysgol Gynradd, Aberaeron Andrew Hirschhorn Teacher, Media Studies, John Smeaton Community High School, Leeds John Hodgson Course Leader, Media & Literature, University of the West of England John Hopper Lecturer, Media Studies, Stanmore College, Middlesex Ben Hughes First Assistant Director/ Producer P. Hughes Head of English Martin Hunt Lecturer, Media Studies, Stanmore College, Middlesex Michele I’Anson Secretary, The Ritz, Thirsk Dina Iordanova Lecturer, Media Studies, University of Leicester Nick James Editor, Sight and Sound, BFI R. James Head of English, Elizabeth College, Guernsey David Johnson Booking Officer, Lyme Regis Film Society Tony Johnson Assistant Head of 6th Form, Beckfoot Grammar School, West Yorkshire Evelyn Johnston Education & Media Officer, The Highland Council, Inverness Judith Jones Lecturer, Media Studies, Liverpool John Moores University Peter R. Jones Film & Television Producer and Trainer Keith Kennedy Retired Film Teacher, Lewes Christine Kincart Film-goer, Liverpool Mike Kirkup Education Development Officer, Tyneside Cinema, Newcastle-upon-Tyne Nick Lacey Head of Media Studies, Benton Park School, Leeds Andy Lancaster Lecturer in Media, Truro College Hilary Lapedis Lecturer, Media Studies, Stanmore College, Middlesex David Lawson Education Officer, The Guild of Television Cameramen Sue Lewis Director of Studies, Film & Media Studies, Bexhill College, East Sussex making movies matter · appendices

Roy Lockett Deputy General Secretary, BECTU 85 Cailean MacKirdy no information provided Cara MacMahon Senior Consultant, The Arts Business Ltd., London Janey Mauchline Education Adviser, South Lanarkshire Council Andrew McCarthy Director, Film and Television, London Gael McIndoe Manager Screen Education, Cinemedia, Melbourne, Australia Alex Meillier Assistant to the Director, New York Film Academy, USA Georges Meisner Former Film Lecturer, London Emma Metcalf Lecturer, Media, Gorseinon Tertiary College, Swansea Eric Mival Freelance Writer and Director, Lincs. Alex Moore Postgraduate Secondary Programme, Goldsmiths’ University, London Malcolm Moore Chief Executive, The Directors’ Guild of Great Britain Chrissie Morris Lecturer, Film Studies, University of Exeter Chris Mottershead Freelance Lecturer/Teacher, Media Studies, London Dave Moutrey Director, Cornerhouse, Manchester Sarah Mumford Head of Education, National Museum of Photography, Film & Television, Bradford Michael Open Queen’s Film Theatre, Belfast Matthew Parrott Course Leader for Media Studies, New College, Shropshire Becky Parry Education Manager, Showroom Cinema, Sheffield Laurie Peake Visual Arts & Media Officer, North West Arts Board, Manchester Ron Peck Director, Team Pictures, London Julian Petley Lecturer, Media & Communications, Brunel University Mandy Powell Convener, Association for Media Education in Scotland (AMES) Les Reid Ballyclare High School, Co. Antrim, Northern Ireland Ron Reynolds Secretary, Film & Tape Editing Branch, BECTU Trevor Rhodes Film-goer, Merseyside Anne Rigg Education Officer, Midlothian Council Kenneth Rowles Chief Executive, Thanet Movie Centre, Kent Jeremy Salisbury Video Operator, London Julian Sefton-Green Media Education Development Officer, Weekend Arts College, London Bob Sewell Lecturer, Film & Television Studies, Keele University Justin Smith Teacher, Sandown High School, Isle of Wight Steven Smith Film-goer, Birmingham Oliver Stapleton Cinematographer, Devon John Steers General Secretary, National Society for Education in Art & Design Angharad Thomas Vaynor & Penderyn High School, Methyr Tydfil, Wales Janet Thumim Senior Lecturer in Continuing Education, Dept of Drama, Theatre, Film & Television, University of Bristol Peter Tomlinson Member of the Voice of the Listener and Viewer Emma Turnbull Media Studies Department, Hummersknott Comprehensive, Co. Durham Scott Ward Film Lighting Cameraman, Edinburgh Julian Watson Education and Outreach Officer, Media Arts, Swindon Andrew Webber Head of Media, Chatham Grammar School for Girls Jean Welsh Head of Media Studies, Hills Road 6th Form College, Cambridge Leonard White Producer & Director, Sussex Michael White Director of Education & Recreation, Aberdeenshire Council Eve Wignall Television and Film Makeup/Hair Designer, London Debbie Wilcox Head of Drama & Media Studies, Hawthorn High School, Pontypridd Annette Williams Lecturer, Media & Film Studies, Burnley College Alex Wood Teacher, Northampton making movies matter · appendices

