Researching Film Education

International Seminar

London October 2014

Why are we here?To begin to shape a research agenda for Film Education in Europe:

•What do we need to know?•How can we find out, together?

•What’s the current landscape? What do we know already? What else should we be finding out?

•How do we situate film education in a) media education b) wider curriculum

settings c) wider non-formal settings?

NB, the EC definition of film literacy:

the level of understanding of a film, the ability to be conscious and curious in the choice of films; the competence to critically watch a film and to analyse its content, cinematography and technical aspects; and the ability to manipulate its language and technical resources in creative moving image production’

What are we going to do?

Hear perspectives from research already carried out, or just underway

Compare those perspectives with our own

Articulate the new questions we need to ask

When the outcome of an issue is unclear, or cannot be resolved, it is important to learn to love the question

Rilke, Advice to a Young Poet

And who are we?

Surveying Film Education in Europe

Two portraits..

BFI October 2014

In a

Screening Literacy: a survey of European Film Education

Mark ReidHead of Education, BFI

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aims and purposes of film education

strategies in place; types of provision

in the classroom, after school, outside school

funded, assessed

providers and recipients

Screening Literacy: Main Findings

Why?

What?

Where?

How?

Who?

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A strong model of film education

What would it look like, for you?

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• A high degree of co-ordination across sectors supported by a

national strategic plan

• Entitlement on behalf of all people to become ‘literate’ in

the moving image (watching, understanding, making)

• Being part of a wider national culture in film

• Informal valued as highly as formal education

Strong Models of Film Education

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• Robust and independent evaluation

• High levels of participation, sustained across a period of time,

with measured and recorded outcomes

• Funding across public, commercial, education and cultural

sectors

• Accredited and funded professional development opportunities

Strong Models of Film Education 2

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Publications

• Report publication: www.bfi.org.uk/screeningliteracy

• Film Literacy Advisory Group: http://filmliteracyadvisorygroup.wordpress.com/

• Nordic Journal of Digital Literacy 04-2012, VOL. 7 Andrew Burn and Mark Reid

BFI October 2014

International Seminar

London October 2014

Researching Film Education

Discussion questions 1♯

What are your own agencies’ approach to identifying impact, reach, rates of participation, and value for money of film education?

What have you heard that you might learn from or use?

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Discussion questions ♯2

What do you think are the key research questions in film education?

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