EAC/ 14/ 2011
Film Literacy Study
Interim Report
1
EAC 14/2011 Tender Interim Report
Contents
1
Methodology update
3
1.1
1.2
1.3
1.4
1.5
1.6
Phase 1 Survey
Partners/ participation
Seminar on interim findings
FLAG
Phase 2
Supplementary research
3
3
3
4
4
4
2
Interim Findings
5
2.1
2.2
2.3
5
6
7
2.6
2.7
2.8
2.9
Why – the purposes of film education
What strategies are in place for film education
What types of provision are there
- resource provision
- cinema activity
- archive provision
- festival education
- training for educators
- TV programming
Where does film education take place
- in classrooms
- after school
- outside school
Who provides and who receives film education
- kinds of provider
- kinds of recipient
How is film education funded?
How is film education assessed?
Case Studies – Summary
National summaries
3
Emerging Recommendations
26
3.1
3.2
3.3
Barriers
Opportunities and Challenges
Emerging recommendations – what might be
26
27
28
2.4
2.5
12
15
18
23
25
25
Appendices
Case Study Summary
Sample National Summary
Minutes of Interim Meeting 16 April 2012
29
45
47
2
1
Methodology
1.1
Phase 1 Survey
Our Phase 1 survey, using questionnaires delivered by online tool Survey Monkey, was
created, trialled, and tested during January 2012. We consulted our Advisory Committee on
its suitability and ease of use, and on the value of the data it produced. We invited the
partners to look through the survey before we asked them to fill it in, so that they could
familiarize themselves with it, and suggest any last minute changes. The surveys were
completed by our 11 partners, and 4 UK partners (one for each devolved nation), in February
2012.
The survey was structured into 5 parts: film literacy provision in formal education; in
informal education; through the audio-visual industries; through cultural organizations; and
professional development of film educators. We had an additional section, inviting
participants to create case studies, one from each of the formal, informal, and audio-visual
settings, with a set of questions to structure the completion of each case study.
By our estimate, completing the questionnaire ought to take between half and a whole day,
with another day to two days for researching, compiling and writing up the case studies.
1.2
Partners and participation
We were extremely gratified that all 11 of the partners, and the 4 UK respondents, each
completed the questionnaire. However, we are still awaiting case studies from 2 partners.
We received detailed feedback on the suitability and usability of the survey from both the
Advisory group, and the partners themselves. One logistical complication lies in the number
of countries with federal political structures: this makes it difficult to complete ‘national’, as
in ‘unified’, pictures of provision, and of educational and cultural structures. We are able to
complete ‘jigsaw’ national pictures for some of these nations (Germany; Italy). Only one
nation, Portugal, is unable to present a truly ‘national’ picture of its film literacy provision –
and this still needs to be tested by questioning other correspondents.
In addition to the fee paid to the partners for participating in Phase 1, it seems that
participation in such an important survey – the first of its kind in Europe – is a powerful
incentive.
1.3
Seminar on interim findings
On the evening of 26th March, and all day 27th March, we hosted a seminar for the Phase 1
partners, and Advisory Group, in London. Our day followed an agenda: to respond to a
presentation of our interim findings; to imagine an ‘ideal model’ of film education; to discuss
barriers to the creation of this ideal type; and to propose recommendations that might
overcome these barriers, with a special emphasis on actions that might be taken by the
European Commission.
3
1.4
Film Literacy Advisory Group
One action that we recommended – and then enacted – was to constitute the Advisory Group
and Partners as a Film Literacy Advisory Group, and to propose the formal adoption of this
group, expanded to include other partners following Phase 2, by the European Commission.
The group has established an internal blog at: http://filmliteracyadvisorygroup.wordpress.com
1.5
Phase 2 Survey
The experience of 14 people completing the online survey for Phase 1 gave us invaluable
feedback on how to reduce, simplify, and re-adjust the questionnaire for Phase 2. The data
analysis of Phase 1 data has enabled us to refocus the survey questions on the data we want to
elicit, and a new, revised survey is now available online.
1.6
Supplementary research
Two MA placements based at BFI in May and June will be working on supplementary
research outcomes – gathering and collating data on film festival education profiles, specific
national and regional film literacy programmes, and some transnational programmes, such as
Europa Cinemas, and the Cinematheque Francaise programme ‘le Cinema cent ans de
jeunesse.’
4
2
Interim Findings
Our preliminary analysis of the data is organized into five headings: the ‘why’, ‘what’, ‘who’,
and ‘how’ of film education in Europe. We break these down further: ‘why and why not’;
‘who – for, and by whom’; and ‘how much does it cost’ and ‘how good is it and how do we
know?’
2.1
‘Why’: the purposes of film education
Purpose of film education
Primary
Middle
High
Informal
promoting critical viewing
7
10
8
11
promoting wider viewing
5
11
8
12
promoting film making
7
9
7
13
providing enjoyment
6
6
4
12
supporting social and civic education 7
9
7
promoting personal/individual
development
8
6
5
We asked our 12 respondents to consider the range of purposes behind film education in their
countries and cultures. Our immediate comment on the table (above) is the relatively low
prominence given to two features of film education: the pleasure and enjoyment it offers, and
the access it gives children and young people to civic participation and personal development.
We feel that greater emphasis should be given to these three purposes, to achieve balance
with the wider ‘content driven’ features of film education, such as promoting critical literacy,
wider viewing, and film-making.
We also invited respondents to comment on 14 different aims behind film education practice,
and to check them across provision in formal and informal settings, and then we compared the
two (below). The most salient differences were low scores, representing less prominent aims,
for studying popular cinema, access to film heritage, and audience development in the formal
sector, and less prominence for studying film as text, and access film heritage, in the informal
sector.
We also found it rare that respondents felt an important aim of film education is to develop
pedagogy: project and programme aims very often seem to be focused on direct delivery of
outcomes for children and young people, rather than using programmes to develop effective
approaches in teaching and learning.
Phase 1
5
6
Phase 2
7
2.2
What strategies are in place to promote film education?
We asked respondents whether there was a clear national strategy for film education in their
country, whether covering all sectors, or just some. We had few formally constituted
strategies for national delivery of film education. Only Italy and Northern Ireland appeared
to have something like this, while others were currently devising strategies (UK; Czech
Republic, Ireland). Other nations have strategic approaches, without there being a national
delivery plan: The Netherlands and Poland have a high degree of national co-ordination
between a range of agencies; Greece has statements amounting to ‘national awareness’ of the
value and opportunities around film literacy; Germany has secured agreement amongst a
range of federal agencies to a ‘statement of competences’ in film literacy.
Some national cultural agencies offer national coverage, and national access to programmes:
the Irish Film Institute, for example. And in Denmark the Danish Film Institute has its own
‘national strategy.’
We found this question raised further ones: what is the value of a national strategy? Who
should own it? How should its impact be measured and evaluated? Members of the Advisory
Group were clear that where film education is under threat, or marginalized, a national
strategy, owned by education as well as cultural ministries, is a good way of protecting and
promoting film literacy.
Phase 2
Austria: Film education in Austria is always seen as part of media education, so there is no
specific film education strategy. As the Austrian Federal Ministry for Education, Arts and
8
Culture offers a „basic direction for media education“ that should be taken into consideration
across all school types and subjects, a kind of media education strategy exists, but it is noncommittal. There are regional and local media centres that provide materials for film
education (film equipment and DVDs) and offer workshops, but the reporters don’t see a
basic strategy of film education behind this. There are campaigning organisations for film
education, such as filmABC and the Austrian Film Museum, that continuously provide film
education for pupils and young people with a self-defined strategy behind (mostly external
like in cinemas and not in class – and not in direct connection with curricula but as a common
offer for teachers and pupils).
Croatia: The Ministry of Science, Education and Sport of the Republic of Croatia, and also
the Croatian audiovisual Centre (HAVC) have a national film education strategy.
Different film associations and groups in Croatia are also campaigning for film education.
Iceland: There is currently no national film education strategy, but the Ministry is forming a
national film education strategy that will be ready later this year.
Sweden: There is a national film education strategy insofar that the national media council
has a strategy, and the Swedish Film Institute has a strategy to further film education in
municipalities and schools.
Malta: The Department of Education has an Education Officer who promotes media
(including film) education but there is no overall film education strategy in Malta.
Belgium: There is no real national film education strategy in Belgium because all cultural and
educational matters depend on Communities' and Regions' political powers.
Spain: There is no overall film education strategy in Spain, however, there are many regional
and local campaigns, initiatives and organisations engaged in the promotion of film education
for young people.
Cyprus: There is no national or regional film education strategies in Cyprus and the
International Children's Film Festival is regarded as one of the main campaigning agents for
film education.
France: France has an established national film education strategy along with campaigning
organisations supporting film education. The French education curriculum is decided at
national level and for administration purposes it is divided into ‘académies’ or academic
zones; these do not always correspond to French regions. For the purposes of this report,
references to regions will correspond to academic zones.
Luxembourg: Luxembourg has no overall national film strategy.
Switzerland: There is no government film education strategy, but «cineducation.ch/Verein
zur Förderung der Filmbildung» (www.cineducation.ch), founded in 2011, is a campaigning
organisation for film education in Switzerland. The most important institutions, projects and
persons engaged in film education are members of this private organisation.
Lithuania: There is no national strategy and film culture for children and youth used to exist
only in the papers and declarations of the Ministries. In 2004, some young people (after
studies, internships and residencies abroad) initiated a “film education movement”. Different
organisations were founded which are now coordinating their activities in order to cover
different areas of film education. It is worth mentioning that there are no professional media
educators in Lithuania.
Finland: Although there is no overall film strategy in Finland, there are several agencies and
non-governmental-organisations highly active in the promotion of film education.
Norway: The Norwegian Film Institute (NFI – Norsk Filminstitut) has been coordinating a
national film education strategy for several years and has published two online film websites
around it. The strategy on the regional level is rather new and brought together in the online
web resource: filmport (www.filmport.no).
Estonia: Estonia doesn’t have any national or regional film education strategies in place nor
any campaigning groups.
Belgium: There is no real national film education strategy in Belgium because all cultural and
educational matters depend on Communities' and Regions' political powers.
9
2.3
What types of film education provision are there?
We asked respondents for information about different types of film education provision,
across formal, informal, and audio-visual sectors.
2.3.1 Provision of film education resources
In 6 countries we found provision of film education resources, usually to support film
education in schools, provided at a national level. In some (Poland, Italy, Hungary,
Scotland) these resources were mandated to some degree by national education ministries.
Other countries (CR, Greece, Germany) published nationally mandated guidelines on
approaches and standards for film education in the formal sector.
Phase 2
Austria: There are national guidelines on teaching film education, and single initiatives and
organisations provide film education resources and materials with support from the Austrian
Federal Ministry for Education, Arts and Culture.
Croatia: There are national guidelines for primary school children and middle school
children. But there are no guidelines on pedagogical approaches, and no resources –e.g. no
separate textbook on film education.
France: Approved guidelines and resources are issued both nationally and regionally.
Spain: There are regional guidelines on approaches to teaching film education as well as
regionally approved resources.
Cyprus: There are no national or regional guidelines, nor any records kept of achievements
but there are national approved teaching resources.
Estonia: national guidelines on teaching film education are produced.
Finland: In the formal context, there are no resources, guidelines or official systems of
assessment for film education.
Iceland: National approved resources as well as regional guidelines are produced.
Luxembourg: There are no nationally or regionally produced guidelines or resources.
Malta: In terms of teaching materials, national guidelines and approved resources are
produced.
10
Belgium: There are regional guidelines and approved resources in relation to pedagogical
approaches and content.
Lithuania: There are national approved resources for teaching film education.
Norway: There are national and regional approved resources, but no guidelines in relation to
pedagogical approaches and/or content.
Sweden: There are national approved resources and regional guidelines on teaching film
education.
Switzerland: There are no guidelines on teaching film.
In the informal sector, we found it most likely that resources were made available on local, ad
hoc, or project-based cases. We found no example of nationally available resources for the
informal sector (though FilmClub in UK has a website which reaches one in three afterschool settings, and MovieZone in the NL has national scope).
Phase 2
We didn’t really ask for this in Phase 2.
2.3.2 Cinema-based provision
The major national cinema-based education programmes are in Germany (VisionKino), UK
(Film Education), and Denmark (organized by the DFI), and there are smaller cinema
education programmes around arthouse cinemas in Poland (but not nationally co-ordinated),
and cinemas in Greece, and Portugal (the Cinemateca in Lisbon) and Italy. Slovenia has a
network of 25 arthouse cinemas offering education programmes.
Phase 2
Not sure if that’s the right info (Caren)
11
2.3.3 Archive based provision
Film archives in Greece (National Film Archive, and Thessaloniki Film Museum), Poland
(Filmoteka Szkolna), UK (Northern Ireland, Scotland, BFI, regional archives) offer education
screenings and events. Those in UK and Hungary offer online access to archive film and
education resources.
Phase 2
12
Finland: The national film archive and a national film museum provide film education
France: There are numerous film heritage institutions who also offer film education - the
national film archive, regional and specialist archives, the national film museum and those
parts of other museums featuring film in their collections.
