Promoting citizens’ film literacy has become vital in enhancing public media literacy in today’s ever-changing media environment. The public dissemination of film education has gradually become an ...established trend in China. At present, film education in mainland China focuses on the development of both film appreciation and creativity, involves a wide range of individuals and diverse educational methods, and spreads primarily across three areas: (1) university education; (2) primary and secondary education; and (3) public education. Despite this, teaching activities remain widely dispersed, regional development lacks balance, and there is a shortage of film and television production courses. This article argues that school-based film education in China should focus upon improving the curriculum system, improving the quality of teachers, and developing courses focused on creativity, while more socially focused film education outside of schools should focus upon establishing industry norms and encouraging healthy competition between institutions.
This article discusses the writing of an impact case study for REF2021 that revolves around independent film production, film industry and pedagogy. The culture of professional film production at ...Falmouth University's School of Film & Television resulted in involvement in the BAFTA winning Mark Jenkin film Bait (2019) and the widespread impact of that film provided the impetus for an impact case study that saw the consolidation in the form of the Sound/Image Cinema Lab (The Lab) project. Bait is one of several commercial short and feature film productions that have received interventions that have resulted in the production and/or completion of work that would not have been possible, or not possible to the same level of quality, without it.
This article tracks how those interventions impacted beneficiaries and stakeholders culturally, socially and economically and resulted in national and regional economic and production benefits for film production and graduate career development. It discusses how these interventions and productions were configured as research to ensure that the impact of Bait and other films were measured and captured. It extends work delivered by the author in Media Practice & Education Fox, Neil. 2018. "'Filmmaking is a Hard Thing to Do': Reflections on Student and Lecturer Experience of Falmouth University's Filmmaker in Residence Initiative." Media Practice and Education 19 (2): 205-221.
Co-authored by film education practitioners and developmental psychologists, this article seeks to establish an interdisciplinary dialogue between the emergent discourses of film education and ...developmental psychology. In particular, it explores the possible implications for our understandings of film education of recent psychological research into: (1) the cognitive and social consequences for young people of developing a sense of self; and (2) understandings of children’s development of visual cognition. Seeking areas of commonality and mutual resonance between different disciplinary vocabularies and methodologies, ultimately we present a series of proposals for how film education may benefit from further interface with developmental psychology.
This article presents a case study of the innovative Japanese film education project Children Meet Cinema, through aspects of an interview with its founder Etsuko Dohi, placed within a wider ...discussion of the project’s pedagogical approaches. In particular, the article details the innovative manner in which Children Meet Cinema has invited some of Japan’s leading film-makers – among them, Nobuhiro Suwa, Hirokazu Koreeda and Naomi Kawase – to engage with children making films for the first time.
In the era of modernisation, mastering modern technologies and innovative working methods is an important aspect of any business. Modern technologies are no less relevant in the work of future ...directors, because, having mastered them, a specialist can adapt to modern professional trends and improve the quality of their projects. The purpose of this study was to cover the aspects of the use of modern technologies in the training of future directors and to prove that mastering them is necessary for successful professional activity. To fulfil this purpose, the methods of analysis and synthesis, comparison, generalisation, induction and deduction were used. The study revealed the need to use innovative technologies in the work of modern specialists, namely in the activities of future directors. The paper described the specific features of preparing future directors for professional activity in higher education institutions. The study analysed aspects of directing activity in the era of modernisation. The authors described modern technologies and the possibilities of their application in filmmaking. The importance of modern technologies for future specialists in terms of distance education and blended education was covered. The authors described the prospects for the development of film and theatre art if future directors use modern technologies. Positive and negative aspects of the use of modern technologies in filmmaking were covered. Recommendations for improving the process of mastering modern technologies in higher education institutions were provided. It was concluded that future directors need to master modern technologies to develop Ukrainian theatre and cinema. The results of this study can be used by the management of art higher education institutions to develop curricula, by teachers to improve the educational process, and by students when studying and preparing for professional activities.
