Screening Literacy: a survey of European Film Education

Mark ReidHead of Education, BFI

1Santiago de Compostela 24th October 2014

In a

Screening Literacy: a survey of European Film Education

Mark ReidHead of Education, BFI

22Santiago de Compostela 24th October 2014

The Tender Specification of the European Commission requested

‘a report mapping the current practices in

film literacy in Europe’

Research Question

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A ‘European-scale experts study which identifies and analyses film literacy provision in Europe – in formal and informal settings, and all age groups’:

– Film literacy and AV national policy; film industry; broadcasters– National Curricula: single subject or cross-curricula; learning

objectives;– Informal sector: film institutes, NGOs, grassroots groups– Role of film industry and media professionals in film literacy

projects– Examples of good practice

27 EU, 3 EEA nations, plus Croatia and SwitzerlandPolicy recommendations to EC, for Creative Europe

Research Objectives

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The Terms of Reference for the survey included a definition of film literacy, later amended, as follows:

‘the level of understanding of a film, the ability to be conscious and curious in the choice of films; the competence to critically watch a film and to analyse its content, cinematography and technical aspects; and the ability to manipulate its language and technical resources in creative moving image production’

EC Definition of Film Literacy

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To be literate is to participate fully in a culture

To participate fully in 21C culture, we have to be literate in the moving image

‘It is vital and obvious that understanding, manipulating, and appreciating the film sentence should be an accepted part of the education system’

Anthony Minghella

Film, Media, as Literacy

Film, Media or Literacy?

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National Partners

27

Polish Film Institute EYE /NDS Film Institute Irish Film Institute Uni of Algarve Uni of Roma Tre Vision Kino Hungarian MPAA Slovenian Film Centre CZ Nat Film Archive Hellenic AV Institute Station Next (Denmark)

Santiago de Compostela 24th October 2014

Phase 1 Survey -- January until March 2012: • Online questionnaire sample of 12 nations via Survey Monkey• Case studies of 3 sectors in each nation• 2pp summary of film education provision in each nation• Survey ‘triangulated’ by third parties • Advisory group seminar on 26th March to refine questionnaires and

absorb initial findings

Phase 2 Survey -- May until July 2012:• Questionnaires and case studies from 20 nations• Fewer case studies as examples of good models• Transnational projects examined• Additional surveys - heritage, families, cinemas

Phasing the Research

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• 12pp Exec Summary (suitable for presentation to general public)

• Description of methodology • 1-2 page summary picture for each nation • Recommendations• 50+ case studies incl transnational programmes• FilmLiteracyAdvisoryGroup.wordpress.com • www.bfi.org.uk/screeningliteracy

Deliverables

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Country Summary Example

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aims and purposes of film education

strategies in place; types of provision

in the classroom, after school, outside school

funded, assessed

providers and recipients

Main Findings

Why?

What?

Where?

How?

Who?

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A strong model of film education

What would it look like, for you?

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• A high degree of co-ordination across sectors supported by a

national strategic plan

• Entitlement on behalf of all people to become ‘literate’ in

the moving image (watching, understanding, making)

• Being part of a wider national culture in film

• Informal valued as highly as formal education

Strong Models of Film Education

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• Robust and independent evaluation

• High levels of participation, sustained across a period of time,

with measured and recorded outcomes

• Funding across public, commercial, education and cultural

sectors

• Accredited and funded professional development opportunities

Strong Models of Film Education 2

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• Create and publish a set of models of film education that cover different curriculum approaches, pedagogies, learning resources, and training.

• Establish a ‘Translation Fund’ for extending programmes and resources that are valued in other nations

• Support for further research especially on funding, take-up and impact of film education programmes

•

• Priority to be given to exploring and developing programmes for families and diverse communities, and for developing activity in accession states

• Support and guidance on exploiting heritage film, and changes to IP law required

• Develop models of professional development across the sector, including a European MA in Film Education

• A Film Literacy Advisory Group to advise on priority areas for funding, and to steer research

Recommendations

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What next?

• Report publication: www.bfi.org.uk/screeningliteracy

• Film Literacy Advisory Group: http://filmliteracyadvisorygroup.wordpress.com/

• Derry seminar in June followed by Warsaw seminar October, 2013

• Creative Europe-funded Film Education Framework 2014

• EFAD Research Semonar, London, October 2014

Santiago de Compostela 24th October 2014