Luxembourg: Cinema heritage is promoted via the National Film Archive and the National
Film Museum who also provide film education activities.
Spain: In terms of heritage institutions, there are national and regional film archives, regional
film museums and commercially sponsored specialist film archives, some of which provide
film education. Film heritage is mainly preserved by the Filmoteca Española and its
collection is open for viewing to film students and researchers. The Museu del Cinema
www.museudelcinema.cat located in Girona, Catalunya, features a programme of educational
activities relating to the audiovisual world. The Filmoteca de Cataluña is particularly active
in providing film education activities for children: at weekends there are screenings for
children of films with educational value; the programme Filmoteca per a les Escoles includes
a wide range of activities for schools complemented by educational activities. They also
maintain a blog with information on students’ activities.
Austria: In terms of film heritage, there is the Austrian Film Archive and the Austrian Film
Museum, but they are not national film archives/museums. Both these institutions offer film
education, but their definition might differ in terms of theoretical background and practical
realisation.
Belgium: In terms of film heritage, there is a national film archive, regional and specialist
film archives, and a national film museum. Films may also be part of some museum or
archive collections. The national film archive/museum provides film education, and the
Brussels-Wallonia Federation Film Institute offers some film education.
Lithuania: There is a national film museum and a national film archive and both provide film
education.
Norway: In terms of film heritage, the national film archive and national film museum
provide film education.
Sweden: In terms of film heritage, there is the national film archive/museum (based at the
Swedish Film Institute) that also offers film education.
Switzerland: In terms of film heritage, there is a national film archive offering film education
and regional ones, and film may also be part of some museum and archive collections - some
of them offering film education.
The film heritage organisations in Cyprus, Croatia, Estonia, Iceland and Malta don’t offer
film education.
MORE INFO OUTSTANDING FROM EMAIL ANSWERS (after survey)
2.3.4 Film education projects
We gathered many examples of film education projects, that offer singly or in combination
examples of watching, making, and critically engaging with film. Film camps are popular
(StationNext, in Denmark, in CR, in Hungary, and in Poland at the Studio of Educational
films and Programmes in Lodz). Our next task will be to identify profile projects that are a)
long running; b) transnational, or translatable; c) combine watching with making, and wider
cultural viewing. We will discuss the distinction between a ‘project’ (short-term, time and
resource limited, under evaluated, single outcome) and the ‘programme’ (long-term,
replicable, sustainable, multiple outcome).
Phase 2
CASE STUDIES
13
2.3.5 Festival education
We found examples of film festivals aimed at young people (BUSTER in Denmark; 5
festivals in UK; Olympia International Film Festival for Children in Pyrgos, Greece), and the
One World Festival for young people in CR has a strong film element.
We also asked for profiles of festivals with education components.
Phase 2
See Appendix for website addresses of specific festivals.
14
Phase 1
Phase 2
15
2.3.6 Teacher and other educator training
We asked what kinds of programmes are there for training education professionals in film
education.
We found nationwide training programmes for teachers only in Poland (through Filmoteka
Szkolna), UK and Hungary, but otherwise, training for education professionals in film
literacy is optional, ad hoc, and locally or regionally co-ordinated – and then not by education
ministries. England, and Northern Ireland with formally accredited courses in film for 14 –
19 year olds, have something like nationally available training courses for teachers. In
Northern Ireland these include a strong practical (film-making) element, delivered through
three ‘Creative Learning Centres.’ In Poland, individual ‘Teachers’ Training Centres’ offer
teachers’ courses on various aspects of film literacy in a range of subjects and settings (film in
foreign language teaching; film club in your school; film in Polish, etc).
In England, various pre-service teacher training programmes offer a film element (in
Manchester, on film in languages; in London, film in literacy, English, and languages).
16
Phase2
Cyprus: Cinema, gallery and festival staff with an interest in film education are offered
training in film education and diplomas for short courses are available.
Estonia: Professional development in Estonia takes the form of training for student teachers
and short course diplomas.
Finland: Professional educators receive training both initially, before they start working and
whilst they are teaching in schools.
France: There is no systematic training in film literacy or bursaries available for film
education professionals, however, qualified teachers receive in-service training within the
established École et cinéma, Collège au cinéma and Lycéens et apprentis au cinema
frameworks under the aegis of the CNC. Furthermore, in-service teachers can gain
certification for teaching the film option at Baccalaureate level.
Iceland: In terms of training for educational professionals, there is provision for In-service
teachers already working in schools and some freelance educators. There is, however, no such
provision in initial teacher training programmes, nor any at Masters or Diploma level.
Luxembourg: In terms of film literacy training for education professionals, this is offered to
cinema, gallery and festival staff and freelance educators.
Malta: There are opportunities for in-service teachers, academics and freelancers to take
professional development courses and it is possible to take these to Diploma & Masters level.
Scholarships are also on offer from the Directorate for Lifelong Learning and there have been
applications in relation to film education.
Spain: There are no relevant national programmes of education for professionals, nor any
bursaries in place, however, there is training in film literacy at the initial teaching training
stage and at diploma and Masters level. In November 2010, the Ministry of Education and
The Teacher Training Institute organised the seminar Aprender y enseñar de cine aimed at
teachers from public schools; it explored the possibilities of film as a teaching resource
http://bit.ly/JZi8hD. Additionally, some independent non-profit associations organize
congresses, seminars and resource portals for teachers - Cinemanet, Aula Mèdia, Grupo
Comunicar and Aire Comun.
Austria: There is a national programme of film literacy training for in-service teachers,
professional filmmakers who work as freelance educators, youth and community workers,
and cinema, gallery and festival staff.
17
Belgium: There is a national training programme for in-service teachers already working in
schools that the teachers can attend, but they're not required to. For future teachers, some
higher education establishments provide film education and organize training programmes but
these are isolated initiatives.
Croatia: There is a national training programme for education professionals in film literacy
for teachers before they begin teaching, for in-service teachers already working in schools,
and university education for teachers and professors. There is also the optional education
programme "Škola medijske kulture dr. Ante Peterlić" for in-service teachers.
Lithuania: There is no national training programme for education professionals in film
literacy, but several NGOs do organise short courses for freelance educators or teachers
willing to use film in the classroom.
Norway: There is no national programme, but there are occasional courses in filmmaking for
in-service teachers. Accreditation is offered for optional courses that can be part of the last
year in teacher training, and they typically include filmmaking and cinema.
Sweden: There used to be a national programme of training for professional educators, but
now there are only occasionally short courses that are offered by some universities. This
poses a big problem that needs to be tackled, as the need for film educators in Sweden is
greater than ever due to the “School Cultural Voucher programme”.
Switzerland: There is no national training or funding schemes for education professionals in
film literacy.
Are there professional development programmes that offer
accreditation/certification?
In Poland, Hungary, Northern Ireland, England, Scotland and Germany there are some
accredited courses in film education for teachers (at Master’s or postgraduate level). Media
Education Wales offers the only accredited course for film professionals working in the
informal sector that we know about.
Phase 2
Malta: Scholarships are also on offer from the Directorate for Lifelong Learning and there
have been applications in relation to film education.
France: In-service teachers can gain certification for teaching the film option at
Baccalaureate level.
Austria: Professional programmes offer accreditation for initial teacher training, diplomas for
short courses and Master levels, but there are no bursary schemes for the training.
18
Croatia: Initial teacher training, Master’s programmes, and short courses also all offer some
form of accreditation or certification, but there are no bursary schemes or other forms of
funding for these.
Norway: There is no national programme, but there are occasional courses in filmmaking for
in-service teachers. Accreditation is offered for optional courses that can be part of the last
year in teacher training, and they typically include filmmaking and cinema.
Film education professionals can apply for funding at the Norwegian Film Institute, but only
for short- term projects. There is no accreditation for training at Diploma or Masters level.
The professional development programmes in Luxembourg, Belgium, and Sweden are not
accredited.
Are there bursary schemes or other forms of funding for training film education
professionals?
33.3% say yes and 66.7% say no
In Hungary there are available tenders from the national government for participating on
several film and media teacher training courses. And also there is a small amount of money in
the hand of schools to cover only postgraduate education for its teachers.
In Netherlands every school has special funding for trainer programmes and they can choose
to spend it on a training on film / media education. EYE receives funding to train film
professionals and film makers who work as freelance educators
19
In the Czech Republic the Ministry of Culture offers project grants (but no bursary schemes)
and Northern Ireland Screen provides some bursary support for teacher professional
development in film education.
Phase 2
Yes 18.8%3
No 81.3%13
see also answers in 2.3.5
2.3.7 TV programming
Do national broadcasters (public service or commercial) play a role in developing film
literacy?
Answer Options
Yes
No
Response
Percent
Response
Count
86.7%
13.3%
13
2
If yes, are there different priorities shown by Public Service Broadcasters from
commercial broadcasters?
Answer Options
Yes
No
Response
Percent
Response
Count
69.2%
30.8%
9
4
We found distinct support for film education offered by PSBs in Italy, Germany, Ireland,
Hungary (until 2010), Greece (which has taken on film education responsibilities
nationally), Denmark, and UK (with local provision through the BBC in Scotland and
Northern Ireland, and Channel 4 in Wales). This takes the form of online content (Italy,
Denmark), supporting festivals (Ireland, Greece), or competitions (BBC in UK) and
workshops or individual projects (Wales and Northern Ireland). In the UK there is one
example of a broadcaster capturing the public imagination with a dedicated documentary
series on the history film: Mark Cousins’s The Story of Film on More4).
We found very little engagement of commercial broadcasters in film literacy programmes:
Mediaset in Italy collaborates with the Giffoni Film Festival, and there is a commercial
station on the board of StationNext in Denmark.
Phase 2
20
Do broadcasters provide training in film education for education professionals?
Only 2 out of 14 do.
Sweden: Short study seminars and shorter college courses and one-day conferences Spain: There are some initiatives in film education for education professionals, but usually
they are driven by the private sector (associations and NGO´S) and broadcaters are
collaborators.
Finland: Mainly by YLE (Finland's national public service broadcasting company.
2.4
Where does film education happen?
We asked respondents where film education provision was most likely to be located, when it
featured in the school curriculum (in classrooms), as well as after school, and outside school.
21
2.4.1 In classrooms
In classroom settings we make a distinction between film as a subject in its own right, and
where it supports, or is a part of, other subjects.
Phase 2
22
Phase 2
Specialist film/media/visual arts
In Poland some schools decide to have classes with 'film faculty'. In such instances film
education is a separate subject which is a core entitlement for pupils. In Italy since 2010,
with the reform of senior high school education, cinema has been introduced into the national
curriculum. In Hungary the field is called Moving Image Culture and Media Knowledge. In
Greece, film is a part of Visual Arts Education in Preschool, Primary and Middle Education.
In Primary and Middle education, film education is optional under the title "Audiovisual
Expression" in Visual Arts Zone
In England film can be studied on its own at 14 - 19 years as an examinable subject, and as
part of Media Studies. Film Studies is available in Wales as a separate subject. In Northern
Ireland, there are qualifications in Moving Image Arts from 14-19. In Scotland, at
certificated levels (ie 16+) it is included within media studies.
In the Netherlands there are a few middle and higher schools that have film as a separate
subject. Film is not required, but there is some space in curriculum which can be filled with
art education or sports and sometimes schools choose to fill it with film. Note: although it is
not part of the official curriculum, a lot of schools in the Netherlands do give attention to
media literacy and film as part of it. Because there are no central rules, every school chooses
for itself how to address this subject. Then critical viewing and promoting filmmaking are
popular topics.
Other subjects
In Ireland several subjects in the secondary school curriculum include a specific element of
film such as English and in Irish language study, students are required to view a short Irish
23
language film and respond to this in the final exam. In English (12-15), it is an aspect of
media studies.
In Hungary, some schools teach film along with other subjects just as Literature or Visual
Culture depending on the logistics of subjects. But it does not mean film is integrated into
these other subjects in either content or in methodology
In England at 5 - 11, film is represented in the Primary Literacy Framework - a non-statutory
but widely used curriculum framework. The mandatory curriculum for 11- 16 year olds in
England specifies the study of film - critical viewing - in subject English, under the Orders for
"reading.' Film as part of media is also referenced in the Citizenship curriculum. In Wales
film is specified as an area of study in English and Welsh
In the Czech Republic the national curriculum is based on Frame[work] Educational
Programmes, which are suggestions to the schools, supported and financed by the local
authorities - school directors and mainly teachers create so called School Educational
Programmes, which are differ in every school according to the school strategy and priorities.
In Germany, film can be found in German, other languages, arts, music, history, social/
political sciences, religious studies, ethics.
There is continuing and widespread debate about the value of film education as a separate
subject, or as integrated into media education more broadly, or supporting other subjects
altogether. It seems from initial data responses that film is more likely to be used
‘instrumentally’, in support of other learning outcomes, than promoted in and of itself. It is
clear that the film education sector needs to be able to articulate the core benefits and value of
film education, as well as promoting its value in supporting other outcomes. Two possible
answers to this conundrum: first, in the essential translatability of film into other areas of
learning, for multiple purposes; second in the core value of film education being to help us
look more closely at the world, and at ourselves, and at others; third in the purpose of film
education being to help us look more closely at film itself – as a way of supporting the two
purposes above.
