Film Literacy in Poland: The Practices and the Prospects of Film Education FILM / NEW MEDIA / VISUAL ARTS www.panoptikum.pl ADDRESS: “Panoptikum” ul. Wita Stwosza 58/109 80-952 Gdańsk Phone number: 00 4858 523 24 50 [email protected] EDITORIAL BOARD: Grażyna Świętochowska – Editor-in-chief / [email protected] Monika Bokiniec – [email protected] Grzegorz Fortuna Jr. – [email protected] GUEST EDITORS: Ewa Ciszewska – [email protected] Jadwiga Mostowska – [email protected] ADVISORY BOARD: Prof. Krzysztof Kornacki (University of Gdansk, Poland), Prof. Ewa Mazierska (University of Lancashire, UK), Prof. Mirosław Przylipiak (University of Gdansk, Poland), Prof. Jerzy Szyłak (University of Gdansk, Poland), Prof. Piotr Zwierzchowski (Kazimierz Wielki University, Poland) REVIEWERS: • Lyubov Bugayeva (Saint Petersburg University, Russia) • Lucie Česalkova (Masarykova Univerzita, Czech Republic) • Konrad Klejsa (University of Lodz, Poland) • Krzysztof Kopczyński (University of Warsaw, Poland) • Rafał Koschany (Adam Mickiewicz University in Poznań, Poland) • Karolina Kosińska (Polish Academy of Science Institute of Art, Poland) • Beata Lisowska (Maria Curie Skłodowska University in Lublin, Poland) • Constantin Parvulescu (Universidad de Navarra, Spain) • Joanna Szczutkowska (Kazimierz Wielki University, Poland) • Anna Taszycka (Andrzej Frycz Modrzewski Krakow University, Poland) • Balazs Varga (Eotvos Lorand University, Hungary) Editing of Polish language texts: Honorata Małaszkiewicz, Monika Rawska Technical editing: Monika Rawska Proofreading: Jeremy Pearman, Magdalena Popłońska Translated by Aleksandra Kamińska – all except for papers by Krzysztof Jajka and Konrad Klejsa (translated by Agata Andrzejewska), Anna Miller-Klejsa (translated by Jolanta Axworthy), papers by Małgorzata Jakubowska and Monika Michałowska and Kamila Żyto (translated by authors) Graphic design layout and typesetting: Jacek Michałowski / Grupa 3M / [email protected] Cover design: Franciszek Michałowski and Jacek Michałowski Visual material reproduced with the explicit consent of the rightholders. Publisher: University of Gdansk (http://cwf.ug.edu.pl/ojs/) Co-financed from the Think!Film project implemented within the Erasmus+, Strategic Partnership for Youth framework and from the funds of the Dean of the Faculty of Philology at the University of Lodz Prof. Joanna Jabłkowska. © Copyright by University of Gdansk Reproduction in whole or in part by any means is prohibited without the prior written consent of the copyright owner. ISSN 1730-7775 Film Literacy in Poland: The Practices and the Prospects of Film Education Panoptikum nr 18 (25) 2017 Contents Foreword 6 Structure and Organisation of Film Education in Poland Ewa Ciszewska Film Education in Poland – Historical Outline and Current State of Research 10 Małgorzata Jakubowska Main Objectives of Film Education in Poland: Institutional Context and Developmental Tendencies 28 Jadwiga Mostowska Film Education Practice in Poland – Legal and Organisational Factors 44 Anna Równy Film Education-Related Supplemental Education and In-Service Training of Teachers in Poland (2010–2015) 56 Methods, Areas and Forms of Film Education in Poland Dorota Gołębiowska, Anna Kołodziejczak, Maciej Dowgiel, Ewa Kanownik Methods of Film Education for Children and Teenagers – Selected Issues 70 Kamila Żyto An Obstacle to Overcome: Problematic Issues Concerning Early Childhood Film and Media Education in Poland. The New Horizons Association Model as a Solution 89 Mateusz Żebrowski Educational Potential of Animated Films in Poland 106 Katarzyna Figat Hearing Films: A Contribution to the Discussion on Film Sound and Music Education 120 Monika Rawska A Dangerous Method? The Use of Film in the Therapeutic Process 135 Justyna Hanna Budzik Film Education in Cinemas – Determinants and Tendencies 157 4 Contents Canon and History in Contemporary Film Education Katarzyna Turczyn Educational Activities of the National Film Archive in Warsaw Connected with Pre-World War II Films 178 Konrad Klejsa, Krzysztof Jajko Film Canon – Film History – Film Education: Remarks on Polish Film Museum’s Anniversary Poll 191 Varia Małgorzata Lisiecka-Muniak Educational Offer at Polish Film Festivals Directed to Film Industry Representatives 216 Małgorzata Jakubowska, Monika Michałowska Filmmaking as Therapy: Between art Therapy and Resilience Theory 227 Honorata Małaszkiewicz Filling the Niches – Animation in Contemporary Poland 237 Marta Kasprzak Rozmowy przy filmie. Wywiady z polskimi filmoznawcami [Talking about Films. Interviews with Polish Film Scholars] – Review 243 Anna Miller-Klejsa Quo Vadis? by Enrico Guazzoni and Quo Vadis? by Gabriellino D’Annunzio: Production – Dramaturgy – Reception 246 Notes on Contributors 261 5 Contents Panoptikum