a call for a study on f

“CALL FOR A STUDY ONFILM LITERACY IN EUROPE”.

LA PRESENZA ITALIANA NELPROGETTO EUROPEO DI MONITORAGGIO

SULLA FILM LITERACY*

ITALIAN PRESENCE IN THE EUROPEAN SURVEYPROJECT ON FILM LITERACY

_______________________________________Torino, 11 maggio 2012

Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre)[email protected]

1.1. Call for a study on film literacy in Europe(Open Call for tender EAC/14/2011 Study on film literacy in Europe - Annex 1: Terms of Reference)

Survey

European-scale expertsstudy

identify andanalyse the existingsituation concerning

film literacy in Europe

Recommendations List

film literacy

media literacyExperts Group

MEDIAProgramme

(Audience Building)

_______________________________________Torino, 11 maggio 2012


«Firstly, on the basis of the definition of film literacy provided in theseterms of reference, it should provide the European Commission with

a European-scale experts' study which identifies and analysesthe existing situation concerning film literacy in Europe. This will

include initiatives in formal and informal education settings, coveringall age groups. Secondly it should seek to compare the results and

provide the Commission with recommendations on how tostrengthen its work on film literacy in the wider context of the

European policy on media literacy and to proposeways to better integrate film literacy in the

audience building section of the MEDIA Programme».

(Open Call for tender EAC/14/2011 Study on film literacy in Europe– Annex 1: Terms of Reference)

1.1.1

_______________________________________Torino, 11 maggio 2012


1.2. Film literacy status in MEDIA Programme Audience Building framework(Open Call for tender EAC/14/2011 Study on film literacy in Europe – Annex 1: Terms of Reference)

Media literacyReal

access Criticalapproach

Offerawareness

Freedom/curiosity

Film literacy

Activecitizenship

DigitalEnvironment

Culturalmodels

Europeanidentities

Understanding film

critical

technical

analytical

Market awarenessValue-chain

transformationsHeterogeneity

of products

Multi-platforms

HeritageCultural film heritage

Industry film heritage

_______________________________________Torino, 11 maggio 2012


«Media literacy, and film literacy in particular, is also extremely importantfor European cinema and the audiovisual sector in general.

Media-literate people will be able to exercise more informed choicesas regards to the audiovisual content market. Citizens would therefore

hold a higher degree of freedom and curiosity as they will have theinstruments to choose what they want to see and will be able to

better evaluate the implications of their choices. Film literacy is meant toprovide, notably to young European audiences, better awareness and

knowledge about our film heritage and increasing interest in these filmsand in recent European films, the ultimate goal being to build a

long term audience for European films».


1.2.1

_______________________________________Torino, 11 maggio 2012


2.1. UE for media literacy and film literacy: 2002, Cined@ys

1500European films

200cities

24countries

Netd@ys Europe30.000 European schools

_______________________________________Torino, 11 maggio 2012


2.2. UE for media literacy and film literacy : 2003, Declarations of Thessaloniki

Diffusion of European film (Torino 2002)

Educational system

History Language

Right tokeep and develop

national/regional/localidentity

Active citizenship

Balance the market cultural rules by

an educative actionHeritage

Conference"From Cultural Diversity to a European Identity“

(Thessaloniki 2003)

Moving Image Literature Aware consumption_______________________________________

Torino, 11 maggio 2012Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre)

[email protected]

2.2.1. Cent films pour une culture alternative

«les enfants et les jeunes d’aujourd’hui ont de moins en moins de chancesde rencontrer dans leur vie sociale normale d’autres films que ceux

du “mainstream” de la consommation courante. L’école (et les dispositifsqui lui sont liés) est le dernier lieu ou cette rencontre peut encore avoir lieu.

Il est donc plus que jamais dans sa mission de faciliter l’accès – de façonsimple et permanente – à une collection d’oeuvres donnant une haute

idée, non démagogique, de ce qu’a pu produirede mieux le cinéma, et tout le cinéma»

(Alain Bergala, 2005)

_______________________________________Torino, 11 maggio 2012


«The discussions have led the participants to call onto the member state of the European Union to include film, like literature,

in the school curricula and to teach students who live in a worlddominated by images, from primary school on, about the grammar

of the moving image just as they are taught the grammar of the written word»

(EFA, 2009)

2.3. UE for media literacy and film literacy : 2009, EFA

_______________________________________Torino, 11 maggio 2012


«On 20 August 2009 the Commission adopted a Recommendationon media literacy. The recommendation inter alia invites

Member States and the Media Industry to launch a debate on theinclusion of media literacy in compulsory education curriculum.