Phase 2
Cyprus: The national curriculum is decided by government, whereas private schools can use
their own curricula, often following those of the UK, USA or France. There are both core and
optional film education components within the subject of media education and in various
other subjects in the curriculum, as well as being studied as a separate subject.
Estonia: Film can be studied at high school as an optional separate subject and national
guidelines on teaching film education are produced.
Finland: Finnish schools form their own individual curricula on the basis of the national
curriculum created by The Finnish National Board of Education. Throughout the school
years, film education is an optional part of media education and is included in other subjects;
it becomes an optional separate course of study in high school.
France: There are widespread national film education projects at primary, middle and high
school levels and film study is offered as a distinct optional subject at high school. It is a core
part of media education across the age ranges and also features in other school subjects. These
subjects include French language and literature and Literature - a compulsory subject in the
literature section of the Baccalaureate.
Iceland: The national government issues guidelines for schools who then adapt and create
individual curricula for their own school. For primary and middle schooling film education is
included in other subjects namely Information and Communication Technology (ICT) and
partly in life skills. The national curriculum for compulsory education is being revised in
2012 and media literacy – including film education - will be integrated into social studies,
Icelandic (the mother tongue) and ICT.
24
Luxembourg: In formal education structures, there is no national curriculum. There are both
core and optional film education components within the subject of media education at high
school level. It is an optional separate subject in middle and high school and features in
various subjects at primary level.
Malta: Film education forms part of media education in primary and middle school and is
included in other subjects such as Personal & Social Education, English & Maltese in
primary, middle and high school.
Spain: There is a broad set of national curriculum guidelines which are then interpreted at
regional and local government level. Film is not regarded as a distinct subject but it features
in different subjects in primary, middle and high schools.
Austria: The general curriculum is decided by the national government.
Film education is no separate subject, but forms an optional part of Media education at all
school levels, and is also included in other subjects in middle and high school level. Due to
the Austrian Federal Ministry for Education, Arts and Culture’s „basic direction for media
education“ all teachers in all subjects shall work with media (and film) – „in accordance to
their opportunities and resources“ and as part of cultural education. But this is optional, so
most teachers work with film in German classes, arts class or foreign language classes.
Belgium: In Belgium, educational matters depend on political powers of the BrusselsWallonia Federation (for the French-speaking part of the country) and the Dutch-speaking
Regional Government (for the Flemish-speaking part of the country). Curriculums are
decided by the Minister in charge of education of each government, but also by educational
networks to which the schools belong to (schools can be also ruled directly by the Minister of
Education, by the provincial, local, municipal authorities or by independent catholic affiliated
boards). Film education is a core separate subject (because it follows specific media
educational aims), and is also included in other subjects at all school levels.
Croatia: The government decides the national curriculum in Croatia. Film is studied at all
levels as part of other subjects. Film education is part of media education (film, TV, theatre,
computer, media) within the subject "Croatian language and literature". 20 hours of media
education per year are taught from 1st to 8th grade, depending on the teachers’ aspirations,
including approximately 10 hours of film education.
Lithuania: Film can be studied at high school as an optional separate subject.
Norway: The national government decides the curriculum in Norway. From autumn 2012,
secondary schools can choose a rather small subject (2h a week) that can include working
with moving images. In primary and middle school, film education is included in other
subjects, such as Norwegian language and literature. In upper secondary school, film
education and production is included in the optional subject media and communication, which
is defined as vocational training (although in practice 98% of the students are then going on to
the high school level). In high school, film education is offered as an optional separate course
or can be studied as core part of media education.
Sweden: The general curriculum is decided by the national government, but local authorities
(municipalities) control the schools and decide how to make the curriculum happen in their
schools. Film education is no separate subject, but forms an important part of Swedish
language, History, Social sciences and Arts.
Switzerland: The curriculum in Switzerland is decided by the regional and local
governments. Film education is an optional part of media education in primary, middle and
high school.
2.4.2 After school
We found very few examples of nationally co-ordinated after-school film education activity.
In England (with off-shoots in Northern Ireland and Wales), FilmClub runs a network of
some 7,500 after-school film clubs, with a well resourced website, and access to free DVDs
via provider LoveFilm. Also in England, provider Cineclub offers film-making and film
watching activity after school in a number of areas around London, the south-east, and in
Wales.
25
In Denmark, DABUF (Danish Children’s Film Club) hold film clubs.
In UK, and CR there are networks of film societies, providing access to world and heritage
cinema for adults, and then there are small, ad hoc programmes offered by individual cinemas
(in Athens, Cine Philip; in Dublin, from the IFI; in Wales, the Chapter Young Film
Academy). MovieZone in The Netherlands is an online network for young people to access
film, and share experiences – available in school, after school, and outside school.
Phase 2
Cyprus: The International Children’s Film Festival (ICFFCY) along with the Cyprus
Community Media Centre and European funded projects offer educational after school
activities.
Estonia: No after school initiatives.
Finland: some schools provide film clubs for pupils and/or students at local level, this
depends on the activities and interests of individual teachers.
France: ?
Iceland: Film clubs associated with schools are locally or regionally based.
Luxembourg: There are national programmes of after school film education: theoretical and
practical courses provided by the Centre National de l'Audiovisuel & the Cinémathèque of
Luxembourg-City. At local level, some film clubs focus on making films with young people
and young graduates of film schools.
Malta: There are national and local programmes of film clubs and afterschool film watching
activities. Several schools organize lunchtime film clubs.
Spain: There are good examples of after-school film education programs especially at the
regional level. These are mainly collaborations between regional administrations and private
companies. One example in Catalunya is La Filmoteca. Aimed at young audiences, this film
archive centre promotes critical awareness and film as art. La Filmoteca helps children,
young people and their teachers attend screenings with educational activities.
Austria: For after-school education, there are local programmes and projects, such as the
initiative "One World Filmclub", that help students to found film clubs at school. There are
also some individual initiatives by students or teachers.
Belgium: After school education programmes are run locally.
Croatia: Children’s filmmaking is developed in Croatia on a local and regional level, but
film fun clubs or organisations that provide activities such as screening films or film debates
and lectures, do not exist.
Lithuania: There are no after-school film education programmes, but in some schools
teachers initiate film clubs for watching or making films.
Norway: Some schools provide film clubs for pupils and/or students at regional and local
level after school.
Sweden: There are local after-school film education programmes, and many ‘cultural’
schools (that also teach music and drama after school) offer filmmaking as an option.
26
2.4.3 Outside School
The Polish Film Institute subsidises film education within an informal education framework
through the operational programme 'Film Education and Dissemination of Film Culture'
where the objectives are: Film education and vocational training; film events, local film
initiatives, digital reconstruction and maintenance of film archives, research & development.
Film education is also supported by NGO's, film schools, private enterprises, libraries.
In Ireland many organisations in the youth sector operate film education programmes, while
in Hungary there is not any informal education framework, concerning or including film
education neither nationwide nor regional.
In England/UK: Film 21st Century Literacy Strategy piloted some youth centre based film
education activity; some municipal authorities allow for film education activities - but not
strategically. There is also locally based film education for adults - evening classes etc, and a
national network of over 300 film societies, many of whom add 'educational value' to their
screening programmes. Similarly, in Wales local filmmaking activities are led by youth
services and other not-for-profit organisations.
In The Netherlands informal education in the cultural field is more or less linked to the
formal framework, e.g. music schools, dance schools. Also, the organisations that provide in
film education projects for schools, also do this for informal education. E.g. MovieZone, an
EYE project (national) that focuses on youngsters 12-18 within, but also outside, schools.
In Germany there are film camps, workshops. In towns and regions film and media
organisations within the churches sometimes also private film education.
In the Czech Republic informal film education is based on activities of independent or nongovernment subjects, such as One World festival for Schools, providing screenings and
materials for media literacy and general society driven topics for the schools. On the regional
level there are film clubs founded by students, screening the films in their media rooms. Some
film clubs also provide programmes for children and young people, but without any
curriculum or prepared programme
In Denmark "Station Next" provides education in practical film production in four places
around Denmark. "The Animation workshop" has a school for informal training, and
"Animationshuset" holds informal animation classes. Truemax holds 10 weeks informal
courses in 3D.
27
In Italy the National Agency for the Promotion of Show Business (AGIS) has a dedicated
office for school (AGISCUOLA) promoting national activities for the informal sector
Phase 2
Cyprus: appears to have an informal education infrastructure and within that at local level,
film education is offered as part of media education and as a separate subject, as well as being
included in other subject areas. These activities are provided by adult colleges, film societies
and community spaces.
Estonia: film is studied as part of media education and as a separate subject, and is largely
offered by film societies with inconsistent national and regional funding.
Finland: In Finland there exists a national infrastructure for informal education in which film
education is offered regionally. In this context it is part of media education as well as being
offered as a separate object of study. Film education is delivered in a variety of settings: adult
colleges, film societies, galleries and museums, film archive centres and community spaces.
France: Film education as a separate subject is offered in informal infrastructures.
Iceland: In the informal sector, film education forms part of media education regionally but
is studied as a separate subject more locally. Film societies, galleries and museums provide
film education as well as the widespread national and regional cinémathèque network. Bio
Paradis - http://bioparadis.is/english/ - is a new independent cinema in the centre of
Reykjavik, screening the latest art house releases, special genre films, repertory cinema,
documentaries, shorts, animations and experimental films. It opened in September 15th 2010
and is owned and run by an association of Icelandic film makers, receiving government
funding for short term film education projects.
Luxembourg: Informal education has a national framework in which film education is
offered as a separate subject. Sites of film education activity include film archive centres and
community spaces.
Malta: An informal education infrastructure exists but film education is not formally offered.
Where there is film education it is offered as a separate subject nationally and locally.
Informal film education initiatives are provided by adult colleges and film societies, who
enjoy year on year government funding.
Spain: Spain has national and regional infrastructures for supporting informal education
within which film education is offered. It can be studied as a separate subject as well as being
incorporated into all other subjects including media education. The following organisations
offer such activities: regional film societies & archive centres, galleries, museums, NGOs and
private enterprises.
Austria: There is a framework and infrastructure in place to support informal film education
on a regional level, Informal education by adult education centres, film education only
selectively and then mainly by regional and local media centres that provide material (film
equipment and DVDs) and also offer workshops. Film education is nationally, regionally and
locally a part of media education and locally also included in other subjects, for example part
of the program of small cinemas or film clubs that accompany film screenings with lectures,
film talks etc.
Belgium: Within the informal film education infrastructure in Belgium, museums, film
societies and archive centres, as well as communities provide film education.
In the Brussels-Wallonia Federation, film festivals also educate in film, and lifelong learning
strategies are provided by organisations specialised in film education, or cultural centres that
include film education in their cultural politics. Film education (in the Brussels-Wallonia
Federation) is regionally and locally a part of a part of media education, a separate subject, as
well as included in other subjects, such as citizenship, fighting discrimination, multicultural
values, equal opportunities. In Flanders it is a separate subject (locally).
Croatia: An informal regional film education infrastructure exists in Croatia where film
education is offered by different film associations and societies, kino/cinema clubs or Artcinema educational programs, community spaces or informal education centres. Film
education is regionally and locally a part of media education.
28
Lithuania: There is an informal film education infrastructure in Lithuania where film
societies, small cinemas, festivals or small NGOs provide film education.
Norway: There is an infrastructure for informal education in which film education is offered
nationally. In this context it is part of media education, and regionally and locally it is also
offered as a separate subject of study. Film education is mostly delivered in community
spaces.
Sweden: There is a framework and infrastructure in place to support informal film education
on a regional level, and it is seen regionally and locally both as a separate subject of study and
as part of media education. All sorts of organisations provide film education: adult colleges,
film societies, galleries and museums, community spaces, local cultural schools, and regional
film centres.
Switzerland: Informal film education initiatives are provided by film archives, community
spaces, universities, colleges of education, private associations, and film festivals.
2.5
Who provides and who receives film education?
We subdivided ‘provision’ into agencies responsible for strategic activity, and those
responsible for delivery. We address the question of funding in the ‘How is film education
funded?’ section.
29
2.5.1 Film education Providers
Film education promoters/campaigners/strategists
In Poland, the Polish Film Institute initiated the Coalition for Film Education. 8 organisations
signed the document stating initial aims of the Coalition: - to make films more accessible to
young people - to encourage critical understanding of films among young people - to
popularise usage of films in teaching about culture and society - to provide young people with
opportunities to make films to develop their own creativity - to implement a professional
development programme for teachers and other film educators to raise standards of delivery
and quality of film education practices and projects.
In The Netherlands also, EYE is responsible for convening a coalition, or network of
national providers. There has also been a group of organisations with a UK, or single nation,
reach who have participated in the Film Education Strategy for the UK. A strategy for film
education in the UK was inaugurated in June 2008, under the auspices of the (now closed)
UK Film Council. BFI has taken over the responsibilities of UKFC, and will publish its own
strategy later in 2012.
