mark reid, head of education, bfi media and learning, brussels 2014 a european framework for film...
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Mark Reid, Head of Education, BFI
Media and Learning, Brussels 2014
A European Framework for Film Education
Media and Learning, Brussels 2014
Screening Literacy: Recommendation 1 draft a model of film education for Europe, including
appreciation of film as an art form, critical understanding, access to national heritage, world cinema and popular film, and creative film-making skills
Media and Learning, Brussels 2014
European Framework: Why?
• A common language for film education
• Overarching outcomes for diverse programmes and settings
’ Guidance for new programme designers • Enabling future co-operation around
common goals
Media and Learning, Brussels 2014
European Framework: Proposal
• An ‘experiences and outcomes’ Framework• Developed by representative experts
• Launched June 2015
• ‘particularly useful for countries where film education is currently underdeveloped’
• Designing new projects from 2015 onwards
Media and Learning, Brussels 2014
European Framework: PartnersA Bao a Qu Austrian
FilmMuseumAlgarve University
Creative Scotland
Irish Film Institute Vision Kino Meno Avilys Kinodvor
Cinémathèque Francaise
Polish Film Institute Danish Film Institute MPAA Hungary
CYMM Cyprus Roma Tre University Karpos Greece ActivWatch Romania
Swedish Film Institute
BFI
Media and Learning, Brussels 2014
• Successful learners
• Confident individuals
• Responsible citizens
• Effective contributors
Scottish Curriculum for Excellence
‘Four Capacities’
Media and Learning, Brussels 2014
Creative, Critical, Cultural: the three Cs
Creative critica
l Cultural
Media and Learning, Brussels 2014
First thoughts, 10 themes: Film and..
Moral valuesRe-presentation of realityCultural heritageCanonsThe audience’s roleFilm institutionsCultural differenceIntertextualityas ‘cultural interface’Technology and technological change
……and Experiences, Knowledge, SkillsUnderstanding
First thoughts, 10 themes: Film and..
Mora
l valu
es
Re-presentation of reality
Cultural heritage
CanonsThe audience
’s role
Film in
stitutio
ns
Cultura
l diff
erence
Intertextualitycultural interface’technological changeYP