The use of documentary, and in turn the value of documentary, is well established in formal education contexts. In addition to an established pedagogical value, this article examines the cultural and economic value of documentary in education through both national legislative reviews (the Australian Law Reform Commission’s (ALRC’s) Copyright and the Digital Economy) and a specific learning resource in the form of study guides. Within this research, study guides function as a means to explore the plurality of ways in which documentary may be valued through several stakeholders invested in sustaining educational engagement with the form. Most notably among these stakeholders is copyright collection agency Screenrights, which bridges the valuing of documentary between screen and education sectors alongside national funding agency Screen Australia and the Australian Teachers of Media (ATOM), an independent, non-profit, professional association promoting the study of media in education. ATOM in particular is synonymous with the creation of study guides for documentary films. Investigating the educative, cultural and economic value of study guides offers a discrete albeit valuable study of the ways in which documentary functions within Australian education contexts.
{"title":"Study guides and Australian documentary: The role of bridging materials in building educative, cultural and economic value","authors":"Ruari Elkington","doi":"10.14324/fej.03.2.07","DOIUrl":"https://doi.org/10.14324/fej.03.2.07","url":null,"abstract":"\u0000The use of documentary, and in turn the value of documentary, is well established in formal education contexts. In addition to an established pedagogical value, this article examines the cultural and economic value of documentary in education through both national legislative reviews (the Australian Law Reform Commission’s (ALRC’s) Copyright and the Digital Economy) and a specific learning resource in the form of study guides. Within this research, study guides function as a means to explore the plurality of ways in which documentary may be valued through several stakeholders invested in sustaining educational engagement with the form. Most notably among these stakeholders is copyright collection agency Screenrights, which bridges the valuing of documentary between screen and education sectors alongside national funding agency Screen Australia and the Australian Teachers of Media (ATOM), an independent, non-profit, professional association promoting the study of media in education. ATOM in particular is synonymous with the creation of study guides for documentary films. Investigating the educative, cultural and economic value of study guides offers a discrete albeit valuable study of the ways in which documentary functions within Australian education contexts.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129700515","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 findings of research conducted with two focus groups of English high school students in 2018 that centred on the aspirations of young people to work in the British film industry. First identifying the conceptions of ‘aspiration’ articulated within British public and policy discourses associated with the film industry, this article goes on to explore some of the different factors shaping participants’ knowledge and expectations of what a film industry career looks like. Using direct quotations from participants alongside contextual analysis, I explore how factors related to family, financial resources, ambition and school provision shape the knowledge and perceptions of film industry careers among British young people.
{"title":"Exploring the aspirations of young people to work in the British film industry through comparative focus groups in London secondary schools","authors":"Rebecca McSheaffrey","doi":"10.14324/fej.03.2.05","DOIUrl":"https://doi.org/10.14324/fej.03.2.05","url":null,"abstract":"\u0000This article explores the findings of research conducted with two focus groups of English high school students in 2018 that centred on the aspirations of young people to work in the British film industry. First identifying the conceptions of ‘aspiration’ articulated within British public and policy discourses associated with the film industry, this article goes on to explore some of the different factors shaping participants’ knowledge and expectations of what a film industry career looks like. Using direct quotations from participants alongside contextual analysis, I explore how factors related to family, financial resources, ambition and school provision shape the knowledge and perceptions of film industry careers among British young people.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116832519","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}
The following article describes the process of a documentary filmmaking programme at a secondary school in Chile, which encourages students to engage with a sense of place and intangible cultural heritage. Run by Gaticine – Centro de desarrollo social del cine (Centre for the Social Development of Cinema) in partnership with A Bao A Qu, a non-profit organization based in Barcelona, the programme assists students in discovering and analysing documentary films from different times and cultures over the course of a year, while performing practical filmmaking inside and outside the school. At the end, a short film project is developed that is premiered in a local cinema. This essay provides a brief overview of the principles and methodology of the Cinema en curs programme, before offering a socio-educational consideration of the school in which it was developed and, finally, an analysis of the project’s delivery.
