{"title":"‘Educating independent film-makers’ – Special issue of the Film Education Journal","authors":"Chris Nunn","doi":"10.14324/fej.07.1.01","DOIUrl":"https://doi.org/10.14324/fej.07.1.01","url":null,"abstract":"","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141346479","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Art group Another Kind of Girl Collective offers a case study of what teaching practical film-making outside formal education settings can look like, by offering film-making and photography workshops to young women around the world, including to young Syrian women living as refugees in Jordan. Another Kind of Girl Collective’s approach prioritises flexibility, mentorship and building trust between students and tutors. Rather than focus exclusively on the technical skills of film-making, the collective’s workshops are as much about mentorship and developing self-expression as they are about imparting the technical expertise required to operate a camera; this dual focus allows the technical to become a vehicle for the socioemotional. This article analyses Another Kind of Girl Collective’s approach to informal practical film-making education, contextualising it in how it differs from more formal, institution-based approaches, as well as how this approach compares to similar international development-focused programmes that prioritise product over process. Another Kind of Girl Collective presents a model of practical film education that not only educates a new generation of innovative film-makers, but also speaks to the socioemotional needs of students living as refugees.
艺术团体 Another Kind of Girl Collective 为世界各地的年轻女性（包括生活在约旦的叙利亚难民年轻女性）提供电影制作和摄影讲习班，为正规教育环境之外的实用电影制作教学提供了一个案例研究。Another Kind of Girl Collective 的教学方法以灵活性、导师制和建立学生与导师之间的信任为重点。该集体的工作坊并不只关注电影制作的技术技能，而是在传授操作摄影机所需的技术知识的同时，也注重指导和培养自我表达能力；这种双重关注使技术成为社会情感的载体。本文分析了 "另一种女孩集体 "的非正规实用电影制作教育方法，分析了这种方法与更正规的、以机构为基础的方法的不同之处，以及这种方法与类似的、以发展为重点的、重产品轻过程的计划的不同之处。另一种女孩集体 "提出了一种实用电影教育模式，它不仅培养了新一代创新电影制作人，还满足了作为难民生活的学生的社会情感需求。
{"title":"Another kind of opportunity: film-making education in the context of displacement","authors":"Jenn Durrett","doi":"10.14324/fej.07.1.02","DOIUrl":"https://doi.org/10.14324/fej.07.1.02","url":null,"abstract":"\u0000Art group Another Kind of Girl Collective offers a case study of what teaching practical film-making outside formal education settings can look like, by offering film-making and photography workshops to young women around the world, including to young Syrian women living as refugees in Jordan. Another Kind of Girl Collective’s approach prioritises flexibility, mentorship and building trust between students and tutors. Rather than focus exclusively on the technical skills of film-making, the collective’s workshops are as much about mentorship and developing self-expression as they are about imparting the technical expertise required to operate a camera; this dual focus allows the technical to become a vehicle for the socioemotional. This article analyses Another Kind of Girl Collective’s approach to informal practical film-making education, contextualising it in how it differs from more formal, institution-based approaches, as well as how this approach compares to similar international development-focused programmes that prioritise product over process. Another Kind of Girl Collective presents a model of practical film education that not only educates a new generation of innovative film-makers, but also speaks to the socioemotional needs of students living as refugees.\u0000","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"51 8","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141349418","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article presents an interview with Ben Gibson, former distributor, programmer, film journalist and producer, who went on to run the London Film School from 2000 to 2014. In this interview, Gibson deconstructs what is meant by the term ‘independent film-making’ in an educational context. Drawing on his wealth of experience in a variety of contexts, Gibson takes apart current notions that dominate in contemporary educational and industrial discourses, surprisingly arriving at a conclusion which could lead emerging film-makers and their supporters towards a notion of independence after all.
{"title":"‘An intellectual environment of ambition’: exploring questions of independence with film(-making) education in conversation with Ben Gibson","authors":"Chris Nunn, Ben Gibson","doi":"10.14324/fej.07.1.04","DOIUrl":"https://doi.org/10.14324/fej.07.1.04","url":null,"abstract":"\u0000This article presents an interview with Ben Gibson, former distributor, programmer, film journalist and producer, who went on to run the London Film School from 2000 to 2014. In this interview, Gibson deconstructs what is meant by the term ‘independent film-making’ in an educational context. Drawing on his wealth of experience in a variety of contexts, Gibson takes apart current notions that dominate in contemporary educational and industrial discourses, surprisingly arriving at a conclusion which could lead emerging film-makers and their supporters towards a notion of independence after all.\u0000","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"43 24","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141349900","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Since 2009, students, graduates and staff from the School of Film and Television at Falmouth University in the UK have collaborated with professional partners in the development and production of over 20 short and feature-length narrative and documentary films, within the Sound/Image Cinema Lab research centre. This article makes use of a Sound/Image Cinema Lab co-production with Cornwall-based production company o-region – Long Way Back, directed by Brett Harvey, released in 2022 – as a case study to demonstrate both the successes of, and the challenges faced by, the Lab within a higher education environment. Interviews with staff, students and professional crew participants are used to contextualise the principles of work-integrated learning, and the processes that have sustained institutional support for professionally led film production framed by pedagogic practice.
