Issue information for Film Education Journal 4(1).
电影教育杂志4(1)的发行信息。
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Much has been written on the future of the academy within Europe. Raising questions about the ongoing aims of the university, critical authors have argued in favour of old but sometimes forgotten values such as 'critical thinking' and ' Bildung '. Joining such voices, this paper argues that one way to achieve the ideal of Bildung is through the use of films with 'existential themes', such as Rolando Colla's film 7 Giorni ( 7 Days , 2016). I explore how films may contribute to the realization of the ideal of Bildung , and how an education based upon such films might be constructed. In doing so, I refer to the work of Paul Ricoeur on the 'hermeneutical arc', and apply the method of 'moral case deliberation' in interpreting the existential dimensions in film. Ultimately, I hope this article will serve to assist other university lecturers in exploring how Bildung may be realized in higher education settings through watching and analysing films.
{"title":"Bildung through films: How to discuss existential questions in academia","authors":"E. Koster","doi":"10.18546/fej.02.2.04","DOIUrl":"https://doi.org/10.18546/fej.02.2.04","url":null,"abstract":"Much has been written on the future of the academy within Europe. Raising questions about the ongoing aims of the university, critical authors have argued in favour of old but sometimes forgotten values such as 'critical thinking' and ' Bildung '. Joining such voices, this paper\u0000 argues that one way to achieve the ideal of Bildung is through the use of films with 'existential themes', such as Rolando Colla's film 7 Giorni ( 7 Days , 2016). I explore how films may contribute to the realization of the ideal of Bildung , and how an education based\u0000 upon such films might be constructed. In doing so, I refer to the work of Paul Ricoeur on the 'hermeneutical arc', and apply the method of 'moral case deliberation' in interpreting the existential dimensions in film. Ultimately, I hope this article will serve to assist other university lecturers\u0000 in exploring how Bildung may be realized in higher education settings through watching and analysing films.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129909341","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 case study presents the Estonian open access online platform Education on Screen. So far, the platform features two educational projects: Literature on Screen and History on Screen. Both projects are aimed at secondary school students and are balanced between a thorough treatment of a single film and a universal framework for discussing the topics of film adaptation of literary texts and the mediated construction of historical memory. The focus is thus both on film literacy and on film as a means for developing cultural literacies. The projects combine accessibly written theoretical discussions from the perspective of cultural semiotics, excerpts from films, materials relating to their production and reception, analytical tasks, and assignments for implementing individual creativity in multimodal forms. Finally, this paper includes some conclusions drawn from testing the platform with 230 students during 2017/18.
{"title":"Teaching cultural literacies with films: Using the online platform Education on Screen in secondary school classrooms","authors":"M. Ojamaa, Alexandra Milyakina","doi":"10.18546/fej.02.2.03","DOIUrl":"https://doi.org/10.18546/fej.02.2.03","url":null,"abstract":"This case study presents the Estonian open access online platform Education on Screen. So far, the platform features two educational projects: Literature on Screen and History on Screen. Both projects are aimed at secondary school students and are balanced between a thorough treatment\u0000 of a single film and a universal framework for discussing the topics of film adaptation of literary texts and the mediated construction of historical memory. The focus is thus both on film literacy and on film as a means for developing cultural literacies. The projects combine accessibly written\u0000 theoretical discussions from the perspective of cultural semiotics, excerpts from films, materials relating to their production and reception, analytical tasks, and assignments for implementing individual creativity in multimodal forms. Finally, this paper includes some conclusions drawn from\u0000 testing the platform with 230 students during 2017/18.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133535611","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 aim of this article is to convey the history, practices and central discourses of film education in Sweden. The first part takes the pioneering efforts, dating back to 1908, as a starting point for describing the development of nationwide school cinema, financed by public funding and coordinated by the Swedish Film Institute. As I will argue, film education in Sweden is primarily used as a tool for fostering democratic citizens. The second part of the article discusses the main discourses of this film education model – that is, what constitutes this democratic citizen – and how these are conveyed. An analysis of film study guides produced by the Swedish Film Institute between 1988 and 2018 demonstrates that the main aim of what could be referred to as the Swedish model is to foster the basic principles of human rights as defined by the United Nations, and that this is achieved in a very convincing manner.