6 Appendix Six · Organisations represented at the Invitation Seminars

ABC Cinema, Beckenham, Kent Mark Wilkins ABC Cinema, Norwich Kevin Lawer Aberdeenshire Council Robin Palmer Aberdeenshire Council Barbara MacLeod Aberdeenshire Council Michael White Accrington and Rossendale College Karen Matula Anglia Polytechnic University, Cambridge Sarah Jones Anglia Television Ltd., Norwich Graham Creelman Arts Business Ltd., London Cara MacMahon Arts Council of England, London Viv Reiss Arts Council of England, London Pauline Tambling Arts Development in East Cambridge Steve Adamson Barbican Cinema, London Robert Ryder BECTU, London Roy Lockett Benton Park School, Leeds Nick Lacey BFI Richard Collins Birmingham Film & Television Festival Barbara Chapman Birmingham University Janet Campbell Birmingham University Deborah Parsons Birmingham University Stuart Hanson Blyth Ridley High School, Newcastle-upon-Tyne Ruth Moore Bolton Institute of Higher Education Bruce Bennett Bradford & Ilkley Community College Will Godfrey Bridgwater College, Somerset Steve Bennison Broadcasting Standards Commission, London Stephen Whittle Broadway Media Centre Larraine Porter Broadway Media Centre Martin Halliwell Broadway Media Centre Trish Shiel Broadway Media Centre Michael Hoare Brunel University, Middlesex Julian Petley Celtic Film & Television Association, Glasgow Frances Hendron Chapter, Cardiff David Prothero Chapter, Cardiff Tony Whitehead Chicago Children’s Film Festival Rebecca Cowing Children’s Film & Television Foundation Ltd., Hertfordshire Anna Home Cinema City, Norwich Anna Dawson Cinema Exhibitors’ Association, London John Wilkinson Cinemagic Film Festival, Belfast Shona McCarthy Cirencester College, Gloucestershire Andy Freedman City and Guilds/In the Picture Roy Stafford City College, Norwich Roger Whittaker City Screen Ltd., London Emily Richardson Coleg Glan Hafren, Cardiff Barbara Connell Coleg Glan Hafren, Cardiff Cath Davies Cornerhouse, Manchester Dave Moutrey Cornerhouse, Manchester Lorraine Rolston making movies matter · appendices