自 2009 年以来，英国法尔茅斯大学电影电视学院的学生、毕业生和教职员工与专业伙伴合作，在声音/影像电影实验室研究中心内开发和制作了 20 多部叙事和纪录短片和长片。本文以声音/影像电影实验室与康沃尔制片公司 o-region 联合制作的影片《Long Way Back》（布雷特-哈维执导，2022 年上映）为案例，展示实验室在高等教育环境中取得的成功和面临的挑战。通过对教职员工、学生和专业摄制组参与者的访谈，了解了工作融入学习的原则，以及以教学实践为框架，为专业主导的电影制作提供持续机构支持的过程。
{"title":"The Sound/Image Cinema Lab, Long Way Back (dir. Brett Harvey): developing working principles for crewing feature film production with higher education students","authors":"Kingsley Marshall, Simon Harvey","doi":"10.14324/fej.07.1.03","DOIUrl":"https://doi.org/10.14324/fej.07.1.03","url":null,"abstract":"\u0000Since 2009, students, graduates and staff from the School of Film and Television at Falmouth University in the UK have collaborated with professional partners in the development and production of over 20 short and feature-length narrative and documentary films, within the Sound/Image Cinema Lab research centre. This article makes use of a Sound/Image Cinema Lab co-production with Cornwall-based production company o-region – Long Way Back, directed by Brett Harvey, released in 2022 – as a case study to demonstrate both the successes of, and the challenges faced by, the Lab within a higher education environment. Interviews with staff, students and professional crew participants are used to contextualise the principles of work-integrated learning, and the processes that have sustained institutional support for professionally led film production framed by pedagogic practice.\u0000","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"11 3","pages":""},"PeriodicalIF":0.0,"publicationDate":"2024-06-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141347549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Cinematographers are trained to control and measure the relative difference in brightness between two parts of a scene, or a face, for expressive purposes. Painting is often referred to for inspiration as practitioners learn to compose and represent light and shadow in an aesthetically considered manner. In this respect, it is noteworthy that the painters generally studied by film-making students are mostly from Renaissance traditions and produced work featuring predominantly White models. This gap of racial representation in cinematographic pedagogy is stark and has long been overlooked. This article mounts an enquiry into the lack of diversity in cinematography education, examining how different aesthetic traditions, such as Asian ink paintings, could pave new ways for decolonising the conventional conceptions of lighting ratios. Drawing on qualitative and quantitative case studies undertaken in university workshops, I discuss how students respond to Black and Asian artwork as visual references when they are tasked with lighting models with non-White skin tones to accommodate the different reflectance of their skins. By comparing the learning outcomes and current industry techniques for optimising screen representation of Black, Asian and minority ethnic groups, the article evaluates how students respond to learning from modern artwork that promotes diverse identities, and argues for the benefits of integrating greater inclusiveness into cinematography.
{"title":"Decolonising cinematography education: experimenting with lighting ratios and textures for Black and Asian skin tones","authors":"Yu-Lun Sung","doi":"10.14324/fej.05.2.05","DOIUrl":"https://doi.org/10.14324/fej.05.2.05","url":null,"abstract":"\u0000Cinematographers are trained to control and measure the relative difference in brightness between two parts of a scene, or a face, for expressive purposes. Painting is often referred to for inspiration as practitioners learn to compose and represent light and shadow in an aesthetically considered manner. In this respect, it is noteworthy that the painters generally studied by film-making students are mostly from Renaissance traditions and produced work featuring predominantly White models. This gap of racial representation in cinematographic pedagogy is stark and has long been overlooked. This article mounts an enquiry into the lack of diversity in cinematography education, examining how different aesthetic traditions, such as Asian ink paintings, could pave new ways for decolonising the conventional conceptions of lighting ratios. Drawing on qualitative and quantitative case studies undertaken in university workshops, I discuss how students respond to Black and Asian artwork as visual references when they are tasked with lighting models with non-White skin tones to accommodate the different reflectance of their skins. By comparing the learning outcomes and current industry techniques for optimising screen representation of Black, Asian and minority ethnic groups, the article evaluates how students respond to learning from modern artwork that promotes diverse identities, and argues for the benefits of integrating greater inclusiveness into cinematography.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124445812","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
During the period 1922–37, both the British and Italians launched institutes for educational cinematography and collaborated in the creation of the League of Nations’ International Educational Cinematographic Institute. Their leading newspapers dedicated entire sections to the advertising of educational campaigns through cinema. Comparing official documents and the print apparatus about the establishment and the activities of two institutes for educational cinema in Europe gives us a perception of how similarly and differently the British and Italians used their educational films to convey imperial sentiments and rhetoric into civilian life during fifteen years of colonial rule.
