Time To Get Into Film

Into-Film

See. Think. Make. Imagine.

It may be too late for Christmas, but one of the best professional development offers for teachers in the UK at the moment comes absolutely free, and it will still be available in the New Year. Into Film‘s recently expanded catalogue of teacher training covers all ages and stages, from nursery education to media studies, from beginners to seasoned film critics. I have written often on the blog about the potential of film (and specifically short films) to impact on literacy development in young people, and how, very often, it is only the teacher’s fear of what they regard as a lack of specialist subject knowledge that holds them back from using it more often. Now the solution is to hand.

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“Film is a powerful tool to engage young people, capture their imaginations and bring the written word to life. Our programme places film at the heart of education to engage and challenge students and bring texts to life. Our training demonstrates the benefits of using film as text to develop learners’ critical thinking, analytical and contextualisation skills. These skills are equally applicable to and transferable between film and literary texts. As film is both visual and auditory, learners develop skills of description, deduction and inference, as well as the ability to decode texts and translate images and sound into words.”

Into Film website

cinemaRecently I spent a couple of days working with fellow Into Film CPD providers on the new resources at the London Connected Learning Centre in Lambeth, and I have to say I came away truly inspired. Whether you are looking to use practical filmmaking to develop creative skills, to deliver aspects of the curriculum through the medium of film, or to develop a better understanding of the language and grammar of film itself, there really is something here for everyone.

 “The CPD session last month was extremely beneficial to me from both a teaching and learning perspective. I have already started implementing some of the videos into my own teaching practice…It genuinely was one of the most useful and practical courses I have been on for a very long time.”

Daniel Cooper, Assistant Head, Ysgol Park Waundew

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*Accessing the Into Film CPD is very simple. Generally speaking there should be a minimum of 15 trainees in a group, though exceptions can be made for those in small schools or more rural areas. Senior Leadership Teams, Heads of Department, Youth and Community group leaders, library staff, and local authorities can book free bespoke training events, with sessions ranging in length from 30 minutes to a full day. Literacy CPD and Filmmaking CPD strands may be delivered separately or as a complete package, and an Into Film CPD Practitioner will work with your event organiser to customise a session or sessions which are appropriate to the immediate needs of the group.If you are an individual teacher who would like to attend Into Film CPD training, but are unable to convince enough of your colleagues at this stage, you should visit http://www.intofilm.org/cpd-events where you will find a growing number of centrally-organised events taking place across the UK.

Why Not Start A Film Club?

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Into Film will also support teachers who want to set up and run film clubs in their own schools. To ensure that children and young people get the best educational and social experience from their clubs, Into Film also provide film club leaders with comprehensive training and support. Leaders are introduced to Into Film’s expertly curated film catalogue, then given advice and support on programming films which are appropriate for audience and purpose. Additional advice and resources are available should schools wish to develop filmmaking as part of their offering to young learners.

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*If you are in the South or South-West of Scotland, and wish to have free Film Literacy training in your school or local authority, please feel free to contact me directly. Contact details can be found at the top of the blog under ‘About’ or use the Comments section of this blogpost and I will contact you.

Related Posts:-

Film Shorts as Literacy Texts

Literacy, Film and the Scottish Survey

Ten Tools For Reading Film

Visual Literacy – No Longer a Luxury

We are fast approaching that time of year when we gather together to celebrate the birth of the moving image. More television – and especially films on television – will be watched in the next three weeks than at any other time of the year. Living, as we do, in a predominantly visual age, surrounded by moving image texts, one would think it almost perverse for schools to ignore the extent to which these texts shape and influence our daily lives. Yet teachers still often find it difficult to justify using film as a medium in the classroom when they should be concentrating on raising ‘traditional’ literacy standards, and this despite the fact that various studies have recognised that working with moving image texts can improve those very skills. Digital Beginnings, an extensive study carried out by Jackie Marsh and colleagues at Sheffield University in 2005 concluded that in England “the introduction of popular culture, media and/or new technologies into the communications, language and literacy curriculum has a positive effect on the motivation and engagement of children in learning”, that “practitioners report that it has a positive impact on children’s progress in speaking and listening….”, that “parents feel that media education should be included in the school curriculum” and  that “this should be so from when children are very young.” In 2006, an independent evaluation of Scottish Screen‘s MIE (Moving Image Education) project in Brechin, conducted by the University of Glasgow, reported that ‘all teachers were aware of a significant impact of MIE on pupils’ listening and talking skills….by the second round of interviews, teachers reported significant developments in writing skills.’