下面的文章描述了智利一所中学的纪录片制作项目的过程，该项目鼓励学生参与到地方感和非物质文化遗产中。该项目由Gaticine - Centro de desarrollo social del cine(电影社会发展中心)与巴塞罗那的非营利组织A Bao A Qu合作运营，帮助学生在一年的课程中发现和分析来自不同时代和文化的纪录片，同时在校内和校外进行实际的电影制作。最后，开发了一个短片项目，并在当地电影院首映。本文简要概述了Cinema en curs项目的原则和方法，然后对开发该项目的学校进行了社会教育考虑，最后对项目的交付进行了分析。
{"title":"Immaterial cultural heritage and a sense of place in film-based art education: A case study of a documentary film project with secondary school children as part of Cine en curso Chile","authors":"Felipe Borim Corrêa","doi":"10.14324/fej.03.2.02","DOIUrl":"https://doi.org/10.14324/fej.03.2.02","url":null,"abstract":"\u0000The following article describes the process of a documentary filmmaking programme at a secondary school in Chile, which encourages students to engage with a sense of place and intangible cultural heritage. Run by Gaticine – Centro de desarrollo social del cine (Centre for the Social Development of Cinema) in partnership with A Bao A Qu, a non-profit organization based in Barcelona, the programme assists students in discovering and analysing documentary films from different times and cultures over the course of a year, while performing practical filmmaking inside and outside the school. At the end, a short film project is developed that is premiered in a local cinema. This essay provides a brief overview of the principles and methodology of the Cinema en curs programme, before offering a socio-educational consideration of the school in which it was developed and, finally, an analysis of the project’s delivery.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124694156","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}
In 1990 Kress and Van Leeuwen’s Reading Images began a conversation based upon the practice of teaching image-orientated texts in Australian classrooms. Since then, however, little of this important conversation has been translated into meaningful pedagogical change for the teaching of kineikonic (moving image) texts in Australia. From state-run primary schools to national postgraduate film education institutions, the primary tool used to initiate students into the potential to create meaning through film – the shot-type list – has remained relatively unchanged. This article proposes an updated pedagogical tool – identified as the ‘Meaning Model’ – which draws from contemporary discourses around how films make meaning in seeking to bring understandings of the kineikonic mode into the classroom, in a practical and accessible way.
{"title":"Moving beyond the ‘shot-type list’ towards the ‘Meaning Model’: Placing meaning at the centre of film education","authors":"M. Barrett","doi":"10.14324/fej.03.2.08","DOIUrl":"https://doi.org/10.14324/fej.03.2.08","url":null,"abstract":"In 1990 Kress and Van Leeuwen’s Reading Images began a conversation based upon the practice of teaching image-orientated texts in Australian classrooms. Since then, however, little of this important conversation has been translated into meaningful pedagogical change for the teaching of kineikonic (moving image) texts in Australia. From state-run primary schools to national postgraduate film education institutions, the primary tool used to initiate students into the potential to create meaning through film – the shot-type list – has remained relatively unchanged. This article proposes an updated pedagogical tool – identified as the ‘Meaning Model’ – which draws from contemporary discourses around how films make meaning in seeking to bring understandings of the kineikonic mode into the classroom, in a practical and accessible way.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122711049","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}
In this article, Mirjana Borčić – one of the foremost voices within Slovenian film pedagogy – reflects upon an international life within film education on both a practical and a theoretical level. A particular focus is placed upon the central role of discussion within film education, in shaping and developing the subjective experiences young people have of watching cinema. Finally, some concrete proposals are shared as to how one might best approach a classroom-based discussion with young people, centred around the experience of watching films.
在这篇文章中，斯洛文尼亚电影教育学最重要的声音之一Mirjana bor iki从实践和理论两个层面反思了电影教育中的国际生活。特别关注的是讨论在电影教育中的核心作用，在塑造和发展年轻人观看电影的主观体验方面。最后，作者分享了一些具体的建议，关于如何最好地与年轻人进行以看电影为中心的课堂讨论。
{"title":"Triangulating a discussion between film, the viewer and a wider frame of life: Reflections on a life in film education","authors":"Mirjana Borčić","doi":"10.14324/fej.03.1.03","DOIUrl":"https://doi.org/10.14324/fej.03.1.03","url":null,"abstract":"\u0000In this article, Mirjana Borčić – one of the foremost voices within Slovenian film pedagogy – reflects upon an international life within film education on both a practical and a theoretical level. A particular focus is placed upon the central role of discussion within film education, in shaping and developing the subjective experiences young people have of watching cinema. Finally, some concrete proposals are shared as to how one might best approach a classroom-based discussion with young people, centred around the experience of watching films.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"220 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122396036","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}
Cinema’s pedagogical essence nurtures a variety of educational strategies. Beyond serving as a support to other areas of knowledge or as the subject of artistic analysis, it also provides students with a means to give – freely and significantly – voice to their own concerns and interests. Short film production in schools can offer a process for young people to deal with personal and social challenges, fostering a closer connection between them and their community and environment. Schools are natural habitats for this encounter – a place where film production can generate significant educational and cultural resonance. This paper reflects on the didactic potential of short film production in schools – as a key to fulfil formal and non-formal pedagogical goals – through the presentation and analysis of a recently implemented methodology for education through film: Olhar pela Lente, a project developed in Portugal during 2018.