{"title":"Constructing imperial imaginations through educational cinema in Britain and Italy (1922–1937)","authors":"Leonora Masini","doi":"10.14324/fej.05.2.04","DOIUrl":"https://doi.org/10.14324/fej.05.2.04","url":null,"abstract":"\u0000During the period 1922–37, both the British and Italians launched institutes for educational cinematography and collaborated in the creation of the League of Nations’ International Educational Cinematographic Institute. Their leading newspapers dedicated entire sections to the advertising of educational campaigns through cinema. Comparing official documents and the print apparatus about the establishment and the activities of two institutes for educational cinema in Europe gives us a perception of how similarly and differently the British and Italians used their educational films to convey imperial sentiments and rhetoric into civilian life during fifteen years of colonial rule.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"91 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127295074","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Dorothy Arzner is best remembered as one of the exceptionally few women to direct feature films during Hollywood’s ‘golden age’. One of the lesser known dimensions of her career is her work as a film-making teacher in southern California during a time of great change in the ways that US-based film-makers learnt their craft. During the 1950s and 1960s, students were no longer limited to on-the-job studio training, as Arzner had been in her prime; instead, they were learning how to make films via college and university coursework, and Arzner was unquestionably a key player in this educational transition. After examining her preliminary instructional work with Realart Pictures and the Women’s Army Auxiliary Corps, this article explores Arzner’s teaching experiences at the Pasadena Playhouse College of Theatre Arts and the University of California Los Angeles. It combines her assessments of her pedagogical practices with commentary from former students and colleagues to provide a composite portrait of this pivotal film-maker turned educator.
{"title":"Exploring the work of Dorothy Arzner as a film-making teacher in southern California","authors":"Martin F. Norden","doi":"10.14324/fej.05.2.01","DOIUrl":"https://doi.org/10.14324/fej.05.2.01","url":null,"abstract":"\u0000Dorothy Arzner is best remembered as one of the exceptionally few women to direct feature films during Hollywood’s ‘golden age’. One of the lesser known dimensions of her career is her work as a film-making teacher in southern California during a time of great change in the ways that US-based film-makers learnt their craft. During the 1950s and 1960s, students were no longer limited to on-the-job studio training, as Arzner had been in her prime; instead, they were learning how to make films via college and university coursework, and Arzner was unquestionably a key player in this educational transition. After examining her preliminary instructional work with Realart Pictures and the Women’s Army Auxiliary Corps, this article explores Arzner’s teaching experiences at the Pasadena Playhouse College of Theatre Arts and the University of California Los Angeles. It combines her assessments of her pedagogical practices with commentary from former students and colleagues to provide a composite portrait of this pivotal film-maker turned educator.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122014676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Student engagement in tertiary cinema studies can be fickle: while most students respond strongly to films, little regard is similarly paid to prescribed readings or other coursework that is crucial to developing complex critical thinking with media. This paper presents a case study of an intervention aimed to remedy this disparity of student interest: play-based learning. Play-based learning, here defined as ‘the use of playful elements in both the explanation of subjects and their evaluation’ (Torres-Toukoumidis et al., 2020: 1), has a long history of encouraging lateral and creative modes of thinking, increasing engagement and participation, and fostering a supportive and enjoyable learning community. This paper outlines the ways that play-based learning was engaged in a small-scale action research project, and the positive effects that this created within the cinema studies classroom. Critically, it shows the value of play-based learning in fostering resilient, creative and motivated students, particularly at the first-year level of tertiary film education.