In Cz Republic since January 2012 there is the experts group authorized by the Ministry of
Culture. Since the foundation of the experts group there were no organisations campaigning
or lobbying for a national film strategy. The only document briefly mentioning the
importance of film education and proposing the existence of national film strategy was the
Conception of Cinematography of the Czech Republic 2010-2016 agreed by the Parliament of
Czech Republic in 2010. During 2012 a film education strategy should be created and agreed
by state representatives.
In Denmark there is no government film education strategy covering the five headings of this
survey but The Danish Filminstitut have their own strategy targeting national film educational
outreach programs - consisting of online film distribution, School screenings, teaching
materials, teacher training and a range of other activities, and that it is done in collaboration
with several regional partners, reaching out across the country. The content of this
communication is focused on children and young people gaining the skills to find, understand
and create movies.
In Hungary the Government of Hungary is responsible for film education, and it only covers
formal education under the legal regulation by the Hungarian National Core Curriculum. Film
and media is an independent and compulsory subject in schools in Hungary. Outside formal
education the Hungarian National Cultural Fund plays an important role; it finances through
its special film colleges film education initiatives such as organising film clubs or film
festivals; also film education programs of colleges and universities and special summer
workshops can apply to them for complementary financing.
In Germany Vision Kino works closely with all departments of the 16 federal states; there is
at least a partial strategy in regards to national film-school weeks. The federation of ministries
of education and cultural affairs will give a declaration about common tasks of media
education at schools including film education.
In Italy the MIUR Ministero dell'Università e della Ricerca has responsibility for formal
education, and therefore for film education in the curriculum.
In Germany the federal states have various strategies for media education in general, and in
Portugal DREALG – the Regional Organisation for Education covers both formal and
informal.
30
(Some Phase 2 WHO extraction will overlap with the Strategy, Informal & other sections)
In Croatia - national film education strategy: Ministry of Science, Education and Sport
Republic of Croatia, Croatian Audiovisual centre organizations for film education: different
film associations and groups
Film education is offered through different film associations, informal education centres.
NGOs, Film/Kino Clubs, Art-Kino educational programmes.
In Sweden - The Swedish Film Institute and the national media council have a strategy to
heighten film education in schools and municipalities.
The Swedish Film Institute supports networks of film education providers.
In Malta - The Department of Education has an Education Officer who promotes media
(including film) education.
In Spain - There are many independent activities by individual agencies, but no an overall
strategy. The activities carried out are mainly promoted by regional administrations eg.
Cantabria or Catalunya, NGO´s and by private initiatives. Some examples in different
regions: "Asociación la Claqueta" in Aragón, "Telekids" in Andalucia, "OETI" (The
European Observatory on Children Television) in Catalunya.
Cultural agencies responsible for promoting film: regional departments of culture and
the ICAA (Instituto de la Cinematografía y de las Artes Audiovisuales) – a national
autonomous body within the Ministry of Culture, regulating and giving financial support to
film and audio-visual activities i.e. production, distribution; it also promotes Spanish cinema
and audio-visual arts both nationally and internationally.
More agencies: Instituto Cervantes, Academia del Cine, ICEC (L'Institut Català de les
Empreses Culturals), Acadèmia del Cinema, Catalan Films, Media Antena Catalunya, CPAC
(Collegi professional de l´audiovisual de Catalunya)
In Switzerland - Since 2011 «cineducation.ch/Verein zur Förderung der Filmbildung»
(www.cineducation.ch) is a campaigning organisation for film education in Switzerland.
Many of the most important institutions, projects and persons engaged in film education in
Switzerland are member of this private organisation. Other film education activities take
place in universities, colleges of education, private associations and projects and film
festivals.
Film education is offered by several associations and projects, which have to be paid by users.
Cultural agency responsible for promoting film: http://www.swissfilms.ch/
In Lithuania - Film education came to Lithuania together with the new generation of
academic youth that became active in the field around 2004. In the past, film culture for
children was only in the papers and in the declarations of the Ministries. But in 2004 a bunch
of young people came back home after studies, internships and residencies abroad willing to
change the situation and to initiate a “film education movement”. The very first initiatives
came from the municipal Cinema Centre Skalvija. From that moment on, several NGOs were
founded with the intent to work in the field of film education.
For the moment in Lithuania there is no governmental or any other cultural agency to
promote film, but in June 2012 the Lithuanian Film Center is due to open.
In Finland - The field of film education in Finland consists of several active actors and NGOs
eg. Koulukino (School Cinema), Mediakasvatusseura (Finnish Society on Media Education).
There is informal education infrastructure on the arts but film is not part of it at the moment.
Cultural agencies responsible for promoting film: Finnish Film Foundation, regional film
centres, Arts Council of Finland.
In Austria - the Austrian Federal Ministry for Education, Arts and Culture offers a „basic
direction for media education“ that should be considered in the work in any school types and
31
subject, a kind of media education strategy exists, but it is non-committal. There are regional
and local media centres that provide material to be used in film education (film equipment
and dvds) and they also offer workshops ... But there are campaigning organizations for film
education like filmABC and the Austrian Film Museum that continuously provide film
education for young people and pupils with a self-defined strategy behind (mostly external
like in cinemas and not in class – and not in direct connection with curricula but as a common
offer for teachers and pupils).
Informal education is offered by adult education centres, film education only selectively and
then mainly by regional and local media centres that provide material (film equipment and
dvds) and workshops.
Cultural Agencies responsible for promoting film: Austrian Film Commission (www.afc.at),
KulturKontakt Austria (www.kulturkontakt.or.at), selective regional Cultural Commissions.
There are no official agencies to promote film education programmes with support from
government institutions like "Vision Kino" in Germany. In some parts KulturKontakt Austria
(www.kulturkontakt.or.at) might fit or private initiatives like filmABc or the austrian Film
Museum get some funding for their work from Austrian Federal Ministry for Education, Arts
and Culture – but they don't get a order to work like an agency.
In Norway - Norwegian filminstitute has for several years coordinated a national film
education strategy, however without exams and formal marks. THis includes two online
filmwebsites. The strategy on the regional level is rather new, knitted together in the online
web resource: filmport.
In Belgium (Wallonia Federation) - Lifelong learning strategies are ensured by bodies
specialising in film education or by cultural centres which include film education in their
cultural strategy. Film education is offered by film festivals organized in Brussels-Wallonia
Federation.
Cultural agencies responsible for promoting film: La Cinémathèque royale (Royal Film
Institute of Belgium) La Cinémathèque de la Fédération Wallonie Bruxelles (BrusselsWallonia Federation Film Institute) Le Service général de l'Audiovisuel et des Multimédias
(General Department for audiovisual Matters and Multimedia of Brussels-Wallonia
Federation) Bozart, Flagey, La Médiathèque (Media Library of Brussels - Wallonia
Federation)
In Iceland - Art House Cinema, Bíó Paradís, owned and run by associations of filmmakers in
Iceland. The cultural agency responsible for film promotion is The Icelandic Film Centre
which promotes Icelandic films abroad.
Do agencies support film education providers?
For the formal sector (4 respondents) 50.0% said Yes
For the informal sector (7 respondents) 87.5% said Yes
Namely: Croatian audiovisual centre (HAVC); The Swedish Film Institute; Higher Council
for Media Education in Belgium; Kultura Saila, Institut Catala de les Industries Audiovisuals,
ICAA (Instituto de Cinematografía y de las Artes Audiovisuales) at national level and its
corresponding at regional (eg. ICEC -L'Institut Català de les Empreses Culturals- in
Catalunya) in Spain; Filmfund Luxembourg www.filmfund.lu Ministère de la Culture /
Centre national de l'audiovisuel www.cna.lu
32
Film education providers - industry
In Poland film production or distribution companies don't fund or subsidize film/cinema
education but they sometimes organise or run their own initiatives. The Polish Documentary
and Feature Film Production Company and the Studio of Educational Films and Programmes
based in Łódź both support activity. Some of the film distribution companies manage film
education programmes for schools (e.g. based on the films their distribute)
In Germany VISION KINO, as a public private partnership, is both a sort of nationwide film
cultural body and also a network for film education. It supports a National Schools Film
Week.
In the UK, the film industry supports UK-wide provision by Film Education, including
National Schools Film Week, and events for teachers and students promoting the film
industry.
The Irish Film Board has funded a couple of specific programmes at IFI over the years,
which have supported our delivery of national screenings, resources and teacher education
In Malta - the local film distributor (KRS) takes several initiatives to promote film education
among schools. The cultural agency responsible for promoting film is the Malta Film
Commission.
In Sweden - short study seminars, shorter college courses and one-day conferences are
provided by broadcasters.
In Spain - there are some initiatives in film education for education professionals, but usually
they are driven by the private sector (associations and NGO´S) and broadcasters are
collaborators.
In Finland – film education via industrial bodies is mainly by YLE (Finland's national public
service broadcasting company)
33
In Croatia – Founded in 2008, the government-funded Croatian Audiovisual Centre (HAVC
- www.havc.hr) is the strategic agency for the audiovisual sector in Croatia. It aims to
stimulate a successful, vibrant audiovisual industry as well as to promote the widest possible
enjoyment and understanding of audiovisual works throughout Croatia. Funding contributions
are also received from a variety of audiovisual stakeholders, such as broadcasters, digital,
cable and satellite operators, Internet providers and the telecoms industry.
Broadcaster and National Archives have been referenced under section 2.3. What types of
film education provision are there?
2.5.2 Film education recipients
34
Belgium: isolated educational initiatives can occur. Film industry generally goes into shortterm partnerships with officially approved organizations
Spain: There are some initiatives, but generally very few and not nationally representative
Norway: online resource from 2000-2005 and 2006-2010
We asked respondents to estimate what proportion of children, young people, and adults,
were accessing film education in the sectors that they had best knowledge of. We stress that
these estimates are fraught with potential misunderstanding: for some countries with
notionally very high reach, this might mean children watch one film, with maybe an
introduction, or study one small unit of film education. We aren’t yet able to give different
kinds of weight to the length or quality of the experience that a single interaction represents.
This proves the need for much more extensive research into the nature, reach, and quality of
film education provision offered by national programmes.
Additionally, in Phase 1 we acknowledge that we don’t have enough data to consider the
numbers of participants in lifelong learning.
School children recipients
(actual data, responses to Q17):
 Italy: about 12,000 (2000 data from the survey produced at that time)
 Hungary: According to the regulation it is 17% (the whole population of the 12th
class at the same time), but as a matter of fact it is less than that, around 10%.
 England: 16-19 year olds: 19,019 studying film; 67,474 studying Media (with some
film); 14 – 16 year olds: 4669 Film; 63,182 Media (with some film)
(estimated data, responses to Q17):
 Poland: ~1%
35






















2.6
Italy: The number has surely decreased, because the new curriculum is not active yet
and during those ten years approximately many local institutions didn't continue the
experimentation. So very few regions (like Veneto or Marche or Lazio) continued to
sustain the experimentation, but in other regions everything was left to indivudal's
initiatives
Ireland: 80% (taking all aspects of film ed as cited above)
Greece: Trial film educational programs are being taught on a pilot phase for year
2011-2012 to 250 registered school units: 21 kindergarten, 161 primary schools and
68 middle schools. But any school at any level may take part to the film education
programs, as they are open and accessible though the website of the Ministry of
Education.
England: 4 - 13 year olds: maybe 1 million children studying some element of film in
the literacy/ English curriculum; Wales: 5%; Northern Ireland 10%; Scotland: 10% as
a very rough estimate
The Netherlands: All school age children 4-19 yrs= 3 million. Percentage film
education: max. 5 %
Slovenia: 10%
Germany: <10%
Czech Republic: 40%
Denmark: 80%
Portugal (Algarve): 10%
Croatia: 349 423 (data school year 2010/2011actual data) primary and middle
education. 192 000 high school kids (best guess)
Norway: 5% in upper secondary choose media and communication (actual data)
Austria: best guess -less than 5%
Sweden: 75% (but maybe not extensive education but they get to try) Best guess
Malta: 60% best guess
Belgium: between 50% - 60% best guess
Spain: 0.01% to 0.1% best guess
Switzerland: 5% best guess
Lithuania: 1% best guess
Finland: 20% best guess
Luxemburg: 10% best guess
Norway: 10% best guess
How
2.6.1 Funding
Of those cultural bodies mandated to promote film, where does the funding come
from?
As 80% of film education provision in this sector comes from the national film agency, where
one exists, the majority of funding comes from national government followed by regional
government. However, there are many variations and individual country observations:
36
The Hungarian National Film Fund is based on 90% of the national 6/49 lottery income. The
National Cultural Fund of Hungary is an organisation of The Ministry of National Resources.
The Media Service Support and Asset Management Fund supports documentaries and
scientific by the licence fee of commercial channels. Local Governments occasionally support
local film festivals or film clubs, sometimes workshops.
In Greece funding is from the Ministry of Culture and Tourism, while in England the
Cultural Ministry supports film education, with a little support from the Education Ministry.