电影的教育学本质孕育了多种教育策略。除了作为对其他知识领域的支持或作为艺术分析的主题外，它还为学生提供了一种自由而重要的方式来表达他们自己的关注和兴趣。在学校制作短片可以为年轻人提供一个处理个人和社会挑战的过程，促进他们与社区和环境之间更紧密的联系。学校是这种相遇的自然栖息地——一个电影制作可以产生重大教育和文化共鸣的地方。本文通过介绍和分析最近实施的电影教育方法:Olhar pela Lente，这是2018年在葡萄牙开发的一个项目，反映了短片制作在学校中的教学潜力——作为实现正式和非正式教学目标的关键。
{"title":"Short film production in educational contexts: Exploring the methodology of the Olhar pela Lente project in Portugal","authors":"P. Alves, Ana Sofia Torres Pereira","doi":"10.14324/fej.03.1.02","DOIUrl":"https://doi.org/10.14324/fej.03.1.02","url":null,"abstract":"\u0000Cinema’s pedagogical essence nurtures a variety of educational strategies. Beyond serving as a support to other areas of knowledge or as the subject of artistic analysis, it also provides students with a means to give – freely and significantly – voice to their own concerns and interests. Short film production in schools can offer a process for young people to deal with personal and social challenges, fostering a closer connection between them and their community and environment. Schools are natural habitats for this encounter – a place where film production can generate significant educational and cultural resonance. This paper reflects on the didactic potential of short film production in schools – as a key to fulfil formal and non-formal pedagogical goals – through the presentation and analysis of a recently implemented methodology for education through film: Olhar pela Lente, a project developed in Portugal during 2018.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133764462","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 three-phase model proposed by Alain Bergala to explain the history and development of film education in France as a sympathetic framework through which to illuminate a double history of film education, first in Yugoslavia, and more recently in Slovenia. Surveying both continuities and discontinuities, this article details some of the key institutions and personalities that have shaped the history of Slovenian film education, before exploring some of the contemporary challenges practitioners continue to face within an evolving film education sector.
{"title":"Applying Alain Bergala’s ‘three-phase’ model to the history and development of film education in Slovenia","authors":"Petra Slatinšek","doi":"10.14324/fej.03.1.06","DOIUrl":"https://doi.org/10.14324/fej.03.1.06","url":null,"abstract":"\u0000This article uses the three-phase model proposed by Alain Bergala to explain the history and development of film education in France as a sympathetic framework through which to illuminate a double history of film education, first in Yugoslavia, and more recently in Slovenia. Surveying both continuities and discontinuities, this article details some of the key institutions and personalities that have shaped the history of Slovenian film education, before exploring some of the contemporary challenges practitioners continue to face within an evolving film education sector.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"275 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134328351","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 paper explores different ways in which teachers use film as a medium for literacy instruction in secondary settings across different content areas in the American public school system. Three educators participated in an ethnographic interview study serving as a pilot for further enquiry. Educators represented two sites in the southern United States, working in two different subject areas with students aged 12 to 16. Interviews were coded using multiple methods and five themes resulted from the data, focusing on the different ways in which teachers used film-based content, as well as what they observed about their students based on their experiences with film in the classroom.
{"title":"Living in a ‘digital world’: An ethnographic study of film and adolescent literacy education in rural secondary schools in America","authors":"Jason D. DeHart","doi":"10.14324/fej.03.1.04","DOIUrl":"https://doi.org/10.14324/fej.03.1.04","url":null,"abstract":"\u0000This paper explores different ways in which teachers use film as a medium for literacy instruction in secondary settings across different content areas in the American public school system. Three educators participated in an ethnographic interview study serving as a pilot for further enquiry. Educators represented two sites in the southern United States, working in two different subject areas with students aged 12 to 16. Interviews were coded using multiple methods and five themes resulted from the data, focusing on the different ways in which teachers used film-based content, as well as what they observed about their students based on their experiences with film in the classroom.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124962454","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}
Examining the pedagogy of Nigeria’s post-secondary film studies, this paper joins the call against the universalization of film studies practices under a Westernized umbrella. To make that argument, it implicates issues of (neo)colonialism and indigenous knowledge-making processes in the analysis of Nigeria’s film studies, taking into account the close relationship between Nigeria’s film education and the local film industry, Nollywood. Calling on criticisms advocating for alternative ways for engaging with the practice of film studies (Irobi, 2014; Chambers, 2018; Redfern, 2014), the paper sets out to help reinforce the definition of the global by its many diverse and constitutive parts.