{"title":"Moulding the democratic citizen of the future: On the discourses and practices of film education in Sweden","authors":"Malena Janson","doi":"10.18546/fej.02.2.01","DOIUrl":"https://doi.org/10.18546/fej.02.2.01","url":null,"abstract":"The aim of this article is to convey the history, practices and central discourses of film education in Sweden. The first part takes the pioneering efforts, dating back to 1908, as a starting point for describing the development of nationwide school cinema, financed by public funding\u0000 and coordinated by the Swedish Film Institute. As I will argue, film education in Sweden is primarily used as a tool for fostering democratic citizens. The second part of the article discusses the main discourses of this film education model – that is, what constitutes this democratic\u0000 citizen – and how these are conveyed. An analysis of film study guides produced by the Swedish Film Institute between 1988 and 2018 demonstrates that the main aim of what could be referred to as the Swedish model is to foster the basic principles of human rights as defined by\u0000 the United Nations, and that this is achieved in a very convincing manner.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"28 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126673636","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}
While arts education is not currently prioritized by Bulgaria's conservative educational administration, non-governmental organizations such as Arte Urbana Collectif are pursuing a series of initiatives and projects in film education, geared specifically towards bringing together teachers and professionals. Here, we present an interview with Daniel Simeonov, a teacher at Neofit Rilski primary school, a small rural school in Dermantsi that has been collaborating with Arte Urbana Collectif on a film education project exploring both analysis and practice. Students are introduced to the art of cinema first, as spectators, watching films in their entirety and exploring first steps towards film analysis. Subsequently, they are placed in the active position of creating and directing a short film. Here, we establish a context for Arte Urbana Collectif's work within a broader history of film education in Bulgaria, before going on to explore both pedagogical and societal perspectives arising from the project through an interview conducted with Daniel Simeonov by Arte Urbana Collectif co-founder Ralitsa Assenova.
虽然保加利亚保守的教育行政当局目前没有优先考虑艺术教育，但诸如Arte Urbana collective等非政府组织正在电影教育方面开展一系列倡议和项目，专门针对教师和专业人员。在这里，我们采访了Daniel Simeonov，他是Neofit Rilski小学的老师，这是Dermantsi的一所小型农村学校，一直与Arte Urbana collective合作开展电影教育项目，探索分析和实践。学生们首先以观众的身份接触电影艺术，完整地观看电影，探索电影分析的第一步。随后，他们被置于创作和导演短片的主动位置。在这里，我们为Arte Urbana collective在保加利亚更广泛的电影教育历史中建立了一个背景，然后通过Arte Urbana collective联合创始人Ralitsa Assenova对Daniel Simeonov的采访，探索该项目产生的教学和社会视角。
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Imparting 'literary competence' (understood here as a combination of skills involved in engaging with 'texts' of various kinds, among them film) has always been a core concern within German critical pedagogy. This article presents 11 aspects of literary learning, covering subjective involvement and the development of a text within the imagination; cognitive approaches such as awareness of perspectives, logic of action and linguistic style; and consciousness of genre-related and literary-historical classification. While these suggestions pertain in particular to the teaching of written literature, they are presented here as also having considerable significance for the teaching of film, and with a new introduction from German film education scholar Petra Anders.