Regional funding comes via the same Culture ministry, plus the Business Ministry,
37
commercial sponsorship, and charitable foundations. The National Lottery makes a sizable
contribution to film education - probably bigger than government. In Wales film education is
funded by the Welsh Government directly and indirectly - mainly Culture and Sport (Arts
Council for Wales National Lottery funding), some funding from Education and Skills (for
Filmclub Wales programme) Also indirectly by UK Government - Department of Culture,
Media and Sport (BFI). Northern Ireland Screen funding is provided annually by Invest NI
for film production funding and development. The Department of Culture Arts and Leisure
provides annual funding for Northern Ireland Screen's film culture and film education
programmes
In Netherlands the Ministry of Education, Culture and Science (Semi) commercial funds,
like SNS Reaal Bank, Prince Bernhard Culture Fund. In Germany, national and regional
Ministries of Culture; Education; Family, Youth; local departments, while the federal film
board is financed through ticket sales
In Republic of Ireland, Irish Film Institute funding comes from The Arts Council funded by
the Department of Art, and in Czech Republic from the Ministry of Culture and the national
government. The ministry of culture supports the Danish Film Institute, the national film
agency. Some regional governments support film production in their area
In Austria, Austrian Federal Ministry for Education, Arts and Culture (Bundesministerium
für Unterricht, Kunst und Kultur - http://www.bmukk.gv.at ), Federal Ministry of Economy,
Family and Youth (Bundesministerium für Wirtschaft, Familie und Jugend http://www.bmwfj.gv.at) ... This cannot be answered in general. While a lot of organizations
contribute to a promotion of film their funding structures differs widely....
In Croatia, Ministry of Culture is funding Croatian audiovisual centre + contributions of all
those using audiovisual works, such as broadcasters, digital, cable and satellite operators,
Internet providers, telecoms, etc.
In Iceland, Ministry of Education, Culture and Science
In Sweden, Cultural Department, Education Department
In Spain, Ministry of Culture, Ministry of Industry, regional Departments of Culture, and
from broadcasters. Minimal commercial support.
In Switzerland, Ministry of Culture (Bundesamt für Kultur).
In Finland, eg Ministry of Education and Culture
38
Film industry
39
In Poland, film production or distribution companies don't fund or subsidise such initiatives.
Cinemas provide ticket discount programmes and special family events (e.g. screenings of
films for children and their parents/ grandparents accompanied by artistic workshops
In Hungary, secondary schools can apply to Budapest Film for serial film screenings in art
cinemas. (Budapest Film is an important film distributor). In this way students can watch
films in cinemas for free
In Greece, during the Olympia International Film Festival for Children and Young People
there are ticket discounts for families. The Greek Film Archive organises special
cinematographic screenings for junior and high school students in Athens and for students of
private film schools. The Film Archive also develops and supports the operation of a number
of Film Clubs
In Austria, certain cable channels provide film education programming eg. ‘Okto.
Community TV’
In Belgium, there are isolated initiatives only and these will be in partnership with the
authorities.
40
Does the film industry subsidise or fund education activity through cinemas for adults?
In Poland such initiatives are usually organised by cinemas, NGO's or as part of film
festivals. Usually local cinemas run various kinds of film cycles that are targeted at particular
41
groups, also adults, seniors. Some of such events are organised in co-operation with colleges
and universities or other institutions
In Republic of Ireland, IFB has supported special events on Irish film through the Irish Film
Archive (part of IFI) and in Portugal there is some activity organized by Algarve Film
Commission.
Other sources of funding
In Italy, there is some private bank foundations & regional funding depending on the law
system each region has. Some regions have regional laws promoting regular funding for film
education (like Friuli and Sardegna)
In Hungary there is some civic/municipal or local government/regional support for film
clubs, and in Greece, funding may come from EU Programmes, cultural institutions, (local,
regional, national) as sponsors, and companies in the context of a social responsibility policy
In England in reality, national funding is provided to the Film Societies network year on
year; regional funding for year on year for cinema based provision, and some charity funding
- much more on project funding. Regional funding also is delegated to projects. Government
has funded high profile one-off projects (eg Olympics Film Education programme)
Is there any available data on annual expenditure on informal film education?
26.7% say yes and 73.3% say no
Phase 2: 20% say yes and 80% say no
In Poland, the Polish Film Institute funds 'Film Education and Dissemination of Film Culture'
projects (among which there are such objectives: Film education and vocational training, Film
events, Local film initiatives, Digital reconstruction and maintenance of film archives,
Research & development):
o 2011 - 8 384 494 EURO
o 2010 - 6 949 156 EURO
o 2009 - 3 315 619 EURO
o 2008 - 5 090 758 EURO
It's hard to estimate expenditure on informal film education by other Institutions as there is no
separate objective for film education. Usually there is one budget for the whole artistic or
cultural education
In Hungary the record is of supporting film clubs by the Motion Picture Public Foundation of
Hungary and the National Cultural Fund. Now the Motion Picture Public Foundation has been
abolished by the Government. The support system for film clubs and festivals just ended now
after 20 years
42
Also in England First Light Movies disburses £1.1m of Lottery money each year on youth
film-making activity. Until 2011, regional agencies spent £0.75m on cinema-based education
- little of which was spent on curriculum based school activity. Film Societies received
around £50K a year funding from government
Northern Ireland Screen provides annual funding for film education, for specialist film
exhibition, film festivals, creative learning centres and for film archive outreach workshops
In Austria - Institutions that provide public funding have to externalize information about the
money they spend for funding (like in annual reports)
In Croatia – The Croatian Audiovisual Centre is publishing results of public year every year
In Spain - There is some data of concrete activities or projects. But there is no general
representative available data at a national level regarding the overall informal film education
figures
In Norway – At a guess probably 3-4 million NOK (£4-500, 000 pound sterling)
In Croatia - charity sponsorship, commercial sponsorship, local government, membership
In Belgium - There is also regional funding for short term projects.
In Spain - one example of promotion and funding comes from a regional administration:
Andalucía http://www.juntadeandalucia.es/cultura/web/areas/cine_y_audiovisual
In Norway - The regional centres on filmmaking are now receiving money on a year to year
basis. There has been a shift from national funding to regional funding during the last two
years.
43
Where co-ordinated networks of film education provision exist, how are these
networks financed?
In Poland Arthouse Cinemas Network is co-financed by the National Film Archive, Polish
Film Institute and Ministry of Culture and National Heritage. The Polish Federation of Film
Societies is co-financed by Polish Film Institute and through membership fees. In Italy
networks are funded by the Ministry of Culture, by local institutions and foreign culture
institutions, and in Hungary for the time being there is no any national financing body
supporting people working in film education, or supporting film educational programs,
research, events. At the moment there is no financial background for educational content
development.
In England regional bodies support film education networks; Film Societies constitute
another. A cinema educator group called MOVIES supports its meetings with subscriptions,
which come from regional funding. Northern Ireland Screen provides support for these
networks with funding from the government's Department of Culture Arts and Leisure
In the Netherlands EYE is financed for the Film education network by the Ministry of
Education, Culture and Science, and in Germany, Republic of Ireland and Portugal every
network is financed differently by ministries and others.
In the Czech Republic grants of Ministry of culture, MEDIA programme, Visegrad fund
(partly), European Social Funds - Education for Competitiveness Programme contribute to the
support of networks, and Demark from the DFI (government)
How are film festivals funded in your country? Is film education provision a
requirement of the funding?
44
In England it's hard to say which of the dozen or so film festivals for children and young
people have film education required as a condition of funding. Commercial sponsors and
charities often find education work attractive. One, (Leeds), is funded by local government
and requires an education programme. Additionally, often just the fact of addressing children
and young people is seen as 'educational.' Northern Ireland has three annual film festivals
funded by the Dept of Culture Arts & Leisure through Northern Ireland Screen: Cinemagic
Screen Festival for Young People (ages 4-25), Foyle Film Festival (all ages), Belfast Film
Festival (Adults)
In Germany, festival funding comes largely through accreditation fees, while Czech
Republic uses European funds (Visegrad fund, MEDIA programme, embassies in CR). Film
education provision is not required, only on European level in formal way (number of guests,
lecturers etc.)
In Lithuania, International film festivals are also sponsored by EU MEDIA program
2.6.2
How - Assessment
Are national or regional statistical records collected of children's and young
people's achievements in film education?
An important measure of the value placed on film education is whether a government or
national agency collates statistics relating to children’s achievement – either in film as a
school subject, or in any other learning context.
Only in the UK, where film can be studied as an examination subject between 14 and 19
years of age, are national statistics available which reflect students’ learning in film. In
Northern Ireland middle and high school education critical and creative skills in moving
45
image are assessed as part of assessment at 11-14 as well, and in Scotland from 2012 the
SQA will measure literacy in schools across Scotland (by unidentified sampling) and the tests
used to do this will include film texts for children to respond to
In some nations, records are kept of student achievement in aspects of film in other subjects
(Denmark and Hungary, at high school level).
In Greece statistical records are being collected only by the educational bodies that are
promoting film education activities, for their own files mainly (eg. Olympia Film Festival).
And similarly in Netherlands, some organisations (SCP, Culturnetwerk) keep track of
children’s’ 'cultural' participation as a whole (not only film) and some keep track of film
visits. But there are no official records on film education specifically. In Italy statistics are
not collated at the moment, only those recorded for the national survey from 1999 – 2001
involving 12,000 students, as per country profile
In Germany within other subjects (German, Arts...) in school leaving examinations some
Federal States have a sort of media competences licence (middle level), and in Czech
Republic history of film is part of the curriculum in history of literature at the final exams at
high schools.
Are there any attempts to measure and record learners' achievements or benefits
in taking part in informal film education?
46
In Spain, there are some attempts for concrete activities or projects (eg. university research).
But there is no general representative attempt to measure the benefits of informal film
education at a national level
In Switzerland, some of the projects in informal film education evaluate the learners'
achievements
In Norway, not measuring, more encouraging youngsters to work and develop as filmmakers
We found no systematic collation by national governments or agencies of achievement by
young people in the informal sector. Two examples are close: in Northern Ireland, the
schools’ inspectorate ETI recently inspected the quality of experience and outcomes for
young people following film education programmes in the informal sector, and also in UK,
First Light Movies carry out regular evaluations of their whole programme – which is focused
on outcomes for young people from film-making projects in the informal sector. In the
Netherlands the organisations that have informal film education projects, like EYE, try to
evaluate on a yearly basis how many people take part. In case of talent development, there is
a good guess to make on how many take part in national projects: MovieSquad: 45 py, We are
next: 20 py.
In all other nations, evaluations are common for individual projects, but rarely track outcomes
over a sustained period, or against specific competences or achievements. In Germany
organisations may prove competencies within their projects. One of Germany’s nationwide
associations for cultural education has developed a competency test, which also may be
applied in the fields of informal film education.
47
2.7
Case Studies
Each respondent to Phase 1 was asked to supply three case studies, answering questions from
a devised template, covering formal, informal and audio-visual sectors. Summarised case
studies from 10 of the 12 nations are included in the Appendix. Slovenia and Czech Republic
are still completing their case studies. Case studies have been trawled for data supplementing
the interim findings in the ‘why, what, where, who, how’ sections.
2.8
National summaries
National summaries for each nation have been completed, under a template derived from the
5 sections of the Survey Monkey Questionnaire. An example is included in Appendix 2.
48
3
Emerging Recommendations
Partners and Expert Advisors have been invited to submit suggestions for inclusion in the
Recommendations section in the Final Report. We have solicited these in three ways: with a
dedicated section in the Survey Monkey questionnaire; during the Experts’ Seminar in March
as part of an exercise imagining an ‘ideal model’ of film education, and in a formal session
summing up Recommendations. In addition, Experts and Partners were invited to submit
additional Recommendations after the seminar.
But first we consider some barriers to successful film education provision, and some
opportunities and other constraints.
3. 1 Barriers
During the Experts’ seminar we solicited views on barriers to effective and comprehensive
film literacy provision in European nations, and include examples below:










Confusion between government
departments – where does it sit? Who do
we lobby?
Duplication of industrial filmmaking
model into education isn’t necessarily the
way to do film education: privileging
technical skills / excluding children from
editing
Perception that film education easy/lazy
option
Separation of filmmaking and film
watching
Copyright issues – need for guidance on
how to secure fair use clearance;
differences across Europe
Lack of access to film heritage
Formal school structures – barrier to
watching full length films, and to
focusing on film education
Necessity of teacher training: quality and
skill of teachers
Watching is not enough – but it’s a start
European resource – guidelines on film
education: centralised











European recommendation on copyright:
classroom use
Connecting audience development and
film education: passive / active
continuum ... – individualised –
fragmented ... civic space – public
sphere: extending children’s appreciation
of film leads them to consume a wider
variety of film
Access to film archives – researchers
limited – less knowledge
Teachers’ lack of interest in old
films/classics
Lack of teacher training
Risk of putting children off
Lack of authority in film education
Most powerful media bodies in Europe
are broadcasters and distributors
Media industries focus on audience
development
Database of streamed films
Focus on film as art (not heritage) –
emphasise dynamic/meaningful character
of films
49
3.2
Opportunities, Constraints, and Challenges
Affordances/Opportunities
Benefits & Strengths in good
practice
Cross-disciplinary nature of form
and content, especially media
education
Versatility of the medium. Can be
used across the curriculum and in
contexts outside the school.