{"title":"Film education pedagogy in Nigeria: A nation-specific approach to a non-Western university curriculum","authors":"Lani Akande","doi":"10.14324/fej.03.1.01","DOIUrl":"https://doi.org/10.14324/fej.03.1.01","url":null,"abstract":"\u0000Examining the pedagogy of Nigeria’s post-secondary film studies, this paper joins the call against the universalization of film studies practices under a Westernized umbrella. To make that argument, it implicates issues of (neo)colonialism and indigenous knowledge-making processes in the analysis of Nigeria’s film studies, taking into account the close relationship between Nigeria’s film education and the local film industry, Nollywood. Calling on criticisms advocating for alternative ways for engaging with the practice of film studies (Irobi, 2014; Chambers, 2018; Redfern, 2014), the paper sets out to help reinforce the definition of the global by its many diverse and constitutive parts.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"181 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113988654","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 is a reflection on what reflexive documentary scholars call the ‘moral dimension’ (Nash, 2012: 318) of a participatory film-making project with refugee young people who wanted to make a film to support other new young arrivals in the process of making home in Scotland. In the first part, we highlight some of the challenges of collaborating with refugee young people, in light of the often dehumanizing representations of refugees in mainstream media and the danger of the triple conflation of authenticity–voice–pain in academic narratives about refugees. In the second part, we show how honouring young people’s desire to convey the hopeful aspects of making home emerged as a key pedagogical strategy to affirm their expert position and encourage their participation in the project. Revisiting key moments of learning and interaction, we demonstrate how young people’s process of ‘finding a voice’ in moment-by-moment film-making practice was not a linear, developmental process towards ‘pure’ individual empowerment and singular artistic expression. Their participation in shaping their visual (self-)representation in the final film was embedded in the dialogical process and pragmatic requirements of a collaborative film production, in which voice, autonomy and teacher authority were negotiated on a moment-by-moment basis. We conclude that it is vital for a reflexive practice and research not to gloss over the moral dilemmas in the name of progressive ideals, for example, when representations are co-created by project film-makers/educators, but to embrace these deliberations as part of the ‘fascinating collaborative matrix’ (Chambers, 2019: 29) of participatory film-making.
{"title":"Voice, autonomy and utopian desire in participatory film-making with young refugees","authors":"Katja Frimberger, Simon D. Bishopp","doi":"10.14324/fej.03.1.05","DOIUrl":"https://doi.org/10.14324/fej.03.1.05","url":null,"abstract":"\u0000This article is a reflection on what reflexive documentary scholars call the ‘moral dimension’ (Nash, 2012: 318) of a participatory film-making project with refugee young people who wanted to make a film to support other new young arrivals in the process of making home in Scotland. In the first part, we highlight some of the challenges of collaborating with refugee young people, in light of the often dehumanizing representations of refugees in mainstream media and the danger of the triple conflation of authenticity–voice–pain in academic narratives about refugees. In the second part, we show how honouring young people’s desire to convey the hopeful aspects of making home emerged as a key pedagogical strategy to affirm their expert position and encourage their participation in the project. Revisiting key moments of learning and interaction, we demonstrate how young people’s process of ‘finding a voice’ in moment-by-moment film-making practice was not a linear, developmental process towards ‘pure’ individual empowerment and singular artistic expression. Their participation in shaping their visual (self-)representation in the final film was embedded in the dialogical process and pragmatic requirements of a collaborative film production, in which voice, autonomy and teacher authority were negotiated on a moment-by-moment basis. We conclude that it is vital for a reflexive practice and research not to gloss over the moral dilemmas in the name of progressive ideals, for example, when representations are co-created by project film-makers/educators, but to embrace these deliberations as part of the ‘fascinating collaborative matrix’ (Chambers, 2019: 29) of participatory film-making.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"239 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2020-06-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116432008","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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