https://www.intofilm.org/films
film
https://www.freemusicarchive.org/
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 young people do (mostly for communication and social networks) - but becoming aware of all the choices you can make when you really question and have to find your own point of view, at the same time becoming aware of choices made by filmmakers whose films you see.
We believe that creative practice should always have two sides: individual (for instance, with exercises), so that each learner can be personally engaged, but also collective, a learning by doing-together, learning collectively to make a film.
We believe that cinema is not and should not be just like other ordinary school subjects, and that it is important to introduce as soon as possible the point of view of cinema professionals (filmmakers, technicians…) to allow an artistic experience with students
Let us summarize what matters, to us, in film-making practice with students…
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 selection of the soundtrack: what kind of film and story do the students imagine?
During: Let the students watch the film several times. The first time they may lean back and enjoy it. The second time divide them into small groups or ask them to pair up and look at specific elements such as editing, camera movement and angles, lighting, sound, etc. A third viewing is also useful so that they may spot additional elements. If the film is short, you can also ask the students to close their eyes or turn their backs to the screen in order to just listen. Sometimes it is a good idea to show parts of the film, maybe asking them to predict the ending; how are their responses changing throughout the film?
After: Let the students work with thematics, style (aesthetics) and form in pairs or in groups. You may use various narrative analytical models, but make sure that the analytical work always links content with expression, neither should stand alone.
Timeframe, groups and curriculum
Depending on which student group you’re teaching and where you may be teaching (school, courses, or other places), film analysis is a flexible exercise you can spread over several lessons. However, it is important to cover all the elements of the film analytical process in order to get the most out of the analytical work. Therefore, also consider how you intend to combine your groups when you speak with your students. You will probably want to reconcile the film analysis exercises with your overall teaching and curriculum goals.
Presentation and evaluation
When the students are done with film analysis and small production exercises, they can present what they have learned, and the other students can evaluate and give feedback. Make the students aware from the beginning that film analysis and production exercises are to be presented as part of the work and reflection process.
The presentation and feedback points listed below will aid the students in their considerations. Summarise the points prior to the group presentations.
Presentation points
▪ Short presentation of film analysis and own production exercises.
▪ Presentation of genre and thematics – what genre is the film, what is it about and what are some of its key ideas?
▪ Present the ‘filmic means’ - the use of flm language techniques - in relation to the themes and ideas.
▪ Present an interpretation and evaluation of the film.
Feedback points
▪ Is the analysis substantiated by valid arguments?
▪ Are the filmic elements in the analysis connected to the film’s narrative and theme?
▪ Do you agree with the group’s interpretation of the film?
Make sure the feedback is constructive and grounded in the analysis. Consider if the whole class should give feedback to every group or if the groups should pair up as ‘feedback groups’. If you divide into feedback groups, more students will be heard.
Make a final summation in plenary.
Film literacy
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 separation of ‘theory’ from ‘practice’ in some university courses.
So for example, if children and young people are making films, we also want them to be critical of what they have made; in the same way, we want them to explore critical issues through practical work. We want them to watch a wide range of film – from Lumieres to Youtubers – and be both inspired by, but critical of them.
Together the ‘key dimensions’ add up to what we call a ‘film sensibility’.
Let’s briefly look at what we might mean by these dimensions as set out in the Framework.
The Critical
‘Being critical’ is the ability to understand and explore films in all their variety, and to develop a disposition by which we can continually question the ways in which film can affect us, move us, challenge and confront us.
In many ways the critical approach to film represents a dialogue between ourselves and the screen as well as a dialogue between the film-maker and their audience.
The Creative
Film education is about developing not only a culture of film viewing but also a culture of film-making. The advent of digital film making has facilitated viewers to become makers more easily, but with the caveat that possession of a mobile phone doesn’t automatically make you Orson Welles! The links between these two experiences – using viewing as a way into making and then evaluating the viewing of what has been created is an interlinked process. Being creative with film is a fundamental way of understanding its form.