Straddles subject boundaries &
government ministries. Issues
over where it fits into the
curriculum
Opportunities for multimodal
understanding, collaborative work
and skills training
21st century skills: a
communicative tool or language
with which to actively represent
meaning
Opportunities for integrated
critical, creative, cultural
curriculum. Connecting film
grammar with digital authoring
tools
Pockets of local and regional good
practice.
Lack of skills / teacher training /
technical resources / print vs.
moving image issue
Opportunities to engage with and
exploit new digital & audiovisual
cultures
Opportunities for enabling access
to film literacy for everyone.
Opportunities to embed and
disseminate cultural film
appreciation at a European level &
individual nation’s audiovisual
heritage
Improved intercultural
understanding.
Opportunities for film industry &
audiovisual sector to integrate
with education and cultural
sectors & increase audience
awareness.
Economic advantages for the
creative industries. Film literacy
initiatives create critical cinemagoing public making informed
viewing choices.
Potential Social Constraints
Over-emphasis on technology at
expense of culture and history
No overall national vision or
framework makes this type of
provision patchy, unsystematic.
Pupils don’t know what they don’t
know, settling for mainstream
cinema. Subtitles as an
inconvenience. Not enough
subtitling/dubbing into minority
languages.
Commercialisation distorts
educational & cultural agendas.
Perceived lack of commercial gain
in short film and/or quality
children’s programming.
Challenges
Confused model of integration.
Fragmentation & shifting funding
sources & who owns it? Lack of
focus on film as optional/distinct
subject.
Problems ref. definition of
literacy, curriculum content &
assessment criteria for
collaborative work
Marginalised in technology or
literacy curriculum, or in
decontextualised youth projects.
Teacher training over-emphasises
technical skills
Uneven distribution, insularity,
fiefdoms, poor communication
between stakeholders.
Reassessment of cultural
curriculum content. Repositioning
of European film as an accessible,
worthy object of study on many
levels. Work on the subtitle
stigma.
Achieve some kind of balance
between educational and
commercial agendas.
50
3.3






















Emerging recommendations: what might be
Definition of film literacy – all the forms and formats
Agreed list of competencies in film literacy: guidelines (check out German version)
Establish link between film literacy/education and media literacy/education
Film literacy as ninth key competence (connection with media literacy)
Outline of progression: journey / spiral of learning: research to map processes and
pathways
Film archives should provide open access for research and education
Canon of European film heritage: lists of recommended films?
Exchange/shared portal / platform for film education resources /best practice ...
Teacher training : towards competencies
National film agencies: obligation to fund film literacy / education
Build connections between film industry and education: copyright for educational usage
Research: what counts as impact or quality
Demonstrating best practice
Research: Who has access to what in film education
Research into how to teach / pedagogies: formal/informal ... recommended reading ...
multiple translations ...
Exploring informal contexts for film education / cross curricular scope for film education
Digital archives: Apprend le tele – accessibility of broadcasters’ archives
Review policies re digital copies: keeping films in circulation for cinema screenings
Set up expert group to take things forward: film education advisory network
Work with Europa cinemas to promote film literacy
Work with festivals to promote film education programmes
Development of a database of film literacy achievements
51
APPENDIX 1 SUMMARY OF CASE STUDIES
Country
Formal
Informal
Audio-visual
Italy
Istituto d'Arte "Don Milani Depero", a
high school in Rovereto, Trento, in the
north east of Italy, has delivered a selffunded film study curriculum for the past
25 years. See
http://depero.istitutodellearti.tn.it/multi
media
The Cineforum Teramo, Abruzzo in southern
Italy has been promoting film and the
audiovisual since 1995
http://www.cineforumteramo.it For the past
several years they have co-ordinated an
annual festival called Cineramnia – a
participative cinema project in which a film
maker makes a short in collaboration with the
community; it includes professional
educational input – organised by Dimitri Bosi
& Marco Chiarini. http://www.cineramnia.it
Giffoni Film Festival takes place in Salerno, in
Campania, functioning since 1971 under the
guidance of founder and artistic director,
Claudio Gubitosi. Aimed at young people, it
also caters to the public in general from preschoolers to the local adult community.
The Head Teacher, S. Silvio Cattani set it
up in 1987 and a group of professionally
trained teachers have been delivering 2
hours of film study a week.
http://www.youtube.com/user/istitutoda
rtedepero There has also been some
collaboration on production with the
Scuola Nazionale di Cinema.
For 2012 – 2013, the school is now
following the new curriculum
"Audiovisivo e Multimedia". No
assessment beyond self-evaluation.
There would need to be widespread
investment in equipment and
professional teacher training to make
the project replicable.
Cineforum Teramo programmes educational
activities throughout the year with more
intense afternoon and evening workshops
during Cineramnia. Participant numbers and
questionnaire feedback is recorded.
Partnerships have been established
between local and regional administrations
as well as a regional bank: Tercas. National
partners include Rai Cinema and the
Cineteca Nazionale.
120-130,000 people attend the festival over
14 days; this figure includes attendance at
other initiatives over the year. Members of
the public make up the jury – they attend
annual film workshops. Attendees complete
evaluation questionnaires. The festival format
has already been replicated nationally and
internationally.
Relation to other projects: POR funds
(regionally administrated from Europe);
collaboration with the Ministry of Culture and
awareness campaigns with other bodies.
Giffoni offers Giffoni Movie Days for schools:
http://www.giffonifilmfestival.it/scuola/movie
-days The festival is funded by private
sponsors and public institutions.
52
Country
Formal
Informal
Audio-visual
Greece
The Audiovisual Expression element of
the Visual Arts Education discipline
covering pre-school to middle school. The
Pedagogical Institute set up the system as
a pilot in collaboration with the Ministry
of Education. The objective is to cultivate
audiovisual expression as an art form,
whilst familiarising students with new
technologies and digital tools.
Set up in 2008, Karpos, Education and
Intercultural Communication Centre,
develops local and European projects. They
specialise in audiovisual narrative and its
introduction into educational environments.
The International Olympia Film Festival for
Children and Young People in Pyrgos started
in 1997 and Camera Zizanio, European
Meeting of Audiovisual Creation for Children
and Young People, started in 2001. Both
projects are organised by the non-profit film
organization ‘Youth Plan’ (Neaniko Plano).
There is a complex combination of funding.
Olympia is considered one of top 10 film
festivals for children in Europe; they also
organise seminars nationally.
Over 2 hours per week, Visual Arts
Education consists of 5 strands: Music,
Visual Arts, Drama, Dancing / Movement
and Audiovisual Expression.
All ages are taught with degrees of
increasing complexity using the “spiral
curriculum” teaching model.
Professional development extends to a
national guidelines and a manual.
It is difficult to assess the
outcomes/levels of uptake of Audiovisual
Expression because it is an optional
element discursively located amongst
other subjects.
Karpos - receives funds from the EU (NSRF
2007-2013, Commenius Regio) from the
Ministry of Education and other cultural
institutions. It produces educational
material and organizes seminars, hands-on
workshops for educators and students at
preschool, primary, secondary and high
school level.
Participants are assessed by Karpos Directors
and participant numbers are collated.
Karpos’ achievements include: film education
seminars in several regions of Greece in
cooperation with local schools; initiation of a
partnership with Turkey, within the EU
programme "North Aegean Narratives", a
collaboration with T-NET (www.theatro.edu)
in Nuremberg and finally Karpos was behind
both the integration of "Audiovisual
Expression" into the National Curriculum and
the design of educational material for Primary
History.
The Festival selects about 40 films addressing
children and young people from recent world
cinema. Camera Zizanio has various
objectives eg. creative opportunities for
production and assessment of the audiovisual
in education. There are educational seminars
for programme supervisors and juries are
often children.
In 2011 Youth Plan launched a new series of
educational workshops for students, pupils
and teachers all over Greece called "Lessons
in the Dark". Within these workshops,
screenings of art films and guidelines for
educators are also offered.
53
Country
Formal
Portugal
The Cinema na Escola project has been
going since 2011 in Faro, the Algarve
under DREALG – Regional Educational
Authority. It’s a graded programme of
study –inc. language, techniques and
history - situated in various disciplines.
There are 5 levels of study for middle
school and 3 for high schools. Lessons
are taught from selected screenings 4
times a year.
Informal
Audio-visual
Training, assessment and compiling of
attendance figures are part of the
process. Evaluation is undertaken with
feedback from participants.
Country
Formal
Informal
Audio-visual
Hungary
Deák Ferenc Secondary School in
Szeged, takes part in the National
Secondary School Academic Competition
in Moving Image and Media Knowledge.
Set up and funded by Ministry of
National Resources this is a new
initiative for high school students from
Sept 2011. There are many other
subjects constituting the whole
competition. Points gained in the
competition help gain entry into
Ars Longa Art Society in Cered, North
Hungary have hosted an annual film literacy
project for film teachers in higher education
since 2005. Its future is uncertain because of
funding issues, the last one took place last
year and was set up by Hungarian Moving
Image and Media Education Association.
Joint Residential Creative Camp
orangised by Filmtett Magazine and Duna
Television Workshop: the project started
in 2002 aimed at young people from
Transylvania and Hungary. Duna covers
most of the costs along with participant
fees.
Funding sources may change but up until
now have been these: Motion Picture Public
Found of Hungary; National Radio and
15 – 20 students gather in the mountains
for 10 days every year and work with a
professional crew. There are 8 groups to
54
university. It is open to all 16-19 years
olds. Students can choose one of 3
practical tasks and one of 3 essays. Film
production and analysis are included.
The evaluation committee invite 15-30
applicants to the finals.
60 –100 participants are shown a short
film or clip in the first part of the finals
and they have one hour to analyse it. In
the second part of the finals they have
to shoot a few shots edited in camera
and discuss it with each other in front
of the jury. There is evaluation training
and professional exchange of
experience for teachers whose students
got into the finals. The competition is
evaluated by the committee every year.
Television Commission; Ministry of
Education (soon to change over to the
Ministry of National Resources.)
choose from: direction, animation,
cinematographer, acting, editing, sound,
producer-unit manager, film criticism.
It is a 1 week residential for 15 – 20
teachers led by tutors and filmmakers
covering: dramaturgy, script-writing,
preparation for lighting, shooting, camera
work, editing, evaluation and analysis.
Participants receive a graded certificate of
achievement.
The work produced is shown at several
festivals eg. the Alter-Native in
Marosvásárhely, Hungarian National Film
Week, and BuSho. The project is also related
to the Department of Film, Photography and
Media of the Sapientia Hungarian University
in Transylvania in Kolozsvár.
The Cered model is seen as meeting the
needs of teachers who need practical
filmmaking skills in order to teach film in
schools. Higher education structures are not
in a position to provide this for teachers.
The films are shown in the Hungarian
programming of Roumanian Television’s
Kolozsvár Editorial Region in every year.
The short films are shown in Duna
Television.
Country
Formal
Informal
Audio-visual
Germany
Film im Deutsch-Zentralabitur in
Bremen: high profile pilot project with
film as a voluntary part of the final
exams in Bremen at high school
(became compulsory in 2009). Half the
students opted in. It ran from 2007–
2010 and was funded by Dept. of
Education & Sciences, University of
Bremen, Municipal Cinema & VISION
KINO. There were 10 schools in the
pilot which is seen as replicable and
sustainable. It is already being piloted
Spinxx - Online project started in 2004 for
young media critics running in Cologne and
3 other federal states in a variety of
locations including local youth film clubs.
Aimed at primary and middle school
children, it is ongoing on an annual basis.
Proven to be sustainable and replicable: 600
participants, 6,000 critics (and counting), 25
active editorial offices, evaluation with
participants.
National Schools Film Week in 617 cities
in 16 states in local cinemas since 2006
headed by Vision Kino in collaboration with
partners in other states and regions.
Young people use a web 2.0 platform to
The event is organized in close cooperation
with local initiatives, schools, cinemas and
film distributors. The project gives pupils of
all ages the chance to attend a low-price
cinema screening of a film, together with
their teachers, and take part in a pre- and
post-film discussion. It is often possible to
55
in other states, a similar project in
Lower Saxony got nation-wide
attention.
The projects focuses on a theme, in
2008 it was “literature and war”. A
series of 6 ‘war’ films were shown: “All
Quiet on the Western Front” (1930),
“Paths of Glory” (1957), “A Very Long
Engagement” (2004), “Shoulder Arms”
(1918). 2011’s theme “gender in the
19th century” included the compulsory
development of a narrative film or
different audiovisual media. Teachers
are trained and study guides produced.
Students took oral and written exams.
