thalassa

  https://www.intofilm.org/films film

https://www.freemusicarchive.org/   https://ugc.futurelearn.com/uploads/files/d3/a2/d3a21f04-47ef-4966-a1b6-fb1562943e40/October_20_-_Step_2.10_-_Small_hands-on_exercises.pdf In CCAJ, we believe that cinema education should link talking about films with filmmaking, to develop a film sensibility and enlarge expression. Developing film sensibility:  creative practice is a very effective way to open students’ eyes on their immediate environment, to see (and hear) it in new ways (when it is represented by film) and to discover how interesting it can be for others. Creative practice also enables learners to become subjects - of stories that are worth telling; creative practice enables children to transform what might seem uninteresting to them, trivialized by habit, into something fresh and new. Enlarging expression:  creative practice helps students become active spectators, helping them experience the world for themselves. In this case, experiencing is not only making images - as many you

  https://www.shortoftheweek.com/ https://www.youtube.com/watch?v=ijEfmJLV5PE&t=29s https://www2.bfi.org.uk/education-research/education/film-language-without-borders https://www.cinematheque.fr/cinema100ansdejeunesse/en/ This step focusses on how to organise film analysis practically, and how to ensure that the students profit from the exercises and the film analysis process. In addition, the step suggests a way to evaluate and make visible the learning process for the students. Planning film analytical exercises When you work with film analysis, the most important thing is to motivate your students to reflect and communicate what they are experiencing. A good structure for film analysis can be to work with the sequence, ‘before, during and after the film’. Before : Start with an introduction to the film. Talk about the film (director, genre, distinctive style), and possibly prepare the students on the historical and/or social context. Maybe start with a freeze frame, or a selecti

  film

  https://www2.bfi.org.uk/sites/bfi.org.uk/files/downloads/%20bfi-a-framework-for-film-education-brochure-2015-06-12.pdf https://www2.bfi.org.uk/sites/bfi.org.uk/files/downloads/film-a-language-without-borders-project-report-2019-v1.pdf Film literacy http://www.thefilmspace.org/ film space For us, the key part of the Framework are the three dimensions to film education – the critical, the creative and the cultural -‘the three Cs’. Throughout the course we will be considering the ways in which these key dimensions are experienced by learners – through a series of Processes and Practices - which enable their own developing participation in film culture. It is important to bear in mind that the ‘three Cs’ should not each be seen in isolation but rather as interlinked – in the same way that children learn to read, write, and read widely all the same time. One of the problems of film education through the years has been a separation of watching from making – it is still visible in the separ

  Student of 1rst junior high school of Markopoulo in Action about climate change

  Students of 1rst junior high school of Markopoulo after visiting Arhelon in Greece show how plastics affect animals.  They decided to make in history lesson music indtrument with plastics and they sink like ancient Athenian in Panathinea. Vasiliki Dogani

  https://padlet.com/etwinedu/etwiam etwinning https://carnet-my.sharepoint.com/:w:/g/personal/marijana_smolcec_skole_hr/Ea3OQyvHI-1ImJpmDkc7ozgB8IVaWpmpIM1lxrsznjTjUQ?rtime=VilusAaZ2Eg