The Cultural
Through participating in both critical and creative processes and practices the overall aim of film education is to develop a film culture and a culture of film. Young people already have an experience of film but the aim of film education is to develop a competence of choice and understanding of film
https://filmliteracyadvisorygroup.wordpress.com/2019/01/31/film-education-survey/
Etwinning "Civil action in the community"
Το etwinning “Civil
action in the community”. Στόχος του προγράμματος
είναι οι μαθητές να γίνουν ευαισθητοποιημένοι πολίτες σύμφωνα με τους
παγκόσμιους στόχους της βιώσιμης ανάπτυξης. Οι μαθητές επιλέγουν το πρόβλημα
που θέλουν να ασχοληθούν και ενθαρρύνονται να βρουν λύση για μια βιώσιμη
κοινωνία. Στη συνέχεια παρουσιάζουν στην κοινότητα το έργο τους. Oι χώρες που συμμετείχαν Ελλάδα, Πορτογαλλία, Πολωνία, Σλοβενία, Τουρκία. Oι μαθητές που συμμετείχαν ήταν 12-13 χρόνων από το 1ο Γυμνάσιο
Μαρκοπούλου τα τμήματα Α1, Α2, Α3, Α4, Α5 με υπεύθυνη την κ. Δογάνη. Αριθμός
μαθητών που συμμετείχαν ήταν 30. Στο μάθημα της λογοτεχνίας και της γλώσσας Α
γυμνασίου.
1.Παιδαγωγική
Καινοτομία
Η παιδαγωγική μέθοδος που χρησιμοποιήθηκε
είναι η ομαδοσυνεργατική project based learning. Oι μαθητές χωρισμένοι σε μικρές ομάδες, πρωταγωνιστές αποφάσισαν
τον παγκόσμιο στόχο που ήθελαν να ασχοληθούν. Στη συνέχεια μελέτησαν το
πρόβλημα και βρήκαν λύσεις σύμφωνα με το βιώσιμο τρόπο ανάπτυξης.’Αλλη μέθοδος
είναι το brainstorming oι μαθητές είπαν τα θέματα που θέλουν να ασχοληθούν και
στη συνέχεια τις λύσεις και ψήφισαν αυτές που αποφάσισαν οι περισσότεροι.
Εφαρμόστηκε ένας δημοκρατικός τρόπος επίλυσης του προβλήματος με την ψηφοφορία.
Επίσης εφαρμόστηκε η μέθοδος Φρενέ έγινε συμβούλιο τάξης και οι μαθητές μίλησαν
για τα προβλήματα που τους απασχολούν και πρότειναν λύσεις.
Η παιδαγωγική καινοτομία του προγράμματος είναι ότι έχει σα στόχο τη δημιουργία ενεργού πολίτη στη σχολική κοινότητα. Επίσης
να φέρει κοντά την τοπική κοινωνία με τους νέους και το σχολείο. Στόχος είναι η
προώθηση της βιώσιμης ανάπτυξης στην τοπική κοινωνία. Οι μαθητές συνεργάστηκαν
με εταιρείες, Αρχέλων και το σχολείο.
2.Ενσωμάτωση
στη Διδακτέα ύλη
Στα πλαίσια
του μαθήματος της γλώσσας α γυμνασίου, ενότητα 3, «Ταξίδι στον κόσμο της φύσης»
και ενότητα 6, «Οι δημιουργικές δραστηριότητες στη ζωή μου». Και λογοτεχνία α
γυμνασίου, Ιταλό Καλβίνο «Μανιτάρια στην πόλη», «Λούις Σεπούλβεδα «Το μαύρο
κύμα». Οι μαθητές διδάχθηκαν τις αντίστοιχες ενότητες στην τάξη και στη
συνέχεια ασχολήθηκαν με σύγχρονα προβλήματα και πρότειναν λύσεις. Οι μαθητές
απέκτεισαν ενδιαφέρον για το μάθημα και πήραν πρωτοβουλίες μόνοι τους για την
επίλυση των προβλημ΄΄ατων που τους απασχολούν. Ο ρόλος του καθηγητή ήταν
συμβουλευτικός..