Country
Formal
Poland
Filmoteka Szkolna runs the first
nationwide film education programme
for secondary schools. It was set up in
2009 by a Coalition for Film Education
between The Polish Film Institute, the
Centre For Citizenship Education and
the Warsaw Film School together with
teachers, film theoreticians and
academics. A DVD of 55 key Polish films
inc. documentaries & animations were
sent to 14 000 secondary schools (now
available free for schools online). Each
year about 800 pupils and 500 teachers
participate in training workshops. The
discuss whatever issues they decide, eg.
such issues as copyright, some developing a
sort of expert knowledge. Training and
networking between local groups has been
well established.
All output is published online and so there is
ongoing peer and self-assessment
enhancing critical judgement, writing skills
and articulation about film.
speak directly to the people involved in
making the film. The programme is
complemented by further training and
seminars for teachers.
Over 60 teachers participate in training
initiatives and about 1000 go the
screenings. Study guides are published.
There is no assessment of achievement but
feedback is taken from participants.
France and the UK have been operating
similar schemes over a longer period of
time. It is an annual, sustainable event
which is embedded in the curriculum.
Informal
Audio-visual
Also, part of the Coalition for Film
Education the Nowe Horyzonty Edukacji
Filmowej (New Horizons of Film Education)
now runs in cinemas in 26 cities and has
been in operation for 10 years. Aimed at
teachers and pupils of all ages and members
of the public, it is funded by the Ministry of
Culture and National Heritage, the Polish
Film Institute, the National Audiovisual
Institute, by earned income from tickets
sales and lump sum payments from the
cinemas pursuing the project. It promotes
European cinema and so is a useful
counterpoint to the Filmoteka Szkolna
56
programme is held under the patronage
of Minister of Education and Minister of
Culture and National Heritage.
Poland
continued
Project co-ordinators attend national
and international conferences. It’s
difficult to assess how much school
take-up there is on the box of DVDs but
the achievements of those taking part
in 3 months' training are assessed
constantly and participant feedback is
taken. Each year the "Filmoteka Szkolna
Festival" screens pupils’ films from
about 40 cities and they discuss
achievements and ideas with film
practitioners and theoreticians,
directors, producers, actors and critics.
There is a comprehensive e-learning
training package for teachers accessible
by all which used to be free of charge
and is now payable. It is claimed that
Filmoteka Szkolna could serve as a
sustainable, replicable model of film
education for other European
countries. One of the main
achievements is the appreciation
gained by young people of films in their
native language.
project. New Horizons also works closely
with the Danish Culture institute.
The programme is not related to any school
curriculum, but pupils do take part in it
during school hours. There are monthly
meetings in 26 cinemas and each age
category has a 2 or 3 year autonomous
curriculum. Each group has nine meetings
during the school year and each screening is
accompanied by a lecture on the subject.
(around 42 000 pupils participate each
year).
200 teachers attend annual workshops
during the International Film Festival New
Horizons in Wrocław, inc. ‘Psychology in
cinema’ – a workshop series focussing on
pupil/class-teacher relations (12 cities and
around 2300 teachers participating).
Worth mentioning is a teaching set called
"Do you believe in what you see?" sent to
teachers free of charge. It focuses on the
viewer's cultural habits, reading images and
associative mechanisms and the role of
editing. There is an online production
course for pupils, ‘Film on the horizon’. This
project is held under the patronage of
Minister of Education and Minister of
Culture and National Heritage and
57
provincial school inspectors.
Project co-ordinators attend national and
international conferences. Teachers and
pupils complete questionnaires and records
of successful completion are kept.
Country
Formal
Informal
Denmark
Avedøre High School: in 2004, the
Danish Ministry of Education set up and
allocate ongoing funding to film
education in high schools. There are
specialist media and TV schools and
film is studied as a separate subject
within media education.
Station Next based in Hvidovre,
Copenhagen, was set up by the Ministry of
Culture in 2000. It offers short and long
term production courses and holiday time
courses for middle and high school students.
Station Next’s Education Manager
developed the materials together with film
professionals for well structured material.
We also hold a teaching workshops each
year for around 60 professionals.
Many of the main aims have been
ticked, (apart from development of
production skills). There is no training
for teachers, outcomes are examined
yearly and evaluated by assessing the
number of and successful completion
by participants.
Audio-visual
Assessment and achievements are
measured in the sense that former
participants are followed to see check their
progress in the film and TV industry.
Outcomes are evaluated by assessing the
number of and successful completion by
participants as well as collecting feedback.
Station Next have national and international
contacts in organisations with similar
objectives eg. Uganda.
Using 10 years of experience they have
58
developed a comprehensive web application
– the first of its kind- for assigning specific
tasks to each member of the film crew, for
communication and for managing and
gaining an overview of the various
processes from pre-production to postproduction.
Country
Formal
UK - England
Set up and managed by the BFI in 2004,
the Reframing Literacy project reached
70 different municipal areas (with
some contact in Scotland, Northern
Ireland and Wales) affecting the
curriculum for 5–14 year olds. The core
programme ran until 2008; it has been
periodically revisited with training,
new resources and a conference since
then. It was funded by the BFI to the
tune of maybe 40K Euros each year
2004 – 2007 to cover staff time. The
purpose was to support the teaching of
mother-tongue literacy by
incorporating short films into literacy
teaching.
Informal
Audio-visual
We ran 7 training seminars for 200
'lead practitioners' - in schools,
municipal authorities, universities - and
this cohort in turn trained over 2,000
teachers in those 3 years - and since
59
2008, many more have been trained. In
the period 2001 - 2011 we sold nearly
20,000 copies of our Short Film
teaching resources. 60 local authorities
committed £850,000 into promoting
film in literacy.
England
continued
Achievement and evaluation are
documented in Moving Literacy On and
in a further UKLA research project
looking at progression. BFI has
exported the programme to Belgium,
Poland & Mexico. At least 15 of the
original 60+ local authorities have
developed film in literacy. Replicability
is being tested with an initiative to use
film to support English teaching in
Mexico.
Country
Formal
Informal
Audio-visual
UK Northern
Ireland
Moving Image Arts GCE A-Level & GCSE
Level qualification set up in 2003 by
Northern Ireland Screen, the Nerve
Centre, CCEA (Council for the
Curriculum Examinations and
Assessment) and funded by
Department of Culture, Arts and
Leisure through Northern Ireland
Screen, CCEA.
Renewing Communities - Intergenerational
Film Project - the project involved Primary
School children (aged 8-12) and Older
People's Groups in North Belfast. It ran from
April 2006 – March 2008 and was set up by
Northern Ireland Screen in partnership with
Studio On, Creative Learning Centre, funded
by Department of Culture Arts and Leisure
through Northern Ireland Screen.
Cinemagic Screen Festival Workshops
Programme in Belfast has been an on-going
annual event since 1990 aimed at all age
ranges from 4 - 25. It is funded by the
Department of Culture Arts and Leisure
though Northern Ireland Screen.
The qualification is available in 70+
The project sought to provide technical,
During the festival and throughout the year,
Cinemagic provides a range of educational
films from around the world, workshops,
master classes and discussions. Workshops
60
schools in Northern Ireland. Almost
1,400 young people participated in the
qualification in 2010-11. It is designed
to help students develop their creative
and critical abilities through hands-on
learning in the craft of film-making.
Teachers receive on-going professional
development and training through
Northern Ireland's three Creative
Learning Centres. Accredited Masters
modules for teachers were also
provided by Queen's University Belfast.
Assessment is through externally
moderated coursework submitted by
students and an online written exam.
Accreditation is provided by CCEA.
Northern
Ireland
continued
A Chief Examiner's Report is published
annually for the qualification. Very
sustainable and replicable because it is
part of a Level 3 qualifications network.
It also meets a demand from young
people for qualifications in this area.
The model of support in Northern
Ireland is based on partnership
between the qualifications provider
CCEA, the regional film agency,
Northern Ireland Screen and 3 Creative
Learning Centres providing school
support and teacher professional
artistic and educational experiences to
allow intergenerational groups in deprived
areas of North Belfast to use digital
technology. They examined aspects of local
history through viewing archive film and
responded creatively by making a short film
on a topic provoked by what they had
learned.
The trainers, facilitators and support staff in
the Creative learning Centre participated in
a number of professional development
programmes as part of the project including
working with older people training, children
and vulnerable adult protection training and
using archive film as a facilitation medium.
On-going evaluation was carried out as part
of the project. Video interviews with
participants were part of this evaluation. In
addition to successful completion by
participants and feedback, an external
evaluator was also appointed to assess the
impact of the project and produce a written
report.
The project is easily replicable and
sustainable. However its sustainability
requires sufficient resource to enable a host
organisation to provide on-going support.
are provided in collaboration with film
industry companies and individuals.
Education activities are focused on the
different curriculum levels for nursery,
primary and post-primary schools and
colleges.
A touring programme visits schools across
Northern Ireland and workshops are hosted
by top industry professionals who illustrate
various techniques in a range of cinematic
disciplines. One and two-day workshops are
available during the festival period in
Belfast offering hands on professional
experience in scriptwriting, directing,
acting, documentary film making, and
discussions on topics such as film funding,
journalism and post screening talks on
various foreign language films.
Programmers for the festival have attended
professional development training in
festival programming. Post programme
evaluation forms are collected from
participants.
In addition to successful completion by
participants and feedback, Northern
Ireland's Education and Training
Inspectorate have carried out inspections of
the Cinemagic festival workshop and
61
development.
The provision of Moving Image Arts in
over 70 schools in Northern Ireland has
had a knock-on effect in establishing
centres of expertise in each of these
schools. Film and moving image then
becomes embedded in the school
culture.
The Intergenerational Film Project involved
10 community based groups consisting 115
older people and 119 young people. 10 films
were produced.
screening programme. Report available
here. The Cinemagic model has proven to be
sustainable over the last 21 years and can
be replicated given sufficient funding.
Country
Formal
Informal
Audio-visual
UK Scotland
The Moving Image Education,
qualification in Angus, conceived in
2004, continues to be offered to
primary, middle and high school
students. Funded by the Scottish
government, it was set up by Angus
Council, Scottish Screen and others.
NEET and Real to Reel projects (NEET –
Young People Not In Education, Employment
or Training, mainly aged 16 – 20) From 2007
– 2009 and in partnership with Skills
Development Scotland, Scottish Screen
developed models of moving image
education with training providers and
learning centres. The projects consisted of 2
iterations of film literacy and (predominantly)
filmmaking.
National Schools Film week / Film
Education
Its primary purpose was to widen the
concept of literacy: to include moving
image at its core (not as a peripheral
extra), focussing closely on pedagogy.
Over four years, the majority of the
funds were allocated to provide
professional development for central
support staff in the Council and
teachers in primary and secondary
schools. As stakeholders recognised the
“All will be covered elsewhere as this is a UK
national project - I include it here merely to
record that it happens in Scotland”
Training was arranged for organisations
responsible for the young people; for
additional creative professionals engaged on
the projects and for Skills Development
Scotland staff.
Two independent evaluations of work with
young people were carried out by the
Faculty of Education, University of Glasgow
62
Scotland
continued
its value and were able to articulate it
clearly, so it became self sufficient,
resourced after 2008 by the Council
and schools themselves, independent of
Central Government funds. Important
to note the critical role of the close and
extensive independent evaluation of
the programme by the University of
Glasgow Faculty of Education, which
began in 2004 and ended in 2011: their
role was formative from the outset.
Programme was driven entirely by
professional development: the only way
to ensure that film education is
sustained in schools is to ensure that
teachers can do it, and do it well, for
themselves.
via interviews Q'aires, focus groups etc.
Scottish Screen and Skills Development
Scotland continue to further develop this
work. They stimulated and influenced the
development of similar programmes in the
Highlands.
The training organisations involved in this
sector have less capacity than schools, are
less well paid and qualified, don't have
uniform national standards, and - in some
cases only - can have a less professional
approach (though the dedication of some is
exceptional). Developing this 'Cinderella'
sector to be self sustaining in this practice
would be challenging - but worth doing for
sure.
Longitudinal evaluation 2004-11 by
University of Glasgow Faculty of
Education - initial evaluation of first
four years. Final report unpublished,
obtainable from:
scott.donaldson@creativescotland.com
The Angus project is now sustaining
itself. It has shown what can be
achieved, and functions as an exemplar.
Initial investment was c.£400,000 (plus
funding for the evaluation. Clearly, that
amount of funding isn't replicable, but
63
the Angus example provides lessons
(and resources and teachers) that can
be reviewed for deployment at lesser
cost elsewhere.
Country
Formal
Informal
Audio-visual
Republic of
Ireland
IFI Transition Year Moving Image
Module
Ireland's Young Filmmaker Competition &
Fresh Film Festival
Gearrscannain Project/Irish Language short
films for schools
Cinemobile is Ireland’s mobile cinema
which operates throughout the country,
including Northern Ireland, bringing film to
locations in which there is no cinema. For
schools it provides access to film to support
curricula as well as art house and
independent film in order to broaden young
people’s film experience. Cinemobile offers
a unique service in that it can physically be
located on a schools’ doorstep, thus
eliminating extra costs of transport,
insurance etc. Teachers can contact the
cinema directly to request films from their
extensive schools programme while special
projects have also been built around the
arrival of the cinema to a particular area
such as Moving Image Arts modules in
NI.www.cinemobile.ie
64
Country
Formal
Informal
Audio-visual
The
Netherlands
The subject Modern Media gives
students the knowledge, attitude and
skills to prepare themselves for the
media society. In first grade (middle
school) students can choose to follow
this program. For three years they
spend 5 hours per week on this subject.
