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The Why and How of
Film Education
for Adults
Andrew J. Douglas, Ph.D.
Director of Education
Located on the Main Line about 11 miles
west of Philadelphia
Bryn Mawr
Housed in the 1926 Seville Theater
Opened its doors in March 2005
Its education program has evolved with it
Film fan
Background in academia
Teaching experience
Skill set
Fit for the community
Education about film, rather than through it
Considers film (motion pictures) as art
In the tradition of academic film studies
Goes beyond the “value-added”
Requires engagement
Choose classes as you do your films
Constructively integrate your community
Expressly convey “cultural institution”
Offer a clear distinction from the national
chains and other mainstream theaters
Contributes to the “Triple Bottom Line”
• Community Benefit
• Artistic Quality
• Financial Success
The first-hand experience of its founder
Access to potential audience
Relatively low barrier to entry
Staff experience
Standard film discussions
Film introductions from non-film experts
Partner events
“Name” speakers
Self-starters
Varied class formats
Topics, approaches, boundaries
Scheduling
Faculty
Facilities
Filmmakers
Regional/National Cinemas
Historical Eras
Genres
“Classic” Films
The Language of Film
Akira Kurosawa: Tragedy and Brilliance
Chaplin: Post Modern Times
Cinema of Provocation: Michael Haneke
[Expletive Deleted]: David Mamet Films
Gleanings: The Films of Agnès Varda
Woody Allen: A Magical Misery Tour
Bollywood’s Blockbusters
Buenos Aires: Cinema of Survival
French Cinema: Making Waves
Labyrinth of Passion: Spanish Cinema
Signs of Life: New German Cinema
Through the Lenses of the Middle East
Conscientious Objectors:
Post-War Political Films
The Greatest Show on Earth:
The Blockbuster
Midnight Cowboys and Taxi Drivers:
New Hollywood
Thou Shalt Not: Pre-Code Hollywood
Action Films as Art
Beyond Objectivity: The Contemporary Documentary
Look to the Skies: Superhero Cinema
Magnificent Obsession: The Melodrama
Stardust Memories: The American Musical
Vistas and Vengeance: The Western
Back to the Future
Blue Velvet
Brief Encounter
The Exorcist
Gimme Shelter
A Hard Day’s Night
The Night of the
Hunter
Paths of Glory
The Princess Bride
This is Spinal Tap
Tokyo Story
The Language of Film
• First class, now offered twice a year
• Basically the highlights of “Film 101”
Film History Discussion Series
• Less structured than other offerings
• Time periods, themes, genres
1 person education department
5 adjunct instructors
15 courses
250 enrollments
$29,000 revenue
100
200
300
400
500
600
700
800
900
1000
1100
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
$10,000
$20,000
$30,000
$40,000
$50,000
$60,000
$70,000
$80,000
$90,000
2005 2006 2007 2008 2009 2010 2011 2012 2013 2014
1.5 person education department
10 adjunct instructors
31 courses, seminars, etc.
1031 enrollments (582 individuals)
$85,000+ revenue
140 distinct classes
• 82 four-week courses
• 41 one-night seminars
• 17 film history discussion series
5100+ enrollments
$500,000+ revenue
Facilities/Infrastructure
Staffing
Money
Finding/reaching your students
Quality control
Those similar to programming
Community-specific challenges
Instructors that don’t work
Subject matter that doesn’t fly
Formats that don’t appeal
Misunderstanding students
Instructors that work (big time)
Subject matter that soars
Formats that have massive appeal
Understanding students
Community engagement
Promotion
Funding
• Revenue/Membership
• Grant/Donor Support
Bolsters film-as-art bona fides
Know your community/patrons/students
Embrace and build upon your strengths
Coordinate with your programming
Be patient, and be willing to fail (a bit)
Have realistic expectations
This matter is murky, and intentionally so.
CMSI: “Fair use is flexible. It is not
uncertain and it is not unreliable.”
There are a range of fair use exemptions
for non-profit educational purposes.
Each organization has to decide for itself
when/if they apply to its programs.
Resources:
• Columbia University Copyright Advisory Office
Columbia University Fair Use Checklist
• Center for Media and Social Impact @ American
• Society for Cinema and Media Studies
• The Library of Congress
The Why and How of
Film Education
for Adults
Andrew J. Douglas, Ph.D.
Director of Education
