This article compares the discourses, practices and politics of film education in France and Germany, and outlines their historical development. The discourses on film education in the two countries are fundamentally different: whereas German film education is anchored in the global politics of media education and around notions of Medienkompetenz (media competence), cinema in France is a field of art education centred on the transmission du cinéma (film mediation) or l'éducation artistique (art mediation). While the first initiatives in film education in both countries date back to the beginning of the twentieth century, this article explores how they developed in significantly different ways. In France, the establishment of film education was promoted and influenced by the culture of cinephilia, which imposed the notion of film as an art form. In Germany, film education – after having been pushed by the Nazi regime – suffered for a long time from sceptical attitudes towards the media and their ideological impact, and was formed by the critical approach of the Frankfurt School. This article details how history and the 'state of the art' of film education are interlinked with the different discourses and cultures of cinema in both countries, as well as the extent to which present political and educational practices draw upon long-standing historical and cultural traditions. In doing so, this article contributes to reflections upon film education at a wider European or international level, where similar debates around film or media literacy are taking place.
{"title":"Education à l'image and Medienkompetenz : On the discourses and practices of film education in France and Germany","authors":"Bettina Henzler","doi":"10.18546/FEJ.01.1.03","DOIUrl":"https://doi.org/10.18546/FEJ.01.1.03","url":null,"abstract":"This article compares the discourses, practices and politics of film education in France and Germany, and outlines their historical development. The discourses on film education in the two countries are fundamentally different: whereas German film education is anchored in the global\u0000 politics of media education and around notions of Medienkompetenz (media competence), cinema in France is a field of art education centred on the transmission du cinéma (film mediation) or l'éducation artistique (art mediation). While the first initiatives\u0000 in film education in both countries date back to the beginning of the twentieth century, this article explores how they developed in significantly different ways. In France, the establishment of film education was promoted and influenced by the culture of cinephilia, which imposed the notion\u0000 of film as an art form. In Germany, film education – after having been pushed by the Nazi regime – suffered for a long time from sceptical attitudes towards the media and their ideological impact, and was formed by the critical approach of the Frankfurt School. This article details\u0000 how history and the 'state of the art' of film education are interlinked with the different discourses and cultures of cinema in both countries, as well as the extent to which present political and educational practices draw upon long-standing historical and cultural traditions. In doing so,\u0000 this article contributes to reflections upon film education at a wider European or international level, where similar debates around film or media literacy are taking place.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"31 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125265008","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 describes the experience of 'Le cinéma, cent ans de jeunesse' and the Understanding Cinema project at an after-school film club at Granton Primary School in Edinburgh from 2016 to 2017. It does so from the perspective of the teachers, filmmaker and students involved and focuses in particular on the production of the students' film See You Tomorrow, about a young girl dealing with racist bullies. Exploring the processes undertaken as part of the project and the students' responses to them, this study ultimately advocates for the benefits of using both practical and theoretical approaches to film in primary classrooms.
本案例研究描述了2016年至2017年爱丁堡格兰顿小学课后电影俱乐部“Le cin， cent ans de jeunesse”和“理解电影”项目的经验。它从教师、电影制作人和学生的角度出发，特别关注学生电影《See You Tomorrow》的制作，该片讲述了一个年轻女孩如何应对种族主义欺凌的故事。本研究探讨了作为项目一部分的过程以及学生对这些过程的反应，最终倡导在小学课堂上使用实践和理论方法来学习电影的好处。
{"title":"See You Tomorrow : A case study of the Understanding Cinema project at Granton Primary School in Edinburgh","authors":"Aoife Donnelly, A. Whelan, Jamie Chambers","doi":"10.18546/fej.01.1.06","DOIUrl":"https://doi.org/10.18546/fej.01.1.06","url":null,"abstract":"This case study describes the experience of 'Le cinéma, cent ans de jeunesse' and the Understanding Cinema project at an after-school film club at Granton Primary School in Edinburgh from 2016 to 2017. It does so from the perspective of the teachers, filmmaker and students involved\u0000 and focuses in particular on the production of the students' film See You Tomorrow, about a young girl dealing with racist bullies. Exploring the processes undertaken as part of the project and the students' responses to them, this study ultimately advocates for the benefits of using both\u0000 practical and theoretical approaches to film in primary classrooms.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"112 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122524256","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 engages with the question of whether education itself goes undervalued in Alain Bergala's The Cinema Hypothesis . Bergala identifies schools as being key in providing a space in which all young people should be able to access a cinema education, but in doing so situates the school simply as a means to the end of cinephilia. While this approach does much to nurture film appreciation via educational institutions, this paper argues there is insufficient justification for why schools should engage with film education to this end in a way that distinguishes it from other forms of art provision within current curricula. An alternative approach sees the school not just as a place for teaching film, but as a place in which perceptions of teaching, learning and schooling could also be transformed by the experience of film-viewing and criticism. In re-examining the four parts that Bergala prescribes for the role of schools in fostering programmes of film education, the paper questions whether his approach promotes film-as-art at the expense of school-as-education, and suggests that the two might have more to offer one another in classroom practice than their seeming opposition implies.
