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  • Home | Filmeducationjournal

    : FEJ 3.2 featuring contributions from Alicia Vega (Chile), Felipe Correa (Chile), Jamie Chambers (Scotland), Michael Daly, Jacqueline Thomson and Jamie Chambers (Scotland), Chris Nunn (UK), Becca McSheaffrey (UK), Ruari Elkington (Australia) and Marc Barrett (Australia) Read: Latest issue HERE. ​ : Tuesday 6 April (Special Edition - Decolonising Film Education). Next call for submissions Click here for details ​ : Upcoming events Scottish International Film Education Conference (17-18 June 2021) ​ : . Free resources for teachers HERE ​ : Contact filmeducationjournal@ed.ac.uk

  • Call for papers | Filmeducationjournal

    Call for Papers - Film Education Journal Special Issue - Decolonising Film Education Guest Editors: Professor Jyoti Mistry (HDK-Valand Academy) and Dr Lizelle Bisschoff (Glasgow University) Decolonizing Methodologies is not a method for revolution in a political sense but provokes some revolutionary thinking about the roles that knowledge, knowledge production, knowledge hierarchies and knowledge institutions play in decolonization and social transformation. (Linda Tuhiwai Smith 1999, Decolonizing Methodologies: Research and Indigenous Peoples) This special issue on decolonising film education highlights some of the contemporary and at times contrasting conceptions of the term and its applicability to research and practice. This relationship between research and practice has direct implications for reanimating pedagogies in both film education and screen studies. Moreover, it presents an opportunity to investigate how synergies might be developed between film history, theory, analysis and its praxis. The focus of this issue attends to the multiple understandings of decolonial and its potential to advance scholarship in film studies, to expand creative film practice and to address film education curricula that revitalizes pedagogic strategies. This call for contributions invites practitioners and pedagogues involved in film education to draw from their own experiences, challenges and resolutions in engaging with decolonial propositions in the classroom, in curriculum content and at the institutional level. What forms of student-teacher dialogues are necessary in order to facilitate open exchange about the historical structures of knowledge and representation? How do institutions support the political urgency for social change by decolonializing learning, teaching and research? How can film education expand the references of its aesthetic forms to include a broader spectrum of film practices? And how do we rework modes of representation in film, in order to address historical power structures that have marginalized or elided certain narratives and subjects in cinema? We propose the following (but not limited to) areas of interest: Decolonising strategies in film production pedagogy Decolonising approaches to teaching film studies Interviews with filmmakers whose practice and work embraces decolonial perspectives Case studies from teaching experiences that foregrounds decolonial processes in film production and film studies Institutional, cultural and political challenges and resolutions towards decolonising film education Potential and imagined propositions for decolonising film production and film studies Contributions may be drawn from experiences gleaned from teaching and reflections from working with students to develop curricula that attends to the political urgencies of decolonising the frameworks of education on the levels of content, modes of teaching and the structures necessary to support these interventions. In keeping with the ethos of decolonial propositions as inclusive and expansive of multiple forms of knowledge and expression, We invite papers, contributions on case studies or focused interviews with film practitioners or teachers of between 4,000 to 8,000 words each. Interviews need a strong contextual framing and theoretical and/or analytical basis. Audio-visual essays should capture decolonial approaches or exemplify aesthetic and conceptual engagement with decolonial strategies or processes. Audio-visual essays should be a maximum of 20 minutes in length and accompanied by a written supporting statement of 1,000 words maximum, articulating the research aims and how these aims are achieved in the audiovisual format. we invite different written forms and audio-visual formats. Abstracts of proposed written contributions or audio-visual descriptions should not exceed 500 words and must include a bio of no longer than 150 words. In the case of proposed interviews, please include the bios of both subjects and brief description of the interview framework. The guest editors will enter into a dialogue with the confirmed authors of the proposed submissions towards shaping the final contributions. Timeline Abstracts and bios should be emailed to by filmeducationjournal@ed.ac.uk Tuesday 6 April 2021 Submission date for full pieces (for peer review): Monday 16 August 2021 Online publication of special issue: June 2022