3.Επικοινωνία
και ανταλλαγή μεταξύ σχολείων συνεργατών
Τα σχολεία μέσω
του twinspace και φόρουμ.
Τα σχολεία συνεργάστηκαν στο σχεδιασμό των φάσεων του πρότζεκτ, στην παρουσίαση
από τον κάθε εταίρο, στον σχεδιασμό του logo και στην επικοινωνία στα διάφορα στάδια του πρότζεκτ
καθώς και στην παρουσίαση στα τελικά αποτελέσματα.
Τα τελικά
αποτελέσματα του πρότζεκτ έγιναν στην κοινότητα με τη λύση σε ένα πρόβλημα που
τέθηκε μς διάφορους τρόπους οι μαθητές βρήκαν τις λύσεις και πολλοί από αυτούς
επικοινώνησαν με την κοινότητα.
4.Συνεργασία
μεταξύ των σχολείων-συνεργατών
Οι συλλογικές
δραστηριότητες εκτείνονται πέρα από την επικοινωνία. Οι καθηγητές και οι
μαθητές επικοινώνησαν με email και μέσω του twinspace. Περιγράψτε τη διαδικασία της εργασίας αναφέροντας σαφώς
τον καταμερισμό της μεταξύ εσάς και του/των συνεργάτη/ών σας. Το σημαντικότερο:
Για ποιες πτυχές του έργου συνεργαστήκατε;
Σε ποιες δραστηριότητες συνεργάστηκαν οι μαθητές;
Περιγράψτε πώς επιτεύχθηκαν τα τελικά προϊόντα του έργου από τους μαθητές
5.Χρήση της τεχνολογίας
Για το πρότζεκτ χρησιμοποιήσαμε web 2.0, the padlet, the tricider, google
forms, powerpoint, google doc, answer garden, you tube, blog.
Η τεχνολογία χρησιμοποιήθηκε για την
παρουσίαση των αποτελεσμάτων του έργου. Υπήρξαν οδηγίες και άδεια από τους
γονείς για τη δημοσίευση φωτογραφιών των παιδιών για την διεξαγωγή του έργου..
6.Αποτελέσματα, αντίκτυπος και τεκμηρίωση
Τα αποτελέσματα του πρότζεκτ έγιναν με την
παραγωγή και παρουσίαση της λύσης πάνω στο πρόβλημα που μελετήθηκε. Σύμφωνα με
αυτό τον τρόπο οι μαθητές εξερεύνησαν ανάλογα με τα προβλήματα που υπήρχαν στο
χώρο τους, μετά έγινε αξιολόγηση των
προβλημάτων και αντπύχθηκαν ικανότητες για την κατανόηση του προβλήματος, την
εξερεύνηση της υπόθεσης. Είναι μια διαδικασία για την κατανόηση της περιοχής
και δράση στο πρόβλημα.
Το πρότζεκτ αξιολογήθηκε με ερωτηματολόγια
που στάλθηκαν στους μαθητές, καθηγητές που εμπλέκονται στο πρότζεκτ,google doc καθώς και answer garden.
Λόγω του COVID 19 υπήρξε κάποια δυσκολία, αλλά η ομάδα συνέχισε τις εργασίες και
παρουσίασε το έργο στην κοινωνία.
https://twinspace.etwinning.net/94184/home
twinspace
https://www.tricider.com/brainstorming/3UUSBcfjIoF;jsessionid=P8IWZdv3okCsHh2UtLVYKg
logo vote
https://twinspace.etwinning.net/94184/pages/page/997840
logo contest
Evaluation of the project
https://twinspace.etwinning.net/94184/pages/page/713733
Aim of the project
https://twinspace.etwinning.net/94184/pages/page/713736
Τasks
https://twinspace.etwinning.net/94184/pages/page/793904
Civil action in community
https://twinspace.etwinning.net/94184/pages/page/731485
presentation of teachers
https://twinspace.etwinning.net/94184/pages/page/758611
student civic action in community
https://twinspace.etwinning.net/94184/pages/page/997867
safety rules
https://twinspace.etwinning.net/94184/pages/page/758653
themes, issues identified
https://twinspace.etwinning.net/94184/pages/page/812157
community inquires
https://twinspace.etwinning.net/94184/pages/page/1013409
dissemination
https://answergarden.ch/1317018
Brief description of the project
The students were led to think about the problems that exist in
their living spaces, to identify them, to understand them and to study them
according to the methodology of the case study. After selecting one of the
problems, they were encouraged to find an economically viable and sustainable
solution. In the end, having found the solution, they worked in the form of
communication and presentation of the work to the community.