{"title":"Film education otherwise: A response to Bergala's dialectics of cinema and schooling","authors":"Alexis Gibbs","doi":"10.18546/fej.01.1.08","DOIUrl":"https://doi.org/10.18546/fej.01.1.08","url":null,"abstract":"This paper engages with the question of whether education itself goes undervalued in Alain Bergala's The Cinema Hypothesis . Bergala identifies schools as being key in providing a space in which all young people should be able to access a cinema education, but in doing so situates\u0000 the school simply as a means to the end of cinephilia. While this approach does much to nurture film appreciation via educational institutions, this paper argues there is insufficient justification for why schools should engage with film education to this end in a way that distinguishes it\u0000 from other forms of art provision within current curricula. An alternative approach sees the school not just as a place for teaching film, but as a place in which perceptions of teaching, learning and schooling could also be transformed by the experience of film-viewing and criticism. In re-examining\u0000 the four parts that Bergala prescribes for the role of schools in fostering programmes of film education, the paper questions whether his approach promotes film-as-art at the expense of school-as-education, and suggests that the two might have more to offer one another in classroom practice\u0000 than their seeming opposition implies.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123157352","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 reconsiders The Cinema Hypothesis and the propensity of Alain Bergala's cine-pedagogy to serve as an agent of interconnectivity within a slowly emergent global field of film education. Drawing upon some of the debates surrounding de-Westernizing film studies (Bâ and Higbee, 2012), this study explores notions of the global before situating a re-evaluation of The Cinema Hypothesis within that frame. Analysis focuses in particular on Bergala's: (1) particularized approach to cinema; (2) insistence upon a proximity between theory and practice; (3) asystematized approaches to analysis; (4) problematic relationship with canons; and (5) theory of disruption.
{"title":"Towards an open cinema: Revisiting Alain Bergala's The Cinema Hypothesis within a global field of film education","authors":"Jamie Chambers","doi":"10.18546/FEJ.01.1.04","DOIUrl":"https://doi.org/10.18546/FEJ.01.1.04","url":null,"abstract":"This paper reconsiders The Cinema Hypothesis and the propensity of Alain Bergala's cine-pedagogy to serve as an agent of interconnectivity within a slowly emergent global field of film education. Drawing upon some of the debates surrounding de-Westernizing film studies (Bâ\u0000 and Higbee, 2012), this study explores notions of the global before situating a re-evaluation of The Cinema Hypothesis within that frame. Analysis focuses in particular on Bergala's: (1) particularized approach to cinema; (2) insistence upon a proximity between theory and practice;\u0000 (3) asystematized approaches to analysis; (4) problematic relationship with canons; and (5) theory of disruption.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"23 8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126001024","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}
Taking issue with Bergala's dismissal of students' prior learning, disdain for popular culture and implicit preference for film education as a secondary school subject, this paper argues for the importance of studying children's earliest encounters with both films and television (summarized as 'movies'). The research described here was based on the hypothesis that a learning process must be under way in these encounters, enabling children to follow much of the multimodal complexity of mainstream feature films by the time they are 3 years old. A longitudinal, ethnographic study of the researcher's twin grandchildren between the ages of 22 and 31 months used video to capture phenomena such as focused attention, repeat viewing, emotional responses, utterances and gestures. Analysis, using embodied cognition as well as sociocultural approaches, revealed the extent to which 2-year-olds are starting to follow, enjoy and reflect upon movies well before they can understand the words in their songs and picture books. The findings have implications not only for film education with older students, but also for early years research, and for the production of movies aimed at this age group.