  • Teachers Resources | Filmeducationjournal

    Home Call for papers Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Learning from the Understanding Cinema project in Scotland This article provides a detailed, first-hand overview of the filmmaking project . Author and filmmaker worked as a tutor on the project between 2013 and 2019 and reflects on both its highlights and challenges. For teachers interested in making films, it provides a detailed account of how ‘a well-designed pedagogy’ can ‘allow simple, yet deep access to cinematic aesthetics’. Understanding Cinema Jamie Chambers MORE ​ Keywords : #filmmaking; #Scotland; #primary school ; Securing a place for film within a Scottish secondary school and n are English teachers at , an inner-city secondary school in Glasgow, Scotland. Working together as probationary teachers, they decided to start an after-school film club. From there, film has gradually become a central part of their teaching strategy, and has moved beyond their own to become embedded within John Paul Academy’s broader curriculum. Michael Daly Jacqueline Thomso John Paul Academy English and Media classrooms MORE Keywords : #secondary school #Scotland #film club; #English Exploring local heritage through a documentary filmmaking project in Chile describes the process of a documentary filmmaking project at a secondary school in . Its aim was to encourage students to engage with the places, crafts and community where they live. Over the course of a year, students watched and analysed from different periods and cultures, whilst performing practical filmmaking inside and outside the school. Felipe Correa Chile documentary films MORE Keywords : #filmmaking; #Chile #documentary ; #cultural heritage Cinema workshops within marginalised communities in Chile Alicia Vega is a Chilean film scholar, educator and outreach worker who has run a series of cinema workshops within highly disadvantaged communities across Chile, which provided younger children with formative understandings of cinema, for over 30 years This is a rich and intimate account of how film can be used within community learning and outreach programmes. MORE Keywords : #filmmaking #Chile #outreach work; #active viewing Filmmaking about social issues with primary school children in Scotland Read about the experiences of Scottish teachers at in Edinburgh. This case study of the making of the short film is a great first-hand account of some of the benefits and challenges to consider . Discover a range of tips and ideas for you to take away and use back in the classroom with your pupils. Granton Primary School See You Tomorrow when creating films in a primary-school context MORE ​ Keywords : #filmmaking; #racism; #primary school ; #emotional literacy Discussing films in the classroom with children of different ages in Slovenia How can we best approach discussing films in the classroom? is one of the foremost figures within Slovenian film education. Explore a range of her ideas on how film can be used as a means of facilitating discussion in the classroom, and in particular on how to ensure that discussions are pupil-centred and encourage creative thinking. Mirjana Borcic MORE ​ Keywords : #discussing film #Slovenia #student voice; #active viewing Keywords : #filmmaking; #Portugal #secondary school; #collaborative; A 16 week course of practical filmmaking with secondary school children in Portugal Explore the detailed overview of a filmmaking project from start to finish, which provides a useful model for . This case study of film education in Portugal takes readers through the 16 weeks of a filmmaking course, acting almost as a project diary, describing the weekly tasks and outcomes. secondary school teachers interested in making films with their students MORE ​

  • Film in Scottish Secondary Schools | Filmeducationjournal

    Home Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Securing a place for film within a Scottish secondary school Ready Player One (Warner Bros. Pictures All Rights Reserved) Securing a place for film within the ongoing life of a Scottish state secondary school ​ ​ Michael Daly and Jacqueline Thomson are English teachers at John Paul Academy, an inner-city secondary school in Glasgow, Scotland. Working together as probationary teachers, they decided to start an after-school film club. From there, film has gradually become a central part of their teaching strategy, and has moved beyond their own English and Media classrooms to become embedded within John Paul Academy’s broader curriculum. Film education does not yet form any significant part of Scottish teacher training programmes and, as such, incorporating film into curricular teaching can be a challenge. This article covers a broad array of ways in which teachers can use film as a tool for learning. It details the benefits of setting up a successful film club as an extra-curricular activity and explains how using film in the English classroom can motivate students, teach them to critically analyse texts, and develop their oral and written skills. This article is a rich source of ideas for any teacher looking to learn and take inspiration from their peers. Download the full article for free from the Film Education Journal Key points to explore The article covers a range of topics including: ​ A discussion of the role film plays in the national Scottish Curriculum for Excellence and how it ‘can provide a powerful means through which to begin addressing the attainment gap and engaging with hard-to-reach students in Scottish schools.’ (pp. 137, 149-150) An account of setting up and running a regular after-school film club with the support of film education charity Into Film, and the different reactions and discussions certain films provoked among students (pp.139-141) The role of film reviews and how they provide opportunities for students to express opinions and develop their written literacy (pp.141-144) A detailed case study of how the films and were successfully used as optional ‘texts’ as preparation for an SQA English exam (pp.144-149) Joker Skyfall Watch Michael Daly discuss the work that he and colleague Jaqueline Thomson have done to embed film in the classroom. Ideas for the classroom: Michael has very kindly shared one of his lesson plans that they created to use the film as a 'pathway to literature'. Michael also talks about his lesson plan, and how the film allowed them to think about their own lives. You can download the lesson plans . Ready Player One here ​