{"title":"Literary learning","authors":"Kaspar H. Spinner, P. Anders","doi":"10.18546/fej.02.2.06","DOIUrl":"https://doi.org/10.18546/fej.02.2.06","url":null,"abstract":"Imparting 'literary competence' (understood here as a combination of skills involved in engaging with 'texts' of various kinds, among them film) has always been a core concern within German critical pedagogy. This article presents 11 aspects of literary learning, covering subjective\u0000 involvement and the development of a text within the imagination; cognitive approaches such as awareness of perspectives, logic of action and linguistic style; and consciousness of genre-related and literary-historical classification. While these suggestions pertain in particular to the teaching\u0000 of written literature, they are presented here as also having considerable significance for the teaching of film, and with a new introduction from German film education scholar Petra Anders.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129438235","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 the main results of an empirical study on the use of feature films in primary and secondary schools, which was carried out as part of the European Union project Film: A Language Without Borders in 2018. The aim of the project, by Vision Kino (Germany), the British Film Institute and the Danish Film Institute, was to familiarize children and young adults with European film culture and to promote transcultural learning. The author contextualized the results of 28 individual interviews with teachers using the concepts of literary learning (Spinner, 2006) and transculturality (Welsch, 1999), arguing that films can act as a springboard to support more critical conversations in class and to build cultural repertoires. Mobilizing social and cultural practices surrounding a film screening can help to foster a collective sense of well-being and an arena for dissent. Teaching film can create a valuable sense of community in modern diverse classrooms.
{"title":"Getting a bigger picture: Teaching film in transcultural societies","authors":"P. Anders","doi":"10.18546/fej.02.2.05","DOIUrl":"https://doi.org/10.18546/fej.02.2.05","url":null,"abstract":"This article presents the main results of an empirical study on the use of feature films in primary and secondary schools, which was carried out as part of the European Union project Film: A Language Without Borders in 2018. The aim of the project, by Vision Kino (Germany), the British\u0000 Film Institute and the Danish Film Institute, was to familiarize children and young adults with European film culture and to promote transcultural learning. The author contextualized the results of 28 individual interviews with teachers using the concepts of literary learning (Spinner, 2006)\u0000 and transculturality (Welsch, 1999), arguing that films can act as a springboard to support more critical conversations in class and to build cultural repertoires. Mobilizing social and cultural practices surrounding a film screening can help to foster a collective sense of well-being and\u0000 an arena for dissent. Teaching film can create a valuable sense of community in modern diverse classrooms.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-11-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133910758","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 essay presents the French educational programme 'Ecole et cinéma' in terms of its guiding principles. By examining the history of its creation, as well as the various levels at which this complex programme operates – from government agencies to pupils, by way of educators and organizational leadership – we begin to understand the identification processes and values that the programme advocates, along with the contradictions that situate this rigorous and high-quality programme as a national apparatus that is representative of a certain idea of arts education. But this is not without its own contradictions, which are inextricable from 'Ecole et cinéma', particularly at the present moment.
本文介绍了法国教育项目“Ecole et cin马”的指导原则。通过研究它的创建历史，以及这个复杂项目运作的各个层面——从政府机构到学生，通过教育工作者和组织领导——我们开始理解这个项目所倡导的识别过程和价值观，以及作为一个代表某种艺术教育理念的国家机构，这个严格而高质量的项目所处的矛盾。但这并非没有其自身的矛盾，尤其是在当前时刻，这与“Ecole et cinmeda”是不可分割的。
{"title":"'Ecole et cinéma': A national model for arts education in schools","authors":"Perrine Boutin","doi":"10.18546/FEJ.02.1.05","DOIUrl":"https://doi.org/10.18546/FEJ.02.1.05","url":null,"abstract":"This essay presents the French educational programme 'Ecole et cinéma' in terms of its guiding principles. By examining the history of its creation, as well as the various levels at which this complex programme operates – from government agencies to pupils, by way of educators\u0000 and organizational leadership – we begin to understand the identification processes and values that the programme advocates, along with the contradictions that situate this rigorous and high-quality programme as a national apparatus that is representative of a certain idea of arts education.\u0000 But this is not without its own contradictions, which are inextricable from 'Ecole et cinéma', particularly at the present moment.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"60 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120999018","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}
With a growing emphasis on employability and commercial relevance, universities are increasingly involving practitioners in delivery to add perceived value and credibility to their film and television courses. Likewise, film education researchers, including Bergala (2016), see significant value in practitioner involvement in teaching. Yet, from both the academic and industry sides, this integration has been questioned and challenged, resulting in a long-standing discussion of the 'theory/practice divide'. Through analysis of two formal surveys conducted in 2012 and 2014, involving 131 respondents from 64 UK higher education institutions, this paper reports on the perceptions of broadcast television and film practitioners working in academia. It also briefly considers whether the issues raised have changed since the surveys were completed. Responses suggest that an appreciable number of respondents encountered a mixed or negative reaction from new academic colleagues immediately upon joining their institution, and that this has had a potentially lasting negative impact on their productivity. The data indicate that many media practitioners working in higher education do not feel that they are seen as equal to non-practitioner colleagues, although they do still feel part of the academy as a whole. Respondent institutions were broken down by type, and there is statistically significant evidence of perceptions of systematic disadvantaging of media practitioners across all types of UK academic institutions, although Arts-focused universities were seen most favourably. This suggests that, despite the UK government's increased emphasis on teaching and employability, and new commercially focused research funding initiatives, higher education institutions need to do more to redress the perception of a theory/practice divide.