{"title":"Researching prior learning: How toddlers study movies","authors":"C. Bazalgette","doi":"10.18546/FEJ.01.1.09","DOIUrl":"https://doi.org/10.18546/FEJ.01.1.09","url":null,"abstract":"Taking issue with Bergala's dismissal of students' prior learning, disdain for popular culture and implicit preference for film education as a secondary school subject, this paper argues for the importance of studying children's earliest encounters with both films and television (summarized\u0000 as 'movies'). The research described here was based on the hypothesis that a learning process must be under way in these encounters, enabling children to follow much of the multimodal complexity of mainstream feature films by the time they are 3 years old. A longitudinal, ethnographic study\u0000 of the researcher's twin grandchildren between the ages of 22 and 31 months used video to capture phenomena such as focused attention, repeat viewing, emotional responses, utterances and gestures. Analysis, using embodied cognition as well as sociocultural approaches, revealed the extent to\u0000 which 2-year-olds are starting to follow, enjoy and reflect upon movies well before they can understand the words in their songs and picture books. The findings have implications not only for film education with older students, but also for early years research, and for the production of movies\u0000 aimed at this age group.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"191 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123752117","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 a media-ecological perspective on film-education practice. Drawing from their own experiences of teaching film (at the Austrian Film Museum and the KurzFilmSchule, Hamburg) the authors challenge monolithic theories of film education, suggesting instead that film education practices are shaped by context, and are relational to the spaces and institutions in which they take place. While the paper takes as its core point of departure Alain Bergala's The Cinema Hypothesis , its intention is to shift the way we look at and reflect on film education from one text towards a multiplicity of practices. Finally, the essay considers the extent to which each of these regional theorizations are bound to their specific conditions of practice and the extent to which they still carry within them a shared understanding of the aims of film education.
{"title":"Film education as a multiplicity of practices: A media-ecological perspective","authors":"Alejandro Bachmann, Manuel Zahn","doi":"10.18546/fej.01.1.07","DOIUrl":"https://doi.org/10.18546/fej.01.1.07","url":null,"abstract":"This paper explores a media-ecological perspective on film-education practice. Drawing from their own experiences of teaching film (at the Austrian Film Museum and the KurzFilmSchule, Hamburg) the authors challenge monolithic theories of film education, suggesting instead that film\u0000 education practices are shaped by context, and are relational to the spaces and institutions in which they take place. While the paper takes as its core point of departure Alain Bergala's The Cinema Hypothesis , its intention is to shift the way we look at and reflect on film education\u0000 from one text towards a multiplicity of practices. Finally, the essay considers the extent to which each of these regional theorizations are bound to their specific conditions of practice and the extent to which they still carry within them a shared understanding of the aims of film education.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"24 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-06-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125917702","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 reflects on the first iteration of a new course in film education, titled Introduction to Film Education, which ran for the first time at Queen Margaret University in Scotland in 2021. It considers the upskilling of both teachers and film education practitioners in film education, while reflecting upon the co-creation of a film education curriculum through the course’s collaborative, peer-driven nature. Finally, it wonders whether any settled film education curriculum is possible, or even desirable.
{"title":"Co-creating film education: moments of divergence and convergence on Queen Margaret University’s Introduction to Film Education course","authors":"R. Munro","doi":"10.14324/fej.06.1.04","DOIUrl":"https://doi.org/10.14324/fej.06.1.04","url":null,"abstract":"\u0000This case study reflects on the first iteration of a new course in film education, titled Introduction to Film Education, which ran for the first time at Queen Margaret University in Scotland in 2021. It considers the upskilling of both teachers and film education practitioners in film education, while reflecting upon the co-creation of a film education curriculum through the course’s collaborative, peer-driven nature. Finally, it wonders whether any settled film education curriculum is possible, or even desirable.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"72 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128373286","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}
Translated into English for the first time by Madeline Whittle, Emmanuel Siety’s article draws extensively on Jean Louis Schefer’s The Ordinary Man of Cinema to explore the connection between the films we encounter in childhood and a lifelong relationship with cinema. Siety asks what is the role of film education in the moving-image saturated contemporary era for preserving something of the special bond formed by our first encounters with films in cinemas, and our self-development. The article further considers the limits of an analytical approach to film, as opposed to a phenomenological approach which privileges the direct experiences of cinema, going beyond the ‘scholarly’ interpretation of films.
