from artist to teacher developing a peer-based training programme for film school teachers Fredrik Graver Head of Studies The Norwegian Film School, Lillehammer

background background in journalism, radio, music, theatre, arts – all in Canada theatre - actor (30 productions) and director (5 productions) film school in Vancouver, 1996 worked in all departments except Art Department; mostly as a 1st AD Technical Manager - Vancouver Film School Production and Post Manager - Canadian Film Centre (Toronto) came to Norwegian Film School in 2009

challenges filmmakers, not teachers

challenges filmmakers, not teachers the needs of the discipline

challenges filmmakers, not teachers the needs of the discipline coordination

challenges filmmakers, not teachers the needs of the discipline coordination literature

challenges filmmakers, not teachers the needs of the discipline coordination literature geography

challenges filmmakers, not teachers the needs of the discipline coordination literature geography EQF - European Qualifications Frameworks

ASSets (at the Norwegian film school) filmmakers, not teachers

ASSets (at the Norwegian film school) filmmakers, not teachers prior training

ASSets (at the Norwegian film school) filmmakers, not teachers prior training prior teaching

ASSets (at the Norwegian film school) filmmakers, not teachers prior training prior teaching active filmmakers

approach (at the Norwegian film school) unified approach

approach (at the Norwegian film school) unified approach continuous development

approach (at the Norwegian film school) unified approach continuous development «holistic» pedagogy

approach (at the Norwegian film school) unified approach continuous development «holistic» pedagogy pedagogic dialogue

approach (at the Norwegian film school) unified approach continuous development «holistic» pedagogy pedagogic dialogue experience

– John Dewey «learn to know by doing and to do by knowing»

PROPOSAL 1.pedagogy course for film school teachers

PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom

PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members

PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members 4.make the course «distributed»

PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members 4.make the course «distributed» 5.accreditation

PROPOSAL 1.pedagogy course for film school teachers 2.«blended» classroom 3.involve NORDICIL members 4.make the course «distributed» 5.accreditation 6.«peeragogy»

preliminary topics

overview 1.Overview of the course 2.Introduction of basic terminology 3.Skills/professional development vs. Academic study vs. Artistic education

methods 1.Teacher & mentor vs. Master/apprentice 2.The importance of learning from mistakes – «learning by doing» 3.The «zone of proximal development» & scaffolding sample theory ​ : Vygotsky, Dewey

instructional design 1.Defining a learning outcome 2.Determining content 3.Choosing a structure and form 4.Feedback and ways of monitoring the success of learning outcomes sample theory ​ : Introduction to Blooms Taxonomy and Introduction to the nomenclature of the European Qualifications Framework: knowledge, skills and general competence.

progression 1.Where are the students today and where should they be at the end of their study 2.The structure of the educational programme - different models 3.One brick at a time - putting workshops, courses, etc., in a context and progression 4.Identifying milestones and checkpoints along the way sample theory: Vygotsky, Constructivism and Social Constructivism

production exercises 1.Choosing a focus 2.Defining and setting parameters 3.Identifying learning outcomes 4.«Learning to make film» as opposed to «making film» sample theory: Phillipsen, the application of constraints

collaboration 1.The importance of communication 2.The Triangle method: advantages, disadvantages, and application. 3.Communicating artistic vision and inviting artistic input from others 4.Defining areas of artistic responsibility («Whose film is is, anyway?») 5.Dealing with conflict: when - and how - to intervene 6.Constructive vs. Destructive conflict. 7.The debrief ​

the statement of intent 1.The statement of intent as a tool for learning and creating 2.The application of the statement of intent in the creative/artistic process 3.Ways of composing a statement of intent 4.Instructor feedback 5.Using the statement of intent as a tool for evaluating results

feedback and assessment 1.Creating a culture of constructive feedback 2.Assessing student work based on the statement of intent - giving feedback 3.Creating the «confidential space» - allowing the students to be open, honest, direct with each other 4.Continual assessment of student progress 5.Student evaluation of courses, workshops, etc. - Using student feedback to improve the study programmes sample theory: Hattie on Calibration, Feedback

the filmmaker as artist 1.Identifying talent 2.Developing artists vs. Training skilled professionals 3.Giving the artist an understanding of her/his own artistic stance - «What kind of artist am I?» 4.The role of all the disciplines in storytelling

flow 1.What is Flow and why is it useful for artists and creative people 2.Creating the conditions in which flow can occur sample theory: Csikszentmihalyi

Fredrik Graver Head of Studies The Norwegian Film School, Lillehammer