The training of specialists in artistic higher education institutions should be conducted using modern methods, technologies, and developments and be oriented towards a modern audience, but at the ...same time, training should be based on established principles and views that have been tested by time. Les Kurbas is a personality whose views and principles of acting and directing can be a guide for contemporary artists, and therefore they should be used in the professional training of students of theatre and film education. The purpose of this paper was to cover the aspects of training future specialists in higher education institutions based on Les Kurbas’s directing craft. To fulfil this purpose, the following research methods were used: biographical method, methods of analysis and synthesis, method of comparison, method of abstraction, method of analogy, methods of deduction and induction. The paper covered the foundations of Les Kurbas’s directing craft and its influence on the development of modern theatre and directing, compared his principles and views with those of contemporary artists. The paper revealed the role of Les Kurbas and his work in preserving the identity of Ukrainian theatre and cinema and in the development of Ukrainian culture. A parallel was drawn between modern approaches to training future specialists and the foundations of Les Kurbas’s directing craft. The conclusion was made on the expediency of using the basics of Les Kurbas’s directing craft in the educational process of higher educational institutions. The paper described the specific features of using the basics of Les Kurbas’s directing craft in the preparation of future specialists for professional activity and provided recommendations for their implementation in the educational process. The results of this paper can be used by teachers of artistic higher education institutions when developing lecture materials and special courses, as well as by students for self-improvement and work on themselves and their professional skills, which underlies the successful development of Ukrainian theatre and cinema.
The article is an attempt to answer the question of how to write critical film narratives about films made by adolescents during professional workshops on animation. The author points out that such ...productions should be considered in two dimensions: the formal, including an analysis from an artistic point of view, and the educational, including a description of the production of a given work. Inspiring clues for answering the question concerning the content of such texts can be found in the works of Polish, English, and French researchers such as Bogusław Skowronek, Eliot Eisner, Cary Bazalgette, Ian Wall, and Alain Bergal, or in materials published on the platform Film Education: A User’s Guide. On the basis of the analysis of these texts, the author creates her own educational model, intended for people dealing with film education, containing particular stages for individual work in the classroom. The starting point for constructing the model was three films: Winda, Dziura, and Reflection, awarded at the 10th National Animation Festival O!PLA in the category Fine Arts Secondary Schools and Animation Workshops (15–19 years).
ABSTRACT The cinema since its invention was quickly used to educate. Although it was also rejected, it has never stopped being used at school. Of course, this dynamic was not natural. It was the ...result of approaches and ideas that interpreted it as positive to achieve moral, aesthetic and cognitive objectives. Through a historical perspective, this text presents seven educational, technological, cultural and economic arguments that explain the continuity of this relationship, that is, the reasons, events and representations that throughout history have determined the use of cinema in the school.
RESUMEN El cine desde su invención fue rápidamente capitalizado para educar. Pese a que también se le tachó de perjudicial nunca ha dejado de usarse en la escuela. Por supuesto, esta dinámica no fue natural. Respondió a enfoques, ideas e intuiciones que lo leyeron como positivo, educativo y afín a objetivos moralistas, estéticos y cognitivos. Mediante una perspectiva histórica y una revisión documental, en este texto se plantean siete tramas educativas, tecnológicas, culturales y económicas que explican la continuidad de esta relación, es decir, las razones, saberes, fenómenos y representaciones que a lo largo de la historia han determinado la incorporación del cinematógrafo a la escolaridad.
This paper considers the extent to which European countries have distinctive models and approaches to film education, and the extent to which a supranational model of European film education might ...exist in competition with those national models. It considers where film education is
positioned in relation to other subject fields and disciplines (literacy and media literacy); the role of the European Commission in promoting both European and national approaches to film education; and the potential of transnational film education programmes to move between national and
supranational film education cultures. It draws on data collected for Screening Literacy, a survey of film education funded by the European MEDIA programme that was carried out in 2012.
This article considers impact production (using film and other forms of storytelling as the core of a social change strategy) as an important component of well-rounded film education programmes that ...seek to shape a new generation of socially and environmentally conscious film-makers. Through desk research, interviews and a survey, we found that opportunities to learn about impact production at higher education institutions are limited and expensive, while open-access resources are numerous, but can be overwhelming for those new to the field. We interview practitioners who specialise in: (1) raising awareness about what impact production entails; (2) practically implementing impact production strategies; and (3) educating film-makers in how to design impact campaigns. We analyse two case studies from Majority World countries to demonstrate strengths and weaknesses of existing impact teaching and training. The data gathered inform a theorisation of how impact production can be incorporated into formal educational practices worldwide. The article conceptualises what ‘impact production film education’ entails in a higher education context. This includes unpacking the interdisciplinary and practice-based nature of impact production. The intention is to shine light on the pedagogical value of impact production for shaping a new generation of film-makers who are technically equipped to tell compelling stories, and intellectually committed to using film as a tool for change.
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