1. Mark Reid KVIFF 3 July 2016 Mark.reid@bfi.org.uk filmliteracyadvisorygroup.wordpress.com A FRAMEWORK FOR FILM EDUCATION IN EUROPE

2. ‘ 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. From Screening Literacy (2013) FIM EDUCATION FRAMEWORK FOR EUROPE

3. Critical and Creative; Processes and Practices; Cultural Participation The unique character of film– as artform and text, with its own language, history, and aesthetics. the entitlement of everyone to learn about film – in school, at home, in society. Framework Principles

4. Film Literacy: the level of understanding of a film, the ability to be conscious and curious in the choice of films; the competence to critically watch a film and to analyse its content, cinematography and technical aspects; and the ability to manipulate its language and technical resources in creative moving image production’ ‘film’ refers to all forms of moving images with sound (and without), irrespective of the medium, be that digital or analogue, TV, online or cinema. DEFINITIONS

5. Audience – a Framework for whom? For policy makers For new agencies and initiatives To set a common standard For practitioners and project designers

6. Methodology – how we made it Deliberative workshops Expert input Online collaboration

7. Outcomes and Experiences – our starting point

8. PARTICIPANTS BFI The Film Space Vision Kino Caren Willig, freelance Michelle Cannon, CEMP, Bournemouth A Bao a Qu, Barcelona Active Watch, Romania Austrian Film Museum Cinematheque Francaise Creative Scotland Cyprus Community Media Centre Czech National Film Archive Danish Film Institute Hungarian Moving Image and Media Education Association Irish Film Institute Karpos, Greece Kinodvor, Slovenia Meno Avilys, Lithuania Northern Ireland Screen Polish Film Institute Swedish Film Institute University of the Algarve University Autonoma Barcelona University of Roma Tre

9. Film sensibility

10. To inspire and equip people across Europe to be able to access, enjoy, understand, create, explore and share film in all its forms throughout their lives

11. Film sensibility

14. The three Cs Creative Cultural Critical PRACTICES PROCESSES PARTICIPATION

15. Film sensibility

16. Uniqueness of Film Social and individual processes Accessing wider range of film Reflective Learning Historical Technological Contexts Critical Personal Response

17. Film sensibility

18. Critical thinkersAdventurous creators Expressive individualsSensitive contributors Reflective practitionersActive collaborators Confident explorersinformed participants Discerning audiencesEnthusiastic advocates Independent learnersEngaged citizens

19. Film sensibility

20. Engage with film in all its forms Film in the cinemaFilm from the past The art of filmCreative film-making National and world cultures Identify, question, reflect on ideas and values

21. Film sensibility