{"title":"Perceptions of broadcast and film media practitioners in UK higher education","authors":"J. Mateer","doi":"10.18546/FEJ.02.1.02","DOIUrl":"https://doi.org/10.18546/FEJ.02.1.02","url":null,"abstract":"With a growing emphasis on employability and commercial relevance, universities are increasingly involving practitioners in delivery to add perceived value and credibility to their film and television courses. Likewise, film education researchers, including Bergala (2016), see significant\u0000 value in practitioner involvement in teaching. Yet, from both the academic and industry sides, this integration has been questioned and challenged, resulting in a long-standing discussion of the 'theory/practice divide'. Through analysis of two formal surveys conducted in 2012 and 2014, involving\u0000 131 respondents from 64 UK higher education institutions, this paper reports on the perceptions of broadcast television and film practitioners working in academia. It also briefly considers whether the issues raised have changed since the surveys were completed. Responses suggest that an appreciable\u0000 number of respondents encountered a mixed or negative reaction from new academic colleagues immediately upon joining their institution, and that this has had a potentially lasting negative impact on their productivity. The data indicate that many media practitioners working in higher education\u0000 do not feel that they are seen as equal to non-practitioner colleagues, although they do still feel part of the academy as a whole. Respondent institutions were broken down by type, and there is statistically significant evidence of perceptions of systematic disadvantaging of media practitioners\u0000 across all types of UK academic institutions, although Arts-focused universities were seen most favourably. This suggests that, despite the UK government's increased emphasis on teaching and employability, and new commercially focused research funding initiatives, higher education institutions\u0000 need to do more to redress the perception of a theory/practice divide.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130064272","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 question of aesthetic value remains a source of tension within diverse film education environments. While film-makers and audiences have visceral experiences of the value of cinema, these experiences are troubled by a contemporary film studies that tends to adopt a more relativist approach, suggesting that the experience of value is reflective of sociocultural subjectivity. Speaking from two different perspectives, Alan Bernstein and Andrew Burn explore the role of value in film education, and film culture more widely, in 2019. While Bernstein argues for a reinstatement of value as a fundamental aspect of how film is experienced and understood in educational contexts and beyond, Burn contextualizes questions of value within a wider framework of semiotic and aesthetic theory, arguing for a multimodal approach that takes into account the multifaceted nature of film.
{"title":"Perspectives: A dialogue upon the question of value in film education","authors":"Alan E. Bernstein, Andrew Burn","doi":"10.18546/FEJ.02.1.06","DOIUrl":"https://doi.org/10.18546/FEJ.02.1.06","url":null,"abstract":"The question of aesthetic value remains a source of tension within diverse film education environments. While film-makers and audiences have visceral experiences of the value of cinema, these experiences are troubled by a contemporary film studies that tends to adopt a more relativist\u0000 approach, suggesting that the experience of value is reflective of sociocultural subjectivity. Speaking from two different perspectives, Alan Bernstein and Andrew Burn explore the role of value in film education, and film culture more widely, in 2019. While Bernstein argues for a reinstatement\u0000 of value as a fundamental aspect of how film is experienced and understood in educational contexts and beyond, Burn contextualizes questions of value within a wider framework of semiotic and aesthetic theory, arguing for a multimodal approach that takes into account the multifaceted nature\u0000 of film.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"99 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-06-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128586052","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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