Youth film-making practices in educational settings are often positioned in discourses that support older teenagers’ career prospects and their training for industry. However, the work detailed in this list is located in formal and informal educational settings that foreground the social and cultural dimension of youth film and media production. As such, this article engages with the role of the moving image in everyday living, in creative arts education, and in the “reframing” of literacy to include visual and audio modes. In this view, film-making opportunities move beyond the formal domains of secondary and higher education film and media studies students, so that learners of all ages can become “writers” of the moving image as well as “readers.” This bibliography lays out the different sites and means through which primary and secondary children encounter film-making in the anglophone world and more internationally. In addition, it details the academic perspectives through which children’s engagements with film are studied and the increasing number of resources available to researchers and educators in the field. As distinct from the broader realm of production activities with digital media (e.g., game authoring or podcasting), research interest in children’s film-making is in the early stages of development in terms of academic literature and its differentiation. The making dimension might occupy part of a text on, for example, the uses of film in the classroom or on media education more broadly. Notably, discourses on youth film-making have increased in recent years with the development of new media technologies, social media platforms, and digital media authoring software. Functionality that used to be mediated through cumbersome professional apparatuses are now at the disposal of many amateurs via mobile digital devices. These ongoing advances coupled with a wide-ranging academic interest in multimodal expression open up new worlds of audiovisual storytelling for children and young people. Readers will notice the multidimensional nature of the categories that serve to demonstrate the versatility of film across social domains. Despite this and the significant uptake of creative media production by educators and practitioners in informal educational settings in the Western world, there is a discernible disinclination for many educational institutions to include film-making programs in formal education. Thus, there is a sense in which film-making for children remains a marginal activity, dependent on local enthusiasts and pockets of random good practice. Many of the authors are keen to see this change and to promote film as a relevant, dynamic, and cross-disciplinary constituent of modern literacy and the visual arts. Legitimizing film-making experience as a systematic literacy practice with a strong creative and critical dimension is seen as a way of enriching cultural expression in schools.
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