  • Resource: Vega - Community Cinema | Filmeducationjournal

    Home Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Taking Wonders to the Margins: delivering community cinema workshops within marginalised communities in Chile Young filmmakers dressed as the Lumiere Brothers welcome the audience to a screening of their film Taking wonders to the margins ( ) Maravillas al Margen ​ Alicia Vega is a Chilean film scholar, educator and outreach worker. In 1985 she initiated a series of cinema workshops within highly disadvantaged communities across Chile, which sought to provide younger children with early, formative understandings of cinema. Over the next 30 years Alicia and her team of instructors delivered hundreds of workshops across the country. Illustrated with photos, examples of the children's work, and testimonials from participants, her article is a rich and intimate account of how film can be used within community learning and outreach programmes. “The main achievements of the workshops certainly include that children experienced an increase in their self-esteem, developed their creativity and learned some fundamental values, such as working in a team. But our main objective, which was fundamental to us, was that the children had a good time.” - Alicia Vega Download the full article for free from the Film Education Journal Key points to explore Vega’s workshops consisted of weekly sessions where children watched films and then undertook various arts and crafts activities which were designed to break down the mechanics of filmmaking for them. This later developed into practical filmmaking sessions where they wrote, acted and filmed their own short films. ​ Vega introduces readers to the workshop methodology, particularly its focus on the history of early cinema and screen pioneers such as the Lumiere Brothers and Charlie Chaplin. Other topics covered in the article include: A detailed description of the arts and crafts activities which were designed to explore the history and mechanics of creating moving images, including the recreation of nineteenth century optical illusion toys such as zoetropes, the ‘magic roll’ and kinetoscopes (pp. 196-197) Vega's pedagogical approach - her belief of treating everyone equally, allowing the children a large amount of autonomy, and her solution to behavioral issues (pp.201-205) A discussion of the funding difficulties the workshops faced, including a frank overview of the economic hardships experienced by the local communities (pp. 205-215) A description of the films that were shown to workshop participants and their reactions to them (pp.216-221) Ideas for the classroom: Creating thaumatropes is a simple yet effective way of introducing learners to the concept of 'the moving image’ in its most basic form. The Norris Museum provides and video instructions of how to create your own thaumatropes and kaleidoscopes: free downloadable resources

  • Resource: Felipe Correa Documentary | Filmeducationjournal

    Home Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Exploring local heritage through a documentary filmmaking project in Chile La Pequeña Historia de un Lobo de Meta (The Little Story of the Metal Wolf) Immaterial heritage and a sense of place in film-based art education: A case study of a documentary film project with secondary school children as part of Cine en curso Chile ​ Felipe Correa’s article describes the process of a documentary filmmaking project at a secondary school in Chile. Run as part of the film education programme , its aim was to encourage students to engage with the places, crafts and community where they live. Over the course of a year, students watched and analysed documentary films from different periods and cultures, whilst performing practical filmmaking inside and outside the school. At the end of the project, their short films (which documented and celebrated traditional local trades) were screened at a local cinema. Cine en curso ​ Watching and making documentary films is a fantastic way for educators to explore different social themes and issues with their pupils, and, as Correa says, ‘can compliment and articulate’ the learning aims and outcomes in many subject areas such as history, science, geography etc. For students who might feel intimidated at the idea of scriptwriting, documentary can be an accessible way of exploring storytelling through film and is an interesting way for them to critically examine and reflect on their own environments and everyday experiences. Download the full article for free from the Film Education Journal Key points to explore Correa’s article offers teachers lots of ideas about how watching and making documentaries can enhance students’ learning. Points of interest include: ​ The particular setting of this project within a school which ‘focuses on reintegration programmes for children and young people with learning disabilities’ as well as the pedagogical methodology behind (p.122-123) Cine en curso A detailed description of how photography is used as a practical exercise to teach students about colour, light, perspective, framing and composition. (p.124-125) How to prepare for the practical side of filmmaking in terms of choosing topics, discussing students’ roles, and interviewing documentary subjects (p.125-134) A reflection on how the project increased students’ overall levels of motivation and engagement. The filmmaking process also developed their skills of observation, participation and critical analysis, as well as empathy with their documentary subjects. (p.134-135) Watch La Pequeña Historia de un Lobo de Meta (The Little Story of the Metal Wolf) , the film discussed in the article above. Ideas for the classroom: You can watch the final documentary, (The Little Story of the Metal Wolf) made by the students above. La Pequeña Historia de un Lobo de Meta ​ Discuss the following questions with your class:​ What is the message of the film? When making a documentary, what do you think are the biggest challenges for the filmmakers? If you had the chance to make this film, what would you do differently? Now encourage discussion of what subjects would make for good documentaries. Ask your students the following questions:​ What topics from their own lives and communities would make for an interesting documentary? What questions would they want to ask the people they would film? What obstacles might there be to making that documentary, and how might they overcome them? ​

