A call for a study on f

“CALL FOR A STUDY ON
FILM LITERACY IN EUROPE”.

LA PRESENZA ITALIANA NEL
PROGETTO EUROPEO DI MONITORAGGIO
SULLA FILM LITERACY
*
ITALIAN PRESENCE IN THE EUROPEAN SURVEY
PROJECT ON FILM LITERACY

_______________________________________
Torino, 11 maggio 2012
Simone Moraldi (DiCoSpe – Università degli Studi Roma Tre)
filmliteracy.dicospe@gmail.com

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 experts Recommendations List
study
film literacy
identify and
analyse the existing media literacy
situation concerning Experts Group
film literacy in Europe

MEDIA
Programme
(Audience Building)
_______________________________________

1.1.1

«Firstly, on the basis of the definition of film literacy provided in these
terms of reference, it should provide the European Commission with
a European-scale experts' study which identifies and analyses
the existing situation concerning film literacy in Europe. This will
include initiatives in formal and informal education settings, covering
all age groups. Secondly it should seek to compare the results and
provide the Commission with recommendations on how to
strengthen its work on film literacy in the wider context of the
European policy on media literacy and to propose
ways 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)
_______________________________________

1.2. 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)
European Cultural
identities models
Digital Active
Environment citizenship

Media literacy
Real Freedom/
access Critical curiosity
Offer
approach awareness

Film literacy
Understanding film Market awareness
Value-chain
critical Heritage transformations
analytical Cultural film heritage Heterogeneity
technical Industry film heritage of products
_______________________________________ Multi-platforms

1.2.1

«Media literacy, and film literacy in particular, is also extremely important
for European cinema and the audiovisual sector in general.
Media-literate people will be able to exercise more informed choices
as regards to the audiovisual content market. Citizens would therefore
hold a higher degree of freedom and curiosity as they will have the
instruments to choose what they want to see and will be able to
better evaluate the implications of their choices. Film literacy is meant to
provide, notably to young European audiences, better 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».

_______________________________________

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

1500 200 24
European films cities countries

Netd@ys Europe
30.000 European schools
_______________________________________

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

Conference
"From Cultural Diversity to a European Identity“
(Thessaloniki 2003)
Diffusion of European film (Torino 2002)

Right to Educational system
Balance the market
keep and develop
Heritage cultural rules by
national/regional/local
an educative action
identity History Language
Active citizenship Moving Image Literature Aware consumption
_______________________________________

2.2.1. Cent films pour une culture alternative

«les enfants et les jeunes d’aujourd’hui ont de moins en moins de chances
de rencontrer dans leur vie sociale normale d’autres films que ceux
du “mainstream” de la consommation courante. L’école (et les dispositifs
qui 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 façon
simple et permanente – à une collection d’oeuvres donnant une haute
idée, non démagogique, de ce qu’a pu produire
de mieux le cinéma, et tout le cinéma»

(Alain Bergala, 2005)

_______________________________________

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

«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 world
dominated 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)
_______________________________________

2.3.1

«On 20 August 2009 the Commission adopted a Recommendation
on media literacy. The recommendation inter alia invites
Member States and the Media Industry to launch a debate on the
inclusion of media literacy in compulsory education curriculum.
The Council and the European Parliament endorsed the
Commission's approach to media literacy as a
very important factor for active citizenship in today’s information society».


_______________________________________

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

Film and audiovisual
National strategy
as core subject

Liceo Artistico

Curriculum Audiovisivo e Multimedia

Discipline Audiovisive e Laboratorio Audiovisivo e
Multimediali Multimediale

_______________________________________

3.2. 1999: Piano Nazionale Cinema

MIUR

Centro Sperimentale
Ex-IRRSAE DiCoSpe di Cinematografia
Università Roma Tre Scuola Nazionale
Di Cinema

Piano Nazionale per la Promozione della Didattica del
Linguaggio Cinematografico e Audiovisivo nella scuola
(National programme for the Promotion of
film and audiovisual language literacy)

About About 1000 About 12.000
500 schools teachers students
_______________________________________

4.1. survey structure – European axes and criteria

National strategy

Heritage Literacy
Cultural goods Education system

Local governments Audience building Audio-visual
(public) sector
Local relevance institutions Public
(private) partnership

Teachers training and Financement systems Systems of
acknowledgement assessment
system
_______________________________________

4.1.1.
− 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 a
cross 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 the
formal 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».

_______________________________________

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

Formal Non formal Audio-visual Cultural Teachers
Education education sector bodies training
professional
development
Liceo Other schools Distribution Film
Artistico commissions
Film museums Theatres University
Festivals
Local broadcasters High
governments FIAF formation
cinemathèques
Mediatheques
Associations
Filmclubs
_______________________________________

Conclusions: media literacy and 2014-2020 Creative Europe Programme

6.1.1.
«In its 20 years of existence MEDIA helped to significantly
change 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 important
role 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 to
enable the sector to develop new business models and to benefit from
the changing market conditions. It will be very important to support
projects acting across the value chain and to focus more
on audience building, branding and film literacy».

(Impact assessment Accompanying the document regulation of
the European Parliament and of the Council
establishing a Creative Europe framework programme)
_______________________________________

6.1.2.

«As part of the development of a media literacy policy and in the context
of the preparation of the MEDIA strand of the proposed
Creative Europe framework programme (2014-2020) ,
the European Commission is currently looking at the situation
of film literacy throughout Europe, and is therefore in need
of assistance in the form of report mapping the current practices
in film literacy in Europe».

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

_______________________________________

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