nr 18 (25) 2017 Foreword Fuelled with new energy, film education is again the focus of Polish film studies and Polish studies. Recently published monographs by Witold Bobiński (2011, 2016) and volumes released by various academic institutions (Jaskulski, Koryciński, 2016; Ciszewska, Klejsa, 2016) prove that researchers keenly ex- plore practical and theoretical issues connected with this phenomenon. During the 2nd Congress of Film and Media Scholars titled “Discourses of Visibility” (Cracow, December 2016) two panel sessions were devoted to film education. There is no shortage of activities aimed at promoting film education among students of humanities programmes, suffice to mention the Think!Film pro- ject conducted by the Film Studies Student Society in the Chair for Media and Audiovisual Culture at the University of Lodz. Open meetings with film education theoreticians and practitioners held in the Department of Philology at the University of Lodz in 2015–2016, featuring e.g. Prof. Dr. Habil. Piotr Sitarski, Dr. Habil. Konrad Klejsa, Dr. Michał Pabiś-Orzeszyna, Dr. Jadwiga Mostowska, Dr. Małgorzata Kozubek, Anna Równy and Agata Sotomska, stimulated much critical reflection, whose echoes can be found in the texts collected in the present volume. The central issue in the field of film education is the tension between history and traditional methods of obtaining educational results, and the changing real- ity, which forces us to redefine the very goals of film education and ways of im- plementing it. In Polish academic tradition but also educational practice, we are used to perceiving film education as strongly integrated with the school system. As a result, as Ewa Ciszewska explains, film scholars and teachers advocate for an educational reform consisting in the creation of a separate school subject de- voted to film (or media) education. This goal has never been fully accomplished. At present, film history and aesthetics can be discussed as part of several school subjects. Usually, film education is conducted during Polish language classes; nevertheless, it can be successfully implemented within other subjects as well as within extracurricular activities. This is proposed by teaching method specialists (see the article by the team of the Central Cabinet for Film Education), who of- fer a whole range of teaching techniques to be applied in film education. On the other hand, as Małgorzata Jakubowska points out, film education is increasingly often addressed at other people besides school students, namely at small children, university students and adults (including senior citizens). Con- sequently – and in line with EU guidelines – it has become part of the lifelong learning process. Problems and challenges involved in providing kindergarten children with film education are discussed by Kamila Żyto, who presents activi- ties conducted by the New Horizons Association as an interesting educational offer addressed at the youngest learners. 6 Jadwiga Mostowska shows that legal and organisational framework condi- tioning film education in Poland makes it largely a domain of enthusiasts (both in schools and outside them), who are brave enough to initiate film-oriented events despite substantial obstacles and difficulties. Teachers and educators keep perfecting their skills and gaining new knowledge concerning film education; still, as Anna Równy points out, their access to various forms of supplemental education and in-service training largely depends on their location. Hence, film education has been transferring to cinemas, which is analysed by Justyna Hanna Budzik. This tendency can be interpreted as a consequence of insufficient teach- er training and objective difficulties connected with conducting film education activities in schools. Still, film education is very much needed in Poland, since, as Monika Rawska suggests, active film commentators still lack necessary knowledge. This, in turn, results in the instrumental use of films in quasi-therapeutic ventures, which the author describes in detail. Some optimism is to be found, however, in the in- stances of creative exploration of the educational potential of Polish animation by institutions, NGOs and inventive cultural managers (as is presented by Ma- teusz Żebrowski). In Katarzyna Figat’s opinion, the quality of film education in Poland would improve if film studies and culture studies university curricula included aspects pertaining to audiosphere and film sound. Film education is presently conducted by a number of specialised institutions, e.g. by the National Film Archive in Warsaw (since 1 June 2017 functioning as the National Film Archive – Audiovisual Institute), whose educational activities focused on Polish pre-World War II cinema are discussed