  • Resource: Jamie - UC | Filmeducationjournal

    Home Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Learning from the Understanding Cinema project in Scotland Poetic framing in Blue Raspberry Consolidating an experimental pedagogy: Exploring ecologies of film education within France’s Cinéma Cent Ans De Jeunesse and Scotland’s Understanding Cinema project(s) between 2013 and 2019 ​ ​ This article provides readers with a detailed, first-hand overview of the filmmaking project Understanding Cinema. Author and filmmaker Jamie Chambers worked as a tutor on the project between 2013 and 2019 in different schools across Edinburgh and the Lothians. Understanding Cinema is a moving image education project based on the long running international film education scheme, - created by Cinémathèque Française in Paris. Groups of young people between the ages of 6 and 18 across the world to take part in a structured programme of activity, combining practical and theoretical approaches to cinema that are focused around a different topic chosen every year. Le Cinéma, cent ans de jeunesse ​ In this article, Chambers reflects on both the highlights and challenges of the project. For teachers interested in making films, it provides a detailed account of how ‘a well-designed pedagogy’ can ‘allow simple, yet deep access to cinematic aesthetics’, as well as honest reflections on aspects of the project that were challenging to overcome. Download the full article for free from the Film Education Journal Key points to explore The rationale behind the project and challenges of connecting it with the Scottish curriculum and available school resources. (pp. 100-103) Case studies of the topics (pp. 104-108), (pp. 108-114) and (pp. 114-116), and their varying levels of success in terms of student engagement and understanding. The Long Take Climate/Weather Play Feedback from teachers involved in the projects, sharing how they worked alongside the film tutors and how their students benefited from the project. (pp. 107, 109-110, 111, 113) A discussion of the CCAJ methodology and how it can sometimes be challenging to implement on a practical level. (pp. 116-119) Blue Raspberry (Law Primary School, East Lothian) Ideas for the classroom: All of the films referenced in the article are available to watch online (links can be found in the article bibliography), providing a great source of materials for teachers who would like to see examples of films made by young people in schools. Have a look at our recommended films below: ​ (Wester Hailes Education Centre, Edinburgh) Yes Sir ​ suitable for ages 12+ Age range: climate and weather, school setting, secondary school, teenagers, friendship, rebellion, shelter Themes/subject areas: Over the course of one day, we follow a teenage boy and his encounters with teachers and friends. The film was created as a response to the following exercise: Students film a short film based ‘around a love story or a friendship which contains: a shelter. The elements of the weather that you experience when filming should be perceptible to the viewer Synopsis: Watch here (Law Primary School, East Lothian) Blue Raspberry ​ ​ suitable for ages 8+ Age range: the long take, observational footage, voiceover, poetry, family life Themes/subject areas: A young girl spends her pocket money on sweets, against the wishes of her parents. This film is made up of a choice of shots from 300 minutes of minute-long observational footage. It was created as a response to the following exercise: ': Synopsis: 'A Troubling Encounter at a certain moment a character or characters have an encounter which troubles them. Watch here (Granton Primary School, Edinburgh) In My World ​ ​ suitable for ages 8+ Age range: : play, primary school, friendship, bullying, imagination Themes/subject areas A young girl who is being bullied about her spelling mistakes runs out of class and hides from her classmates. The film was created as a response to the following exercise: Synopsis: Make a film where the story is interrupted at a certain moment, when a character finds their freedom through playing which allows them to escape from the confines of their everyday reality. Watch here