{"title":"Learning to play with film: play-based learning in a tertiary film studies classroom","authors":"L. Henderson","doi":"10.14324/fej.05.2.03","DOIUrl":"https://doi.org/10.14324/fej.05.2.03","url":null,"abstract":"\u0000Student engagement in tertiary cinema studies can be fickle: while most students respond strongly to films, little regard is similarly paid to prescribed readings or other coursework that is crucial to developing complex critical thinking with media. This paper presents a case study of an intervention aimed to remedy this disparity of student interest: play-based learning. Play-based learning, here defined as ‘the use of playful elements in both the explanation of subjects and their evaluation’ (Torres-Toukoumidis et al., 2020: 1), has a long history of encouraging lateral and creative modes of thinking, increasing engagement and participation, and fostering a supportive and enjoyable learning community. This paper outlines the ways that play-based learning was engaged in a small-scale action research project, and the positive effects that this created within the cinema studies classroom. Critically, it shows the value of play-based learning in fostering resilient, creative and motivated students, particularly at the first-year level of tertiary film education.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129837010","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article uses the ‘students as partners’ framework to examine the implications of an action research project conducted as part of a film studies module, delivered at a transnational tertiary education provider, a Sino-British university in China. The action research project consisted of the implementation of a system of film nomination and voting that allowed students to actively participate in one element of the syllabus design, namely, the choice of films to be screened and discussed in a segment of the module’s curriculum, spanning 3 out of the total 14 weeks of the semester. Using as a dataset a series of semi-structured interviews with students who participated in the project, the article analyses their attitudes towards the process of nomination and voting, and points to future directions of research. By focusing on the intended democratic stakes of the project, the article argues that although the students evidenced some of the expected benefits of the collaboration, they also discursively privileged the role, the experience and the perspective of the teacher over their own.
{"title":"Enabling student participation in syllabus design through film nominations and voting: an action research project","authors":"L. Sava","doi":"10.14324/fej.05.2.02","DOIUrl":"https://doi.org/10.14324/fej.05.2.02","url":null,"abstract":"\u0000This article uses the ‘students as partners’ framework to examine the implications of an action research project conducted as part of a film studies module, delivered at a transnational tertiary education provider, a Sino-British university in China. The action research project consisted of the implementation of a system of film nomination and voting that allowed students to actively participate in one element of the syllabus design, namely, the choice of films to be screened and discussed in a segment of the module’s curriculum, spanning 3 out of the total 14 weeks of the semester. Using as a dataset a series of semi-structured interviews with students who participated in the project, the article analyses their attitudes towards the process of nomination and voting, and points to future directions of research. By focusing on the intended democratic stakes of the project, the article argues that although the students evidenced some of the expected benefits of the collaboration, they also discursively privileged the role, the experience and the perspective of the teacher over their own.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129307950","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the development of the Our Cinema project in Scotland: a revolving annual curriculum of film education for upper primary and lower secondary age children in state schools that, at the time of writing, is approaching a pilot phase. Discussion explores the project’s origins in France’s Cinéma Cent Ans de Jeunesse, and its relationship with the Catalan film education project Cinema en curs, before focusing in particular upon how a school-based programme of film education might seek to explore vernacular conceptions of cinema, through a focus on dialect, place and the lived experiences of participants. The article concludes by offering a detailed, concrete proposal of a film education curriculum, comprising two years (each broken up into 32 weeks) of creative learning activities.
本文探讨了苏格兰“我们的电影”项目的发展:在撰写本文时，这是一项面向公立学校小学高年级和初中学生的循环年度电影教育课程，正在接近试点阶段。讨论探讨了该项目在法国cin Cent Ans de Jeunesse的起源，以及它与加泰罗尼亚电影教育项目Cinema en curs的关系，然后特别关注以学校为基础的电影教育项目如何通过关注方言、地点和参与者的生活经历来探索电影的本土概念。文章最后提出了一个详细的、具体的电影教育课程建议，包括两年(每两年分为32周)的创造性学习活动。
{"title":"Our Cinema: exploring the development and proposal of a new programme of vernacular-based film education in Scotland","authors":"Jamie Chambers","doi":"10.14324/fej.05.2.06","DOIUrl":"https://doi.org/10.14324/fej.05.2.06","url":null,"abstract":"\u0000This article explores the development of the Our Cinema project in Scotland: a revolving annual curriculum of film education for upper primary and lower secondary age children in state schools that, at the time of writing, is approaching a pilot phase. Discussion explores the project’s origins in France’s Cinéma Cent Ans de Jeunesse, and its relationship with the Catalan film education project Cinema en curs, before focusing in particular upon how a school-based programme of film education might seek to explore vernacular conceptions of cinema, through a focus on dialect, place and the lived experiences of participants. The article concludes by offering a detailed, concrete proposal of a film education curriculum, comprising two years (each broken up into 32 weeks) of creative learning activities.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122557844","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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