The Council and the European Parliament endorsed theCommission's approach to media literacy as a

very important factor for active citizenship in today’s information society».


2.3.1

_______________________________________Torino, 11 maggio 2012


3.1. A national strategy in formal education:the new Audiovisivo e Multimedia curriculum

National strategyFilm and audiovisual

as core subject

Liceo Artistico

Curriculum Audiovisivo e Multimedia

Discipline Audiovisive eMultimediali

Laboratorio Audiovisivo eMultimediale

_______________________________________Torino, 11 maggio 2012


MIUR

Ex-IRRSAECentro Sperimentale

di CinematografiaScuola Nazionale

Di Cinema

DiCoSpeUniversità Roma Tre

Piano Nazionale per la Promozione della Didattica delLinguaggio Cinematografico e Audiovisivo nella scuola

(National programme for the Promotion offilm and audiovisual language literacy)

3.2. 1999: Piano Nazionale Cinema

About500 schools

About 1000teachers

About 12.000students

_______________________________________Torino, 11 maggio 2012


4.1. survey structure – European axes and criteria

National strategy

Heritage

Cultural goods

Literacy

Education system

Local governments(public)

Local relevance institutions(private)

Audio-visualsectorPublic

partnership

Financement systemsTeachers training andacknowledgement

system

Systems ofassessment

Audience building

_______________________________________Torino, 11 maggio 2012


− Film literacy and audiovisual national policy:i.e. to what extent is film literacy implemented in

national audiovisual policy?What is the role of film institutes? What is the role of public broadcasters?

- Film literacy in the educational systems:i.e. is it part of the school curriculum? Is it a specific subject or across cutting objective? What learning objectives are pursued?

What is the role played by film institutes and other film organisations?

− Film literacy in partnership with institutions outside theformal educational systems:

film institutes, grass-root associations, non-governmental organisations etc.− The role of film industry and media professionals

as partners in film literacy projects».


4.1.1.

_______________________________________Torino, 11 maggio 2012


Culturalbodies

4.2. survey structure – from the questionnaire to the inner national partners

Questionnaire

FormalEducation

Non formaleducation

Audio-visualsector

Teacherstraining

professionaldevelopment

LiceoArtistico

Other schools Distribution

Theatres

broadcasters

Film museums

Localgovernments

Mediatheques

Associations

Filmclubs

Filmcommissions

Festivals

FIAFcinemathèques

University

Highformation

_______________________________________Torino, 11 maggio 2012


Conclusions: media literacy and 2014-2020 Creative Europe Programme

«In its 20 years of existence MEDIA helped to significantlychange the European audiovisual landscape; most European films

would not be seen outside their home territories without MEDIA support;the European animation industries now play a very importantrole on the world markets and MEDIA has a major impact on

the development of European co productions.However, the sector is now facing important challenges and opportunities

from digitisation and globalisation and support will be needed toenable the sector to develop new business models and to benefit fromthe changing market conditions. It will be very important to support

projects acting across the value chain and to focus moreon audience building, branding and film literacy».

(Impact assessment Accompanying the document regulation ofthe European Parliament and of the Council

establishing a Creative Europe framework programme)

6.1.1.

_______________________________________Torino, 11 maggio 2012


«As part of the development of a media literacy policy and in the contextof the preparation of the MEDIA strand of the proposedCreative Europe framework programme (2014-2020) ,

the European Commission is currently looking at the situationof film literacy throughout Europe, and is therefore in need

of assistance in the form of report mapping the current practicesin film literacy in Europe».

(http://ec.europa.eu/culture/media/literacy/studies/index_en.htm)

6.1.2.

_______________________________________Torino, 11 maggio 2012


Conclusions: media literacy and 2014-2020 Creative Europe Programme

a call for a study on f

Education

film literacy status

definition of film literacy

study onfilm literacy

european commission

european identitythessaloniki

european cinema

european union

european surveyproject