Cumbria College of Art & Design, Carlisle Paul McNab Curriculum & Assessment Authority for Wales Roger Palmer 87 De Montfort University, Leicester Alan Burton Department for Culture, Media and Sport Aidan McDowell Department of Education & Culture, Gwynedd Council Ann Rowena-Jones Department of Education for Northern Ireland Faustina Graham Dereham Sixth Form College, Norfolk Fergus Crow Doncaster College Liz Bowen Drysdale Media 4, Argyll David Drysdale Ealing Inspectorate & Advisory Service Caroline Wiggins Eastern Arts Board, Cambridge Martin Ayres Edinburgh College of Art David Cairns Edinburgh Film Workshop Trust David Halliday Epping Forest College, Essex Maureen O’Brien Euroscript, London Paul Gallagher Farnborough College of Technology, Hampshire Anna Seif Farnborough College of Technology, Hampshire Alan Harding Film Theatre, Stoke-on-Trent Peter Hames Further Education Funding Council Fred Brown Gillam Cinema Development & Film Marketing David Gillam Glasgow Caledonian University Neil Blain Glasgow Caledonian University David Hutchison Glasgow Film & Video Workshop Lucinda Broadbent Glasgow Film Theatre Ken Ingles Glasgow University John Caughie Goldsmiths’ College, University of London Christine Geraghty Harbour Lights, Southampton Jo Wilcock Haringey Council, London Vivien Hanney Hopwood Hall College, Manchester Helen Gettings Imperial War Museum, London Brad King Independent Television Commission, Belfast Denis Wolinski Institute of Education, University of London Phillip Drummond International Film Festival of Wales, Cardiff Grant Vidgen International Film School, Wales Clive Myer John Leggott Sixth Form College, Scunthorpe Gary Ingledew King’s Lynn Arts Centre, Norfolk Paul Allen Lasswade High School, Edinburgh Rick Instrell Leicester Central Lending Library Richard Barlow Leicester University Dina Iordanova Light House, Wolverhampton Frank Challenger Lincolnshire Cinema Exhibitors’ Consortium Sue Featherstone Linlithgow Academy, West Lothian Alastair Allison Linlithgow Film Society, West Lothian Bob Henderson Liverpool John Moores University Judith Jones London College of Printing Jackie Pavelenko London College of Printing Michael Chanan London College of Printing Phil Parker London Film & Video Development Agency Gill Henderson London Guildhall University Yossi Bal London International Film School Martin Amstell Luton University Pat Brereton Manchester Metropolitan University Ian Kane Manchester Metropolitan University Anna Powell making movies matter · appendices

Manchester Metropolitan University Lisa Ridehalgh 8 MCPS, London Neil Jones Media Education Wales Tom Barrance Media Education Wales Mike Edwards Mintai, Cardiff Gillian Griffiths Monmouthshire County Council Jenny Williams National Association of Careers and Guidance Teachers, Usk Janice Cook National Film & Television School, London Dick Ross National Museum of Photography, Film & Television, Bradford Sarah Mumford National Society for Education in Art & Design, Wiltshire John Steers Nerve Centre, Derry Jennifer Gormley Nerve Centre, Derry Shaunar Kelpie Newcastle University Phil Powrie NIACE, Leicester Louise McGill North Kensington Video Drama Project, London Sarah Martin North West Arts Board, Manchester Laurie Peake Northern Arts Board, Newcastle-upon-Tyne Shirley Campbell Northern Arts Board, Newcastle-upon-Tyne Andrew Dixon Northern Ireland Film Commission, Belfast Shân McAnena Northern Ireland Film Commission, Belfast Richard Taylor Northern Ireland Media Education Association, Belfast Dave McCartney Northern Ireland Media Education Association, Belfast Gerry Connor Norwich City College George Norton Omagh College of Further Education Paul Moore On Screen Productions Ltd., Cardiff Richard Cobourne Paisley University Alex Gilkison Palmer’s College, Essex Michelle Mason Picture This Independent Film & Video Josephine Lanyon PriceWaterhouseCoopers, Belfast Clarke Fyfe Project Ability, Glasgow Elizabeth Gibson Queen Margaret College, Edinburgh Richard Butt Queen Mary’s College, Basingstoke Roy Ashbury Queen’s Film Theatre, Belfast Michael Open Rotherham College Margaret Sketchley Royal Holloway College, University of London Susanna Capon S4C David Meredith Scottish Screen, Glasgow Alison Maxwell Scottish Screen, Glasgow Scott Donaldson Sgrîn – Media Agency for Wales Dafydd Elis-Thomas Sgrîn – Media Agency for Wales Siân Teifi Sheffield College John Roe Sheffield College Shelina Mawani-Markin Sheffield International Documentary Festival Kathy Loizou Sheffield Primary Media Education Group Huw Thomas Sheffield Showroom Becky Parry Short Film Bureau, Brighton David Bowley South East Arts Board, Kent Margaret O’Brien South East Essex College Kate Thorne South East Essex College Amanda Sheehan South Eastern Education and Library Board, Northern Ireland Mary Connolly South Thames College Tricia Jenkins South West Development Agency, Bristol Judith Higginbottom Southern Examining Group, Guildford Pete Wall making movies matter · appendices

