Prospects for Online Film Education: A Shift from Uncomfortable Perception to Adaptation

Film Studies ◽  
2021 ◽  
Vol 88 ◽  
pp. 305-336
Author(s):  
Se Seop Oh
Keyword(s):  
Film Education

scholarly journals Film education: Memory and heritage

Comunicar ◽  
2010 ◽  
Vol 18 (35) ◽  
pp. 25-32 ◽  
Author(s):  
Michel Clarembeaux
Keyword(s):  
Young People ◽  
Collective Memory ◽  
Digital Age ◽  
Cultural Dimension ◽  
Audiovisual Media ◽  
Film Education ◽  
The Media ◽  
The Individual ◽  
Medios De Comunicacion ◽  
Sobre Todo

Film education in the digital age should be based on three closely-related and complementary fundamentals: to see, to analyze and to make films with young people; three basics that must interact and support each other. The concept of creative analysis could be the glue the binds this subject together, making it coherent and efficient for educational purposes. If cinema is an art, it is above all the art of memory, both individual and collective. This article suggests that we can join the pedagogy of film education to the citizen’s desire to perpetuate memory and preserve cultural heritage. The author describes various types of films to prove this hypothesis, and at the same time indicates the economic and cultural dimension of the media. The essay starts with an approach to film education in the digital age. Later, it analyzes certain aspects of films of memory, referring specifically to the typology of standpoints of film-makers and the treatment of their sources. Lastly, there is a reflection on the convergence of the concept of creative analysis, promoted by film education, and the production of videos by young people dedicated to the individual or collective memory. This convergence matches European Union proposals concerning the production and creation of audiovisual media from this viewpoint. La educación para el cine en la era digital debería apoyarse en tres polos complementarios y estrechamente asociados: ver, analizar y hacer películas con jóvenes. Estos tres polos han de potenciarse mutuamente. El concepto de análisis creativo podría ser la argamasa que diera coherencia y eficiencia al dispositivo educativo. Si el cine es un arte, es sobre todo el arte de la memoria, tanto colectiva como individual. Este artículo sugiere que es posible hacer converger la pedagogía de la educación cinematográfica y la voluntad ciudadana de perpetuar la memoria, al tiempo que se protege el patrimonio cultural. El autor propone una serie de películas para ilustrar estos planteamientos, que ponen de relieve la dimensión económica y cultural de los medios de comunicación, respondiendo en esta convergencia a las más recientes directrices de la Unión Europea sobre creación y producción, desde esta perspectiva, de medios audiovisuales. El trabajo se inicia con una aproximación a la educación para el cine en la era digital. Posteriormente se recogen algunas singularidades de las «películas de la memoria», aludiendo concretamente a la tipología de los puntos de vista de los realizadores y al tratamiento de sus fuentes. Por último, se refleja el encuentro entre el concepto de «análisis creativo», fomentado por la educación cinematográfica, y la realización de videogramas hechos por jóvenes y dedicados a la memoria individual o colectiva.

scholarly journals Film education in Europe: National cultures or European identity?

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Mark Reid
Keyword(s):  
European Commission ◽  
Media Literacy ◽  
European Countries ◽  
European Identity ◽  
National Cultures ◽  
Film Education ◽  
National Models ◽  
Transnational Film

This paper considers the extent to which European countries have distinctive models and approaches to film education, and the extent to which a supranational model of European film education might exist in competition with those national models. It considers where film education is positioned in relation to other subject fields and disciplines (literacy and media literacy); the role of the European Commission in promoting both European and national approaches to film education; and the potential of transnational film education programmes to move between national and supranational film education cultures. It draws on data collected for Screening Literacy, a survey of film education funded by the European MEDIA programme that was carried out in 2012.

scholarly journals Literary learning

2019 ◽  
Vol 2 (2) ◽  
Author(s):  
Kaspar H. Spinner ◽  
Petra Anders
Keyword(s):  
Critical Pedagogy ◽  
German Film ◽  
Linguistic Style ◽  
Logic Of Action ◽  
Film Education ◽  
Cognitive Approaches ◽  
Literary Learning

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.

scholarly journals Film education and age(ing): A case study of a university course on FilmBildung

2018 ◽  
Vol 1 (2) ◽  
Author(s):  
Lena Eckert ◽  
Silke Martin
Keyword(s):  
Elderly People ◽  
Life Writing ◽  
Constructivist Teaching ◽  
Retirement Home ◽  
Participatory Action ◽  
Teaching And Research ◽  
Film Education ◽  
Education Workshop ◽  
University Course ◽  
Film Experience

This paper elaborates on a practical film education project conducted in universities, schools and retirement homes, which we have been working on for several years. We describe the approach to teaching and research that we have been following, as well as the basis of our vision for a project on collage, life writing and film education with elderly people. Based on several MA modules on film education that we have taught at various universities during the past few years, as well as on a number of seminars on ageing studies (BA and MA) and on our experience as trained writing coaches, we draw together different strands of our experiences in order to sketch a film education workshop that instructs students to, in turn, instruct elderly people in a retirement home to work on their film experience by means of collage and life writing. The background in teaching and research upon which we draw is based on participatory action research, a constructivist teaching philosophy, a heterarchic organization of university modules and an intersectional understanding of age(ing).

scholarly journals Education à l'image and Medienkompetenz : On the discourses and practices of film education in France and Germany

2018 ◽  
Vol 1 (1) ◽  
Author(s):  
Bettina Henzler
Keyword(s):  
State Of The Art ◽  
Global Politics ◽  
Critical Approach ◽  
Nazi Regime ◽  
Cultural Traditions ◽  
German Film ◽  
Art Form ◽  
Film Education ◽  
Long Time ◽  
The Media

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.

scholarly journals Children coping with COVID-19: Intersectional understandings of film and media access in a crisis

2021 ◽  
Vol 4 (1) ◽  
Author(s):  
Justine Atkinson ◽  
Firdoze Bulbulia
Keyword(s):  
South Africa ◽  
The Netherlands ◽  
Case Studies ◽  
Media Access ◽  
Specific Focus ◽  
Film Education ◽  
The World ◽  
Context Specific ◽  
The Impact

As a result of the global COVID-19 pandemic and resulting lockdowns across the world, digital access has become paramount, as most aspects of education have moved online. Drawing together five case studies located in South Africa, Argentina, the Netherlands, India and Ethiopia, this article assesses the role of film education during the COVID-19 pandemic, with a specific focus on the impacts of digital access. We examine multimodal forms of film education, and how these were used to inform, entertain and educate children during the crisis by the varying work undertaken by the organizations. Applying theories of intersectionality, we address the need for context-specific approaches to film education, focusing upon the impact that the societal and individual contexts had on the dissemination of film education in each country.

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