伊曼纽尔·西蒂的文章首次由玛德琳·惠特尔(Madeline Whittle)翻译成英文，广泛引用了让·路易斯·谢弗(Jean Louis Schefer)的《电影中的普通人》(the Ordinary Man of Cinema)，探讨了我们在童年时期看到的电影与我们与电影的终身关系之间的联系。Siety提出了这样一个问题:在电影充斥的当代，电影教育的角色是什么?为了保存我们在电影院第一次接触电影所形成的特殊纽带，以及我们的自我发展。本文进一步考虑了电影分析方法的局限性，而不是现象学方法，现象学方法特权电影的直接经验，超越了电影的“学术”解释。
{"title":"The analytic gaze through the prism of childhood","authors":"Emmanuel Siety","doi":"10.14324/fej.06.1.06","DOIUrl":"https://doi.org/10.14324/fej.06.1.06","url":null,"abstract":"\u0000Translated into English for the first time by Madeline Whittle, Emmanuel Siety’s article draws extensively on Jean Louis Schefer’s The Ordinary Man of Cinema to explore the connection between the films we encounter in childhood and a lifelong relationship with cinema. Siety asks what is the role of film education in the moving-image saturated contemporary era for preserving something of the special bond formed by our first encounters with films in cinemas, and our self-development. The article further considers the limits of an analytical approach to film, as opposed to a phenomenological approach which privileges the direct experiences of cinema, going beyond the ‘scholarly’ interpretation of films.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"27 15 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133790976","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}
Promoting citizens’ film literacy has become vital in enhancing public media literacy in today’s ever-changing media environment. The public dissemination of film education has gradually become an established trend in China. At present, film education in mainland China focuses on the development of both film appreciation and creativity, involves a wide range of individuals and diverse educational methods, and spreads primarily across three areas: (1) university education; (2) primary and secondary education; and (3) public education. Despite this, teaching activities remain widely dispersed, regional development lacks balance, and there is a shortage of film and television production courses. This article argues that school-based film education in China should focus upon improving the curriculum system, improving the quality of teachers, and developing courses focused on creativity, while more socially focused film education outside of schools should focus upon establishing industry norms and encouraging healthy competition between institutions.
{"title":"Cultivating film appreciation and creativity: the development of public film education in mainland China","authors":"Han Xu","doi":"10.14324/fej.06.1.03","DOIUrl":"https://doi.org/10.14324/fej.06.1.03","url":null,"abstract":"\u0000Promoting citizens’ film literacy has become vital in enhancing public media literacy in today’s ever-changing media environment. The public dissemination of film education has gradually become an established trend in China. At present, film education in mainland China focuses on the development of both film appreciation and creativity, involves a wide range of individuals and diverse educational methods, and spreads primarily across three areas: (1) university education; (2) primary and secondary education; and (3) public education. Despite this, teaching activities remain widely dispersed, regional development lacks balance, and there is a shortage of film and television production courses. This article argues that school-based film education in China should focus upon improving the curriculum system, improving the quality of teachers, and developing courses focused on creativity, while more socially focused film education outside of schools should focus upon establishing industry norms and encouraging healthy competition between institutions.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133913849","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 creative subjects such as music, art and film have been deprioritised and defunded under the United Kingdom’s Conservative Government, the social and pedagogical utility of their study, particularly in areas of economic deprivation and within neurodivergent cohorts, is clear. This article draws forth these issues in a conversation with Del Pike, the leader and convenor of the Moving Image Production degree at Hugh Baird University Centre, Bootle, UK, a course which uses the study of cinema as a form of social corrective, and which encourages frequently marginalised learners to participate explicitly in the creation and analysis of culture. Our discussion details the pedagogical opportunities offered by the practical and theoretical study of film, and considers the challenges of film education in a further and higher learning institution located in a deprived area of England that engages with a high needs student body as an aspect of policy. The article seeks to understand how the practical study of film within a neurodivergent teaching context creates new expressive possibilities regarding film form and film education pedagogy.
{"title":"Exploring film education in neurodivergent and economically deprived pedagogical settings in conversation with Del Pike of Hugh Baird University Centre","authors":"Matthew Smith, Della Pike","doi":"10.14324/fej.06.1.02","DOIUrl":"https://doi.org/10.14324/fej.06.1.02","url":null,"abstract":"\u0000While creative subjects such as music, art and film have been deprioritised and defunded under the United Kingdom’s Conservative Government, the social and pedagogical utility of their study, particularly in areas of economic deprivation and within neurodivergent cohorts, is clear. This article draws forth these issues in a conversation with Del Pike, the leader and convenor of the Moving Image Production degree at Hugh Baird University Centre, Bootle, UK, a course which uses the study of cinema as a form of social corrective, and which encourages frequently marginalised learners to participate explicitly in the creation and analysis of culture. Our discussion details the pedagogical opportunities offered by the practical and theoretical study of film, and considers the challenges of film education in a further and higher learning institution located in a deprived area of England that engages with a high needs student body as an aspect of policy. The article seeks to understand how the practical study of film within a neurodivergent teaching context creates new expressive possibilities regarding film form and film education pedagogy.","PeriodicalId":166703,"journal":{"name":"Film Education Journal","volume":"159 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116405916","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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