Students are led to think about the problems that
exist in their living spaces, identify them, understand them and study them
according to the case study methodology. After selecting one of the problems,
they are encouraged to find a solution that is economically viable and
sustainable. Then they will make presentations in the community.
AIMS
a) promote active territorial
citizenship in the school community;
b) bring local authorities closer to communities through the participation of
young people and their schools;
c) contribute to the sustainable development of the localities and municipalities
where it is developed;
d) value the Case Study, when contemplated in the Program, as experimental work
on local problems;
e) mobilize students and teachers to use information technologies, in practical
studies;
f) foster cooperation networks between local actors, such as universities,
schools, local authorities, local associations and companies.
WORK
PROCESS
a) At the beginning of the school
year (September), teachers inform and sensitize students to participate in the
Project;
b) Students are organized in groups;
c) The groups make a diagnosis and reflection on citizen participation in the
community and local problems (October)
d) Selecting a problem and developing case study methodology Around the
identified problem (November)
e) Construction of a sustained proposal to solve the problem (March)
f) Presentation to the local community (May)
EXPECTED
RESULTS
a) Increase student participation and accountability in solving
local problems;
b) Reasoned proposal to solve a local problem.
PEDAGOGICAL INNOVATION AND CREATIVITY
The learning goals included: promoting active territorial
citizenship in the school community; bring local authorities closer to
communities through the participation of young people and their schools;
contribute to the sustainable development of the localities and municipalities
where it is developed;
to value the Case Study, when contemplated in the Program,
as experimental work on local problems; mobilize students to use information
technologies in practical studies; foster cooperation networks between local
actors, such as universities, schools, local authorities, associations and
local companies.
The work strategy involved the formation of small groups, in
accordance with the living spaces, each group was given the same guidelines in
terms of the research they would have to carry out, as well as all stages of
the project's implementation.
The different stages of the project went through:
make a diagnosis and reflection on citizen participation in the
community and local problems; select a problem and develop the case study
methodology around the identified problem; building a sustained proposal to
solve the problem; presentation to the local community.
COLLABORATION BETWEEN PARTNER SCHOOLS
The partner schools collaborated in the construction of the
project phases, in the presentation of the elements of each partner, in the
construction of the project logo and in the communication of the different
stages of the project, as well as in the presentation of the final results.
The final product of the project went through the presentation
to the community of a solution to the problem studied and, in very diverse
ways, students found solutions and many of them were able to communicate them
within their community.
USE OF TECHNOLOGIES
Throughout the project, different web 2.0 technological tools
were used, such as, for example, the padlet to make presentations, the tricider
to make polls, the google forms to make questionnaires to the community, as
well as production tools, such as the powerpoint for publishing the work done.
.
There was always a concern to have the authorization of the
guardians to publish the students' image, and they were informed of the purpose
of using the image. It was presented from the security document and the parents
signed the permission letters.
RESULTS, IMPACT AND DOCUMENTATION
The objectives of the project were achieved through the
production and presentation of a solution to the problem studied. In this way,
students deepened their knowledge about the different problems that exist in
their living spaces, then learning strategies for validating problems and
developing procedures for interpreting and understanding the problem, as well
as exploring intervention hypotheses. It is a process of civic culture. understand
the territory and act on it.
The project was evaluated by responding to questionnaires sent
to all students and teachers involved in the project.
There were presentation sessions to the community in different
formats. There was some constraint due to COVID 19, however, there were groups
that did video conferencing with the local authorities to present the
respective study.