  • Teachers Resources | Filmeducationjournal

    Home Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Filmmaking about social issues with primary school children in Scotland Read about the experiences of Scottish teachers at in Edinburgh. This case study of the making of the short film is a great first-hand account of some of the benefits and challenges to consider . Discover a range of tips and ideas for you to take away and use back in the classroom with your pupils. Granton Primary School See You Tomorrow when creating films in a primary-school context MORE ​ Keywords : #filmmaking; #racism; #primary school ; #emotional literacy Discussing films in the classroom with children of different ages in Slovenia How can we best approach discussing films in the classroom? is one of the foremost figures within Slovenian film education. Explore a range of her ideas on how film can be used as a means of facilitating discussion in the classroom, and in particular on how to ensure that discussions are pupil-centred and encourage creative thinking. Mirjana Borcic MORE ​ Keywords : #discussing film #Slovenia #student voice; #active viewing A 16 week course of practical filmmaking with secondary school children in Portugal Explore the detailed overview of a filmmaking project from start to finish, which provides a useful model for . This case study of film education in Portugal takes readers through the 16 weeks of a filmmaking course, acting almost as a project diary, describing the weekly tasks and outcomes. secondary school teachers interested in making films with their students MORE ​ Keywords : #filmmaking; #Portugal #secondary school; #collaborative;

  • Resource: Mirjana Borčić discussing film | Filmeducationjournal

    Home Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Discussing films in the classroom with children of different ages in Slovenia Unveiling the View with Mirjana Borčić (Maja Weiss, Slovenija/Slovenia, 2017) Triangulating a discussion between film, the viewer and a wider frame of life: reflections on a life in film education ​ ​ ​ ​ Mirjana Borčić is one of the foremost figures within Slovenian film education. This article - a translation of some her writings about her experiences teaching film - contains a range of ideas on how film can be used as a tool to facilitate discussion in the classroom. Mirjana Borčić's emphasis is on making discussion pupil-centred and to encourage creative thinking. Using films to facilitate discussion is a great way for young people to develop their reflective and analytical skills and learn to give and accept feedback from their peers in a thoughtful and sensitive way. For pupils who struggle to engage with more traditional written texts, films are a rich source of material to develop literacy skills, engage with a wide range of topics and themes, and develop their knowledge of different cultures. ‘One has to be aware that every viewer experiences a film in a unique way: a film projected in a cinema with one hundred people will have one hundred interpretations. If we want every individual to enrich their own experience of the film through contact with the experiences of their fellow viewers, a dialogue needs to be established. Discussing a film is not the same as explaining a film: it is a search for meaning that avoids generalisation and encourages creative thinking.’ - Mirjana Borčić Download the full article for free from the Film Education Journal Key points to explore Borčić makes several keys points and suggestions which you can read about it more detail. She emphasises that while film can be used as a text, it is important to recognise that, as a visual medium, it should not be analysed in the same way as written literature. (p.2) In the section 'How to discuss a film' (pp.13-15) Borčić makes a number of suggestions which teachers can keep in mind when planning film discussions: ​ The importance of challenging pupils and asking them ‘slightly more than they are capable of’ to trigger their interest. The value of using short films in the classroom over feature films. Borčić breaks down the discussion process into distinct phases – the introduction, the course of the conversation, and the role of the leader as discussion facilitator. ​ ​ Questioning with film within the classroom ​ Borčić calls for the facilitation of open dialogue with young people around film, what she calls the ‘affective method’. This can be well integrated with young people at different attainment levels, using differing questioning strategies. For example, open dialogue where students raise their hands to answer questions might be complimented by other techniques for those less confident in verbalising their thoughts, such as or think, pair and share tasks. As Borčić states, this allows young people to ‘seek and discover the value of the film through shared impressions’. KWL grids Listen to Mark Reid (BFI, Film Education Journal) talking about Mirjana Borcic and how best to discuss film with learners with Nuria Aidelman (A Bao A Qu, Spain), Alejandro Bachmann (former head of film education, Austrian Film Museum) and Charlotte Giese (Danish Film Institute). Ideas for the classroom and further resources Set up a . This is a wonderful way to regularly discuss films with your pupils and introduce them to a wide range of cultures, topics and issues – and it’s a lot of fun too! film club ​ is the online learning resource for the Moving Image Archive. The site includes over 25 hours of footage, a step-by-step guide to moving image education, and instructions for creating your own video essay using archive film. Scotland on Screen https://scotlandonscreen.org.uk/ ​ The collection includes 16 European films (fiction, documentaries, feature-length and short films) selected for young audiences (ages 6 to 19). The films are representative of each country in the programme and reflect the diversity and distinctiveness of European cinema. Each film has an accompanying media kit for teachers to download. CinEd https://www.cined.eu/en