Cartoon by deleuran at www.toonpool.com

Cartoon by deleuran at http://www.toonpool.com

Most young people have watched countless hours of film and television before they enter pre-school education, and already they have set about building, in their heads, a rich audio-visual library. Unfortunately, it is most often a library – to extend the metaphor –  in which the texts are simply piled up in a disorderly heap in the middle of the floor. Rarely do they have any understanding that what they are watching and listening to is a sophisticated text which has been painstakingly constructed and edited, and not simply the result of pointing a camera at real-life and real-time events.

In order to illustrate this point, in the course of preparing this post I contacted the Dutch filmmaker Michael Dudok De Wit, creator of the hauntingly beautiful animation Father and Daughter, which won the Academy Award for Best Short Film in 2000, and asked him how long it took to make (the film itself is eight and a half minutes long and not a single frame is wasted.) This was his response:-

“It’s exactly as you say, animated films like these belie their complexity. It was a challenge to make the final result look simple and whole, but this challenge was enjoyable and very motivating. I worked on the film about four years on and off; I interrupted the production to teach and to do some commercial work. Altogether it took me about two years to make the film (writing, direction, most of the animation and all the backgrounds). I had one animator helping me for roughly four months and one assistant animator for two-three months. Two technical experts did the scanning, colouring, camera movements and compositing (combining all the different layers) for about three-four months altogether. The music composer and sound person each worked for about week, and finally, the film had two producers (for international funding reasons) who altogether devoted several weeks of their time each. One could say that if one person would have done everything alone, the film would have taken three years to make.”

With best wishes,

Michael

Since it is unlikely that children are going to be taught to ‘read’ moving image texts at home any time soon, it seems to me that teachers responsible for the development of literacy therefore have a responsibility, not only to use moving image texts in their classrooms, but to teach film literacy as part of the mainstream curriculum. In order to do this, teachers themselves need to be familiar with some basic concepts relating to films and filmmaking, including a vocabulary which allows them to discuss – and possibly create – moving image texts with their students.

If you are thinking of introducing moving image texts into the classroom the key to success, as with printed texts, is to begin with short films. A full-length feature film is a hugely complex piece of work and can be quite daunting to a teacher and students hoping to engage in critical analysis, while at the same time there are many advantages to using short films in the classroom. Shorts can be played in their entirety within one lesson while longer films lose their impact by being viewed over a number of lessons or by being screened only in extract form; the short running time of the films makes it possible for repeated viewings, allowing teachers and pupils to become quickly familiar with the texts and to explore them in more detail. Short films, like short stories, are not governed by the same conventions as longer films, and often provoke stronger responses from their audience. Finally, film and print, while different in many ways, are also very closely allied, so that the study of film can be used as a vehicle to improve the traditional literacies of reading, writing, talking and listening, and, importantly, film is an inclusive medium, often accessible to pupils who are more visual learners and who otherwise may feel that they have little to contribute. But don’t just take my word for it. Here is the celebrated film director Martin Scorsese talking about the importance of visual literacy.

See also my Ten Tools for Reading Film

See previous post for the best sites to find short films for free

Find some amazing resources at The Literacy Shed

Further Reading: Download a copy of Moving Image Education in Scotland here.

Scotland on Screen

Having spent a fun-filled few days recently in the Scottish Screen Archive, watching everything from a  rare Chic Murray comedy drama to amateur footage of the funeral of Robert Burns’ granddaughter in Dumfries (attended incidentally by the then Prime Minister Ramsay MacDonald) it was a great pleasure this week to see the Scotland on Screen website, which I had been helping to develop, nominated for an education award at the Learning on Screen Awards 2010.

Launched at last year’s Scottish Learning Festival, the site already has more than 15 hours of digitised clips, a figure which will more than double when the latest batch are tagged, prepared and uploaded. Each clip is between two and twenty minutes long, and comes with detailed introduction and production information. 

Collectively, the films represent much of Scotland’s cultural heritage of the past hundred years or so. Ranging from Oscar-winning documentaries to amateur footage of local gala days, from animated poems to public health films, there is something for every level and area of the curriculum.  Each clip is accompanied by a few starter questions for discussion, followed by suggested activities which can be further developed by the teacher. A selection of high quality, fully-developed ‘feature resources’ is available for those who wish to embark on a more in-depth study.

The films can be searched alphabetically, by date, topic or curriculum area. An additional A Day in the Homefeature, available only to educational users via GLOW, is that each film comes with a high-resolution film strip which allows subscribers to re-mix, edit and incorporate into multi-media presentations, or to create their own digital narratives!  It really is a first-class (free!) resource for teachers. Here’s hoping it gets the recognition it deserves at that awards ceremony.        

                                                                                                                                                                                                                        © National Library of Scotland