1. Screening Literacy: a survey of European Film Education Mark Reid, BFI Andrew Burn, Institute of Education, University of London

2. When the outcome of an issue is unclear, or cannot be resolved, it is important to learn to love the question Rilke, Advice to a Young Poet

3. Terms of reference EC definition of film literacy: ‘the level of understanding of a film, the ability to be conscious and curious in the choice of films and the competence to critically watch a film and to analyse its content, cinematography and technical aspects. Revised definition: ‘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’. And the purpose: ‘for young people, to provide awareness and knowledge about our film heritage and increasing interest in these films and in recent European films., the ultimate goal being to build a long term audience for European films.’ from the Tender Terms of Reference Creative Europe Programme from 2014 will want to promote ‘ways to include support for media and film related educational activity.. Especially for young audiences organised eg by festivals, broadcasters, distributors, cinemas etc.’ AND for EC states to include media (film) literacy in formal curricula. ‘a report mapping the current practices in film literacy in Europe.’

4. Research objectives A ‘European-scale experts’ study which identifies and analyses film literacy provision in Europe – in formal and informal settings, and all age groups’: –Film literacy and AV national policy; film industry; broadcasters –Nat Curricula: single subject or cross-curric; learning objectives; film institutes and other orgs? –Informal sector: film institutes, NGOs, grassroots groups –Role of film industry and media professionals in film literacy projects –Egs of good practice Policy recommendations to EC, for Creative Europe

5. Which territories? 27 EU nations: AustriaBelgiumBulgariaCyprus Czech RepublicDenmarkEstoniaFinland FranceGermany GreeceHungary The Irish RepublicItalyLatvia LithuaniaLuxembourgMaltaThe Netherlands PolandPortugalRomaniaSlovakia SloveniaSwedenSpain (excl Canary Islands) UK (excl Channel Islands) And 3 non-EU EEA nations LiechtensteinNorwayIceland And Croatia, Switzerland

6. Research team structure Advisory group of experts Vitor Reia-Baptista Laszlo Hartai Simone Moraldi Irene Andriopoulou Sara Duve Ian Wall Film Education Andrew Burn Institute of Education, London University Mark Reid BFI Wendy Earle, Project Manager Caren Willig Benelux France Germany Czech Republic Slovakia Scandinavia Baltic Austria Michelle Cannon Spain Portugal Italy Greece Cyprus Malta Romania Bulg Poland Hungary Slovenia Wendy Earle UK and Ireland National Research partners - Phase 1 Polish Film InstituteEYE /NDS Film Institute Irish Film Institute University of the Algarve University of Roma Tre Vision Kino Hungarian MPAA Slovenian Film Centre CZ National Film Archive Hellenic Audio-Visual Inst. Station Next (Denmark)

7. Deliverables Final Report end of 2012, comprising: 5pp Exec Summary (suitable for presentation to general public) description of methodology 1 page summary picture for each nation conclusions Annexes Catalogues of: film festivals; teacher training programmes; resource publications; industry initiatives Digest of known research into film education outcomes

8. Phasing the work Phase 1 survey Jan - March: –Online qu’aire sample of 12 nations via Survey Monkey; –case studies of 3 sectors in each nation –2pp summary of provision in each nation –‘survey ‘triangulated’ by third parties –Advisory group seminar 26 March to refine qu’aires and absorb initial findings Phase 2 survey May - July: qu’aires and case studies from 20 nations Fewer case studies as examples of good models Transnational projects examined

9. Country surveys

10. Opportunities and Challenges

11. Imagine an ideal model of film education Why does it matter? What would its aims and objectives be? Who would it be for, how wide would it reach? Who would participate in, and fund and control it? Who would decide its content? What would it consist of - content, focus? How would it be created, sustained, evaluated? How long would it last?

12. Definition of film literacy – all the forms and formats Agreed list of competencies in film literacy: guidelines (maybe following German version) Teacher training : towards competencies Clarify link between film literacy/education and media literacy/education Film literacy as ninth key competence (connection with media literacy) Outline of progression: journey / spiral of learning: research to map processes and pathways Support Film archives in providing research and education Canon of European film heritage: lists of recommended films? Exchange/shared portal / platform for film education resources /best practice National film agencies: obligation to fund film literacy / education Build connections between film industry and education: copyright for educational usage What might be.. Research: what counts as impact or quality Research: Who has access to what in film education Research into how to teach / pedagogies: formal/informal... recommended reading... multiple translations Digital archives: Apprend le tele – accessibility of broadcasters’ archive Review policies re digital copies: keeping films in circulation for cinema screenings Set up expert group to take things forward: film education advisory network Development of a database of film literacy achievements Work with Europa cinemas to promote film literacy

13. Film Literacy: what Business are we in? What if … in the spirit of TV’s The Apprentice, film education was a product?: with many Unique Selling Propositions, massive growth potential and clear evidence of longevity but whose brand, despite its relevance, suffers in some quarters from ‘perception deficit’ whose backers lack sustained Research & Development commitment, even taking into account excellent in-house product design skills whose target markets are highly receptive, but whose market penetration continues to disappoint – despite the potential for cross-selling & international expansion whose excellent market research isn’t always acted on and is, in some cases, disregarded

14. whose PR strategy, Quality Control & Sales Rep training need bigger budgets whose management is debating the pros and cons of being absorbed by another associated brand with bigger European clout – does this represent a good opportunity to raise the profile? or would the product’s distinct qualities get subsumed? whose creative use of new media technologies both in its end point delivery and consumption, make it current and adaptable whose competition is virtually nil but whose profit margins are really tricky to measure, in fact so elusive and diffuse that to some, it doesn’t even look viable; however, such is the manufacturers’ and end users’ belief in its vital benefits that it is kept current and successful on the margins. http://fashioningandflow.wordpress.com/2012/0 4/14/the-business-of-film education/#comment-104

15. Translatability.. What if the essence of film literacy were in its potential to be translated into different: platforms (Youtube; cinemas; galleries; TV; mobile phones) Social purposes (industry skills; citizenship; creativity; wider literacy) Artforms (music; drama; art and design;) Subjects (history; language learning; geography; science; ) Europe is a culture of translation; why not film literacy?

16. Two questions… What advice do you have for us, for Phase 2? What help can we give you in taking forward film education in your national contexts?