Staffordshire University Christine Gledhill Stirling University Gillian Doyle 89 Stoke Film Theatre, Stoke-on-Trent John Jordan The Lux Centre, London Sue Klauber Ty Fﬁlm, Cardiff Caroline Stone Tyne Tees Television, Newcastle-upon-Tyne Annie Wood Tyneside Cinema, Newcastle-upon-Tyne Mike Kirkup University College Warrington Jill Ebrey University College Warrington John Mundy University of Bath Wendy Everett University of Exeter Susan Hayward University of Brighton Thalia Tabary-Peterssen University of Cambridge Local Examinations Syndicate Richard Harvey University of Central Lancashire Inga Burrows University of East Anglia Justine Ashby University of East Anglia Andrew Higson University of East Anglia Patrick Russell University of Exeter Lee Grieveson University of Exeter Chrissie Morris University of Glamorgan, Pontypridd Andy Cole University of Glamorgan, Pontypridd Ieuan Morris University of Leeds, Trinity & All Saints Alan Foale University of Leicester Nicholas Cull University of Leicester Elaine Harris University of Luton Luke Hockley University of North London Crispin Partridge University of Nottingham Colin Stanley University of Ripon & York St John Glyn Davis University of Salford Lloyd Peters University of Southampton David Dunn University of Stirling John Izod University of Sussex Nicholas Tredell University of Ulster, Coleraine John Hill University of Wales, Cardiff Alan Evans University of Wales, Newport Andrea Williams University of Warwick Jo Trowsdale University of Westminster Brian Winston University of Wolverhampton Teresa Dawson Upper Bann Institute of Further & Higher Education Chris McFerran Wakeﬁeld College Paul Wheatcroft Warwick Arts Centre John Gore Warwick Arts Centre Brian Bishop Watershed Media Centre, Bristol Cathy Poole West Country TV Ltd., Plymouth, Devon Rachel Trethewey West Hertfordshire College, Watford, Hertfordshire Tom Nicholls Wirral Metropolitan College, Merseyside Carol Taylor Woolwich College, London Chris Mottershead

Invitation Seminars were held in Belfast, Cardiff, Norwich, Exeter, London (2), Newcastle, Manchester and Glasgow (2). Additional seminars were organised in Tunbridge Wells by the South East Arts Board and at the Warwick Arts Centre by West Midlands Arts. making movies matter · appendices

0 Appendix Seven · Research Reports

Ian Christie Film education and the European dimension

Hannah Davies Report on evidence submitted to the Film Education Working Group

Issy Harvey & Rob Turnock ‘Informal’ opportunities available to young people in practical ﬁlm and video production

Varsha Patel Film festivals and the provision of informal education opportunities

Terry Staples Informal education about ﬁlm and cinema available regularly in the UK for under-12s

Andrew Steeds A review of curriculum resource material

John Townshend Film education in France

Ian Wall Report on Les Enfants de Cinéma and related French projects linking schools and cinema making movies matter · appendices

