https://www.intofilm.org/films
film
Δευτέρα 28 Δεκεμβρίου 2020
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 studentsLet us summarize what matters, to us, in film-making practice with students…
- Go out of school and film the world: develop sensitivity and attention to familiar surroundings before storytelling;
- Choose a point of view, like a cinema question (‘montrer/cacher; real/fiction; ‘long take’ etc), to lead your experiment in a precise, rigorous and at the same time unexpected, stimulating way, as much for students as for you;
- Go and search in the film extracts for diversity of artistic expression; compare, make links and learn to talk simply about them in a back and forth between extracts and experiments;
- Pay attention to the showing of the exercises and films made in the workshops: keep in mind the essential thing is the path, not the result. A process is successful if participants are able to witness it, above all;
- Put the students work (and yours) as much as possible into perspective with other achievements of exercises or films;
- Never forget that a collective workshop (and learning to do-together) should not inhibit the personal and sensitive dimension of the experience;
- Don’t be afraid, as risk-taking is a major pedagogical virtue: ‘cinema initiation’, as a creative experience, questions the place of the teacher and requires a more personal commitment from adults; it’s not teaching, it’s an encounter, an experience
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/
https://ugc.futurelearn.com/uploads/files/ed/e5/ede519eb-8bbe-4798-870f-82549c25bcff/Measuring_Impact_Menis-Mark.pdf
Τρίτη 15 Δεκεμβρίου 2020
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