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RESEARCHING FILM EDUCATION: What do we know? What don’t
we know? (a partial account)
Andrew BurnInstitute of Education, University of London
www.andrewburn.org
www.darecollaborative.net
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WHAT DO WE KNOW?
2001 systematic review of (Anglophone) moving image literacy research- Very little research (leapfrog victim?)- Mostly snapshot case studies:- of critical ‘reading’ of film, mostly in secondary classrooms: analyses of:-children’s reading and increasingly making, in formal and informal contexts-pedagogies-digital affordances-Relation to media eduction, literacy, arts in education
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WHAT DO WE KNOW?-Some larger studies:-Children using the moving image to negotiate cultural identity in migration (CHICAM, 2003)-The making of film across the curriculum – eg BECTA/bfi , 2002)-Special Effects (2007)-Gilje et al, followup study of young film-makers.
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SOME RECENT UK WORK-film-making can enable primary children to build audiovisual memories (Potter); - Multimodal connections with literature (Parker), drama (Durran), games (Marsh; Parry, Burn, Mackey)Changing digital media practices, cultures, genres, technologies:Machinima (Burn)Tablets – (Cannon, Potter)
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So: WE KNOW SOMETHING about the MICRO picture: how young people understand and make film; how this connects with other communicative practices and domains of knowledgeContexts of film educationPedagogiestechnologies
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WE DON’T KNOW: mostly the MACRO picture-The benefits of this across the wider population – eg comparing those who do have opportunities for film education with those who don’t-Learning progression over time: what counts as progress; assessment; pathways into HE, the industry, etc.
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WHAT DO WE KNOW IN EUROPE?-A lot about the enormous diversity of projects: film festivals, workshops, film clubs, archive access programmes-Curriculum structures: film in mother tongue teaching, the arts, optional courses, exam courses, etc- National policies, strategies, guidance-The involvement of the audiovisual sector-The training of teachers (or lack of it)-The role of the national film agencies, institutes, archives-Preferred film cultures (national; world; Hollywood)
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WHAT DON’T WE KNOW IN EUROPE?-Participation (unreliable data; guesstimates – Hero to zero!)-Attainment across large cohorts (almost no data)-Learning progression over time-Long-term outcomes-What counts as ‘good’ (cf Being Seen, Being Heard study 2001)-Coding and film-making-‘Signature’ pedagogies-Education and the archive: unlocking the archive; archiving young people’s films
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THE “3-CS”: have your cake and eat it
CULTURAL
CRITICAL
CREATIVE
Popular cultureAND
Elite culture
RhetoricsAND poetics
Imaginative poaching AND original production
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POSSIBLE SOLUTIONS-Longitudinal studies and large cohort studies-A new synthesis of the research across Europe (translation; network)-Multi-method study, combining close textual analysis of young people’s work with attitudinal surveys, interviews, and data on take-up and progression – all over time.
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WHAT COUNTS AS ‘FILM’ ANYWAY?- Moving image media (inc television, still in top 5 of chosen media by EU teens)- Games: moving image medium – animation, imaginary worlds, powerful narratives, traffic between game and film, machinima- Mashups: the (not so) new aesthetic of Youtube: parodic practice- Cinematic ‘special effect’ – the work of the motion capture, CGI and 3-D animation industries: programming and coding and the arts in education. - Mobile practices: filming, editing, uploading from tablets and phones.