  • Resource: Donnelly, See You Tomorrow | Filmeducationjournal

    Home Teachers Resources Resource: Donnelly, See You Tomorrow Resource: Mirjana Borčić discussing film Resource: Alves, 16-week film course Resource: Felipe Correa Documentary Resource: Michael Daly Resource: Jamie - UC Resource: Vega - Community Cinema Search Results Filmmaking about social issues with primary school children in Scotland A schoolgirl stands up to playground racism in See You Tomorrow See You Tomorrow: A case study of the Understanding Cinema project at Granton Primary School in Edinburgh ​ ​ This article describes a filmmaking project which took place at an after-school film club at Granton Primary School in Edinburgh from 2016 to 2017. It is written by the teachers and filmmaker who were involved in the project and is a great first-hand account of the benefits and challenges to consider when creating films in a primary classroom context. There are a range of tips and ideas for you to take away and use back in the classroom with your pupils. The final film created by the pupils can be viewed online for free at the link below and provides a template which pupils can use when creating their own. The film could also be a starting point for conversations with your class around the challenging topic of bullying and racism within school life, discussing the difficult issues faced by the character and how they are resolved. “Seeing what seemed to me a bunch of sporadic, random clips all fit together as a film with a hugely powerful message was very moving. Furthermore, the kids who wrote, directed, acted and filmed each and every scene (lots of times!) were speechless watching their hard work back. Seeing it all put together and to see their project turned into a film was something they were very proud of. I remember them saying ‘that’s so good, I can’t believe we made that’” - Aoife Donnelly, Class Teacher (p.74) Download the full article for free from the Film Education Journal Key points to explore The article discusses a range of themes - below are a summary of certain points which you can read about in more detail, with page references so you can find them easily: Setting up a filmmaking project: tips for preparing pupils; taking photographs as a way of expressing emotion visually and learning how to frame shots; how pupils learn to reflect upon and evaluate their work (pp.66-67) The project’s direct links to the Curriculum for Excellence and how filmmaking can develop pupils’ skills in a range of key learning areas as well as their emotional literacy and personal development (p.67, 70) How filmmaking is beneficial in developing pupils’ teamworking abilities and communication skills, particularly for students who struggle with traditional literacy and numeracy (p. 67, pp.69-70) Challenges that teachers and pupils might face (p.67, 69, 72) Watch , the film discussed in the article above. See You Tomorrow Ideas for the classroom: Watch at the link above. See You Tomorrow ​ Discuss the following questions with your class:​ What is the message of the film? When making a film, what do you think are the biggest challenges for the filmmakers? If you had the chance to make this film, what would you do differently? Now rewatch the first minute of the film. Ask your students the following questions:​ How many shots are there in the first 60 seconds? Get pupils to clap every time there is a cut. Discuss the following questions with your pupils. How many shot types can they identify (close-up, medium shot, long shot etc)? Why do the filmmakers use these certain shots? What do they tell us about the characters? Further resources: ​ The UK film education charity has a free (registration required) step-by-step filmmaking guide, designed for primary schools, which will take you through all the stages of filmmaking: Into Film https://www.intofilm.org/resources/23 ​ also offer a guide to filmmaking with young people: Moving Image Education https://movingimageeducation.org/create-films Read more about the international filmmaking project that Understanding Cinema is based on: Le cinéma, cent ans de jeunesse https://www.cinematheque.fr/cinema100ansdejeunesse/en/ Watch Aoife Donnelly and Avril Whelan (teachers, Granton Primary School) and Jamie Chambers (ECA, Film Education Journal) discussing how they used film in the classroom both for See You Tomorrow and beyond, with contributions from some of the children who participated in the process.