Appendix Eight · Films and Print 91 Publications Referred to in the Report

TITLE/DIRECTOR COUNTRY YEAR VIDEO DISTRIBUTOR

Adventures of Robin Hood, The USA 1938 Warner Home Video Michael Curtiz, William Keighley Anastasia Don Bluth, Gary Goldman USA 1997 20th Century Fox Antz Eric Darnell/Tim Johnson USA 1998 CIC Video Asterix Conquers America Gerhard Hahn Germany 1994 20th Century Fox Babe Chris Noonan Australia 1995 CIC Babe Pig in the City George Miller USA/Australia 1998 n/a Barney’s Great Adventure Steve Gomer USA 1998 Polygram Batman and Robin Spencer Gordon Bennett and USA 1949 WHV Joel Schumacher USA 1997 Beyond Silence Caroline Link Germany 1996 n/a Bicycle Thieves/Ladri di biciclette Vittorio De Sica Italy 1948 Art House Productions Blues Brothers 2000 John Landis USA 1998 CIC Boot, Das/The Boat Wolfgang Petersen Germany 1981 Columbia Tri-Star Borrowers, The Peter Hewitt UK 1997 Polygram Bossu, Le/On Guard! Philippe de Broca France/Italy/Germany 1997 n/a Boy Who Stopped Talking, The Ben Sombogaart Netherlands 1996 BFI Video Bug’s Life, A John Lasseter USA 1998 n/a Cinema Paradiso Giuseppe Tornatore Italy 1988 Tartan Video Class Trip/La Classe de neige Claude Miller France 1998 n/a Count Me Out Ari R. Kristinsson Iceland 1998 n/a Crimson Pirate, The Robert Siodmak UK 1952 n/a Cross My Heart/La Fracture du myocarde Jacques Fansten France 1990 n/a Digby The Biggest Dog in the World Joe McGrath UK 1973 n/a Dil Se .. /From the Heart Mani Ratnam India 1998 Eros International Ltd Edward Scissorhands Tim Burton USA 1990 20th Century Fox Ever After Andy Tennant USA 1998 20th Century Fox Fairytale: A True Story Charles Sturridge USA 1997 Warner Flubber Les Mayﬁeld USA 1994 Buena Vista Girl with Brains in Her Feet, The Roberto Bangura UK 1997 n/a making movies matter · appendices

TITLE/DIRECTOR COUNTRY YEAR VIDEO DISTRIBUTOR 2 Glassblower’s Children Anders Grönroos Sweden 1998 n/a Godzilla Roland Emmerich USA 1998 Columbia Tri-Star GoldenEye Martin Campbell UK/USA 1995 n/a Gulliver’s Travels (TV series) Charles Sturridge UK/USA 1996 Arrow Film Haine, La Mathieu Kassovitz France 1995 Tartan Hedd Wyn/The Armageddon Poet Paul Turner GBW 1992 S4C Hercules John Musker/Ron Clements USA 1997 Buena Vista Héros très discret, Un/A Self-Made Hero Jacques Audiard France 1995 Artificial Eye Hilary and Jackie Anand Tucker UK 1998 n/a Hour of the Furnaces/La hora de los hornos Argentina 1968 n/a Fernando Solanas Ice Storm, The Ang Lee USA 1997 Buena Vista In a Lonely Place Nicholas Ray USA 1950 Columbia Tri-Star It’s a Wonderful Life Frank Capra USA 1946 Polygram James and the Giant Peach Henry Selick USA 1996 Pathe Distribution Ltd. Kuch Kuch Hota Hai/Something Happened in My Heart India 1998 Sony Music Karan Johar Land and Freedom Ken Loach UK/Spain 1995 Artificial Eye Land Girls, The David Leland UK/France 1997 Artificial Eye Leopard, The/Il gattopardo Luchino Visconti Italy 1963 n/a Life Is Beautiful/La vita è bella Roberto Benigni Italy 1997 n/a Life Is Sweet Mike Leigh UK 1990 n/a Little Voice Mark Herman UK/USA 1998 n/a Lucie Aubrac Claude Berri France 1997 Pathe Distribution Ltd. Ma Vie en Rose Alain Berliner France/Belgium/ 1997 Bluelight UK/Switzerland Madeline Daisy von Scherler Mayer USA/Denmark 1998 n/a Magic Sword Quest for Camelot, The Frederik Du Chan USA 1998 n/a Marius et Jeannette Robert Guédiguian France 1997 n/a Matilda Danny De Vito USA 1996 Columbia Tri-star Men in Black Barry Sonnenfeld USA 1997 Culumbia Tri-Star Mother India/Bharat Mata Mehboob Khan India 1957 Eros International Ltd. Mulan Barry Cook, Tony Bancroft USA 1998 IMC Video NeverEnding Story, The Wolfgang Petersen Germany 1984 Warner Home Video Night of the Hunter, The Charles Laughton USA 1955 Warner Home Video making movies matter · appendices