Moviezone is a national film brand for
youngsters 12-18yrs. With Moviezone they
can discover and learn everything on film.
Moviezone consists of a few connected
projects, most of them address youngsters
directly (not through school or other
intermediaries) for activities outside school.
Learning goals of the program:
1. Students see and analyse all sorts of
images and media texts
2. Students produce images in a media
text (film, news item, commercial
etc.).
In analyzing and producing the images,
the following questions always come
back:
1. Who sends the message? ->
producer
2. How is it made? -> technology
3. Who is the image made for? ->
audience
4. What is the massage? -> language
5. What is the goal of the message? ->
category / genre
In producing the images in a media text,
there are also other subjects involved
(in a digital learning environment),
such as Economics (money), History
(context) and languages
Goals and focus groups:
 Bring together and disclose film
initiatives for youngsters: youngsters,
schools, theatres, cultural organisations
 Create excess to available materials on
film analysis & film creation: youngsters,
schools, theatres
 Stimulate young film talents: youngsters
 Define film (-education and cultural
participation) in relation to media
literacy: educational field & film
organisations
The Moviezone projects have a climbing
intensity (see the pyramid form), from
broad film loving public to a smaller group
of film talents.
1. The base of MovieZone is formed by
www.moviezone.nl where youngsters
can find info on new, interesting
(art)films in cinemas, it also provides
reviews of peers and possibilities to
exchange reviews through social media
Cinekid Education Programme
This program is an annual part of the
Cinekid Festival, where audio-visual
professionals direct children through the
film making process. First the work of the
professional is viewed by the children in the
cinema, than the children begin to produce
their own work under the guidance of the
professional. During the process the
professional tells about his profession
and about the film making process. The
professional advises and encourages the
children during the creative
process. Children discover their talents and
gain greater appreciation and
understanding of film. Along with these
goals students are exposed to possible
career paths, so children understand how
they can work in this professional field
themselves. The program offers
professionals the opportunity to be in
direct contact with children and learn more
about the target group for whom they make
their productions.
Examples include making an animation
movie under the guidance of a professional
animator, acting classes by a
director, writing a story with a scriptwriter,
designing and making a set accompanied by
a production designer or set dresser.
65
(communication).
The process of how to assess the
achievements is still in development.
Together with the Radboud University
of Nijmegen they have made a baseline
assessment) to measure skills at the
beginning. The work and skills of
pupils are assessed through different
tests. Portfolio, Questionnaires and
rehearsals. The questionnaires and
rehearsals are also still in development.
How to measure achievements through
questionnaires is tested as a case study
within the survey 'Measering Media
literacy'
(twitter, facebook). Furthermore, they
can find information on analyzing and
making film and they can come in
contact with the most important film
student competitions in The
Netherlands. On a specific spot in this
website, intermediaries (cinemas,
teachers, festivals) are also served with
information. The website is easy to
excess, there are no restrains.
2. In the mid section Moviezone focuses on
selecting special films for youngsters in
Moviezone label and Moviezone
presents. Together with distributors
and cinemas all over the Netherlands,
Moviezone organizes special screenings
and attractive actions on film. In the
Moviezone redaction team, youngsters
learn to write good film reviews.
3. Real film interested youngsters can take
part in one of the 8 film jury’s
MovieSquad (on almost every
important festival in The Netherland,
e.g. IFFR, Haff, Cinekid) or can try to
enter We are next, a selective
masterclass on International Festival
Rotterdam. For the last project, the
candidate needs a film to subscribe.
During the rest of the year Cinekid
organizes similar workshops at schools,
libraries and cultural institutions in The
Netherlands. For this Cinekid also has
built an online platform (CinekidStudio.nl)
where children can make movies with a set
of movie making tools. Children can make
movies at school (with a professional who
is a visiting/guest teacher in
the classroom) and home
(independently) media with this online
platform. More than 110.000 children have
their own studio at the online platform.
Cinekid trains professionals from the audiovisual sector in giving workshops to
children. This is a training course of 3
lessons where they learn about didactics
and pedagogy, and media education in the
classroom including the CinekidStudio. If
this course is successfully completed,
the professionals can work as workshop
leaders at schools. There are several
trainings afterwards where specific
topics are discussed to retrain the
professionals / workshop leaders.
66
Country
Formal
Informal
Audio-visual
Formal
Informal
Audio-visual
Slovenia
Country
Czech
Republic
67
APPENDIX 2 SAMPLE NATIONAL SUMMARY
Czech Republic
Reporter: Pavel Bednarik, independent film
profess ional, National Film Arc hive (Narod ni
filmovy archiv) Pr ague
Researcher: Caren Willig
Overview
Population
Percentage of schoo l age children:
10,532,770
0-14 years: 14.4%
15-24 years: 12 .1%
There is no nationa l film educa tion strategy yet, but in Januar y 2012 an expert group was set up by
the Ministry of Culture to dev elop a strategy in 2012. The only previous doc ument briefly
mentioning the importa nce of film education and of a national film strategy, was t he Conception of
Cinematography of th e Czech Republic 2010-2016 (agreed by the Parliament in 2010).
Forma l educa tion
The national government decides the country’s curriculum. The curriculum is base d on ‘Fra mework
Educa tiona l Programmes’ – suggestions to th e scho ols support ed and financed by the loc al
authori ties. Scho ols t hen create ‘School Educational Programmes’, which are different in e very
schoo l. Film education is part of me dia education from ages 5-19. It suppo rts other subj ects and
socia l and c ivil education. There are some nationa l guidelines on media educ ation that include film
education. Film is not studied or examined as a separate subj ect, but history of film is part of the
curriculum in history of literature in the final exams at hig h scho ol. No records of achievements in
film educ ation are collected. Informal after-/out -of sc hool programmes are offered by nationa l,
regional and local cultural and volu ntary organisa tions and by some scho ols.
An estimated 40% of scho ol children receive some form of film education.
Inform al education
There is no nationa l infrast ructure to support info rmal education. Informal film education is
prov ided by independent organisations – funded year on year by the government, the MEDIA
programme, and the European Social Fund – who organise film screenings and education ma terials.
On a regional level, there are film societies, student film clubs , and some film clubs for children and
young people. Film education is provided as part of media educ ation, to suppo rt other fields of
interest, to prom ote critical viewing and film making. There is no record of how muc h fundi ng
inform al film educ ation gets and no attempt to measure achievement.
68
Audi o visua l sector
The film indu stry funds such activities as screenings for scho ols, festival education programmes, and
som e distributors fund educa tional camps for young filmmakers. There are also ticket discount
programmes, film cour ses, and special screenings with introductions by invited speakers.
Broadcasters help develop film literacy by airing archive, European and Worl d Cinema films, and the
secon d public service channel shows film classic s in t he context of ‘film club s’. These programmes
are only aimed at older yout h and adults, there is nothing for children, apart from a couple of
franchi se TV channels for children, but on ly on pay cable TV and weekend programmes for children,
but these are not educational platfo rms.
Czech public service television (Channel 2) commissioned a film literacy series, but after the
appoin tment of a ne w director and in ternal staff changes, the project stop ped.
Cultur al bodies
There are sev eral cultural agencies who se remit includes film. The national ones - funded by the
government and the Ministry of Culture - are the Czech Film Center and the Czech Film Commissio n,
but they sub sidise and promote the Czech film indust ry, but not film education. Their suppor t for
inform al film educ ation providers is l imited to advertising their activities in bulletins and websites.
The regional film agencies programme screenings for school s and you ng people, offer online
resour ces for you ng people, and run other activities for local communities. Their grants c ome from
the Ministry of Culture, the MEDIA programme, the Visegrad fund (partly), and European Social
Funds (Educ ation for Co mpetitiveness Programme).
Film heritage is preserved by a national film archive (government funded), by commercially funded
spe cialist film archives, and by other government-funded mu seums or archiv e collections.
The Czech Republic is unique in the number of film festivals t hey offer (because of the lack of a
strategy of the national body to support of the festivals according to priorities). Abou t 11 festivals,
all funded in different ways, are aimed at children, young people, local communities, and special
interest group s. Film educ ation provision is not a requirement for fundi ng.
There are some attempts to measu re and record learners’ achievements on a nationa l level, but
these are not based on any strategy and have a very limited impact.
69
APPENDIX 3
MINUTES OF INTERIM MEETING 16 APRIL 2012
Minutes of interim meeting for film literacy research tender EAC/14/2011
2.00pm 16 April 2012 Brussels
Present: for the EC, Bronagh Walton, Dag Asbjørnsen
For BFI: Mark Reid, Wendy Earle, Caren Willig
1
Introductions
1.1
Colleagues introduced themselves and clarified roles for Dag Asbjørnsen
(DA).
2
2.1
Power Point presentation of the interim report of the film literacy study
Methodology
Wendy Earle (WE) explained our research methodology and stated that the
Phase 1 survey was completed with 11 partners and 4 UK nations. She raised the
issue around the presentation of the UK. It was agreed that it is best to do an overview
of the UK with highlights from the different nations. DA wanted to know how we
located the contacts in Phase 1, which led to a short discussion of Phase 2. WE talked
about the ongoing process finding contacts and said that there will be a reduced
questionnaire. BW offered to help find contacts for Phase 2.
2.2
Seminar 26/27 March 2012
Mark Reid (MR) and Caren Willig (CW) reported back that it was a very positive,
pro-active and effective meeting as people felt like they had a common cause and
purpose. It was very different from meetings in which people present their case and it
is left at that. Bronagh Walton (BW) asked why Slovenia did not attend. MR
explained that the director excused himself as he had to fight to save his institution
and was therefore the only partner who wasn’t able to attend the seminar in London.
All participants were keen to continue the conversation and suggested that it should
be supported by the Commission. A Film Literacy Advisory Group was strongly
suggested - to continue the momentum. MR said that it would be nice to have a wider
all-European group and a Film Literacy Conference (proposed in Ireland, during their
EU Presidency in 2013) as it is very important to be building and nurturing this
network. He stressed that a decision about the conference needs to be made very soon.
2.3
Phase 2
MR went through the PP - approach to further 20 partners; refinement of Survey
Monkey tool; sourced partners in all nations except Belgium, Bulgaria, Croatia,
Liechtenstein, Luxembourg; only regional contacts in Spain; survey to be carried out
in May; and he explained that there will be supplementary research on transnational
programmes and some desk research by interns in addition to the questionnaire in
Phase 2. BW offered to help with the sourcing of partners and acknowledged that it
could be difficult for some countries, e.g. Liechtenstein.
70
3.
Interim findings
MR presented the interim findings with examples to give an indication of some of the
country profiles, case studies and summaries – just for this presentation.
He explained why sections were split into WHY/WHY NOT (barriers), WHAT
(definition/strategies), WHO (delivery/recipients) and HOW (cost/how well done/how
do we know?) While going through the questionnaire questions, DA raised the point
if the terms “civic” and “citizenship” are a possible issue as they could be easily
misunderstood. WE raised the issue that the “informal sector” is a difficult field that is
hard to answer for the experts. Difficulty also comes back to the definition of film
education.
3.1
What
MR talked through the summary of the answers relating to “What” and named some
strategies. He questioned what it actually means to have a “national” strategy, what is
it for, who is responsible for it, and what would be the ideal model. He pointed out
that Northern Ireland is a very good model for Europe as it has a national strategy and
the authority is behind the curriculum.
3.2
Who
MR reported back and stressed the difference between national and regional. BW
commented that it would be good to highlight examples from ideal models. DA raised
the question why the industry does film education, and the group answered that it is
definitely for audience development. The Group raised the problem around the
definition of broadcasting and around vocational and professional development. MR
stressed that there is an argument for much more research around the figures of
recipients of film education as nearly all the numbers were pure guesswork.
3.3
How
MR presented examples of funding, teacher training, attainment levels, standards, etc.
3.4
Case studies
WE pointed out that it would be best to include the case studies in the Appendix.
3.5
Country profiles
WE talked through an example of a 2 page country profile and pointed out that with
the formatting they will all end up being 2 pages long. She described them as a
snapshot of one moment in time and the group stated that they will serve as an
interesting comparison with future research.
3.6
Opportunities and challenges
MR explained that there will be a table listing opportunities and challenges.
3.7
What might be…
MR presented a list of options. The group agreed that it is important to look at the
relationship between film and media literacy. He also raised the question of the
availability of European-wide resources. The EC could, for example, help develop
transnational initiatives and that there could be a cross-European MA to develop
expertise in Media Literacy.
4
Creative Europe
71
The group discussed ideas and possibilities for funding – e.g. European-wide training
programmes, a canon of feature or short films.
5
Action points
BW to go back to the last minutes and to help find contacts. BW promised to chase
with the Media desk. MR said he would send a letter to BW to forward to possible
contacts.
The meeting closed at 4.15pm
72