TITLE/DIRECTOR COUNTRY YEAR VIDEO DISTRIBUTOR 93 Nosferatu F.W. Murnau Germany 1921 Eurek Video One Foot in the Grave (TV series) BBC UK txd 1990-97 BBC Parent Trap, The Nancy Meyers USA 1998 Buena Vista Paws Karl Zwicky Australia/UK 1997 Polygram postino, Il/The Postman Michael Radford Italy/France 1994 n/a Prince of Egypt Brenda Chapman et al. USA 1998 n/a Prince Valiant/Prinz Eisenherz Anthony Hickox Germany/UK/ 1997 Entertainment in Video Ireland/USA Princess Bride, The Rob Reiner USA 1987 n/a Rome, Open City/Roma città aperta Roberto Rossellini Italy 1945 Connoisseur Video Rugrats Movie, The Norton Virgien USA 1998 CIC Video Saturday Night and Sunday Morning Karel Reisz UK 1960 n/a Saving Private Ryan Steven Spielberg USA 1998 n/a Searchers, The John Ford USA 1956 Warner Home Video Shallow Grave Danny Boyle UK 1994 Polygram Singin’ in the Rain Gene Kelly/Stanley Donen USA 1952 MGM Home Entertainment Singing Ringing Tree, The/ GDR 1957 n/a Das Singende Ringende Baumchen Francesco Stefani Small Soldiers Joe Dante USA 1998 CIC Video Star Kid Manny Coto USA 1998 Entertainement in Video Star Wars George Lucas USA 1977 20th Century Fox Sunset Boulevard Billy Wilder USA 1950 CIC Swallows and Amazons Claude Whatham UK 1974 Warner Home Video Tim Burton’s Nightmare Before Christmas Henry Selick USA 1993 Touchstone Tintin and the Lake of Sharks/Tintin et le Lac aux Requins Belgium 1972 n/a Raymond le Blanc Titanic James Cameron USA 1997 C20th Fox Truman Show, The Peter Weir USA 1998 CIC Video TwentyFourSeven Shane Meadows UK 1997 Pathe Distribution Ltd. William Shakespeare’s Romeo + Juliet Baz Luhrmann USA 1996 n/a Wizard of Oz, The Victor Fleming USA 1939 MGM Woman in the Window, The Fritz Lang USA 1944 MGM making movies matter · appendices

4 Contact Information

Many video labels with contact information are to be found in the BFI Film and Television Handbook (edited by Eddie Dyja, BFI 1999)

The following are not included in its selective list:

BLUELIGHT EROS INTERNATIONAL LTD. PATHE DISTRIBUTION LTD. WARNER HOME VIDEO 231 Portobello Ltd. Unit No. 26 c/o 20th Century Fox 135 Wardour Street London W11 1LT Park Royal Home Entertainment London W1V 4AP Tel. 0171-792 9791 Metro Centre Twentieth Century House Tel. 0171-494 3441 Britannia Way 31-32 Soho Square Coronation Road London W1V 6AP London NW10 7PR Tel. 0171-314 7070 Tel. 0181-963 0249

Publications

TITLE AUTHOR PUBLISHER DATE

Audit of Media in English A.J.B. Barratt London, BFI 1998

Bigger Picture, A Film Policy Review Group London, Department for Culture, 1998 Media and Sport

Cinema Book, The Pam Cook London, BFI 1985

European Cinema Yearbook Milan, MEDIA Salles 1998

Film Art David Bordwell and Kristin Thompson Reading, Mass., Addison-Wesley 1979

Learning Divide: A Study of Participation Naomi Sargeant Leicester, NIACE 1997 in Adult Learning in the UK, The

Media Education in Wales Tom Barrance, Mike Edwards and Cardiff, Media Education Wales 1997 Cathy Grove

Now Showing Terry Staples London, BFI 1999

Review of Good Practice in Media James Learmonth and Mollie Sayer London, BFI 1996 Education, A

Structure and Balance of the Edinburgh, Scottish Ofﬁce 1993 Curriculum 5-14, The Education Department

>Video WATCH: Report on Phase One A.J.B. Barratt London, BFI/Middlesex University 1996